Southern Chapter Conference Programs (1979-1999)

1979, Orlando, FL

• John Joyce: “Vocal Ornamentation of Sigismondo d’India”
• Dwight Newton: “The Tromba Marina: An Historical Study of Performance Technique”
• Craig Otto: “Aspects of European Church Music During the Mid-to-late Seventeenth Century”
• Donald Fouse: “The Late Symphonies of Haydn”
• Harold Thompson: “An Evolutionary View of Neapolitan Formations in Beethoven’s Pianoforte Sonatas”
• Richard Nelson: “Two Early Editions of Beethoven’s Fifth Symphony”
• Ray Barr: “The Emergence of the Waltz as a Significant Musical Form”
• Larry Green: “A Comparative Study of Musical Tension”
• Joseph Youngblood: “Making Teaching Easier and Better Through Text Analysis”
• Charles and Mary Carroll: “A Study of Four-Hand Music”
• Robert Schmalz: “John Tufts’ Introduction to the Art of Singing Psalm Tunes”
• Richard Compton: “R. Shaw, Professor of Musick in America 1793-1811”
• Dinos Constantinides: “A Report on LSU’s Festival of Contemporary Music and the LSU New Times Concerts”
• John Lee: “The Earliest Organ Works of Olivier Messiaen”
• Robert Nicolosi: “T.S. Eliot and Music”
• David Kushner: “Aram Khachaturian and Soviet Aesthetics”
• Mark Bergaas: “Hugo Distler’s Works for Organ and Piano”
• T. Patrick Brown: “Polymetrics”
• Dennis Kam: “Interpreting Pre-Socratic Philosophers Musically”
• Renee Cox: “The Use of Mode in the Death Songs of Franz Schubert”
• David Kushner: “Ernest Bloch in Academe”
• Paul Powell: “A Study of A.E. Blackmar and Brother, Music Publishers of New Orleans and Augusta”
• William Goldhurst: “The Sentimental Songs of Gottschalk”
• Wallace McKenzie: “B. Carr’s Masses, Vespers, and Litanies”
• Ronald Riddle: “The Uses of Ambiguity in the Modulation Process”
• Bruce Whisler: “French Characteristics in the Italian Ars Nova”
• Elias Dann: “Recordings of Violinists on Pure Gut Strings”

1980, Tallahassee, FL

• Douglass Seaton: “A Composition Course with Karl F. Zelter”
• William Jones: “The Bagpipe’s Influence on Southeast American Music to 1950”
• Frank Hoogerwerf: “Confederate Sheet Music Imprints”
• Wiley Housewright: “Views of Music and Musicians in Early Florida Newspapers”
• David Kushner: “John Powell of Virginia”
• Elizabeth French: “The Arts in Higher Education: An Approach to the Eighties”
• Kenneth S. Klaus: “HEW and Higher Education”
• Robert Schmalz: “Music for the Humanities Major”
• Brad Albers: “Electronic and Computer Sound Synthesis—Its Potential Impact on Composers, Performers and Theorists”
• Charlene McDonald: “Spanish Music of the Twentieth Century.”

1981, Baton Rouge, LA

• John Wagner: “New York Concert Life: 1801-1805”
• Mark McKnight: “Offenbach and the Critics: Opera bouffe in New York, 1867-1870”
• Lee Orr: “Sidney Lanier as Musician”
• H. Lowen Marshall: “The Motets of Georg Prenner: A Preliminary Report”
• Robert Schmalz: “Innovation in Tradition: The Fantasias of Henry Purcell”
• Gayle Seaton: “The Lieder of Robert Franz”
• Alfred Lemmon: “Music in Latin America under the Bourbons”
• Charles Carroll: “Eros on the Operatic Stage: Problems in Manners and Morals”
• Irene Feddern: “The French Classic Organ Hymne”
• Mark Bergaas: “The Lesser Known Organ Works of Hugo Distler”
• Michael Strasser: “Benjamin Dearborn’s Scheme for Reducing the Science of Music”
• Donald Fouse: “The Symphonies of Mozart: A Formal Analysis” William Jones and Carl Arlette: “Early American Flute Music”
• David Kushner: “The ‘Jewish’ Works of Ernest Bloch”
• Robert Parker: “Chavez’s Concerto for Trombone and Orchestra: His Requiem?”
• Wayne Howard: “The Svara Concept in the Art Music of India”
• Reed Hoyt: “The Axial Prolongation of the Dominant in the Bass: Its Archetypal Pairings and the Stylistic Significance of Its Relationships to Cadential Function”
• Ila Stoltzfus: “The Viola Bastarda and the Lyra Viol”
• Frank Hoogerwerf: “Willem Pijper’s Pluritonality”
• Chris Yoder: “Contributions of Theodore Presser to American Musical Culture”
• Richard Sanchez: “The Dilemma over Baroque Ritornello Form and Classical Sonata in the Classical Concerto—Mozart’s Synthesis.”

