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DTSTART;TZID=America/New_York:20260424T163000
DTEND;TZID=America/New_York:20260424T163000
DTSTAMP:20260524T193904
CREATED:20260313T202426Z
LAST-MODIFIED:20260313T202503Z
UID:21061-1777048200-1777048200@www.amsmusicology.org
SUMMARY:2026 NYU/AMS Lecture
DESCRIPTION:The 2026 NYU/AMS Lecture\, “Unsettled Sounds: The Critical Frame of Arab-Jewish Musical Inheritance\,” will be held on Friday\, 24 April 2026 at 4:30 p.m. EDT at New York University. Attendance is free\, but registration is required. \nThis lecture will be presented by Tamar Sella (University of North Texas). Visit the event page for more details. \n 
URL:https://www.amsmusicology.org/calendar/2026-nyu-ams-lecture/
LOCATION:New York University\, 20 Cooper Square\, Floor 3\, New York\, NY\, 10003\, United States
CATEGORIES:AMS/NYU Lecture
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260422T190000
DTEND;TZID=America/New_York:20260422T210000
DTSTAMP:20260524T193904
CREATED:20260317T174809Z
LAST-MODIFIED:20260317T195827Z
UID:21112-1776884400-1776891600@www.amsmusicology.org
SUMMARY:Amy Beach: Path-Breaking American Musician
DESCRIPTION:In this AMS/Library of Congress Lecture\, E. Douglas Bomberger gives a talk on a major figure in American music\, the remarkable composer and pianist Amy Beach (1867–1944). Beach was the earliest American female composer whose works are still regularly heard today\, on the radio\, concerts and streaming platforms. Beach’s Mass in E-flat major and her Gaelic Symphony were premiered by the Boston Symphony Orchestra in the 1890’s\, to acclaim by both critics and audiences. The Library of Congress holds the manuscript of both those orchestral works along with several others in the A.P. Schmidt Company Archives. Beach’s long and eminently successful career included a number of European tours\, and performances of her piano concertos in which she was the soloist. \nThis event is free\, but tickets are required. \nReserve Tickets \n 
URL:https://www.amsmusicology.org/calendar/amy-beach-path-breaking-american-musician/
LOCATION:Library of Congress\, Washington\, DC
CATEGORIES:AMS/Library of Congress Lecture
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260409T190000
DTEND;TZID=America/New_York:20260409T200000
DTSTAMP:20260524T193904
CREATED:20260220T193335Z
LAST-MODIFIED:20260227T154855Z
UID:20534-1775761200-1775764800@www.amsmusicology.org
SUMMARY:Indie Rock After Riot Grrrl
DESCRIPTION:In this AMS/Rock and Roll Hall of Fame Lecture to be held 9 April at 7:00 p.m. ET\, Dan DiPiero contextualizes the approach to studying indie rock before outlining some core examples from Big Feelings: Queer and Feminist Indie Rock After Riot Grrrl. Jump back in time to discuss the original indie music scene in the UK of the 1980s\, and how gendered dynamics obscured the contributions of indie pop at the time. Discover the lasting impact of this movement on younger generations\, where indie-pop languages mix together with a harder\, alt-rock sound associated in public consciousness with white/male pain.
URL:https://www.amsmusicology.org/calendar/indie-rock/
LOCATION:Rock & Roll Hall of Fame\, 1100 E 9th Street\, Cleveland\, OH\, 44114\, United States
CATEGORIES:AMS/Rock & Roll Hall of Fame Lecture
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260922T190000
DTEND;TZID=America/New_York:20260922T190000
DTSTAMP:20260524T193904
CREATED:20250826T201407Z
LAST-MODIFIED:20251230T142925Z
UID:17742-1790103600-1790103600@www.amsmusicology.org
SUMMARY:Music\, Disputes\, and the Silent Western: The Yaqui (1916)
DESCRIPTION:Embracing the visual arts\, literature\, and music\, interest in the West peaked in the early twentieth century. The emerging film industry capitalized on this enthusiasm\, and the genre became popular with audiences and lucrative for the studios. Like most silent films\, Westerns were accompanied by live musicians who used suggested musical programs to advise them what to play and when to play it during the film. These were often created by professional music directors\, such as Ernst Luz (1878-1937)\, who managed the orchestras at Loew’s movie theaters\, or proficient musicians\, like Max Winkler (1888-1965)\, who worked at Carl Fischer Music Publishing and later established his own music publishing firm. This presentation examines two differing musical accompaniments created by Luz and Winkler for The Yaqui—an early Mexican-border prestige Western\, the narrative of which is based on the enslavement of the Yaqui by the Mexican government—and the ensuing public debate about their appropriateness. Musical accompaniments for the silent Western\, like these by Winkler and Luz\, helped shape audiences’ perceptions of the West. This research offers the first critical examination of this music\, illuminating its significance in fortifying the mythical substance and interpreting the imagined realism of the Western film. \nThis event will be held as part of the AMS/Library of Congress Lecture Series. Tickets are free but required.
