| DAY 2: Friday, 7 June 2024 |
| Carl Orff Auditorium | Time | Room L 115 |
| (6) Opening titles I | 9:00-10:30 | (7) Music (performances) online |
| James Deaville | Carleton University | To Skip or not to Skip: Titles Sequences, Theme Songs, and the Streaming Television Experience | | Verica Grmuša | Independent scholar | Performers’ Reflections on (Re)Creating Art Song in Online Context* |
| Antoine Garnier | University of Rouen Normandie | Re-Hear Me Re-Roar (Again). Opening Identity Multiplicity in narration: Ramin Djawadi and Game of Thrones | | Andrea García Torres | University of Alicante | Changing operatic narratives: new perspectives on the multimedia comercial strategies* |
| Marcel Bouvrie | Utrecht University | Paratextual Integration: Audiovisual Unity and Variety in the Title Sequence of The Walking Dead (2010-2022) | | Tianci He | Jinan University, Guangzhou | Returning to Nature, Constructing Intimacy and Body Performance: A study of ASMR soundscape on streaming media* |
| Break 3 | 10:30-11:00 | Break 3 |
| (8) Sound | 11:00-12:30 | (9) Anime / East Asia |
|
| Nataliya Kononenko | State Institute for Art Studies, Moscow | Polydiscursive Art work and its sound continuum. The case of A. Sokurov** | | Jeff Yunek & Nash Hickam | Kennesaw State University | Music Structuring Animation: The Role of Chopin’s First Ballade in the Series Finale of Your Lie in April |
| Soumaya Snoussi | Pukyong National University, Busan | Sound Design, Sonic Realism and Subjectivity Through the Soundscapes of Popular War Films | | Dominik Leipold | Ludwig-Maximilians-Universität München | Mit Debussy gegen das System. Zu Einsatz und Bedeutung des Klavierstücks Rêverie in der Anime-Serie Granbelm (グランベルム) |
| Susanne Hardt | Hochschule für Musik Carl Maria von Weber Dresden | Workshop: The influence of listening and viewing habits of film composers on film music (… or the other way round?) | | Veronika Keller | Universität Koblenz-Landau | Digitalization and the OST of Korean TV Series |
| Lunch | 12:30/45-13:30 | Lunch |
| (10) Aesthetics | 13:30-15:00 | (11) Opening titles II / Nostalgia |
|
| Jessica Shine | Munster Technological University | Music, lies and artifice: Occult Aesthetics in HBO’s Landscapers (2021)* | | Micah Roberts | University of Cincinnati, College-Conservatory of Music | “Ancient Voices”: A Hypermetrical and Orchestrational Analysis of the Theme Songs to Seasons of CBS’s Survivor* |
| Peter Adams | University of Cambridge | “I Wish You Could Hear This”: Sonic Absence, Sensory Deprivation, and Subjective Point-of-Audition in Streaming-Era Television | | James Ellis | Royal Holloway, University of London | Sonic (Screwdriver) Storytelling: Analysing Musical Gesture and the ‘Nostalgic Potential’ of the Doctor Who Theme in the Streaming Age* |
| Ewan East | York St John University | Using non-sequential compositions to provide individual interpretation | | Conor Power | Maynooth University | “Reminiscence Therapy”: Nostalgia and the Leitmotif in Disney’s Star Wars* |
| Break 4 | 15:00-15:30 | Break 4 |
| (12) Production & Reception | 15:30-17:00 | (13) Identities |
|
| Harry Burson | University of California, Berkeley | The Ontology of Audio Objects: Dolby Atmos and Streaming Audio’s Immersive Aesthetics* | | Jacy Pedersen & Caitlan Truelove | Wichita State University & independent scholar | “A last dance before the feast”: Timbral Alteration and Vampiric Love In Interview With the Vampire (2022-Present) and First Kill (2022)** |
| Teerath Majumder | Columbia College Chicago | The Spectacle of the Streamed Space: A Private and Separated Spatial Image for the Alienated and Isolated Viewer | | Anika Babel | University College Dublin | A case for minimalist melomania: Céline Sciamma’s Portrait of a Lady on Fire (2019)* |
| Matthew Day Blackmar | UCLA Herb Alpert School of Music | Hip Hop YouTube: Technological Creativity Confronts Algorithmic Bias in Automated Copyright Administration | | Allyson Starr | Indiana University, Jacobs School of Music | “The City’s Ours Until the Fall”: Queer-Coded Worldbuilding in Tumblr Albums of the 2010s* |
| Break 5 | 17:00-17:30 | Break 5 |
| (14) Pre-existing music in series | 17:30-19:00 | (15) Historical to current perspectives |
|
| Michael Baumgartner | Cleveland State University | The Pop Song in the Age of Video-Streamed Reproduction | | José Júlio Lopes | Lisbon New University | Row against the stream** |
| Ben Major | Royal Holloway, University of London | My New Music: Scrubs’ Changing Soundtrack in the Streaming Era | | Mattia Merlini | University of Milan | The Streaming Revolution (But Not the One You Think): The Fate of Polystylism in Recorded Video Game Music |
| Julin Lee | Hochschule für Musik und Theater München | Audiovisual Souvenirs from the Upside Down: Post-Binging Engagement with Pre-Existing Songs in the Soundtrack of Stranger Things | | Aare Tool | Estonian Academy of Music and Theatre | The Physiognomy of Streaming: Adorno’s Radio Theory and Digital Media |
| Break 6 | 19:00-19:30 | Break 6 |
| Lecture Performance: Sonic Storytelling out of Sync: Navigating Latency in Virtual Music Performance (David Cotter, University of Cambridge) | 19:30-20:15 | |
| Conference dinner | 20:30 | |