1982, Atlanta, GA

• David Kushner: “The Masonic Influence on Nineteenth Century Musical Education in America”
• Dorothy Drennan: “Notation Systems for Sight-Singing in the United States between 1785 and 1885”
• Robert Schmalz: “The Troubadours and the NEH”
• Ray Barr and Charles Carroll: “Teaching Music in General Studies--Wingspread Report”
• Loryn Frey: “The Dramatic Significance of E, E Flat, and F in Verdi’s Otello”
• Martha Ann Robinson: “Trois Poèmes de Stéphane Mallarmé by Claude Debussy: Their Origins and Style”
• Frank Hoogerwerf: “Tonal and Referential Aspects of the Set in Stravinsky’s Septet”
• Gerald Farmer: “Contemporary Clarinet and Saxophone Performance Practices”
• Katherine Mahan: “Origins of Musics in the Southwestern USA and in Latin America”
• Lynn Wood Martin: “Frederic Shepherd Converse: American Romantic”
• Cary Lewis: “Nineteenth Century Piano Music: Louis Gottschalk”
• Roger Hannay: “Contemporary Music: A Composer’s Point of View”
• Glenda Thompson: “Hunt the Wild Pheasant, or the Private Life of Mary of Hungary”
• Ernest Harriss: “Johann Mattheson and Eighteenth Century Music Theory”
• Thomas Milligan: “Muzio Clementi and the Piano Concerto”
• Willis Hackman: “Sibelius as Symphonist: The Genesis and Progress of a Critical Model”
• David Riley: “Schoenberg’s Sketches for Pelleas und Melisande.”

1983, Mobile, AL

• Charles Michael Carroll: “The Legacy of Maurice Ravel: A Lesson in Estate Planning”
• Barclay Brown: “George Antheil in Paris: Futurism and Time-Space”
• Gerry F. Davidson: “An Application of Performance Objectives in Ear Training Through Recorded Examinations”
• Eckhart Richter: “Spider, Spider, What Art Thou Spinning? Hindemith’s Songs for American School Children”
• Gay Brown and Greg Sorcsek: “There’s Music in Glass” (the glass harmonica)
• Lisa Dominick: “Modality in the Music of Ton de Leeuw”
• Steven D. Winick: “Symmetry and Pitch Duration Associations in Boulez’ Le Marteau sans maître”
• Reed J. Hoyt: “Recurring Implications and Long-Range Melodic Relationships in Beethoven’s Sonata, Op. 31, No. 3”
• T. N. Retif: “The Faust and French Songs of Richard Wagner”
• Thurston Dox and Frank Hoogerwerf: “John Hill’s Jeptha: The First American Oratorio”
• Mary Alice R. Bohlman: “Trends in American Keyboard Music Before the Civil War”
• Gloria C. Jacobson: “The Piano Music of Ernesto Lecuona”
• M. Elaine Yontz: “Peggy Glanville-Hicks: Her Compositions and Their Critical Reception”
• Gerald Farmer and Hoyt Le Croy: “Percussion and Woodwind Compositions”
• David Kushner: “Soviet Aesthetics and Aram Khachaturian”

1984, Gainesville, FL

• Greg Sorcsek: “Music, the Arts and Psychology: The Tao of Perception”
• Nancy Barry: “Attitude of Directors and Students in the Middle School Band Class”
• Paul Greenstone: “Trends in American College Music Curriculum Planning”
• Quincy C. Hilliard: “The Symphonies of Aaron Copland”
• Charles Michael Carroll: “Memories of Dohnányi”
• William J. Jones: “The Plight and Fortune of the American Instrumental Musician in the Late Nineteenth Century”
• David Kushner: “John Powell (1882-1963) of Virginia”
• William Harbinson: “The Consequences of Performer Indeterminancy: “Tropé from the Third Piano Sonata of Pierre Boulez”
• Mary Beth Schulz: “Magic Concerté: The Concerti of André Jolivet”
• S. Timothy Malone: “Bartók’s Contrasts for Violin, Clarinet, and Piano”
• M. Elaine Yountz, Anne P. Torfason, and Jane Wiley: “The Song Cycles of Peggy Glanville-Hicks”
• Susan Lackman: “William S. Gilbert’s Feminist Libretto: Some Sources”
• Linda L. Spicher: “Compositional Style and Dramatic Integration in Clara Schumann’s Rückert Songs”

1985, Tallahassee, FL

• John S. Kitts: “Musical Instruments in The Triumph of Maximilian I”
• Mary Beth Schultz: “A Commentary on Thomas Tapper’s Chats with Music Students (1890)”
• David Starkweather and Cary Lewis: “An Analysis and Performance of Elliott Carter’s Sonata for Cello and Piano”
• Paul Hayden: “An Examination of Passages of Atonality and Chromatic Tonality in Samuel Barber’s Piano Concerto”
• Vincent O’Keeffe: “Melodic Style as Interpreted by Transitional Probabilities”
• Anne Simpson: “A Closer Look at Giannini-Flaster Collaboration”
• Bruce E. Radek: “Edgard Varèse: Analysis of Ionization”
• Susan Lackman: “Music Theory: Satisfying the Math Requirement”
• William J. Jones: “A Close Look at Edward Riley’s Flute Melodies”
• Quincy C. Hilliard: “The Tender Land Revisited”
• Janice Harsanyi and Timothy Hoekman: “Roger Sessions, Vocal Melodist”
• Michal J. Kallstrom: “Some Aspects of Rhythm and Texture in Sessions’ Eighth Symphony”
• James Oakes: “George Walker: Some Piano Works”
• Tamara K. Boggus: “Dvorák’s Beliefs Concerning Music in America”
• Laura M. Handler: “Visual and Aural Perception of Emotional Level in Music Performance”
• John C. Dressler: “The Impact of Applied Music Workload on Faculty Research Productivity”
• Chris Meister: “Convergence as a Mode of Musical Organization: Comparing Varèse’s Hyperprism and Penderecki’s Polymorphia”
• Bill B. Ramal: “Music Theory as a Prerequisite for Success in Commercial Music and the Music Industry”
• James Braswell: “Administrative Computing in Collegiate Music”

