EUROMAC 9: 9TH EUROPEAN MUSIC ANALYSIS CONFERENCE
PROGRAM

Days: Wednesday, June 28th Thursday, June 29th Friday, June 30th Saturday, July 1st

Wednesday, June 28th

View this program: with abstractssession overviewtalk overview

11:00-12:30 Session 3A: Opposing Opposites in America: Babbitt and Reich
11:00
Rethinking Milton Babbitt's "Serious Music" as Play ( abstract )
11:30
Babbitt’s Beguiling Surfaces, Improvised Inside ( abstract )
12:00
Analyses de l’œuvre et de sa logique compositionnelle : quelques réflexions méthodologiques articulées autour de Clapping Music de S. Reich ( abstract )
11:00-12:30 Session 3B: Musical Semiotics and Narrativity
11:00
The social, philosophical, and narrative act of music analysis: Towards a theory of the immanent musical subject ( abstract )
11:30
Modernism, Nature and Music Analysis ( abstract )
12:00
Semiotics of light in music ( abstract )
11:00-12:30 Session 3C: French Music (I): Fauré and Saint-Saëns
11:00
Fauré’s Nocturne No. 10 and the Twilight of Tonality ( abstract )
11:30
Allusion analysis in Fauré’s Fantaisie pour piano et orchestre ( abstract )
12:00
Proto-Impressionism in Piano Works of Camille Saint-Saëns ( abstract )
11:00-12:30 Session 3D: Readings of Franz Liszt
11:00
Reading Liszt’s ‘Sospiri!’ (1887): ‘Lateness’, memory, nostalgia and place in the nineteenth-century piano miniature ( abstract )
11:30
19th-century song cycle as an object of interdisciplinary analysis. A case of Franz Liszt’s song cycles ( abstract )
12:00
Multi-movement work as complete gesture in Liszt and other 19th century composers: towards the concept of two-dimensional cycle ( abstract )
11:00-12:30 Session 3E: Contrasting Paths to Modernism: Bartók, Skalkottas and Christou
11:00
Analysing Intertextually: The Case of the Exposition of the Second Movement of Bartók’s Sonata for Solo Violin Sz. 117 ( abstract )
11:30
Melancholy subjects, melancholy objects: Nikos Skalkottas’s 16 Songs ( abstract )
12:00
Compositional praxis and historical time in the late works of Jani Christou ( abstract )
11:00-12:30 Session 3F: Analysing Arvo Pärt's Music
11:00
Formal Algorithms of Tintinnabuli in Arvo Pärt's Music ( abstract )
11:30
Transformation serieller Techniken im Tintinnabuli Stil Arvo Pärts ( abstract )
12:00
Aesthetics and style of Arvo Pärt’s work: revolution or evolution? ( abstract )
11:00-12:30 Session 3G: Improvisation and Style
11:00
Melodic Fluency in Keyboard Menuet Improvisation ( abstract )
11:30
Style-oriented improvisation and music theory ( abstract )
12:00
Analysing Erwin Schulhoff’s improvised performances of the 1930s ( abstract )
11:00-12:30 Session 3H: European Instrumental Music of the 18th Century
11:00
“Non-Viennese” sonata form: François-Adrien Boïeldieu and the French classicism ( abstract )
11:30
Caractérisation Formelle et Stylistique des Sonates Portugaises pour Clavier Publiées au XVIIIème Siècle ( abstract )
12:00
Die Kreation guter Veränderter Reprisen gemäss C.Ph.E. Bach ( abstract )
11:00-12:30 Session 3I: Contemporary Musical Horizons (I)
11:00
Louis Andriessen's "De Stijl" and Rendering Mondrian Musical ( abstract )
11:30
Analysis of the use of silence in Frédéric Devreese's Passage à 5, Mascarade, Danse de l'Auberge and Valse sacrée ( abstract )
12:00
Jonathan Harvey’s music as a path to transcendence ( abstract )
14:00-17:00 Session 4A: The Second Viennese School (I): Berg, Organicism, and the Teleology of Form
14:00
Form and Teleology Beyond the Tonal System Around 1910. ( abstract )
14:30
Making sense of pitch in the ‘free atonal’ Second Viennese School repertoire: a teleological approach based on salience conditions ( abstract )
15:00
Musical Reference in Alban Berg’s String Quartet, op. 3 ( abstract )
16:00
Is the Twelve-Tone System Inherently Organicist? A Reflection on Conflicting Perspectives, with Notes on Analysis ( abstract )
16:30
Berg's Piano Sonata and Reverse Organicism ( abstract )
14:00-17:00 Session 4B: Leading Figures of Modernity (I): Messiaen, Dutilleux, and Kurtág
14:00
Henri Dutilleux’s dodecaphonism in Métaboles and Tout un monde lointain ( abstract )
14:30
The Characters beyond Fusion. Practical approaches to models in Henri Dutilleux’ works ( abstract )
15:00
Memory in Music Analysis: Referential Appeals to Proustian Memory in Dutilleux’s Ainsi la Nuit ( abstract )
16:00
Birdsong as Compositional and Theological Determinants in Olivier Messiaen’s Opera, Saint François d’Assise ( abstract )
16:30
The exploration of contemporary music: an analytical “hovercraft”? Colinda Balada by György Kurtág – a case study ( abstract )
14:00-17:00 Session 4C: Bridging the Twentieth Century: Stravinsky, Varèse, and Boulez
14:00
The Rite of Spring Briefly Revisited; Stravinsky's Stratifications, the Psychology of Meter, and African Polyrhythm ( abstract )
14:30
Contrapuntal Elements in Selected Passages from Igor Stravinsky’s Concerto for Two Pianos (1932–35) ( abstract )
15:00
Density 21.5 : Segmentations comparées et interprétations ( abstract )
