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| Time | First Name | Last Name | Presentation Focus | Presentation Title | Presentation | ||
| 7:30 | Registration | ||||||
| 8:00 | Brian | Luce | Performance Health;Injury Prevention; | Morning Warmup: Motor Preference for Flutists | |||
| 8:45 | Josh | McCune | Audiology;Music History;Performance Pedagogy;Psychoacoustics;Acoustics/Physics; | A Proposal for the Discovery of a Unified Pedagogical Approach and Method to Psychoacoustic Intonation | I plan on presenting a
proposal to research a discovered gap in material pertaining to and
pedagogical approach to tuning as we use it in the contemporary Western
world, wherein we utilize both equal temperament and just intonation to
maximize our musical impact. I will explain my preliminary findings, contextualize the gap in research that lead to my initial discovery, propose my hypothesis, and explain a method of historical and quantitative analysis through which I believe it will be possible to bridge the gap in knowledge and create a new standard for all music educators to comprehend and teach intonation as it is best applied to the music performed in the West. |
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| 9:15 | Jennifer | Rhyne | Performance Health;Injury Prevention; | The Winged Scapula in Flutists | A winged scapula is a shoulder blade which sits incorrectly on the
scapular/thoracic joint. Abnormal movement of the scapula may result from
dysfunction of the muscles responsible for its stabilization. There are
multiple possible causes of a winged scapula, although it is most often
caused by a forward directed posture. Weakness in the muscles of the back and
side are a key factor in a winged shoulder blade. Scapular winging most often
occurs due to weakness of the serratus anterior muscle and/or the trapezius
or rhomboid muscles. Tight tissues on the front of the shoulder and chest can
also contribute to the problem. In flutists, the asymmetrical pull of the
left arm across the body is a common culprit leading to scapular winging on
the left side. A winged scapula is anteriorly tilted and elevated, and it
sticks out from the torso like the wing of a bird. A winged scapula can cause
tingling, tenderness, or pain behind the shoulder blade. When functioning
properly, the scapula should rest on the ribcage on the back of the body. The discomfort caused by a winged scapula can be prevented or ameliorated by exercises to strengthen the muscles of the back and by stretches to relax tight muscles along the chest and front of the shoulder. These exercises and stretches may be employed immediately prior to playing or during breaks in flute playing to provide relief. Postural corrections, strengthening exercises, stretches, and adjustments to the placement of the arm, chest, and shoulder may all be helpful in preventing a winged shoulder blade while playing. The long-term goal is to have pain-free flute playing for longevity as a performer. My proposed lecture would further explain the issue of the winged scapula in flutists and demonstrate a wide range of exercises, massages, and stretches to help correct or prevent this issue. |
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| 10:00 | Kelly Mollnow | Wilson | Solo Performer | Friedgund
Göttscher-Niessner, Walpurgis - Fantasia for Alto Flute in G, b. 1954, Kelly
Mollnow Wilson alto flute, N/A Kristin Stoner, Elegy, b. 1973, Kelly Mollnow Wilson alto flute, N/A Carlos Simon, move it, b. 1986, Kelly Mollnow Wilson alto flute, N/A |
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| 10:45 | Nelly | Hawley-Haye | Music Therapy;Sound Therapy ;Wellness;Neuromusicology; | Sound Therapy using Tuning forks | I will be presenting on my research and findings as a practitioner in the field of sound therapy using tuning forks. I will present on how tuning forks are used to tune the autonomic nervous system, their effects on the physical body, how sound therapy can be used for PTSD and trauma recovery, and how to achieve resilience and wellness using sound. | ||
| 11:00 | Clarissa | Tracy | Ensemble Performance | Jazz Ensemble | |||
| 11:15 | Hana | Halverson | Music-Thanatology; | Music-Thanatology: Easing the Passage at End of Life | This presentation offers a comprehensive overview of music-thanatology,
a clinical discipline that integrates music, medicine, and contemplative
practice to provide compassionate care for individuals at the end of life.
Rooted in both historical traditions and contemporary palliative care,
music-thanatology offers live, prescriptive music using harp and voice to
address the physical, emotional, and spiritual needs of dying patients and
their families. The presentation begins with an introduction to the historical and philosophical foundations of music-thanatology, including its development as a professional field and its relationship to hospice and palliative medicine. Core principles of the practice are outlined, emphasizing the role of trained music-thanatologists, the clinical assessment of patient needs, and the intentional use of musical elements such as tempo, mode, rhythm, and silence. Attention is given to the clinical application of music-thanatology in healthcare settings. The presentation describes how music-thanatologists work at the bedside, collaborating with interdisciplinary care teams while remaining responsive to changes in respiration, pain levels, agitation, and consciousness. Distinctions between music-thanatology and related fields (such as music therapy) are clarified to ensure conceptual accuracy. The session also offers an overview of research and evidence-informed perspectives, including current qualitative findings, observed outcomes, and methodological challenges in studying end-of-life interventions. Ethical considerations—such as consent, cultural sensitivity, presence, and professional boundaries—are discussed as essential components of practice. To ground theory in practice, the presentation may include brief clinical vignettes illustrating how music-thanatology supports comfort, eases transitions, and fosters meaningful connection during the dying process. The presentation concludes with a discussion of implications for healthcare providers, educators, and institutions, as well as future directions for research and interdisciplinary collaboration. Overall, the presentation positions music-thanatology as a unique and rigorous clinical practice that contributes to holistic, patient-centered end-of-life care. |
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| 12:00 | Lunch | Break | –––––––––––––––––––––––––> | –––––––––––––––––––––––––> | |||
| 12:00 | Flutefinity | Attendees | Flute Choir Performance | Flute Choir Reading Session | |||
| 13:00 | Grace | Ho | Performance Pedagogy; | Unlocking the mysteries of eye-hand coordination | Coaches often tell athletes
to keep their “eyes on the ball!” Likewise, music teachers use phrases like,
“keep your eyes on the music” or “watch your hands as you play.” Developing
eye-hand coordination is crucial for hitting a ball or playing a musical instrument.