1986, Lafayette, LA

• John Croom: “Professor Chol of Thibodaux”
• Anne Simpson: “Harry Thacker Burleigh and His Spirituals”
• Marzetta Fairley-Alexander: “Afro-American Influences in the Orchestral Works of Howard Swanson”
• Bradley Albers: “The Expanding Role of Electronic/Computer Music Facilities in University Environments”
• Richard Sanchez: “Using Word-Processing in College Teaching”
• Terry McRoberts: “Scriabin and His Etudes of Opus 8”
• Gary Mortenson: “Historical Perspectives and Analytical Observations on Francis Poulenc’s Sonata (1922)”
• Dinos Constantinides: “Hymn to the Human Spirit”
• Russell Robinson: “Selected Aspects of Elementary and Secondary Music Programs in Florida Schools: A Status Study”
• H. Lee Riggins: “Creative Sight-Singing: A Lecture-Demonstration”
• Gerald Farmer: “A Guided Listening Approach for Contemporary Music”
• Madelyn Trible: “Baroque Chamber Music”
• Robert Schmalz: “Publication, Performance, and the University Merit Evaluation”
• Anne Patterson Torafson: “Sketch Studies and the Case for Evidentiary Limitation”
• Howard Irving: “Amateurism”
• Bill Ramal: “The Transcription and Analysis of an Early Rock Recording, My Prayer”
• Quincy Hilliard: “Ethnomusical Elements in the Music of Aaron Copland.”

1987, Athens, GA

• Karl Koenig: “Early Jazz—Its Advertising and Promotion”
• Robert Nelson: “The Player Piano: The Biggest Joy Producer of the Age”
• Bonny Miller: “Three Centuries of Music in Magazines”
• Terry McRoberts: “Etudes, Op. 8 of Scriabin”
• Robert Schmalz: “From the Idol’s Eye to Tristan: Victor Herbert as Symphony Builder”
• Quincy Hilliard: “Latin American Influences in Aaron Copland’s Danzon Cubano and George Gershwin’s Cuban Overture”
• Michelle Tabor: “Juan Carlos Paz: One of the First Internationalists in Latin America”
• Jane Wiley: “Danzas: A Study in Spanish Dance Rhythms”
• Gary Mortenson: “Prelude to Greatness: Young Charles Ives and His Father, George”
• Anne Simpson: “The Operas and Solo Songs of William Grant Still”
• Anne Patterson Torfason: “Musings on the Songs of Felix Mendelssohn”
• Guy Hargrove: “The Melodies of Francis Poulenc”
• Howard Irving: “Modal Inter-Change in Haydn’s Late Piano Trios”
• Andrea Kapell Loewy: “Frederick the Great as Performer and Composer of Flute Music”
• Martha Braswell: “Legal Aspects of Student Rights in the College Music Arena”
• Sang-Hie Lee: “Music Pedagogy”
• James Braswell: “Collegiate Music Positions in the U.S.: Preliminary Report 1983-86”
• Gerald Farmer: “Forming Partnerships in Music”
• Arthur Jennings: “Avant-Garde Music and Its Place in the Teaching Studio”
• Randy Kohlenbert and Cort McClaren: “A New Direction in Chamber Music: The Trombone-Marimba Duo”
• Camille Smith: “The Effect of Finger Placement Markers on the Development of Intonation Accuracy in Fourth and Fifth-Grade Beginning String Students”
• Ellen Kaner: “The Contemporary Flute”
• Michael Harrington: “Contemporary African Rock and Classical Music: Counterinfluences.”

1988, Nashville, TN

• David Myers: “Adult Learners and Music: The Challenge to Higher Education”
• Rudy Volkmann: “The Use of Kodály Movable-Do Solfege in Ear Training and Sight-Singing: An Integrated Approach”
• James O’Donnell: “The Implications and Possible Application of Research in Conceptual and Motor Learning on the Manner in which Instrumental Methods Courses Might Be Taught”
• Gerald Farmer: “New Woodwind Music from Germany”
• Nancy Barry: “Music in the Philosophy of Boethius: Religious Implications from a Historical Perspective”
• Eugene Flemm: “Preludes for Piano by Ruth Crawford Seeger”
• Daniel Taddie: “Othello and Otello: An Interdisciplinary Unit in the Humanities for the General College Student”
• Robert Schmalz and Gary Mortenson: “Prespectives on Charles Ives’ From the Steeples and the Mountains (1901)”
• Anne Simpson: “Arndt, Confrey and Gershwin: Novelty Pianists Par Excellence”
• Andrew Fowler: ”Schumann’s Real Davidsbündler”
• George Rogers: “Pitch-Specific Chromothesia: An Audio-Visual Presentation”
• Karrin Ford: “Which Brain Do We Train in Applied Music Teaching?”
• Douglass Seaton: “Mr. Purcell’s Last Song: Aesthetics and Analysis”
• Patrick Woliver: “Britten’s Canticle II, Abraham and Isaac”
• Michelle Tabor: “Ginastera’s Piano Quintet”
• Karen Harrison: “Flute Works of Charles Koechlin.”