16:00
Stravinsky's Serial Games ( abstract )
16:30
Stravinsky and Boulez: Compositional Process, Form and Development ( abstract )
14:00-17:00 Session 4D: French Music (II): Berlioz and Debussy
14:00
Love and History in Berlioz's 'Chasse Royale et Orage', a semiotic-Schenkerian perspective ( abstract )
14:30
Form and structural narrative in Debussy’s _Prélude à l’après-midi d’un faune_ ( abstract )
15:00
Analysing Debussy Today ( abstract )
16:00
Qu'est-ce qu'une technique de composition ? ( abstract )
16:30
Features of form building in Debussy’s music in the light of Bergson’s conception of la durée ( abstract )
14:00-17:00 Session 4E: Issues of Rhythm and Metre
14:00
Between Overlaps and Elisions ( abstract )
14:30
The Loosely-Knit Subordinate Theme in the Classical Style: A Phrase Rhythmic Perspective ( abstract )
15:00
Das Medium ist das Metrum: Ein Aspekt der Analysegeschichte von Beethovens 5. Sinfonie ( abstract )
16:00
Redirecting the Temporal Flow: Brief Meter Changes in German Lieder ( abstract )
16:30
Shostakovich’s Passacaglias: Crossroads of Meter and Form ( abstract )
14:00-17:00 Session 4F: Falling Nicely Into Place: The Cadence in History and Theory
14:00
The fulfillment of Mattheson's 'Quart-Wunder': 18th-century performance practice and the gradual standardization of a new cadential pattern ( abstract )
14:30
An investigation of the cadence in early nineteenth-century syntax ( abstract )
15:00
Family Resemblance and the Classical Cadence Typology: Classification Using Phylogenetic Trees ( abstract )
16:00
The "Reopened" Half Cadence: A Striking Cadential Anomaly ( abstract )
16:30
On Metrically Weak Cadential 6/4s ( abstract )
14:00-17:00 Session 4G: Sounds of Popular Music (I)
14:00
A Study of Tonality in Electronic Dance Music ( abstract )
14:30
Transcendence in Pop-Rock Music ( abstract )
15:00
Rock Minimalism: loop and motivic transformations in the music of King Crimson (1981-84) ( abstract )
16:00
Multimodality and Tonal Ambiguity in Rock’s Aeolian Progression ( abstract )
14:00-17:00 Session 4H: Performance Studies
14:00
Profiling performers: Analysing tempo, rubato and expressive timing in recordings of Alexander Scriabin’s early piano preludes ( abstract )
14:30
Analyser l’expression musicale : le cas des « Hiboux » de Baudelaire/Vierne/Delunsch ( abstract )
15:00
Completing the incomplete: the first eight bars of W.A. Mozart’s Lacrimosa in the 19th-20th centuries ( abstract )
16:00
Performative knowledge as an analytical tool: Embodying Beethoven’s musical dynamic ( abstract )
16:30
Concerto form, analysis, and conversation: From performance practice to cultural knowledge ( abstract )
14:00-17:00 Session 4I: Lewin's Legacy: Spaces and Transformations
14:00
"Embedded" Voice Exchanges: The Gateway to Tonal (and Metaphorical) Transformation ( abstract )
14:30
Collection Vectors and the Octatonic Scale ( abstract )
15:00
Microtonality and Transformation: Analyzing Easley Blackwood’s "19 Notes" with a Modified Tonal GIS ( abstract )
16:00
Skryabin’s Late Acceleration through Hexatonic and Octatonic Space ( abstract )
16:30
Lewin's Figure 0.1, Freud's Analysis Interminable, and Their Implications for Music Analysis ( abstract )
14:00-17:00 Session 4J: Listening, Perceiving, and Cognising
14:00
On physico-acoustical bases of sonance and tension ( abstract )
14:30
What Text Painting Can Tell Us about Musical Structure ( abstract )
15:00
Hearing Voices in Their Hands: Performing and Perceiving Polyphony ( abstract )
16:00
The challenges of aurally connecting structurally similar but superficially dissimilar musical events: Important considerations in analytical listening ( abstract )
16:30
Measuring and modelling perceived distance among collections in post-tonal music: Music theory meets music psychology ( abstract )
17:00-17:45 Session 5B: Semi-Plenary Talk 2 (PTAM)
17:00
Józef Michał Chomiński’s Concept of Sonoristic Harmony ( abstract )
17:00-17:45 Session 5C: Semi-Plenary Talk 3 (GMTH)
17:00
Frédéric Chopins Prélude a-Moll op. 28, 2 – eine metapherntheoretische Perspektive ( abstract )
Thursday, June 29th

View this program: with abstractssession overviewtalk overview

09:00-12:30 Session 7A: The Second Viennese School (II): Pairing Schoenberg and Webern
09:00
“Tierisch Unmittelbarer Ausdruck”: Analyzing Timbre in Schoenberg’s Sprechmelodie" (working title) ( abstract )
09:30
Two metrical problems in Webern’s Streichquartett, Op. 28 ( abstract )
10:00
Tonal Pairing as a Strategy of Lyrical Time: Anton Webern's Langsamer Satz (1905) ( abstract )
11:00
Interval Pairing in a Serial Context: Webern’s Variations, Op. 30 ( abstract )
11:30
Webern’s Op. 12, No. 2, “Die Geheimnisvolle Flöte”: Pitch Orthography, Text Setting, & Form ( abstract )
09:00-12:30 Session 7B: New Technologies and Analysis (I)
09:00
Towards objectivity in automatic segmentation of music score by XML/MIDI language. ( abstract )
09:30
Micro-Diatonicism and Formal Structure in 20th-Century Music ( abstract )
10:00