URL:https://www.amsmusicology.org/calendar/music-disputes-and-the-silent-western-the-yaqui-1916/
LOCATION:Library of Congress\, Washington\, DC
CATEGORIES:AMS/Library of Congress Lecture,Public Event
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251002T190000
DTEND;TZID=America/New_York:20251002T190000
DTSTAMP:20260524T193904
CREATED:20250815T184334Z
LAST-MODIFIED:20250826T185447Z
UID:17501-1759431600-1759431600@www.amsmusicology.org
SUMMARY:The Golden Age of Latino Country: Ronstadt\, Fender\, and Rodriguez in the ’70s
DESCRIPTION:In 1972\, a half-century after the birth of commercial country music\, Billboard country charts posted the first hit single by a Latin artist\, a young Tejano named Johnny Rodriguez. Over the next twenty-one months three Mexican American artists\, Rodriguez\, Freddy Fender\, and Linda Ronstadt\, racked up seventeen Top 10 hits\, including ten at No. 1. These artists returned to the country charts throughout the ’70s and ’80s\, with solo records and sometimes collaborations. But the half-century since 1975 has seen only one Latin solo artist top the country charts: Rick Trevino in 1996. Perhaps relatedly\, recent research has identified an industry effort to build up country’s white image in the ’70s\, even as the genre enjoyed a rise in Black and Hispanic listenership. This lecture revisits the music and machinations of country’s 1970s Latino prime and considers this moment in the context of the hundred-year history of Mexican American involvements and contributions in country music. \nThis event will be held as part of the AMS/Rock and Roll Hall of Fame Lecture Series.
URL:https://www.amsmusicology.org/calendar/the-golden-age-of-latino-country/
LOCATION:Rock & Roll Hall of Fame\, 1100 E 9th Street\, Cleveland\, OH\, 44114\, United States
CATEGORIES:AMS/Rock & Roll Hall of Fame Lecture,Public Event
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250410T190000
DTEND;TZID=America/New_York:20250410T190000
DTSTAMP:20260524T193904
CREATED:20250328T162729Z
LAST-MODIFIED:20250411T161856Z
UID:15157-1744311600-1744311600@www.amsmusicology.org
SUMMARY:2025 AMS/NYU Lecture
DESCRIPTION:The 2025 AMS/NYU Lecture\, “Razza\, Race\, and the Operatic Voice in Seventeenth-Century Italy\,” will be held on Thursday\, 10 April 2025 at 7:00pm in Room 303 at New York University’s Education Building\, 35 West 4th Street\, New York\, NY 10011. Attendance is free\, but registration is required. \nIn this lecture\, Professor Emily Wilbourne draws on her recent award-winning book\, Voice\, Slavery\, and Race in Seventeenth-Century Florence (Oxford\, 2023).