1989, Orlando, FL

• Karen Garrison: “Sidney Lanier: Poet and Musician”
• Roy Wylie: “The Influence of Argentinan Folk Music in the Early Piano Works of Alberto Ginastera”
• David Kushner: “Ernest Bloch, Daniel Gregory Mason, and the Jewish Question”
• John Salmon: “Beethoven’s Shadow”
• Nancy H. Liley: “Piano Works of Three Living American Composers”
• Bonny Miller: “Keyboard Works of Henry Cowell for the College Student”
• Allen Molineux: “Soldier’s March from Stravinsky’s Soldier’s Tale”
• Richard Montalto: “Serial Aspects in the Music of Penderecki”
• Steven Everett: “HMSL Programming Language: An Interactive Program for Live Performance with Computer”
• Charles Carroll: “Jean-Jacques Rousseau as Musical Revolutionary”
• Miriam Zach: “Soviet Aesthetics and Sergei Prokofieff”
• Raymond Barr: “The French Art Song”
• Michael Cooper: “The Heroic Musical Art of Playing the Timpani”
• Kandace Ferrell: The Soprano Saxophone and Piano Compositions of Jindrich Feld”
• Ann Knipschild: “Performance Practice in J.S. Bach’s Sonata BWV 1030”
• Ellen Kaner and Vicki King: “Teaching Baroque Flute Literature to Young College Students”
• Joseph Stephenson: “The Prelude and Toccata in American Piano Literature”
• Thomas Liley: “The Performing Guide to Saxophone Music of Paul Creston”
• Robert Schmalz: “Emil Paur and the Death of the Pittsburgh Symphony”
• Penny Thomas: “Burney and Hawkins Revisited”
• Carol Quin: “Theory of Black Music Scholarship for the Piano Works of William Grant Still”
• Quincy Hilliard, Elizabeth Wrancher, Anne Simpson: “The Fugitive Songs of Ulysses Kay”
• Timothy Duncan: “Music More Suddenly Time”
• Greg Sorcsek: “The Dynamics of Motion”
• Herbert Bassett: “Five Pieces for Flute and SPX 90”
• Gerald Farmer: “Electronic Extension for Instruments”
• Louisa Takahasi and Wayne Hinton: “The Rise and Fall of the Castrati Singers.”

1990, San Juan, Puerto Rico

• David Kushner: “The Travels of a Romantic Virtuoso, Louis Moreau Gottschalk”
• Jose Manuel Lezcano: “Afro-Cuban Rhythmic Elements in Selected Songs of Alejandro Garcia Caturla and Amadeo Roldan”
• James Anderson and Carol Anderson: “An Introduction to Columbian Folk Music: The Andean Region”
• Tayloe Harding: “The Serial and Aleatoric Construction of Calendar Music 1979b (1983-84)”
• Robert Placek: “A Computer-Controlled Program of Music Appreciation Utilizing a Random-Access Audio Device”
• Michael Harrington: “A Different Look at World Music”
• William Gallo: “Towards a Culturally and Politically Correct Music Appreciation Course”
• Sang-Hie Lee: “Incorporating World Music Into the Piano Pedagogy Class”
• Robert Schmalz: “The Moravian Wind Band Revisited”
• Terry McRoberts: “The Life and Times of Heinrich Pfitzner”
• Martha Braswell: “Developing Piano Sightreading Skills: A Five-Finger Hand Position Approach”
• Deborah Olander: “Larue’s Analysis as Guidelines for Business Success Factors”
• Nancy Barry: “The Arts and Secondary Dropout Prevention”
• Anne Simpson and Karen Garrison: “Flute Literature from the Nineteenth Century”
• Gerald Farmer, Katherine Farmer, Priscilla Stone: “Twentieth Century Music for Flute, Clarinet/Saxophone and Piano”
• Eleanor Brown and Stephen Brown: “Mrs. Beach’s Suite for Two Pianos Founded Upon Old Irish Melodies, Op. 104”
• Joey Bargsten and John White: “SEMA: Rumi’s Dance”
• Dinos Constantinides and Stephen Brown: “Music of Dinos Constantinides for Violin and Piano”
• Karen Garrison, Ann Knipschild, Joseph Stephenson: “Hispanic Music for Flute, Oboe, and Piano”
• Carol Quin and Nina Kennedy: “Zora Neale Hurston as Caribbean Folk Music Collector and Folk Opera Collaborator”
• Thomas King: “Neidhart von Reuental, Minnesinger from 1180-1246”
• Vicki King: “The Studio per il Piano Forte, Op. 39-40, by Johann Baptist Cramer: Its Significance in the Development of Piano Technique”
• Lawrence Gwozdz and Vicki King: “Saxophone Music by CMS Southern Composers.”