Computergestützte Analyse und ihr praktischer Einsatz in der musiktheoretischen Lehre ( abstract )
11:00
Computer Generated Orchestration: Towards Using Musical Timbre in Composition ( abstract )
11:30
Stylometric Analysis of Music in Search of Cross-cultural Similarities ( abstract )
09:00-12:30 Session 7C: The Second Twentieth Century: Between Italy and France
09:00
Prometeo, Tragedia dell’ascolto – ‘A new way of thinking music’ in Nono ( abstract )
09:30
Micrological Listening: Molecularity and the State in Luigi Nono’s Late Electro-Acoustic Music. ( abstract )
10:00
"Altri spazi, altri cieli": Komponieren und Denken in Luigi Nonos "Das atmende Klarsein" ( abstract )
11:00
Charting the Expansions in Pitch and Pitch-Class Space in Luciano Berio’s Sincronie, Nones, and the First Movement of Sinfonia ( abstract )
11:30
Analyse de Jour, contre jour de Gérard Grisey: une approche perceptive ( abstract )
12:00
'Intertextuelle Improvisation' in Romitellis Werk am Beispiel der Querverweise zwischen "Trash Tv Trance" und der Cadenza von "An Index of Metals" ( abstract )
09:00-12:30 Session 7D: Partimento and Schemata
09:00
Interactions between Topics and Schemata: The Case of the Sacred Romanesca ( abstract )
09:30
A Dorian Middleground Schema in Bach's Minor-Key Fugue Expositions ( abstract )
10:00
Fonte And Monte in the Symphonies of Joseph Haydn ( abstract )
11:00
On footprints of "Galant Style" in Mendelssohn's music learning ( abstract )
11:30
Partimenti, un metodo per imparare, fare, comporre musica ieri e oggi ( abstract )
12:00
Gjerdingen's Schemata Re-Examined ( abstract )
09:00-12:30 Session 7E: Teaching and Pedagogy (I)
09:00
Expressive performance analysis of children aged 4-5 years: teaching models and vocal abilities ( abstract )
09:30
Solfeggi: Sounding their hidden Depths ( abstract )
10:00
Mobile Way to Music Analysis: Learning Fundamentals Digitally ( abstract )
11:00
J.S. Bach’s Chorales: Reconstructing Eighteenth-Century German Figured-Bass Pedagogy in Light of a New Source ( abstract )
11:30
Processus d'analyse dans le contexte d'un Cours d'Ecriture-Composition ( abstract )
12:00
Watch this space: On Blended Learning and Music Analysis in the Classroom ( abstract )
09:00-12:30 Session 7F: Leaving – and Regaining – the Shores of Tonality
09:00
Aleksandr Kastal’skijs Kompositionstechnik und -theorie als Inbegriff des 'russischen Stils' und 'Erlösung' von der Funktionsharmonik ( abstract )
09:30
The evolution of Scriabin’s language through the evolution of the mystic chord ( abstract )
10:00
Hearing Function in Post-Tonal Contexts ( abstract )
11:00
Chord Superimposition in Two Late Orchestral Works by Ferruccio Busoni ( abstract )
11:30
Reframing music theorizing and analytical acts on twentieth-century multi-layered harmony ( abstract )
12:00
A Model of Triadic Post-tonality for a Neoconservative Postmodern String Quartet by Sky Macklay ( abstract )
09:00-12:30 Session 7G: Stylistic Features of Jazz
09:00
Le « trois sur quatre » dans la musique écrite en circulation à la Nouvelle-Orléans d’avant le jazz enregistré, 1835-1917. Application de trois méthodes d’analyse du rythme. ( abstract )
09:30
Twentieth Century Compositional Techniques Applied to Jazz Pitch-Class Sets in Jazz Composition and Improvisation ( abstract )
10:00
Wayne Shorter and the 12-bar Blues Form ( abstract )
11:00
Wayne Meets World: Compositional Methods in Three Wayne Shorter Pieces ( abstract )
11:30
The Sighing Motif (Seufzermotiv) and Related Stylistic Features in the Jazz Compositions of Brad Mehldau ( abstract )
09:00-12:30 Session 7H: Music of the Non-Western World: The Mediterranean and Beyond
09:00
Compositional Strategies in non-Western music. The case of Turkmen music ( abstract )
09:30
Metric elements in free rhythm Taksim Improvisations. ( abstract )
10:00
ANALYSE MUSICALE ET CULTURALITE : DES DEFIS POSES PAR L’ACTE MUSICAL A LA PARTITION EN TANT QU’OUTIL D’INTERPRETATION ET D’ANALYSE DANS LES TRADITIONS MODALES ARABO-MUSULMANES ( abstract )
11:00
L'analyse de la musique modale enregistrée : nouvelles approches, nouvelles méthodes ( abstract )
11:30
Réécriture grammaticale modale générative-transformationnelle de l’improvisation taqsīm violonistique selon la tradition du Mašriq ( abstract )
09:00-12:30 Session 7I: Anthropology, Sociology, and Cultural Studies
09:00
Les rôles respectifs du sujet et de l’objet en analyse de l’orientalisme musical ( abstract )
09:30
What is the ‘sound of the revolt’ and how to make music-analytical sense out of it? ( abstract )
10:00
Analyse musicale et sociologie : comment se saisir de processus de socialisation de l'oreille ? ( abstract )
11:00
Score, Record, and Bytes: Influence of Musical Medium on Analysis ( abstract )
11:30
Thème et rhème comme éléments structurels du discours musical : quelques exemples chez Dohnányi, Weiner et Lajtha (1890-1930) en marge de la culture occidentale savante ( abstract )
09:00-12:30 Session 7J: Schenkerian, Riemannian, and Neo-Riemannian Theories
09:00