URL:https://www.amsmusicology.org/calendar/2025-ams-nyu-lecture/
LOCATION:Room 303\, Education Building\, New York University\, 35 West 4th Street\, New York\, 10011
CATEGORIES:AMS/NYU Lecture,Lectures,Public Event
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250322T190000
DTEND;TZID=America/New_York:20250322T190000
DTSTAMP:20260524T193904
CREATED:20250228T190422Z
LAST-MODIFIED:20250228T190530Z
UID:14492-1742670000-1742670000@www.amsmusicology.org
SUMMARY:HipHop and US Diplomacy
DESCRIPTION:The AMS proudly partners with the HipHop Literacies Conference\, Irrepressible Soul\, The Ohio State University\, and Urban Arts Space to present a special panel and performance featuring hip hop duo Mother Nature and dr. gloria j. wilson. Mother Nature is the women-led HipHop force of Klevah and TRUTH\, who are emcees devoted to building a legacy founded on defiance and self-discovery. In addition to being award winning performers\, they are both artist-educators who participated in Next Level residencies which mobilized HipHop as a tool of diplomacy in places like Morocco and Azerbaijan. \nIn this evening panel\, dr. wilson will lead a discussion with Klevah and TRUTH about their experience with HipHop education and diplomacy in the US and abroad. Following the conversation\, Mother Nature will give a brief performance. \nThis event is presented as part of the HipHop Literacies Conference\, bringing together scholars\, K–12 teachers\, and artist-practitioners from a variety of fields who use HipHop in a variety of ways\, from literacy instruction to political advocacy. It will take place at the Maroon Culture Lab\, a new performance space in the historically Black neighborhood of Bronzeville in Columbus\, Ohio. Originally built as a temple for the Knights of Pythias\, the building is dedicated to promoting and honoring artistic and cultural contributions by Black artists\, musicians\, and other creative professionals. \nTickets are free\, but registration will be required. For more information\, visit the Many Musics of America website.
URL:https://www.amsmusicology.org/calendar/hiphop-and-us-diplomacy/
LOCATION:Maroon Culture Lab (Formerly the Pythian Theatre)\, Columbus\, OH\, United States
CATEGORIES:Lectures,Performance,Public Event
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250314T163000
DTEND;TZID=America/New_York:20250314T163000
DTSTAMP:20260524T193904
CREATED:20250228T193038Z
LAST-MODIFIED:20250228T193252Z
UID:14501-1741969800-1741969800@www.amsmusicology.org
SUMMARY:Science into Art: Discourses of Occult Vibration in Chicago’s Musical Culture
DESCRIPTION:Join Professors Anna Gawboy and Christopher Scheer at the University of Chicago as they discuss the fascinating ways that esoteric philosophies influenced Chicago musicians. \nAmong the many varied offerings that comprised Chicago’s Columbian Exposition of 1893 were myriad scientific exhibitions\, as well as the Parliament of World Religions\, which brought together spiritual leaders representing a wide spectrum of beliefs. The Parliament included members of the Theosophical Society\, an esoteric organization which sought to reconcile the growing divide between science and religion by treating both as corrupted branches of a universal ancient wisdom. \nOne concept which transcended these divisions at the time was vibration. At the exposition\, vibration could be seen and experienced everywhere through the electric current that powered the geysers and illuminated the amusements of White City\, as well as the novel inventions on display in the Electricity Building. At the same time\, participating Theosophists advocated a conception of reality that was founded on the fundamental presence and manipulation of spiritual vibrations. In many cases\, the language used to articulate scientific and spiritual meanings for vibration was shared\, reflecting the Theosophists’ appropriation of scientific discourse and the deployment of Theosophy’s vibrational metaphysics in explanations of natural forces by scientists such as Thomas Edison and Nikola Tesla. \nThis vocabulary of vibration was an important element in the musical culture of Chicago in the twentieth century and provides a framework to re-enchant its history. We will explore two overlapping but contrasting case studies: 1) the salon of Djane Lavoie Herz and the ultramodern musical experiments of her student\, Ruth Crawford Seeger; and 2) the relationship of Alton Abraham’s Thmei Research group to the performances and music of Sun Ra. In both cases\, the study of Theosophical texts and their discourses of vibration motivated musical experimentation\, revealing esotericism’s potential to inspire creativity in networks of Chicago musicians\, traversing divisions of style and genre\, science and religion\, and class and race. \nThis event will be held as part of the Many Musics of America Project. \nPre-Register \n 