1991, Auburn, AL

• Carolyn Sanders: “Sinfonia a 7 in F major by Johann Samuel Endler”
• David M. McCullough: “An Historical Perspective on the Development of the Horn Quartet”
• Keith Koons and Judy Cole: “Contest Solos for Clarinet at the Paris Conservatoire”
• Ellen Kaner: “Compositions for Flute and Electronics”
• Amy Edmondson: “A Comparison of the Published Version of J.J. Quantz’ Solfeggi with the Original Manuscript”
• Andrea Loewy and Anne Simpson: “The Expressive Style of CPE Bach: Emphasis on Flute Sonatas”
• Susan Conn Lackman: “The Poet as Lyricist”
• Bonny Miller: “Courtesy of the Ladies Home Journal”
• Glen D. Arfsten: “Music for Harp and Voice”
• Thomas King: “Three Settings of Dehmel’s Waldseligkeit”
• Janice Harsanyi: “Twentieth-Century Hungarian Song”
• Robert Schmalz: “Anglo-American Connections: Evidence of Playford’s Influence on John Tufts”
• Steven G. Smith: “The Blues Strategy”
• Richard Montalto: “Controlling Dissonance Through Orchestration”
• Charlene Harb: “An American Landmark: The Piano Sonata of Charles Griffes”
• Daniel Taddie: “Historical Usage of the Terms Scala and Gamma to Designate Aspects of a Tone System”
• Dana L. Colline: “On the Teaching of Music Theory”
• Michelle Tabor: “The Application of Principles of Music Theory to Performance”
• Carl D. King: “Adapting Collaborative Education to Music Education”
• Elizabeth Hostetter and Karen Garrison: “Let’s Celebrate Mozart and Remember Reinagle”
• Gerald Farmer and Don Salmon: “Clarinet Concerti of Mozart and His Contemporaries”
• Anne Simpson: “An Overview of Two Unsung Composers: Florence Price and Margaret Bonds”
• Penny Thomas: “The Solo Keyboard Works of Arthur Farwell Based on Indian Melodies”
• Edward C. Bedner: “Nocturne in F-sharp by Frederick Chopin: Have we Underestimated the Chopin Nocturne?”
• David Kushner: “Marc Blitzstein as Musical Propagandist”
• Wayne Moore: “Ethel Smyth: Composer, Author, Feminist, Eccentric, etc.”

1992, Miami, FL

• James Anderson and Carol Anderson: “An Introduction to Columbian Music, Part II: The Atlantic Coastal Region”
• Michelle Tabor: “Twelve-Tone Technique in the Music of Alberto Ginastera”
• Karen Garrison and Joseph Stephenson: “Bad Boy Revisited”
• Carl King: “Bridging the University-Public School Gap in Music Education”
• Jon Christopher Nelson: Lament for English Horn and Tape (Mini-concert)
• John de Chiaro: “From the Renaissance to Ragtime to Broadway: A Look at the Changing Role of the Classical Guitar on the Concert Stage in the United States”
• Carol Quin: “A Resource Guide to Black Composers”
• Matt Whitfield: “Timbre Selection, Structure and Improvisation in Electronic Music Composition”
• Robert Schmalz: “Breves and Bytes: Notation and the Electronic Studio”
• David Kushner: “Ernest Bloch as Music Educator”
• John Brick: “Strategic Methodology: A Secondary Methods Curriculum for the 1990’s”
• Thomas King and Bonny Miller: “Liederkreis, Opus 39: Robert Schumann and Joseph von Eichendorff”
• Susan Lackman: “The Poet as Lyricist”
• Glenn Lemieux: Melange for Oboe and Piano (Mini-concert)
• Richard Montalto: “Vision and Games for Piano”
• Anne Simpson and Ann Taddie: “Some Early Songs of Benjamin Britten: A Worthy Addition to Student Repertoire”
• Keith Koons: “Performance Practice Considerations for Mozart’s Concerto in A Major”
• Michael Harrington: “Classical Voice-Leading in American Rock”
• Mary Reichling: “Does Popular Music Merit Aesthetic Justification? A Case Study”
• Gerald Farmer: “The Concert-Video: A New Medium for Musicians”
• Dennis Kam: Dominant Spread for Five Tubas (Mini-concert)
• Allen Molineux: In Parabolic Praise for Trumpet (Mini-concert)
• Debra Hess: “Lutheran Church Music in America During the 19th Century”
• Miriam Zach: “I Must Be Liberal! Play Women’s Music!”
• Andrea Loewy: “Paul Taffanel: Flutist, Teacher, and Composer”
• Robert Nelson: “William Foster Apthorp and the Atlantic Monthly, 1872-77: A Companion to Dwight’s Journal.”

Munich meeting

• Dinos Constantinides: “The European Musician in America”
• John De Chiaro: “An Analysis of Compositional Influences of Several European Composers on Ragtime and Broadway”
• Robert Placek: “Music and Public School Education in Prussia and the United States in the Nineteenth Century: Impressions of American Educators”
• Eckhart Richter: “Training Prospective Composers to be ‘Compleat’ Musicians: Hindemith’s Teaching at the Berlin Musikhochschule”
• Olin G. Parker: “Contemporary Psychological/Music Pedagogical Liaisons”
• Gary Wolf: “The Piano Works of Max Reger”
• Eugene Flemm: “Schumann’s Fantasia in C Major, A Musical Autobiography”
• Vicki King: “The Three Laments of Johann Jacob Froberger”
• Bonny Miller and Thomas King: “Magazine Music as Gesamtkunstwerk: A Lecture/Recital of Songs from Jugendstil Literary and Art Journals”
• Susan Boardman: “Compositional Elements in Bela Bartók’s Folksong Settings for Solo Voice and Piano”
• Miriam Zach: “German/American Aesthetics and Ernst Toch”
• Thomas King: “Opportunities for Young Americans in the Opera System in German- Speaking Europe”
• Ray Barr: “Luncheon in München”
• Gerald Farmer: “Germany’s First Improvising String Orchestra.”