Goehr’s Piano Sonata through a Transformational Lens ( abstract )
09:30
Exploring Linear-Analytical Elements in the Writings of Leo Mazel ( abstract )
10:00
A Synthesis of Schenkerian and Neo-Riemannian Theories: The First Movement of Paul Hindemith’s Piano Sonata No. 1 as a Case Study. ( abstract )
11:00
Questioning Theoretical Robustness: Quasi-Integration of Neo-Riemannian and Schenkerian Theories ( abstract )
11:30
Analyzing Analyses: Towards a Reconciliation of Schenkerism and Riemannism ( abstract )
12:00
Exploring the limits of neo-Riemannian theory ( abstract )
14:00-17:00 Session 8A: Modulation as Perceived by the Listener
14:00
A Long Path to Closely Related Key: Modulation in Bach’s Allemande BWV 816 ( abstract )
14:30
Cognitive Aspects of Gradual Modulation ( abstract )
15:00
1917 Modulating the World into a Different Key ( abstract )
16:00
Psychoanalytic Reflections on Modulation ( abstract )
16:30
Modulation as Structure and as an Act ( abstract )
14:00-17:00 Session 8B: Analyzing Models and Creativity in the Long Eighteenth Century
14:00
The Do-Re-Mi revisited: Historical Underpinnings of a Schema ( abstract )
14:30
Teaching Partimento Analysis and Realization in Paris ( abstract )
15:00
Verdi and the Eighteenth century Neapolitan Tradition ( abstract )
16:00
(Re)Creating Bach’s Weimar Organ Fugues: Model-Learning, Externalization, and Conceptual Combination in Musical Creativity ( abstract )
16:30
Bungled Schemata, Accent, and Class Prejudice in Haydn's 'Joke' Quartet ( abstract )
14:00-17:00 Session 8C: Interpreting and Listening to the Music of Debussy
14:00
Describing prosody in Debussy’s songs ( abstract )
14:30
L’effet des mimiques de l’interprète dans la perception de l’humour debussyste ( abstract )
15:00
Expectancy situations, sound and form in Debussy’s Nocturnes ( abstract )
16:00
Desperately seeking a ‘Debussy style’ in the performance of the orchestral music ( abstract )
14:00-17:00 Session 8D: Aspects of Music Theory & Analysis Practices in the Mediterranean Region: Italy, Cyprus, and Israel
14:00
Paul Ben-Haim: Between East and West ( abstract )
14:30
Interaction between noisy instrumental timbre and traditional intervallic systems in composers from Sicily, 1960-1985 ( abstract )
15:00
Post-tonal harmonic theories in Italy from the beginning of the twentieth century to present day. In search of a tradition ( abstract )
16:00
The Role of Cultural Constraints in the Development of Music Theory and Analysis in Modern Cyprus ( abstract )
16:30
Italy, Israel and Cyprus: Identifying intrinsic elements, addressing diversity and continuity ( abstract )
14:00-17:00 Session 8E: Modal and Tonal Organization in Polyphonic Compositions from the Late Middle Ages to the Early Baroque
14:00
Theoretical Aspects of the Modal and Tonal Organization of Renaissance Polyphony ( abstract )
14:30
Tonal coherence in pre-modal polyphony. The secular repertoires of the ars subtilior. ( abstract )
15:00
Lasso, Meier, Powers. The Reality of the Modes under Scrutiny ( abstract )
16:00
Is modality still a compositional tool in Monteverdi's 1610 Mass? ( abstract )
16:30
Modal and Tonal Organization in Polyphonic Compositions ( abstract )
14:00-17:00 Session 8F: Quel futur pour la Formenlehre? Challenging Recapitulatory Paradigms
14:00
Striking Approaches to Recapitulations ( abstract )
14:30
Processual Strategies in Schubert's Earliest String Quartets: a Generative Response to Recapitulation ( abstract )
15:00
A Theory of Tonal Alterations in Sonata Recapitulations ( abstract )
16:00
Et Tu, Debussy and Ravel: fin-de-siècle Recapitulations, 1890-1925 ( abstract )
16:30
Vanishing S Themes: Recapitulatory Truncation in Prokofiev's Early Instrumental Concertos ( abstract )
14:00-17:00 Session 8G: Spectralism on the Margins: Spectral Ideas and Intercultural Influence
Chair:
14:00
Paul Hindemith and the Spectralists ( abstract )
14:30
Jean-Louis Florentz: Hospitality and Spectralism ( abstract )
15:00
Spectral Aesthetics and ecological listening in the music of Helena Tulve ( abstract )
16:00
Giving Voice to Spectralism: Donnacha Dennehy and the Embodiment of Sound ( abstract )
16:30
Analysis at the crossroads of different traditions, methodologies and concepts of sound ( abstract )
14:00-17:00 Session 8H: Epistemologies of Music Theory and Analysis: Sound and Timbre between Structure and Epistemic Construct
14:00
Sound as epistemic construct and music as experience: new perspectives on musical sense-making ( abstract )
14:30
Conceptualizing the "perceptualization" of timbre: epistemic and analytic reflections ( abstract )
15:00
Form as Timbral Mapping: Process Ontologies for Recorded Popular Music ( abstract )
16:00
Music as Sound Process: Kurth’s Bruckner and the Timbral Insider ( abstract )
16:30
Against Timbre, Harmony: The Case of African Music ( abstract )
17:00-17:45 Session 9A: Semi-Plenary Talk 4 (VvM)
17:00
A Paradigm for Studying the Transition from Modality to Tonality in the Seventeenth Century ( abstract )