URL:https://www.amsmusicology.org/calendar/science-into-art/
LOCATION:Fulton Hall\, University of Chicago\, 5845 S Ellis Ave.\, Chicago\, IL\, 60637\, United States
CATEGORIES:Lectures,Public Event
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250313T190000
DTEND;TZID=America/New_York:20250313T190000
DTSTAMP:20260524T193904
CREATED:20250228T191026Z
LAST-MODIFIED:20250228T191026Z
UID:14498-1741892400-1741892400@www.amsmusicology.org
SUMMARY:“Vicariously Being There”: How The T.A.M.I. Show Invented the Concert Film
DESCRIPTION:Whether we’re watching Stop Making Sense for the 100th time\, catching The Eras Tour in a packed movie theater\, or tuning into Coachella live on YouTube\, today we take for granted that we can see live concerts recorded for screens big and small. But in the 1960s\, there was no set answer to the question of how to capture a concert on film\, or what to even do with such a product once it’s been made. \nIn 1964\, the concert film The T.A.M.I. Show gave young America a stunning answer\, showcasing on large movie screens an eclectic medley of performers including the Beach Boys\, the Rolling Stones\, the Supremes\, and an electrifying set by James Brown. The T.A.M.I. Show opened a path for more concert documentaries to be made and find their audiences\, but it was also a unique moment in American popular music history. Join Landon Palmer as he uncovers the curious story of The T.A.M.I. Show\, one that involves William Shakespeare\, strange television technologies\, and a very short-lived charity organization. In this talk\, he’ll explain how this movie came to exist and why there’s never been anything quite like it since. \nThis event will be held as part of the AMS Many Musics of America Project and the AMS/Rock & Roll Hall of Fame Lecture Series.
URL:https://www.amsmusicology.org/calendar/vicariously-being-there/
LOCATION:Rock & Roll Hall of Fame\, 1100 E 9th Street\, Cleveland\, OH\, 44114\, United States
CATEGORIES:AMS/Rock & Roll Hall of Fame Lecture
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250305T180000
DTEND;TZID=America/New_York:20250305T180000
DTSTAMP:20260524T193904
CREATED:20250227T205130Z
LAST-MODIFIED:20250227T210101Z
UID:14485-1741197600-1741197600@www.amsmusicology.org
SUMMARY:Re-Animating the Sound Archive
DESCRIPTION:Over the past two decades\, Brian Harnetty has located historical recordings that document spoken words and musical performance in archives across Appalachia and the Midwest\, including the Berea Appalachian Sound Archives (Berea\, Kentucky)\, the Little Cities of Black Diamonds Archive (Shawnee\, Ohio)\, and the Thomas Merton Collection (Louisville\, Kentucky). In this talk\, Harnetty will discuss strategies by which people in the present relate to recorded sounds that document the past. Through listening with people who live today in the communities where the recordings were made\, Harnetty has helped these communities understand and respond to their histories. In this talk he explores themes from several recording\, performance\, and installation projects that embed old audio in new contexts\, playing illustrative examples from historic and present-day audio and video recordings. These projects document histories of extraction in Appalachia\, social and environmental justice concerns\, and contemplative practices. \nThis talk will be held in conjunction with Brian Harnetty’s residency as part of the Music Humanities Community Conversations Series at Appalachian State University. The Music Humanities Community Conversation Series provides a forum for students\, faculty\, and staff at Appalachian State University and community members to engage current topics in music humanities through invited talks and workshops given by scholars\, artists\, and cultural leaders from Appalachian State and the surrounding region. \nAttendees may park in the Schaefer Lot\, Broyhill Lot\, or Peacock Lot for free from 5:00pm to the end of the event. The Broyhill Music Center is at 813 Rivers St\, Boone\, NC\, 28608. \nClick the button below to watch the livestream. \nLivestream \n 
URL:https://www.amsmusicology.org/calendar/re-animating-the-sound-archive/
LOCATION:Schaffel Recital Hall\, Broyhill Music Center\, Appalachian State University\, 813 Rivers St.\, Boone\, NC\, 28608\, United States
