Program for Saturday, July 1st: Talk View

PROGRAM FOR SATURDAY, JULY 1ST: TALK VIEW

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View: with abstracts session overview

9:00

9:30

10:00

10:30

11:00

11:30

12:00

12:30

13:00

13:30

14:00

14:30

15:00

15:30

16:00

16:30

17:00

09:00-09:30

Mr. Bungle thinks it through: finding coherence in California (1999)

David Larkin

09:30-10:00

The Tech-Processual Construction of Siouxsie and the Banshees’ Panoramic Peepshow

Samantha Bennett

10:00-11:00

Metric Dissonance in Hip-Hop Music: An Exploration of Interpretive Multiplicity

Ben Duinker

11:00-11:30

Modular Form in Popular Music

Alyssa Barna

11:30-12:00

Tonal Distortion in Radiohead

Christopher Doll

09:00-09:30

Harmony, Counterpoint, Partimento

Job Ijzerman

09:30-10:00

L'apport du partimento dans l'analyse harmonique en France au 18e siècle

Clotilde Verwaerde

10:00-11:00

Conservatori vs. Conservatoire. The Neapolitan Partimento tradition and the Méthodes of the Paris Conservatoire at the beginning of the 19th

Lydia Carlisi

11:00-11:30

La fugue où on ne l'attend pas : transmission du style sévère à travers les Principes élémentaires de musique et les Solfèges du

Muriel Boulan

11:30-12:00

Problems in Appropriating Seventeenth Century Repertoire into Present-Day Theory Class (Henry Purcell as a Case

Alon Schab

12:00-12:30

'You Could Compose a Missa "Surfin' USA"': Counterpoint teaching and the History of Its

Michiel Schuijer

09:00-09:30

Tristan and the Act of Music Analysis: Conflicts, Limits, Potentialities

John Koslovsky

09:30-10:00

Time–Pitch Isomorphisms in /Die Walkuere/

Sam Bivens

10:00-11:00

Anton Bruckner’s Slow Movements: Dialogic Perspectives

Gabriel Venegas

11:00-11:30

Form and the Large-Scale Connection: Motivic Harmony and the Expanded Type-1 Sonata in Dvorak's Later Chamber

Peter Smith

11:30-12:00

Reconsidering Strauss's 'Metamorphosen'

Emily X. X. Tan

12:00-12:30

Integrating Tonal Transformations and Prolongations: A Case Study of Richard Strauss’s “September,” from Vier Letzte Lieder

Soo Hyun Jeong

09:00-09:30

Ten years of melodic analysis in ethnomusicology : methods & results

Alice Tacaille, François Picard

09:30-10:00

Considering anisochronous meters and polymeters in Afro-Brazilian music: analytic and didactic

Gerald Guillot

10:00-11:00

"Pitch and rhythmical realization of traditional song music and their presentation in research

Anastasiia Mazurenko

11:00-11:30

A framework for the analysis of Jiuta and Sôkyoku music of the Kansai area

Hubertus Dreyer

11:30-12:00

Analysing Chinese sacrificial hymn: Mutated theories and layered legacies in French modernity

Chun Fai John Lam

12:00-12:30

Analyzing the Semiotic Contribution of Traditional Aesthetics to Contemporary Chinese Music

Yan Zheng

09:00-09:30

The piano sonatas of Schumann and Brahms: Approaching analysis through aesthetics

Jon-Tomas Godin

09:30-10:00

Correlations between Developing Variation and Genetic Processes in the Analysis of Brahms' Violin Sonata

Desirée Johanna Mesquita Mayr, Carlos De Lemos Almada

10:00-11:00

Brahms's Non-Strophic Settings of Stanzaic Poetry

Robert Snarrenberg

11:00-11:30

Brahms, Twilight, and the Muting of Leading-Tone Energies

Diego Cubero

11:30-12:00

The Art of Lamenting: Resurrection of the Past in Brahms's "Es steht ein Lind," WoO33, no. 41

Loretta Terrigno

12:00-12:30

Elgar's 'Introduction and Allegro': brief thoughts on musical in-between-ness

Oliver Chandler

09:00-09:30

Tonal space in terms of practical and theoretical approaches in westernised choral idiom in Russia from 1670s to mid-18th

Evgeny Vorobyov

09:30-10:00

[Titel] Ein Mönch, zwei kurze Regeln und drei Stimmen zum Fundament [Untertitel] Untersuchungen zur Modellhaftigkeit von Cantionalsätzen und den daraus resultierenden Implikationen für deren

Stefan Garthoff

10:00-11:00

Zacconi, Banchieri and the counterpoint species: reconstructing the Klanglichkeit of the contrapunto in

Florian Vogt

11:00-11:30

On the Technique of Canon in Russian Baroque Music (on the Example of Polychoral Works by Vassily

Natalia Plotnikova

11:30-12:00

Der Akt des Komponierens als Temperierung – Zum Verhältnis von Kontrapunkt, Chromatik und Harmonik im Schaffen von Heinrich

Julian Habryka

09:00-09:30

Cultural and Political Overtones: Understanding multiple identity through performance-led analyses of Isang Yun’s Interludium A

Jin Hyung Lim

09:30-10:00

Timbre and Variations: Exploring Sound in Vivier’s Zipangu (1980)

Mylène Gioffredo

10:00-11:00

Alfred Schnittke's String Quartet No. 3 and the Uses of Quotation

Christopher Segall

11:00-11:30

Seeking Schubert in Aribert Reimann's _Mignon_ (1995)

Frankie Perry

11:30-12:00

Considérations sur Une méthode d’analyse musicale et de composition de Marina Scriabine (1953)