17:00-17:45 Session 9B: Semi-Plenary Talk 5 (OTM)
17:00
Musical gesture as a means of composition in recent music: some observations ( abstract )
17:00-17:45 Session 9C: Semi-Plenary Talk 6 (GATM)
17:00
Performance and analysis : an empirical research on the interactions between analysts and performers ( abstract )
Friday, June 30th

View this program: with abstractssession overviewtalk overview

09:00-10:30 Session 11: Poster Session
09:00
Emerging Musical Structures in Electroacoustic Music ( abstract )
09:00
Janáček’s Rhythmic Freedom ( abstract )
09:00
Harmonic syntax and vocabulary in tonal music ( abstract )
09:00
Deconstructing Systematic Musicology: Aims, Motivations, and Music-Theoretical Implications ( abstract )
09:00
An Approach to Analysis in the Context of Theory of Musical Content: Holistic Analysis-Interpretation ( abstract )
09:00
Organic Transcription as an Embodied Artistic-Analytic Process ( abstract )
09:00
In Defense of Augmented Intervals ( abstract )
09:00
Une analyse pluridisciplinaire de Guero de Helmut Lachenmann ( abstract )
09:00
The language(s) of contemporary music analysis ( abstract )
09:00
L'analyse musicale pour tous ( abstract )
09:00
Anaysis of the score and performance analysi: two different approaches to' the music of Karlheinz Stockhausen ( abstract )
09:00
From Process to Performance: Text-Based Improvisation in Henry Brant’s “Instant Music” ( abstract )
09:00
Der Begriff „Klangfläche“ dargestellt an Atmosphères von Ligeti ( abstract )
09:00
Trouver des chemins jamais parcourus : alliage entre recherche musico-logique et compositionnelle, transmission, introspection, auto-analyse, et d'autres outils pour l'émancipation ( abstract )
09:00
Unseulmotnesuffitpas : une analyse de terrain, spectromorphologique et génétique d'une œuvre de « musique mixte » ( abstract )
11:00-12:30 Session 12A: Circumscribing the Open: Cage and Pousseur
11:00
Excavating John Cage's 4'33" ( abstract )
11:30
Imitations, Analogs, and Filters: John Cage Erases and Recomposes Satie ( abstract )
12:00
Analysis of ‘Open Forms’: Problems and Approaches ( abstract )
11:00-12:30 Session 12B: French Music (III): Satie in Theory and Practice
11:00
Confident Chromaticism in Satie’s Nocturnes as Determined by Hindemith’s Harmonic Fluctuation ( abstract )
11:30
Les Embryons Désséchés d'Erik Satie: perspectives d'interprétation pianistique ( abstract )
12:00
Vexation di Satie: studio comparativo sul disorientamento formale ed esecutivo ( abstract )
11:00-12:30 Session 12C: The Bel-Canto Era: Rossini, Donizetti, and Bellini
11:00
Rossini's Harmonic Materialities: Syntactic and Statistical ( abstract )
11:30
Interpolation and superfetation. The Archeological restoration of an unfinished work. Donizetti-Battistelli's Le Duc d'Albe ( abstract )
12:00
Vincenzo Bellini and the Art of Nineteenth Century Counterpoint: an analytical approach ( abstract )
11:00-12:30 Session 12D: Leading Figures of Modernity (II): Xenakis and Ligeti
11:00
The Function of Rhythm in the Pitch / Sound Continuum: The Case of I. Xenakis' Thallein ( abstract )
11:30
Théorie des jeux et structure formelle dans Duel (1959) de Xenakis ( abstract )
12:00
Examining Historical Precedents for Directional Motion in Ligeti's Mid-Century Works ( abstract )
11:00-12:30 Session 12E: New Technologies and Analysis (II)
11:00
The Supplementum in Motets: Evolution, Style, and Structure ( abstract )
11:30
Vers une analyse informatique des textures dans le quatuor classique ( abstract )
11:00-12:30 Session 12F: Music of the Renaissance
11:00
Suspension Theory: A Repertoire-Based Approach to Understanding and Codifying late-15th-century Dissonance Treatment ( abstract )
11:30
Le Kyrie du Requiem d’Ockeghem : entre la transmission et la transformation ( abstract )
11:00-12:30 Session 12G: Rhythm and Gesture as Approaches to Analysis
11:00
Analyse historiographique des « nouveaux gestes musicaux » de la musique savante occidentale entre 1850 et 1950 ( abstract )
11:30
Solfège et analyse: l'invention du geste ( abstract )
12:00
Analyse musicale, déclamation et improvisation dans la musique entre XVII et XVIII siècle: indication méthodologiques pour lire une partition "non-finie". ( abstract )
11:00-12:30 Session 12H: Analysing and Interpreting Music with Text
11:00
Vom Klavier- zum Orchesterlied. Entwurf einer Methode für die Analyse klanglicher Umwandlungen. ( abstract )
11:30
La Ballade romantique allemande en action : interpréter un poème ou interpréter une musique ? ( abstract )
12:00
Expressivity in choral performance: the role of text diction ( abstract )
11:00-12:30 Session 12I: Constructing Meaning, Constructing Identity: Classical Topics and Schemata, Musorgsky's 'Pictures at an Exhibition', and Brahem's Film Music
11:00
The Schema-Topic Construction ( abstract )
11:30
Meaning construction through conceptual blending - A hermeneutical analysis of "Samuel Goldenberg und Schmuÿle" from Modest Musorgsky's "Pictures at an exhibition" ( abstract )
12:00
