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Lara WeaverLara Weaver is a PhD student in Music at the Sonic Arts Research Centre (SARC) atQueen’s University Belfast, supervised by Professor Pedro Rebelo. Previously, she wasat St John’s College, University of Cambridge, where she read for her undergraduatedegree, achieving a First, and MPhil, which was awarded with Distinction.// Her currentresearch focusses on acoustic ecology and spatial auditory practices, combining creativepractice research with post-colonial investigations of sound and the Anthropocene. // Laraalso maintains an active career as a composer, and has written for the Cambridge Choirsof St John’s College, St John’s Voices, and Pembroke College, the Amatis Trio, theMalcom Street Orchestra, Laura van der Heijden, Marcin Zdunik, and the SIGMA ProjectSaxophone Quartet.Natalie FarrellNatalie Farrell is a PhD student in Music History/Theory at the University of Chicago. Shehas been published in Music and Letters, The Journal of Popular Music Studies, and TheFlutist Quarterly. Her research on neoliberalism and musicians’ unions has been fundedby grants from the Mellon Foundation and the Eastman School of Music's Paul R. JudyCenter for Innovation and Research. Her other research interests include Northern Irishmusic, affect theory, trauma studies, and popular music. In her free time, she likes to knitand spend time with her dog (who is named after Leonard Bernstein).C.E. AaronC.E. Aaron is a second-year Masters student in Religion and Music at Yale Divinity School.In 2018, Aaron completed a degree in Music Composition at Seattle Pacific University,and in 2019 they cataloged the Rae Linda Brown papers on composer Florence Price foracquisition by the Stuart A. Rose Library at Emory University. They currently live in anewly-formed Episcopal religious community near Hartford, CT, exploring monastic lifere-imagined for the 21st century.Philip OddiPhilip Oddi completed his MA in Religion, Culture, and Global Justice at Wilfrid LaurierUniversity in 2019 and received his BA Honours English and Religion & Culture from thesame university in 2018. Philip is currently working on his PhD at York University inHumanities and is also a student in the Graduate Diploma of International & Security

Studies program. Current research interests include: the “War on Terror,” Racial andEthnic Identities (including Muslim Identity, White Supremacy, Nationalism, and RefugeeImmigration), Securitization of Western Nations (specifically Canada post-9/11; privacyand surveillance), Islamophobia, Secularism, as well as Punk/Punk-Rock Music andCulture. Philip is under the supervision of Dr. Amila Buturovic at York University.Additionally, Philip is working alongside numerous academics under the guide of Dr.Jasmine Zine researching and mapping the Islamophobia Industry in Canada through TheCanadian Islamophobia Industry Research Project.Alexandra DreherAlexandra Dreher is currently a master’s student at Yale Divinity School and the Instituteof Sacred Music. Her work focuses on the intersections of sound, media, the sacred, andhistorical acoustemology. Before coming to Yale, she taught English in Germany with thesupport of the Fulbright Program. In addition to her scholarly work, she is passionate aboutcommunity engagement through song and musical diplomacy.Bidisha ChakrabortyBidisha Chakraborty is a doctoral candidate in the department of English, Banaras HinduUniversity, Varanasi, India. For her doctoral thesis, she is working on women centric folksongs of the rural Bhojpuri community of Northern India. She has done extensive fieldwork and collected songs from village Bhadwar in Bihar, Ghazipur in Uttar Pradesh andRanchi, Jharkhand. Her research interest lies in song studies, ritual studies andperformance studies.Scott Gray DouglassI am a bassist and orchestra teacher from Richmond, Virginia, currently studying for myPhD in Music Education at Penn State. My research interests are jazz studies, double basspedagogy, and oral tradition musicianship. For my MA thesis, I studied community musicaltraditions in coastal southwest Madagascar. For my dissertation, I am creating oralhistories of jazz musician educators in Richmond to better understand their social-politicalimpact on the city and jazz education broadly. I am married to Penn State anthropologistDr. Kristina Douglass (Yale PhD, 2015). We have two young sons, Percy and Virgil.