1993, Baton Rouge, LA

• Thomas King: “Performance Anxiety of the Young Singer”
• Carl King: “Vocal-Music Appreciation, An Inter-disciplinary Approach”
• Robert Placek: “Teaching Jazz Piano: Recurrent Student Problems and Prescriptions for Improvement”
• Margaret Daniel and Sue Steck-Turner: “Quatre Grandes Compositrices Celebres- Trois Pays”
• Vicki King: “Women Composers for the Harpsichord”
• Rosephanye Dunn-Powell: “The Art Songs of William Grant Still”
• Holly Hughes and Thomas King: “Richard Heuberger and Johannes Brahms”
• Gary Wolf: “Discussion and Performance of Max Reger’s Variations and Fugue on a Theme of J.S. Bach, Opus 81”
• Penny Thomas: “The Ecstatic and Didactic in American Music: The Pattern Continues”
• Mary Reichling: “Feeling in the Musical Experience: A Langerian Perspective”
• Anne Simpson and William Nyaho: “The Nathaniel Dett-Percy Grainger Connection”
• Keith Koons: “Selected American Chamber Music for the Clarinet 1900-1945”
• James Sain: “Towards Familiar Noise”
• Gerald Farmer: “Instrumental Arrangements of Sacred Harp Music”
• Robert Schmalz: “Thoughts on ‘Re-Thinking American Music’—Boston, 1992”
• Joan Epstein: “Revealing Bond”
• Karen Garrison: “Robert Muczynski and His Preludes”
• Howard Brahmstedt and Alicia Brahmstedt-Mueller: “Incorporating Multicultural Ideas into an Existing College Curriculum”
• John Brick and Joseph Conte: “The Student Teaching Experience: A Comprehensive Approach.”

1994, Atlanta, GA

• Michael Harrington: “The Musical Plagiarism Case Against Bill Ray Cyrus’ She’s Not Cryin’ Anymore”
• Diane Brown: “T.S. Elliot’s Four Quartets: Literature and Music”
• Lyn Schenbeck: “The Use and Abuse of the Graduate Teaching Assistant”
• John Brick: “Karaoke in the Classroom: Practical Applications for Music Education at the University Level”
• Edward Bedner: “Nocturne in D, Op. 27 #2 by Frederick Chopin”
• Susanna Garcia: “Plot and Symbols in Skryabin’s Ninth Sonata”
• Bonny Miller: “A Concert Version of Mozart’s Keyboard Suite, K. 339”
• Mark Lange: “New Software and Hardware for Music Applications”
• William Fry: “Don Gillis’ Atlanta: A Choreographic Impression of a Southern City”
• Thomas King: “Charles Ives: Happy Anniversary”
• Lana Johns: “The Flute Compositions of Jindrich Feld”
• William Nichols: “The Baroque Clarinet at the Crossroads: Two Mid-Eighteenth Century Concerti”
• Penny Thomas: “The Florida Federal Music Project, 1935-1942”
• Mel Wilhort: “You Can’t Make a Monkey Out of Me, or Forgotten Voices from the Sticks”
• Anne Simpson, Stella Sung and Ann Taddie: “Camille Lucie Nickerson, The Louisiana Lady,” respondent Marva Carter
• Ellistine Holly: “Afro-American Grand Opera Companies in American Culture,” respondent Fred Taylor
• Nancy Barry: “Music Education in a Diverse and Changing Society: Implications for College Faculty,” respondent Robert Placek
• Juanita Karpf: “Transforming Textbooks: Reconsidering the Musical Canon and Music Curriculum,” respondents Ed LeRoy and William Gallo
• Edward Bouie and Hoyt LeCroy: “Multiculturism: Imperatives for Music Teacher Education,” respondent David Myers
• Susan Lackman: “Teaching Music Students to Think as Composers Compose,” respondent Brent Weaver
• Stephen Miles: “Temporal Displacement in Postmodern Music,” respondent Thomas McKinley
• Gerald Farmer: “Leipzig and the Legacy of Bach,” respondent Bernd Franke
• Ken Keaton: “The Fantasies of John Dowland: Thematic and Structural Relationship,” respondent Lee Orr
• James Fairleigh: “The Gradual and Alleluia from the Easter Mass,” respondent Eckhard Richter
• Julia Heinen: “A Look at Two Twentieth Century Works by Women Composers for Soprano, Clarinet and Piano.”

1995, Clarksville, TN

• Terry McRoberts: “The Music of Katherine K. Beard”
• Ellistine Holly: “In Retrospect: Ruby Elzy, Creator of the Role Serena in Porgy and Bess”
• Ken Keaton: “Mauro Giuliani and Opera: Le Rossiniane, Op. 119”
• Robert Schmalz: “A Brass Phoenix: the Rebirth of the Alto Trombone”
• Margaret Daniel: “A Survey of Recital Literature for Soprano and Clarinet”
• Mary Reichling: “On the Phenomena of the Auditory Image or What Does One Hold in Mind When Imagining Music?”
• Allen Henderson: “Distance Learning and Information Technology: Applications for the Classroom”
• Howard Brahmstedt: “Traditional and Contemporary Music in China Today”
• Susan Lackman: “Including Extra-Musical Topics in Music Courses”
• Amy Edmondson and Nancy Barry: “Telemann Excerpts in the Solfeggi of J.J. Quantz”
• Gerald Farmer: “European-American Music for Clarinet”
• Ann Silverberg: “Computer-Aided Listening: Good or Bad?”
• Carl King: “Implication of the National Voluntary Standards for the Elementary Classroom Teacher and Music Education”
• Nancy Staples: “Dentistry and the Musician”
• Roger Vogel: “Harmonic Progression in Milhaud”
• Daniel Taddie: “Solmization, Scale, and Key in Nineteenth Century Four-Shape Tune-Books: Theory and Practice”
• Michael Harrington: “Motivic Transformation and Tonal Implication in Three Compositions by Prince”
• Dinos Constantinides: “Various Aspects of Presenting an Opera”
• Anne Simpson and Ann Taddie: “The Versatile Richard Hageman: Conductor, Composer, and Accompanist”
• Leonid Treer: “Mussorgsky and his Pictures at an Exhibition: New Language of Musical Expression.”