La musique d’Anouer Brahem dans les films « Halfaouine » et « Les silences du Palais » ( abstract )
14:00-17:00 Session 13A: Itinerari d’analisi per la musica italiana d’inizio Seicento nel 450° anniversario della nascita di Claudio Monteverdi
14:00
La sonata concertata in stil moderno (1600 env. – 1640 env.) : modèles stylistiques et idiomes instrumentaux à l’aube de la sonate vénitienne ( abstract )
14:30
Visti dal basso. La pratica del continuo monteverdiano come esperienza di analisi ( abstract )
15:00
Epifania della seconda prattica nel Quarto libro di Monteverdi ( abstract )
16:00
Claudio Monteverdi e la raccolta del 1610: luci e ombre di un Vespro atipico ( abstract )
16:30
Itinerari d’analisi per la musica italiana d’inizio Seicento nel 450° anniversario della nascita di Claudio Monteverdi ( abstract )
14:00-17:00 Session 13B: New Approaches for Analyzing the Music of Olivier Messiaen
14:00
De l'emprunt à la formule : une nouvelle échelle d'analyse de l'œuvre d'Olivier Messiaen ( abstract )
14:30
Composition formulaire et montage chez Olivier Messiaen : nouvelles réponses, nouvelles questions pour l'analyse ( abstract )
15:00
Models for Variation and Development in Messiaen's Early Sketches ( abstract )
16:00
Discontinuous vs. linear? Olivier Messiaen and 19th-Century Formal Traditions ( abstract )
16:30
New Approaches for Analysing the Music of Olivier Messiaen ( abstract )
14:00-17:00 Session 13C: Analyser la performance aujourd’hui : enjeux et perspectives
14:00
Ontologie musicale et analyse de la performance ( abstract )
14:30
Contribution de l’analyse de scène auditive à l’analyse de la performance ( abstract )
15:00
Les pratiques instrumentales à l’épreuve de la scène : une interface entre écriture et improvisation dans les musiques d’après 1960 ( abstract )
16:00
Analyse esthésique des processus d’improvisation (et de création) des musiques de tradition orale en Méditerranée ( abstract )
16:30
Musical analysis by means of multimodal performance data: Brian Ferneyhough’s Lemma-Icon-Epigram for piano solo ( abstract )
14:00-17:00 Session 13D: Analyzing Mozart's Operas: External Stakes, Intrinsic Challenges
14:00
Pathos and Ethos in Mozart’s Idomeneo: “Vedrommi intorno” and “Il padre adorato” ( abstract )
14:30
The Schematic World of Mozart's Figaro ( abstract )
15:00
Aria-Sonata Forms?: Taking Formenlehre to the Opera Once More ( abstract )
16:00
On the Form Functionality of Recitative Intrusions in Le nozze di Figaro ( abstract )
16:30
Osmin's Rage Aria ( abstract )
14:00-17:00 Session 13E: Formal, Theoretical, and Computational Models in Popular Music Analysis
14:00
Pitfalls and Windfalls in Corpus Studies of Pop/Rock Music ( abstract )
14:30
Rock Logic ( abstract )
15:00
Persistence time series: an application to music classification ( abstract )
16:00
Towards Structural (Popular) Music Information Research ( abstract )
17:00
Analyzing Form in Popular Music: History, Style, Aesthetics, and Data ( abstract )
14:00-17:00 Session 13F: Liszt after Liszt - Liszt après Liszt
14:00
Liszt vers la flamme lumineuse de Skrjabin ( abstract )
14:30
Franz Liszt dans le miroir de Claude Debussy ( abstract )
15:00
Liszt and Scriabin. A case of continuity in some twentieth-century compositional techniques ( abstract )
16:00
Busoni’s Elegies on the path of Liszt’s late style ( abstract )
16:30
Changes and heritage in musical style at the end of the 19th and at the beginning of the 20th century: between originality and remembering ( abstract )
14:00-17:00 Session 13G: Ambiguity, Illusion & Timelessness in Late and Post-Tonal Harmony
14:00
Zweite Diatonik und musikalische Zeit: Engführungspattern und mehrfacher Kontrapunkt als Basis erweiterter Tonalität ( abstract )
14:30
Running for long distances:The resilience of the Geographic chords ( abstract )
15:00
Integrating transformational and hierarchical models of extended tonality ( abstract )
16:00
Making Harmonic Ambiguity Sound – Schoenberg, Escher, Brahms ( abstract )
16:30
The analytical challenge of harmonic ambiguity: can a single model depict multiple concurrent readings? ( abstract )
14:00-17:00 Session 13H: Ways of Organizing the Inventory: In Search of a Systematic Ordering of Voice-leading Schemata
14:00
The Svago: Methodological Reflections on a Schema in Solfeggi by Leonardo Leo (1694-1744) ( abstract )
14:30
Approaching the Lexicon and the Combinatorics of Tonal Schemata ( abstract )
15:00
Schemata and tonality in Froberger’s “Mediation sur ma mort future” ( abstract )
16:00
Voice-leading schemata and formal functions: Reinvestigating schema concatenation ( abstract )
16:30
Waltz for Debby: Nested Structural Modes and Prolongation ( abstract )
17:00-17:45 Session 14A: Semi-Plenary Talk 7 (SFAM)
17:00
New repertoires, new corpus: reformulations of analytic practice in electroacoustic music ( abstract )
Saturday, July 1st

View this program: with abstractssession overviewtalk overview

09:00-12:30 Session 16A: Sounds of Popular Music (II)
09:00