Katelyn HearfieldKatelyn Hearfield is a PhD candidate at the University of Pennsylvania whose dissertation,advised by Jairo Moreno, focuses on live music-making following the 2017 ManchesterArena Bombing. Her research explores how popular music responds to, and develops outof, traumatic events, with a focus on popular music, gender, and sexuality in the twentyfirst century. Previous projects include analysis of live performance informed by historiesof sexual trauma, including an article about Kesha published in the Journal ofMusicological Research. Katelyn holds a Master of Music from the Peabody Conservatoryof the Johns Hopkins University and a Bachelor of Arts from SUNY Geneseo.Jennifer SherrillJennifer Sherrill has been a musician and teacher in the Chicago region for the pasttwenty years. She holds a bachelor’s and a master’s in vocal performance and vocalpedagogy from Northern Illinois University and North Park University. She has served ascantor and youth choir director for Saint Gregory the Great on the north side of Chicago,directed the community based Thousand Mile Choir, and has introduced countless youngstudents to the joys of piano, ukulele, and singing. Since 2017, Jennifer has traveledrepeatedly to Lesvos, Greece, where she has helped to implement music curriculum intothe refugee camps and community centers on the island. She has worked with Connectby Music, Lesvos Solidarity, R.A.D. Music international, and has taught in the MosaikCommunity Center and the refugee camps, Moria, Kara Tepe and Pikpa. She has alsopartnered with the local Greek community to host recitals featuring local musiciansalongside musicians from the United States. Jennifer is currently pursuing a PhD inEthnomusicology at UC Davis. Her research interests include musical migration and theways in which the power of music creates the soundscape of home.Alexander F. HardanAlexander Hardan is currently a PhD student in Musicology & Ethnomusicology at BrownUniversity, where he works on Soviet musical pedagogy as an instrument of“Sovietization” in Cuba during the Cold War. Specifically, Hardan focuses on discoursesof Soviet “national sounds” and choreographies of virtuosity produced in Soviet Cuba,and the subsequent effects of this musical Sovietization on the Cuban state’s idealrevolutionary subject. Outside of the Cold War, he is also interested in performancestudies and queer theory, exploring the ways in which normative ideas of gender haveshaped performances of virtuosity. Originally from Miami, Fl and of Lebanese descent,Hardan holds a B.A. in Violin Performance and M.M. degrees in both Violin Performance

and Musicology from the Peabody Conservatory of the Johns Hopkins University, as wellas an M.A. in Ethnomusicology from Brown University.Elizabeth LawrensenElizabeth Lawrensen is a PhD Student in Ethnomusicology at Stony Brook University(SUNY). Her primary research interests are in gender and sexuality in music, sonic spacesand political conflict (with a regional focus on Hong Kong), and issues of race and ethnicityin music. Lawrensen also frequently writes about pop music, Twitter drama, and the "now"of music culture. She views the punk/ rock show as an integral part of her intellectual andacademic work. // Lawrensen is also a music educator, and taught K-12 music for fouryears before beginning her PhD work. Passionate about the intersection of theory andpedagogy, Lawrensen seeks to bridge gaps and build futures in education that centercompassion and care. She received a M.M. in Music Education from The University ofTennessee at Chattanooga where she completed her Master’s Project: “Perspectivesfrom Professional Musicians on Issues of Identity, Gender, and the Role of Women inMusic.” Lawrensen is a multi-instrumentalist and performer, and has a synth-pop projectcalled Dalahäst.Cana McGheeCana (KAY-nuh) is a PhD candidate in Historical Musicology at Harvard University. AnAtlanta native, she earned her BA in Music and French from Emory University. There, shecompleted an Honors thesis about the song cycles of composer Gabriel Fauré (18451924) in the context of linguistic nationalist movements in France and Belgium. Currently,her work revolves around musical engagements with natural sciences, climate change,and environmentalisms in a variety of repertoires. Her dissertation will likely focus onspectrums of silence and the identities rendered audible across a range of domestic plantcare practices. Apart from her academic life, she also enjoys choral singing, running, andwriting short stories.Jessica ChowJessica Chow is a recent postgraduate in a joint History of Design program between theRoyal College of Art and the Victoria and Albert Museum. This course focused on studyinghistory through the lens of material culture and archives. Her area of interest is inresearching race, gender, and class studies. She is currently working within thecollections movement department at the Imperial War Museum in London. Her recent