But how does one teach this skill? The collaboration between the visual and
motor functions can seem like a mystery. This poster presentation explores the science behind eye-hand coordination, which reveals helpful ways for instructing students to sightread music, develop technique, and practice effectively. First, while our common conception thinks of eye movement as left-to-right, the eyes actually jump rapidly between brief pauses on the page (Seidenberg, 2017). For sightreading, teachers should train students to gather as many details as possible in non-linear glances rather than looking note by note. Second, it takes approximately 100 milliseconds for visual information to reach the brain (Land and Tatler, 2009). This delay indicates that there is an anticipatory reaction that occurs during eye-hand coordination. When learning technique, students need to develop feed-forward motor responses instead of simply responding to feedback from their eyes. Finally, studies have shown that learning motor skills through trial and error is most effective in slowly changing environments (Herzfeld et al, 2014). The benefit of slow practice is not just an adage but supported by scientific evidence. Through these and many more examples, this poster presentation demonstrates how an understanding of science can improve and advance our teaching of eye-hand coordination. |
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| 13:45 | Brian | Luce | Performance | Native Flute and Disklavier | |||
| 14:00 | Heratch | Touresian | Performance Technology and Measurement | The Yamaha Disklavier: A Tool for Performers and Researchers Alike | |||
| 14:30 | Clarissa | Tracy | Hybridized Technology and AI; | Hybridized Performance Technology and Artificial Intelligence | This presentation discusses the implications of hybridized technological performance as a feasible business model while also discussing ethics surrounding the future of these adaptations in the field of music performance. The anxieties surrounding the future of society in accordance to sophisticated technology such as artificial intelligence offers a valuable comparison of the public reaction to both of these ideas. I will address additional background information while also creating an open forum for discussion. | ||
| 15:00 | Rie | Tanaka | Performance Health;Injury Prevention;Performance Pedagogy;Wellness; | Reproducing Interpretation: AI, Performance, and Benjamin’s Modernity with Ben Markwart | This presentation examines how artificial intelligence reshapes musical interpretation and artistic reception, drawing on Walter Benjamin’s theory of reproducibility and recent AI-generated piano performance research to consider shifting norms of creativity, authorship, and cultural participation. | ||
| 15:30 | Kelly Mollnow | Wilson | Performance Health;Injury Prevention;Performance Pedagogy;Wellness; | A Bottom Up Approach to Whole Body Movement | Music making is a whole body activity and in my collegiate wellness classes, we work from the bottom up. We start with the feet and whole body movement patterns from the work of Gary Ward (Anatomy in Motion) to experience spinal mobility and the movement of the pelvis on day one. Everything else builds on the connection to the ground, using the feet as tools to sense what the pelvis is doing in all the movements we do as performing artists and humans living in this world. The positioning and movement possibilities of the arm structure and breathing mechanics are connected to the movement and positioning of the pelvis and lower body. This is a movement-based, participatory session. Bring your flutes! | ||
| 15:45 | Flutefinity | Quintet | Performance | De Lorenzo Sinfonietta | |||
| 16:00 | Vanessa | Mulvey | Injury Prevention;Wellness; | The Rib Cage & Flute Playing: Key to Breathing, Sound, Posture & Confidence | Sound, expression, arm movement, and posture all depend on the biomechanics of the rib cage. In this workshop, we’ll learn how to optimize rib cage orientation and get it moving to improve breathing coordination, access grounding, efficiently support the flute, and increase performing confidence. Participants will explore the principles in their playing as they build an understanding of the importance of the rib cage to flute playing. | ||
| 17:00 | Rachel | Adler | Music Therapy;Sound Therapy ;Wellness;Neuromusicology; | The Feasibility, Acceptability, and Benefits of MUSIC CARE©, an Innovative non-Pharmacological Intervention for Pain | Using an implementation outcomes model1, we will assess the acceptability of MUSIC CARE© as a self-managed, complementary and integrative health (CIH) treatment for pain among cancer survivors both in the inpatient setting and after discharge. | ||
| 18:00 | Brian Luce | Rie Tanaka | Performance | The Timelessness of the Flute | Caliendo: The Hunt (2017); Muczynski: Sonata (1963); Linthicum-Blackhorse: Mnicakmun (2020); Paganini/Demitrious-Callihamos: Caprice No. 24 | ||