Daniele Buccio

12:00-12:30

Analyse génétique à long terme des pratiques compositionnelles. Le cas d’Alberto Posadas (1967)

José L. Besada

09:00-09:30

The Simpfonie according to Riepel

Stefan Eckert

09:30-10:00

The Minor-Mode Sonata Rondo as Expressive Subgenre

Joan Huguet

10:00-11:00

Mozart’s “Great” C-Minor Mass and the New Formenlehre: An Exercise in Comparative Analysis

James Dinardo

11:00-11:30

"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

Veijo Murtomäki, Timothy Jackson

11:30-12:00

Eisler’s Klavierstücke für Kinder as Kompositionslehre: Composition, Analysis, Pedagogy

Áine Heneghan

12:00-12:30

Choose your own sonata form: Adventures in analysis

Meghan Naxer, Richard Devore

09:00-09:30

"Double Function" Sonata Forms in Franck's Late Chamber Music

Carissa Reddick

09:30-10:00

Chopin's Ternary Preludes

Wayne Petty

10:00-11:00

Chopin’s Semitonal Modulations in Formal Designs

Heewon Chung

11:00-11:30

Form in Mendelssohn’s late chamber music: Thematic, textural and timbral saliency in the Quartet Op. 80 and Quintet Op.

Benedict Taylor

11:30-12:00

La Barcarolle op. 60 de Chopin : esthétique du dernier style et métaphore de l’apothéose

Julie Walker

12:00-12:30

Form, Syntax and the Problem of Late Style in Mendelssohn’s String Quartet Op. 80

Julian Horton

09:00-09:30

Charles Ives's Associations with Kaiser Wilhelm II, Compositional Effects, and Present-day Listening

Chelsey Hamm

09:30-10:00

Tonality and Prolongation in Roger Sessions' Second Symphony

David Hier

10:00-11:00

"I Saw You and the World Went Away": Leonard Bernstein and Modulatory Practices in the Broadway

Dan Blim

11:00-11:30

To weave time: the late music of Morton Feldman through the example of Violin and String Quartet

Jean-Baptiste Masson

11:30-12:00

Narrative and Metaphor in Elliott Carter’s String Quartet No. 1

Laura Emmery

14:00-14:30

The Role of the Medial Caesura in Schubert’s Over-Determined Transitions

Gabriel Navia

14:30-15:00

Becoming Time: Cyclicity in Schubert’s Extended Secondary Theme

Yi Eun Chung

15:00-15:30

Formal Function Anomalies in Schubert's Late Sonata Forms and the Lyrical Impulse"

Brian Black

14:00-14:30

Pure Theory, Impure Analysis

Matteo Magarotto

14:30-15:00

L’herméneutique au regard de la tripartition de Jean Molino ; l’exemple de la Scène aux champs d’Hector

Claude Abromont

15:00-15:30

analysis, hermeneutics, communication

Mario Baroni

14:00-14:30

Playing with Shadows: The Reinjection Loop as Historical Memory in Georg Friedrich Haas’s Live-elektronische

Landon Morrison

14:30-15:00

Spectral Processes in Alvin Lucier’s Twonings

Tim Bausch

15:00-15:30

Collaborative Creation in Electroacoustic Music. Comparative analysis of three case studies.

Laura Zattra

14:00-14:30

Analysis of digital e-sketches: case study Marco Stroppa

Giacomo Albert

14:30-15:00

The analysis of music for performers and real-time electronics: an interactive aural approach from the [ANONYMISED]

Michael Clarke, Frédéric Dufeu, Peter Manning

15:00-15:30

Transformation analysis of the relations between acoustic instruments and electronics in mixed concert

Rene Mogensen

14:00-14:30

Music Analysis and Process

Christopher Hasty

14:30-15:00

Classical Phenomenology and the Epistemological Clarification of Music Analysis

Jessica Wiskus

15:00-15:30

Musique, sémiologie musicale, musicologie : apports de l'heuristique musicale et de la philosophie de la

Ricardo Mandolini

14:00-14:30

Meta-Music and the Analytical Challenges of Jan W. Morthenson’s Music

Per Broman

14:30-15:00

An analytical study of repetition in recent Western art music: Bernhard Lang’s Differenz/Wiederholung 12 (Cellular Automata) for solo piano

Tobias Tschiedl

14:00-14:30

Analysing early 17th century music with concepts of music theorica and musica poetica – The analytical implications of early triadic concepts of Baryphonus and

Moritz Heffter

14:30-15:00

A New Model for Modal Analysis in Baroque Music

Michael Dodds

15:00-15:30

François Couperin's La Flore (Fifth Ordre): Motivic Replication, Approach to III, and Analytic

Stephen Slottow

14:00-14:30

Harmony as Cultural Hybrid: Reflection on the First Nationwide Music Theory Conference in China (Wuhan,

Wai-Ling Cheong

14:30-15:00

Tonality: semantic aspect

Liudmila Kazantseva

15:00-15:30

Dynamic Grammar of Tonality: the real-time understanding of tonal music

Duilio D'Alfonso

14:00-14:30

Closing a Gap Between Theory and Praxis. Friedrich Kalkbrenner’s Treatise on Harmony for Pianists

Stephan Lewandowski

14:30-15:00

The Role of Embodiment and Imagined, Supplemental Sound in the Analysis of Nineteenth-Century Piano

Hamish Robb

15:00-15:30

Il Capriccio VI di Niccolò Paganini: percorsi analitici attorno al problema performativo

Francesco Parrino, Carla Rebora

16:00-17:00

Deep Music: The Global Art-Science Music After Six Millennia

Robert Cogan