chapter 'Black Against the Stave: Black Modern Girls in Interwar Jazz' will be published inthe Routledge Companion of Jazz and Gender in early 2022.Joshua Tolulope DavidJoshua is a PhD student in the musicology program at the University of Toronto. Hisresearch interests include but are not limited to performance practice, staging, andreception of canonical operas in Nigeria, and how they decentre European intellectualhegemony within a postcolonial framework. He earned a Bachelor of Arts in Music (2016)and a Master of Arts in Ethnomusicology (2019) at the University of Lagos, Nigeria. Joshuais also interested in research in popular music in Nigeria especially the indigenizationprocess of the hip hop culture by contemporary Nigerian artists. In addition to research,Joshua is also a tenor and conductor, and has served at the opera department of TheMusical Society of Nigeria for several years.Jade ConleeJade Conlee is a PhD candidate in music theory at Yale University. Her dissertation,“Empire of Leisure: Exotica’s Escapist Atmospheres,” investigates how background musichabituates us to racial capitalism through the production of relaxing atmospheres and“vibes.” Jade is also co-editor of the edited collection Key Terms in Music Theory forAntiracist Scholars, under commission by Duke University Press. The book reimaginesmusic theory’s core methods through the lenses of Black and Indigenous studies.

abstractsin order of appearanceLydia Wagenknecht (Colorado University-Boulder)Una concienca antartica: Lluvia Ácida and the Politics of Polar IdentityThe Chilean port city of Punta Arenas has become a hub for Antarctic research in the last60 years, and now it will have an International Antarctic Center to prove it. Initiatives likethe recently-approved center reflect an impetus by community leaders to build anAntarctican, “polar” identity within the community. In the arts, the oeuvre of electronicmusic duo Lluvia Ácida (Héctor Aguilar and Rafael Cheuquelaf) manifests this identitybuilding project in works like “Ciencia Sur.” This mini documentary features clips ofAntarctic researchers against the backdrop of the duo’s electro-industrial compositionsdrawn from the region’s soundscape. In this paper, I examine the ways in which LluviaÁcida performs apoliticality in “Ciencia Sur.” Drawing from Tania Li, I argue that the groupaccomplishes this by “rendering technical” (2007); they frame the project as scientificand, therefore, non-political. I demonstrate how the group employs aesthetics of nature,technology, electronic music, and documentary formatting in order to create a productwith a technical tone. In addition, I show how this aesthetic of apoliticality serves a broaderpolitical purpose within the complex project of building new identity in a region withexisting identity-related disputes. Interviews with the musicians and communitystakeholders serve as an integral part of this paper, providing insight into the cultural workaccomplished by “Ciencia Sur.” On a broader scale, this paper contributes tounderstandings of music’s role in research economies, especially those that haveexperienced drastic growth due to climate change.Lara Weaver (Queens University Belfast)Sounding and Ungrouding Sacred Spaces: Acousmatism, Site-Specific Practice,and Resonating from AfarDuring the Covid-19 pandemic, many ecclesiastical spaces have become hybridised:augmenting live, in-situ, performing spaces with timeless, displaced, digitalised mediums,widely distributed online.In response, this paper opens the question of how sacred spaces are constituted throughsound: the physical, architecturally bound space, the socially constructed space of ritualand communal participation, the internal, imaginary space, and now, most pertinently, thevirtual, digital space. I ask: what specific qualities of sound create and shape ecclesiasticalspaces? How has our perception of ‘sacred’ space been defined by sound before and