Mr. Bungle thinks it through: finding coherence in California (1999) ( abstract )
09:30
The Tech-Processual Construction of Siouxsie and the Banshees’ Panoramic Peepshow ( abstract )
10:00
Metric Dissonance in Hip-Hop Music: An Exploration of Interpretive Multiplicity ( abstract )
11:00
Modular Form in Popular Music ( abstract )
11:30
Tonal Distortion in Radiohead ( abstract )
09:00-12:30 Session 16B: Teaching and Pedagogy (II)
09:00
Harmony, Counterpoint, Partimento ( abstract )
09:30
L'apport du partimento dans l'analyse harmonique en France au 18e siècle ( abstract )
10:00
Conservatori vs. Conservatoire. The Neapolitan Partimento tradition and the Méthodes of the Paris Conservatoire at the beginning of the 19th century. ( abstract )
11:00
La fugue où on ne l'attend pas : transmission du style sévère à travers les Principes élémentaires de musique et les Solfèges du Conservatoire ( abstract )
11:30
Problems in Appropriating Seventeenth Century Repertoire into Present-Day Theory Class (Henry Purcell as a Case Study) ( abstract )
12:00
'You Could Compose a Missa "Surfin' USA"': Counterpoint teaching and the History of Its Justification ( abstract )
09:00-12:30 Session 16C: Reconsidering Later Romanticism
09:00
Tristan and the Act of Music Analysis: Conflicts, Limits, Potentialities ( abstract )
09:30
Time–Pitch Isomorphisms in /Die Walkuere/ ( abstract )
10:00
Anton Bruckner’s Slow Movements: Dialogic Perspectives ( abstract )
11:00
Form and the Large-Scale Connection: Motivic Harmony and the Expanded Type-1 Sonata in Dvorak's Later Chamber Music ( abstract )
11:30
Reconsidering Strauss's 'Metamorphosen' ( abstract )
12:00
Integrating Tonal Transformations and Prolongations: A Case Study of Richard Strauss’s “September,” from Vier Letzte Lieder (1948) ( abstract )
09:00-12:30 Session 16D: Analytical Issues in Ethnomusicology
Chair:
09:00
Ten years of melodic analysis in ethnomusicology : methods & results ( abstract )
09:30
Considering anisochronous meters and polymeters in Afro-Brazilian music: analytic and didactic issues ( abstract )
10:00
"Pitch and rhythmical realization of traditional song music and their presentation in research interpretation" ( abstract )
11:00
A framework for the analysis of Jiuta and Sôkyoku music of the Kansai area ( abstract )
11:30
Analysing Chinese sacrificial hymn: Mutated theories and layered legacies in French modernity ( abstract )
12:00
Analyzing the Semiotic Contribution of Traditional Aesthetics to Contemporary Chinese Music ( abstract )
09:00-12:30 Session 16E: Schumann, Brahms, and Elgar
09:00
The piano sonatas of Schumann and Brahms: Approaching analysis through aesthetics ( abstract )
09:30
Correlations between Developing Variation and Genetic Processes in the Analysis of Brahms' Violin Sonata Op.78 ( abstract )
10:00
Brahms's Non-Strophic Settings of Stanzaic Poetry ( abstract )
11:00
Brahms, Twilight, and the Muting of Leading-Tone Energies ( abstract )
11:30
The Art of Lamenting: Resurrection of the Past in Brahms's "Es steht ein Lind," WoO33, no. 41 ( abstract )
12:00
Elgar's 'Introduction and Allegro': brief thoughts on musical in-between-ness ( abstract )
09:00-12:30 Session 16F: Counterpoint and Composition in Europe during the 17th and 18th Centuries
09:00
Tonal space in terms of practical and theoretical approaches in westernised choral idiom in Russia from 1670s to mid-18th century ( abstract )
09:30
[Titel] Ein Mönch, zwei kurze Regeln und drei Stimmen zum Fundament [Untertitel] Untersuchungen zur Modellhaftigkeit von Cantionalsätzen und den daraus resultierenden Implikationen für deren Klanglichkeit. ( abstract )
10:00
Zacconi, Banchieri and the counterpoint species: reconstructing the Klanglichkeit of the contrapunto in compagnia ( abstract )
11:00
On the Technique of Canon in Russian Baroque Music (on the Example of Polychoral Works by Vassily Titov) ( abstract )
11:30
Der Akt des Komponierens als Temperierung – Zum Verhältnis von Kontrapunkt, Chromatik und Harmonik im Schaffen von Heinrich Schütz ( abstract )
09:00-12:30 Session 16G: Contemporary Musical Horizons (II)
09:00
Cultural and Political Overtones: Understanding multiple identity through performance-led analyses of Isang Yun’s Interludium A (1982) ( abstract )
09:30
Timbre and Variations: Exploring Sound in Vivier’s Zipangu (1980) ( abstract )
10:00
Alfred Schnittke's String Quartet No. 3 and the Uses of Quotation ( abstract )
11:00
Seeking Schubert in Aribert Reimann's _Mignon_ (1995) ( abstract )
11:30
Considérations sur Une méthode d’analyse musicale et de composition de Marina Scriabine (1953) ( abstract )
12:00
Analyse génétique à long terme des pratiques compositionnelles. Le cas d’Alberto Posadas (1967) ( abstract )
09:00-12:30 Session 16H: Formenlehre, Old and New
09:00
The Simpfonie according to Riepel ( abstract )
09:30
The Minor-Mode Sonata Rondo as Expressive Subgenre ( abstract )
10:00
Mozart’s “Great” C-Minor Mass and the New Formenlehre: An Exercise in Comparative Analysis ( abstract )