CATEGORIES:Lectures,Public Event
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241204T070000
DTEND;TZID=America/New_York:20241204T210000
DTSTAMP:20260524T193904
CREATED:20240824T151356Z
LAST-MODIFIED:20250101T192251Z
UID:5733-1733295600-1733346000@www.amsmusicology.org
SUMMARY:AMS/LoC Lecture: Recovering the Extraordinary Life and Songs of Carrie Jacobs-Bond - Christopher Reynolds
DESCRIPTION:Carrie Jacobs-Bond (1861-1946) was the most successful songwriter – male or female – in the first half of the 20th century. Her most popular songs sold millions of copies of sheet music and records and were sung around the world\, translated into dozens of languages. Critics often thought of her music either as “semi-classical\,” as “high-class songs\,” or\, because so many millions of people sang her songs\, as folk music\, calling her a descendant of Stephen Foster. Americans sang her songs at weddings\, funerals\, and gatherings of all kinds\, usually by heart. She was also an early female entrepreneur\, founding her own music publishing house\, designing her early sheet music covers\, writing the lyrics to half of her nearly 200 songs. As a result she earned enough to build homes in Chicago\, in the hills north of San Diego\, and in Hollywood\, where she was one of the founding cultural figures. Before Mrs. Bond began to tour as a means of promoting her songs\, performing them to thousands of audiences over four decades\, there was no such thing as a woman singer-songwriter. And like popular folk and rock singer-songwriters in the 1960s and later\, she made no pretense of being a professional singer. Quite the contrary. \nA sure measure of Bond’s broad appeal: professional singers and performers of all musical styles embraced her songs. Many leading opera singers (e.g.\, Ernestine Schumann-Heink and Lawrence Tibbett) promoted them in their recitals\, in dozens of recordings\, and in testimonials. Vaudeville and Broadway musicians regularly performed her songs—Elsie Baker and Eubie Blake made early recordings; with the advent of national radio networks in the late 1920s\, popular musicians and swing band leaders increasingly arranged and recorded their versions. She was always among ASCAP’s top royalty earners. In 1938 her earnings of $10\,000 put her in an elite group with Irving Berlin\, Jerome Kern\, and George Gershwin’s estate. Yet while there are currently 19 biographies of Berlin (seven since 2000) and 18 of Gershwin (nine since 2000)\, there are no scholarly biographies of Mrs. Bond. \nJacobs-Bond’s life story and cultural significance\, like her songs\, are today mostly unknown. In this presentation\, Christopher Reynolds will examine what it is that made her such an extraordinarily significant figure\, and then discuss three of her songs that became central parts of American rituals: “I Love you Truly\,” at weddings\, “I’ve Done My Work\,” at funerals\, particularly those of Black Americans\, and “A Perfect Day\,” a song that was routinely sung to end public gatherings of all kinds\, a song favored above all others by WWI soldiers.
URL:https://www.amsmusicology.org/calendar/ams-loc-lecture-recovering-the-extraordinary-life-and-songs-of-carrie-jacobs-bond-christopher-reynolds/
LOCATION:Montepelier Room\, James Madison Memorial Building\, 101\,1199 Independent Ave SE\, Washington\, DC\, 20540\, United States
CATEGORIES:AMS/Library of Congress Lecture,Lectures,Public Event
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240928T020000
DTEND;TZID=America/New_York:20240928T160000
DTSTAMP:20260524T193904
CREATED:20240824T143424Z
LAST-MODIFIED:20240824T151441Z
UID:5702-1727488800-1727539200@www.amsmusicology.org
SUMMARY:AMS/LoC Lecture: Heard on the Small Screen: Music in Jack Arnold's and Henry Mancini's Episodes of Peter Gunn - Reba Wissner
DESCRIPTION:Best known for his science fiction films\, Jack Arnold also directed television episodes in different genres\, not only science fiction but also westerns\, comedies\, and detective shows.  