International CMS Conference in Berlin

• Marva Carter: “Back to Africa: A Case for Cultural Context”
• Roger Vogel: “Harmonic Progression in Milhaud”
• Robert Johnson: “Cognitive Styles: A Determinant of Achievement and Aesthetic Development in Collegiate Music Programs of Study”
• Olin G. Parker: “Pitch Acuity and Tuning: The Relationship”
• Ann Silverberg: “The Ethnic Element in U.S. Liturgical Music Reform”
• Joyce Davis and Holly Hughes: “Solo Music for Trumpet by Women Composers”
• Robert Placek: “A Computer-Controlled Program of Study with Interactive Videodisc: Instruments of the Symphony Orchestra”
• Eckhart Richter: “Transplanting the Grand Symphonic Tradition to the New World: Hindemith’s Symphony in E-Flat”
• Gerald Farmer and James Fairleigh: “Jazz Influences on American and European Composers.”

1996, Columbus, MS

• Penny Thomas: “Claire Reis: Advocate for Contemporary Composers”
• Karen McBee: “Nena Wideman’s Life and Work with Student Concerti Performances”
• James Fairleigh and Gerald Farmer: “Expressionist Excursion: Rorem’s Setting of Plath’s Ariel”
• Randall Faust, Gregory Byrns, and Karen Garrison: “Chamber Music with Percussion”
• Thomas King: “Counter-tenor and Falsetto: There is Nothing False About Them!”
• Karen Forsheim: “Cooperative Learning for the Music in General Studies Classroom”
• Laurdelia Foulkes-Levy: “Hierarchial Strategies for Improving Sight Singing and Dictational Skills”
• Lawrence Schenbeck: “One Race, Two Worlds: Music in African-American Chicago from 1920-1940”
• Karen Garrison: “The Atlanta Symphony Orchestra at Fifty years”
• Timothy Crain: “Opera in Charleston from 1735-1800”
• Michelle Tabor: “Three Prominent Composers from Argentina”
• Lawrence Newcomb: “The Importance of the Guitar in Spanish Nationalism”
• Lana Johns and Joel Harrison: “The Flute Music of Two Twentieth Century Czech Women Composers: Ivana Loudova and Sylvia Bodorova”
• Ann Silverberg: “Baroque Music in an Interdiciplinary Humanities Course”
• G.B. Lane: “Proposal for a Barrier System for Evaluating Progress in College Level Melodic/Rhythmic Recognition and Aural Skill Awareness”
• M.Scott McBride: “Mystic Symbols: The Composer Philip Wilby and His Symphony for Wind Orchestra”
• Pamela Winkler: “Saints and Elves in the New World: A Look at the Non/pedal Harp and Its Symbolism in America”
• Richard Murry: “Harmoniemusik: First Transcriptions for Wind Band”
• William Nichols, Donald Cornell, and Mark McCleery: “A Now Standard Repertoire: The Clarinet Music of Robert Muczynski”
• Margaret Daniel and Robert Schmalz: “An Addition to the Traditional Recital: Music for Voice and Alto Trombone”
• Karrin Ford: “Scandinavian Scandal: The Life and Times of Elfrida Andrée”
• Anne Simpson and Margaret Daniel: “The World of Julie Calvé, Prima Donna”
• Sandra Stewart: “Alexander Gretchaninoff: Forgotten Composer of Solo Piano Collections”
• Robert Schmalz: “Organized Labor and the American Orchestra, 1890-1920”
• Gerald Farmer and Nancy Barry: “CMS Multicultural Attitude and Awareness Inventory: Results and Implications for the Profession”
• Thomas Gregg: “Emerging Feminism as Portrayed in American Operas of the 1950s”
• Vicki King: “Piano Teaching in the People’s Republic of China.”

1997, Miami, FL

• Daniel Taddie: “Musicological Approaches to Teaching Undergraduate History”
• Richard K. Fiese: “So You Wanna Teach Music?”
• Richard Montalto: “The Theremin: Its History, Design and Performance Techniques”
• Douglas Knehans: “Virtual Mirrors: Course Materials on the Internet and/or Intranets”
• Marie A. Tavianini and Pamela Yougdahl Dees: “Fanny Mendelssohn-Hensel: A Sesquicentennial of an Early Romantic Composer”
• Karen Garrison and Joseph Stephenson: “A Survey of Flute Compositions by Women Composers”
• Jo Anne Stephenson: “The Piano and Vocal Music of Florence Price”
• Penny Thomas: “Three Nocturnes by Women Composers”
• Mary Reichling: “Aesthetics, Women, and Music: An Exploration of Several Selected Themes”
• Bonny Miller: “A Voice Master Class with Mathilde Marchesi through Contemporary Periodicals”
• Gerald Farmer: “Composing Original Cadenzas”
• Thomas Gregg, Stacy Rodgers and David Schubert: “Collaborative Themes: The Finzi-Hardy Songs”
• Cheryl Boyd-Waddell: “Alternate Expressions in Vocal Performance—Music for Voice and Percussion”
• Vicki King: “The Graz Compositions of Schubert”
• Ken Keaton: “The Schubert Lieder Transcriptions of Johann Kasper Metz (1806- 1856)”
• Thomas King: “The Swan Song Cycle? Franz Schubert on His 200th Birthday”
• Maritza Mascarenhas: “Selected Elementary and Intermediate Piano Teaching Repertory by Brazilian Composers”
• James Anderson and Carol Anderson: “An Introduction to the Folk Music of Argentina”
• Michael Harrington: “Afro-Cuban and Afro-Caribbean Rhythmic Influences in the Music of the Beatles”
• Amanda Martin: “A Warrior’s Plight: The Fanfare in Verdi’s Otello”
• Bret Aarden: “The Strange Attractors of John Cage”
• Richard Murry: “Auxiliary Wind Instrument Pedagogy: A Qualitative Examination of its Relationship to the Standard Instrument Pedagogy”
• Robert Schmalz: “Violinists, Singers, Conductors and Huns: Effects of the ‘Great War’ on the American Homeland”
• Margaret Daniel: “Pioneer American Composers and Their Art Songs”
• G.B. Lane: “When the Barns Were Burning”
• Anne Simpson: “Songs for Soprano by Louisiana Composers”
• David Kushner: “Jaromir Weinberger: Artist of the Past.”