11:00
"Punctuation Form" and Expressive Contents in the First Main Period of Selected G minor Symphonies' First Movements of the Classical Era—A Neo-Kochian-Schenkerian Approach ( abstract )
11:30
Eisler’s Klavierstücke für Kinder as Kompositionslehre: Composition, Analysis, Pedagogy ( abstract )
12:00
Choose your own sonata form: Adventures in analysis ( abstract )
09:00-12:30 Session 16I: Chopin, Mendelssohn, and Franck
09:00
"Double Function" Sonata Forms in Franck's Late Chamber Music ( abstract )
09:30
Chopin's Ternary Preludes ( abstract )
10:00
Chopin’s Semitonal Modulations in Formal Designs ( abstract )
11:00
Form in Mendelssohn’s late chamber music: Thematic, textural and timbral saliency in the Quartet Op. 80 and Quintet Op. 87 ( abstract )
11:30
La Barcarolle op. 60 de Chopin : esthétique du dernier style et métaphore de l’apothéose ( abstract )
12:00
Form, Syntax and the Problem of Late Style in Mendelssohn’s String Quartet Op. 80 ( abstract )
09:00-12:30 Session 16J: Modern American Composers
09:00
Charles Ives's Associations with Kaiser Wilhelm II, Compositional Effects, and Present-day Listening Strategies ( abstract )
09:30
Tonality and Prolongation in Roger Sessions' Second Symphony ( abstract )
10:00
"I Saw You and the World Went Away": Leonard Bernstein and Modulatory Practices in the Broadway Musical ( abstract )
11:00
To weave time: the late music of Morton Feldman through the example of Violin and String Quartet ( abstract )
11:30
Narrative and Metaphor in Elliott Carter’s String Quartet No. 1 ( abstract )
14:00-15:30 Session 17A: Approaches to Schubert's Sonata Forms
14:00
The Role of the Medial Caesura in Schubert’s Over-Determined Transitions ( abstract )
14:30
Becoming Time: Cyclicity in Schubert’s Extended Secondary Theme ( abstract )
15:00
Formal Function Anomalies in Schubert's Late Sonata Forms and the Lyrical Impulse" ( abstract )
14:00-15:30 Session 17B: Epistemology and Musical Hermeneutics
14:00
Pure Theory, Impure Analysis ( abstract )
14:30
L’herméneutique au regard de la tripartition de Jean Molino ; l’exemple de la Scène aux champs d’Hector Berlioz ( abstract )
15:00
analysis, hermeneutics, communication ( abstract )
14:00-15:30 Session 17C: Sonic Explorations: Microtonality, Spectralism, and Electroacoustic Music
14:00
Playing with Shadows: The Reinjection Loop as Historical Memory in Georg Friedrich Haas’s Live-elektronische Musik ( abstract )
14:30
Spectral Processes in Alvin Lucier’s Twonings ( abstract )
15:00
Collaborative Creation in Electroacoustic Music. Comparative analysis of three case studies. ( abstract )
14:00-15:30 Session 17D: Electronic and Mixed Music
14:00
Analysis of digital e-sketches: case study Marco Stroppa ( abstract )
14:30
The analysis of music for performers and real-time electronics: an interactive aural approach from the [ANONYMISED] project ( abstract )
15:00
Transformation analysis of the relations between acoustic instruments and electronics in mixed concert music ( abstract )
14:00-15:30 Session 17E: Philosophical Approaches
14:00
Music Analysis and Process ( abstract )
14:30
Classical Phenomenology and the Epistemological Clarification of Music Analysis ( abstract )
15:00
Musique, sémiologie musicale, musicologie : apports de l'heuristique musicale et de la philosophie de la complexité ( abstract )
14:00-15:30 Session 17F: Challenges in the Analysis of Recent Music
14:00
Meta-Music and the Analytical Challenges of Jan W. Morthenson’s Music ( abstract )
14:30
An analytical study of repetition in recent Western art music: Bernhard Lang’s Differenz/Wiederholung 12 (Cellular Automata) for solo piano (2003). ( abstract )
14:00-15:30 Session 17G: Analytical Methodologies and the Music of the 17th Century
14:00
Analysing early 17th century music with concepts of music theorica and musica poetica – The analytical implications of early triadic concepts of Baryphonus and Lippius ( abstract )
14:30
A New Model for Modal Analysis in Baroque Music ( abstract )
15:00
François Couperin's La Flore (Fifth Ordre): Motivic Replication, Approach to III, and Analytic Methodology ( abstract )
14:00-15:30 Session 17H: Semiotics and Semantics of Tonality and Harmony
14:00
Harmony as Cultural Hybrid: Reflection on the First Nationwide Music Theory Conference in China (Wuhan, 1979) ( abstract )
14:30
Tonality: semantic aspect ( abstract )
15:00
Dynamic Grammar of Tonality: the real-time understanding of tonal music ( abstract )
14:00-15:30 Session 17I: Theory and Performance of 19th-Century Music
14:00
Closing a Gap Between Theory and Praxis. Friedrich Kalkbrenner’s Treatise on Harmony for Pianists ( abstract )
14:30
The Role of Embodiment and Imagined, Supplemental Sound in the Analysis of Nineteenth-Century Piano Music ( abstract )
15:00
Il Capriccio VI di Niccolò Paganini: percorsi analitici attorno al problema performativo ( abstract )
16:00-17:00 Session 18: Plenary Lecture II
16:00
Deep Music: The Global Art-Science Music After Six Millennia ( abstract )