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</o:shapelayout></xml><![endif]--></head><body lang=EN-US link="#0563C1" vlink="#954F72"><div class=WordSection1><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>Dear Historians of Music Theory,<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'> <o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>Here’s a friendly reminder to consider submitting a proposal for the AMS History of Theory Study Group’s session on Mode at 2021 meeting. The details follow:<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>AMS History of Music Theory Study Group Special Session at the AMS 2021<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>Meeting<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>Deadline: May 15th<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>November 4-7, 2021, Online<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>Spanning centuries-old histories in Western and non-Western traditions<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>alike, mode continues to be an important locus for the interrogation of<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>musical thought. This special session will contribute to the ongoing<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>conversation on the conceptual and epistemological frameworks of mode in<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>music theory by placing it in a broader historical context and by<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>approaching it from a global perspective.<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>We invite proposals for short papers (ca. 15 mins) that engage with the idea<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>of mode from a wide range of perspectives, including but not limited to:<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>1. To what extent are the many definitions and conceptualizations of<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>"mode" across musical cultures comparable with one another? Is a global<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>understanding of mode possible that avoids the pitfalls of both<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>fragmentation and reductionism?<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>2. How do emic and etic perspectives apply to mode, viewed globally,<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>forty years after Harold Powers's "Tonal Types and Modal Categories"?<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>3. To what degree are the "emic" aspects of mode, which made the<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>concept unreliable as a music-analytic category to Powers, the same ones<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>that might ground post-colonial (i.e., pluralistic and culturally inflected)<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>approaches to music history and musical analysis?<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>4. As "tonality" appears increasingly compromised as a<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>music-theoretical category, might mode be revisited as a viable historical<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>and ideological framework for the study of Western music? If not mode, then<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>what?<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>5. Mode in non-classical repertories (e.g., jazz, pop music):<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>conceptual lingua franca or cultural imposition?<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>6. Mode as a marker of the exotic, the archaic, the uncorrupted, the<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>racialized Other.<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>Proposals of no more than 200 words should be sent to historyofmusictheory<o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>-at- gmail.com by May 15th. <o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>Best regards, <o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>Caleb Mutch, Stefano Mengozzi, Emily Zazulia <o:p></o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'><o:p> </o:p></span></p><p class=MsoNormal><span style='font-size:10.0pt;font-family:"Courier New";color:black'>AMS History of Music Theory Study Group Co-chairs<o:p></o:p></span></p></div></body></html>