International Conference of CMS in Vienna

• James Barket: “Vienna: City of Music, City of Basses”
• Miriam Zach: “Complexity and Contradiction in the Music of Ernst Toch”
• Edmund LeRoy and Vicki King: “The Viennese Spirit and the German Lied”
• Joseph Rasmussen: “Teaching West African Drumming and Dance at an American University: A Case Study from Tennessee”
• Eckhart Richter: “On the Quest for the Holy Grail of Music”
• John and Linda Li-Bleuel: “Two Significant Additions to the Saxophone Repertoire Since 1990”
• Arnold Penland: “Multidisciplinary Course in General Studies: Design for Understanding the Visual and Performing Arts”
• Calvert Johnson: “Language Across the Curriculum: A German Component for a Course in ‘Women in Music’”
• Gerald Farmer, Marlane Fairleigh, and Vicki King: “Vocal and Instrumental Cadenza Developments.”

1998, Carrollton, GA

• Michelle Tabor: “Washington Castro’s Triptico Porteño: An Example of Argentine Art Music of the Twentieth Century”
• James Anderson and Carol Anderson: “The Argentina Tango: A Unique Cultural Development”
• Terry McRoberts: “The Works for Piano Solo by Toru Takemitsu”
• Bonny Miller and Vicki King: “Playing the Piano Correctly: A Master Class with Josef Hofmann”
• Toni Passmore Anderson: “The Fisk Jubilee Singers’ Role in the Development of the Spiritual”
• Joseph Stephenson, Mary Josiah Howard and Karen Garrison: “Gottschalk Also Wrote Some Songs” (Mary Josiah Howard was unable to attend because of illness, so we heard “Songs without Words” played by Karen Garrison on the flute).
• Gerald Farmer and Frank Peter: “Centers of Music Activity in Germany Today”
• Greg Danner: “Beatles, Bali, and Bach: Music Theory in the Progressive Curriculum”
• Richard Williamson: “Harmony and Meaning in Ginastera’s Lamentaciones de Jeremieas Propheta”
• Dennis Kam: “Distinguishing Music Analysis from Music Theory”
• Penny Thomas: “American Composers of the Indianist Movement”
• Michael Caldwell: “Blue Mitchell (1930-1979): Setting the Tone for the Succeeding Trumpeters in Horace Silver’s Quintet”
• Sandra Stewart: “The Ladies Friday Musicale of Jacksonville and the Birth of the Delius Association of Florida”
• Karen Fosheim: “Suite 1922 by Paul Hindemith”
• Lana Johns and Joel Harrison: “Ervin Schulhoff: His Life and Works for Flute”
• Nancy Barry and James Fairleigh: “Melodic Dialogues Between Clarinet and Piano in Brahms’ Op. 120, No. 1: An Approach for Pedagogy and Performance”
• Keith Koons and Gary Wolf: “The Contributions of Hyacinthe Klosé to Modern Clarinet Playing”
• Kimberly Walls: “Music Teacher Preparation via Multi-Media and the Internet”
• Susan Lackman: “Supporting Music Education Goals Through the Campus Radio Station”
• Carl King: “Block Scheduling: Friend or Foe to the Secondary Public School Music Program”
• Margaret Daniel: “Louise Reichardt, Early Nineteenth Century Feminist Composer”
• Patricia Parker: “Feminist Movements of the Enlightenment: The Emergence of the Classical Sonata Form in Keyboard Works by Women Composers”
• Wieslaw Rentowski: “The Concept of Open or Universal Tonality and Related Scale Resources”
• John Schuster-Craig: “Sir Michael Tippett’s Palindromes”
• Carol Gould: “Philosophical Issues Concerning Authenticity in Musical Performance”
• Thomas and Vicki King: “Four Songs of Clara Schumann”
• Vicki Wilson and Vicki King: “On Being a Woman in the Nineteenth Century: Fanny Mendelssohn Hensel (1805-1845)”
• J. David Morris: “Two Solutions to the Problems of Piano Reductions in Instrumental Concerto Accompaniments”
• Marlene and James Fairleigh: “Soprano Songs by American Composer Lee Hoiby”
• Vicki King: “Orlando A. Mansfield: An English Composer in Georgia”
• Michael Harrington: “Music Copyright Infringement and the Study of Classical Music Theory”
• Jack Rush Hicks: “Copyright Term Extension—Do We Need It?”