Among all of his television works\, Peter Gunn provides an important example because this is the first television series that has an original score rather than library music for every episode (Withey\, 2001). This meant that the score would be composed specifically based on the rough cut of the episode\, considering the director’s choices. Before Peter Gunn\, television networks were required to have 13 original scores for a television season and any additional shows relied on music libraries to piece together cues for a complete score (Wissner\, 2013). Further\, the series was in a style of television noir (Glover\, 2019) that Arnold had to account for when directing and which series composer Henry Mancini had to consider when writing the score. Mancini  responded by composing a rock-jazz hybrid he deemed as West Coast Cool Jazz and this was the first television score to use jazz throughout\, pioneering a new style of television scoring in the late 1950s and early 1960s. One of the hallmarks of the series was that its music was inseparable from the show and often\, even its narrative\, and the show’s creator\, Blake Edwards\, noted that the series’ music was responsible for at least half of its success (Burlingame\, 2002). Much of the research on Arnold’s works concern his directorial practices and styles and the films themselves but there is little literature on his television episodes and virtually no literature on the music of these episodes. A discussion of the music in these episodes is important because the choice of music helps to heighten the directorial choices that Arnold made and understand how Mancini responded to those choices through his scores. \nAs a detective show\, which differed from much of Arnold’s other works\, Arnold had to fit the established parameters of the show when directing (he was called in to direct his first episode midway through the first season when Edwards had already established the series’ format). Similarly\, Mancini had to incorporate jazz\, which was pervasive in the detective genre in 1950s television\, with a consideration of each episode’s plot\, script\, and Arnold’s directing style. Mancini also established a unique compositional style for the series based on the onscreen action. In this lecture\, Reba Wissner will discuss how the composition of music amplifies Arnold’s directorial choices in his episodes of Peter Gunn (“The Hunt\,” “Vendetta\,” “Bullet for a Badge\,” “Love Me to Death\,” “Keep Smiling\,” and “The Ugly Frame”). Wissner will plot out Mancini’s compositional process as a reflection of Arnold’s directing choices by using Peter Gunn as a case study and elaborate on how this small scale study of Mancini’s music for the show under one director can be expanded to the other directors who worked on the series.
URL:https://www.amsmusicology.org/calendar/heard-on-the-small-screen-music-in-jack-arnolds-and-henry-mancinis-episodes-of-peter-gunn/
LOCATION:Pickford Theater\, James Madison Building\, Library of Congress\, 101 Independence Ave SE\, Washington\, DC\, 20540\, United States
CATEGORIES:AMS/Library of Congress Lecture
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240919T190000
DTEND;TZID=UTC:20240919T210000
DTSTAMP:20260524T193904
CREATED:20240401T180209Z
LAST-MODIFIED:20240824T151459Z
UID:318-1726772400-1726779600@www.amsmusicology.org
SUMMARY:AMS/RRHoF Lecture: What Is The Modern Rock 500? - Counting Down the Evolution of Modern/Indie Rock & Independent Radio - Robin James
DESCRIPTION:Every Memorial Day Weekend from 1989-2009\, and from 2023 until who knows when\, the Cincinnati-area independent (internet) radio stations WOXY and Inhailer broadcast a countdown of the top 500 songs in their library. Dubbed “The Modern Rock 500” in 1989 and renamed “The Indie 500” in 2024\, the chart’s contents can tell us a lot about what “modern rock” is and how it differs from alternative and indie. Doing a deep dive into each of the yearly countdowns\, Robin James will show how the countdown shifts from a pluralistic and “modern” approach to genre to a more guitar-oriented one that views the influence of non-rock genres like electronic dance music and reggae/dub as relics from the 20th century. The ongoing existence of the Modern Rock 500 as an institution has an even more important lesson for lovers and practitioners of independent media: as an institution that survived the closure of WOXY in 2010 only to be resurrected again by former WOXY staff and the crew at Inhailer.com\, The Modern Rock 500 both reveals the challenges indie media faces in an increasingly financialized industry\, and models some successful tactics one indie media institution has used to survive amid those challenges. \nFor more information\, visit https://tickets.rockhall.com/events/0182b120-9521-36c4-171c-967341dbaf4f
URL:https://www.amsmusicology.org/calendar/council-workshop-mission/
LOCATION:Rock & Roll Hall of Fame\, 1100 E 9th Street\, Cleveland\, OH\, 44114\, United States
CATEGORIES:AMS/Rock & Roll Hall of Fame Lecture,Lectures
ORGANIZER;CN="American Musicological Society (AMS)":MAILTO:events@amsmusicology.org
END:VEVENT
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