during the Covid-19 pandemic? How can we resonate with a space from afar, in a hybrid,digital medium?The discussion is grounded in the space (both physical and virtual) of St John’s CollegeChapel, Cambridge. Using sound as an access point, I approach these concepts throughmy own practice as a composer, taking as a case study my site-specific work for thechapel, ‘This Place’, for live singers and electronics. This work interacts with the chapelas a geometric space, as a continually forming space of repeated practices, as a historicspace imbued with sonic revenants, and as a hybrid space of performance with virtualaudience.Through it, I explore concepts of presence, embodied spaces, and the Schaferian conceptof schizophonia in technological mediation, addressing how we can ‘resonate’ with aspace from afar. I propose that acousmatic sound can be a crucial means of engagingwith and accessing these hybrid spaces, as a sound devoid of discernible source, capableof transgressing physical and visible limitations. Finally, I offer some reflections on howsound in space may induce a sense of the sacred: through reverberation, as a powerfulcomponent of ritual and group identity, and as a boundless phenomenon, capable of‘reaching’ and emplacing across distance, even over technological mediums.Natalie Farrell (University of Chicago)K. K. Covid-19: Temporality, Cultural Trauma, and the Animal Crossing: NewHorizons SoundtrackAs the COVID-19 pandemic began to force the world to stay at home, millions of casualvideo gamers boarded flights to a private island, courtesy of Tom Nook, an entrepreneurialraccoon. The latest installment of Nintendo’s sims franchise, Animal Crossing: NewHorizons, launched mid-March 2020, and it quickly transformed from an unassumingisland escape sim to a venue in which players constructed the COVID-19 pandemic as acultural trauma and wrestled with its temporal effects. Most recent scholarship aboutAnimal Crossing focuses on its capitalist subtexts, but little has been written about itsunexpected cultural significance during the pandemic.In this paper, I argue that players perform the COVID-19 cultural trauma through theirembodied interactions with the game’s soundtrack and its sonic enactments oftemporality. The game has no overarching narrative, but during the first month ofgameplay, players gather materials, welcome new personified animal neighbors, anddevelop their once-deserted island in preparation for the famed folk singer/Beagle K. K.Slider’s first concert. The game progresses in real time, and each hour corresponds witha different musical track. Drawing on the trauma-informed analytical frameworksdeveloped by Maria Cizmic and Judith Herman, I contend that Animal Crossing’s easylistening soundtrack provides an aesthetic rhetoric through which players perform thepandemic’s traumatic effects. The repetitive soundtrack offers a psychological space for

players to grieve while also enacting a sense of temporal regularity. Looped backgroundmusic creates a Muzak-like affective environment that contributes to workplace nostalgiaas players complete menial tasks. Further, music-centric events in the game’s local-levelnarrative dictate the speed at which game is played, embodying the fragmentary temporalexperience often attributed to the effects of trauma.C.E. Aaron (Yale Institute of Sacred Music)“Baby, This Melody Will Show you Another Way”: Janelle Monáe’s AfrofuturistWorldbuildingThroughout her career, Janelle Monáe has embraced the Afrofuturist concept of thecybernetic posthuman, self-technologizing first as an “android” named Cindi Mayweatherand most recently as a “dirty computer” named Jane 57821. Using Afrofuturistmythologizing and funk-infused soundscapes, Monáe creates the conditions of possibilityfor liberation, a vision explicitly made available to all the minoritized. Beyond her clearembrace of Afrofuturist themes and aesthetics, however, Monáe contributes to a longlineage of Black musical theologizing, as analyzed in texts like James Cone’s 1972landmark The Spirituals and the Blues. As a descendent of the spirituals and the blues,Monáe’s music, like much of Black music, blurs and defies the secular/sacred divide.Therefore, utilizing the lens of Cone’s Black liberation theology, I read Monáe’s music,particularly her 2018 LP and “emotion picture” Dirty Computer, as a theological text.In this paper, I will focus on Dirty Computer as an example of Black eschatology, ordoctrine of the end times. Monáe creates a “near-future” dystopia—one in many waysidentical with the present—which her characters painfully navigate but ultimately escape.This narrative functions as a “tool capable of intervention within the current politicaldispensation,” per Kodwo Eshun’s 2003 definition of Afrofuturism. Furthermore, it “affirms[Black people’s] right to be other than what is now possible in history,” providing themeans to resist “the demoni

Yale University acknowledges that indigenous peoples and nations, including Mohegan, Mashantucket Pequot, Eastern Pequot, Schaghticoke, Golden Hill Paugussett, Niantic, and the Quinnipiac and other Algonquianspeaking peoples, have stewarded through generations the lands and waterways of what is now the state of Connecticut. We honor