Académique Documents
Professionnel Documents
Culture Documents
2-4pm
Mark Delaere: ‘Self-Portrait with Boulez and Machaut (and Ligeti is there as well): Harrison Birtwistle’s Hoquetus Petrus’
Eve Poudrier: ‘The Interaction of Foreground and Middleground Polyrhythms in the Music of Carter’
Tiina Koivisto: ‘Modes of Temporality in Non-tonal Music’
Ethan Kaplan: ‘Space, Complexity, Rock Concerts: If There is Some Confusion, Who is to Blame?’
Mark Spicer: ‘What Makes a Great Chorus?’
Jan Butler: ‘High Fidelities: The Discourse of Authenticity and the Work of Jimi Hendrix’
Steen Kaargaard Nielsen: ‘Wife Murder as Child’s Game: On Eminem’s Performative Self-Dramatization’
Lilian Hickey: ‘Post-Kleinian Thought: Meaning and the Psyche in Twentieth-century Music’
Margaret Alexomanolaki: ‘Music and Meaning in TV Advertising: A Musical Application of Hall’s Representational Theories’
Emma Robertson: ‘Harmonious Relations? Music in the Rowntree and Cadbury Chocolate Factories in the Twentieth Century’
4-4,30pm: Tea
4,30-6,30pm
TR: Sacred Machines: Messiaen’s Relationship with Modernity, Technology and Automation (Symposium 1)
Chair: Nigel Simeone (University of Sheffield)
GR I: Discourses of Valorisation
Chair: Cecilia Wee (University of Sussex)
Marcel Cobussen: ‘Deconstructing the Canon of the New Spiritual Music Movement’
Anthony Gritten: ‘Contemporary Musical Judgements’
Ian Pace: ‘Verbal Discourse as Aesthetic Validation in Contemporary Music’
Claire Taylor-Jay: ‘The Composer’s Voice? Issues of Identity and Criteria of Musical Value’
GR II: Vocality
Chair: Jeongwon Joe (University of Cincinnati)
Megan Jenkins: ‘Artistic Subjectivity and Alienation in Berio’s Recital I (For Cathy)’
Wesley Phillips: ‘Homage to Ulysses: Joyce, Berio and the Vocal Absurd’
Grant Olwage: ‘Analysing Paul Robeson’s Voice’
Joshua Walden and Christopher Doll: ‘”Grow for Me”: Vocal Timbre and the Performance of Identity in Little Shop of Horrors’
8-9,30pm
9-10,30am
TR: Christian Wolff: Experimental Music and the Social Dimension (Symposium 2)
Stephen Chase: ‘Politicized Music/Musical Politics’
Clemens Gresser: ‘Christian Wolff, the Performer as Co-creator and the Redefinition of Relationships Between Composer and
Performer’
Philip Thomas: ‘A Performer’s View on Wolff’s Music’
GR I: Issues in Jazz
Chair: Peter Elsdon (University of Hull)
Catherine Parsonage: ‘Contextual Understanding of Avant-gardism: The Pre- and Post-war Avant-gardes in Jazz'
Tony Whyton: ‘Why take the G out of Genius?’
Michael T. Spencer: ‘“In the Blood”: Emotion, Blackness, and the Quest for Authenticity in ‘Cool’ Jazz, 1953-1963’
10,30-11am: Tea
11-12,30am
Laudan Nooshin: ‘Underground, Overground: Rock Music and Youth Discourses in Iran’
Manuel Sosa: ‘The Ear and the Eye: South-American Art Music, Painting and Sculpture, and their Relationship in the Second Half of
the Twentieth Century’
Noriko Manabe: ‘A Mulata’s Memory: Remembrance Themes and Mestizaje in the Musical Characterization of Coloured Women in
Cuban Zarzuelas’
2-3,30pm
David Toop, ‘Why Connections Are More Important than Dogma: Arguing for Open Listening rather than Closed Narratives’
3,30-4pm: Tea
4-6pm
TR: Round Table: ‘Marketing New Music: From Assimilation to Affiliation?’ (Symposium 4)
Nicholas Reyland (London Sinfonietta, Cardiff University – chair)
Karen Cardy (Marketing Manager, London Symphony Orchestra)
John Fosbrook (Promotion Manager, Chester Music/Novello & Co., formerly SPNM)
Stephen Goss (Composer and guitarist, University of Surrey)
Gillian Moore (Artistic Director, London Sinfonietta, Audience Development Projects Director, South Bank Centre)
Keith Potter (The Independent, Goldsmiths College)
Philip Tagney (Senior Producer BBC Radio 3, responsible for new music)
7,30-9pm
9-10,30am
Tatiana Ursova: ‘Interpreting Preludes and Fugues by Soviet Composers: Analysis of Polyphonic Texture from a Performer’s
Perspective’
David Carson Berry: ‘Stravinsky’s Array-Pathway Analogues in Context: The Concept of Anasystemic Variation Procedure’
Marina Lupishko: ‘The “Rejoicing Discovery” Revisited: Re-accentuation in Stravinsky’s Setting of Russian Folk Verse’
Tereza Havelkova: ‘Czech Contemporary Music after 1989: Postmodernism without Modernism’
Thomas Svatos: ‘The Two Ideologies of Miroslav Barvík and Bohuslav Martin ’s Legacy under Czechoslovak Communism’
10,30-11am: Tea
11-12,30am
TR: The Power of Disseminating Sounds: Interwar Market Forces Behind the New Sound Technologies
(Symposium 5)
Chair: Amanda Bayley (University of Wolverhampton)
Jenny Doctor: ‘What’s “New” in the Formula? The Transmission of Novelties in the Interwar Proms’
Timothy Day: ‘New Music, New Technologies, and New Audiences between the Wars’
Claire Launchbury: ‘BBC Overseas Music Policy and Broadcasts to France during the Second World War’
1-1,45pm
GR II: Society for Music Analysis Annual General Meeting (Members Only)
1,45-2,30pm
Debating Chamber (Falmer House, First Floor): Lunch-time Recital – Electro-acoustic Music
Jonathan Harvey will present his Ritual Melodies and Mortuos plango, vivos voco in conversation with Ed Hughes.
2,30-4,30pm
Lois Fitch: ‘Adorno and Deleuze: A Dialectical Relationship in the Music and Thought of Brian Ferneyhough’
Andrew Timms: ‘Modernism’s Moment of Plenitude’
Edward Campbell: ‘Boulez, Souvtchinsky and Dialectical Thinking: An Exercise in Genealogy’
Celina Wood: ‘A Crisis of Identity: Boulez, Modernism and Reception’
4,30-5pm: Tea
5-7pm
GR II: Prokofiev
Chair: N.N.
7,30pm
9-10,30am
TR: Tippett I: Aesthetic Contexts (Utopia, Melancholy and Other 'States of the Soul')
Chair: David Clarke (University of Newcastle upon Tyne)
Arnold Whittall: ‘The Bright Side of Utopia: Rhetoric and Allusion in The Midsummer Marriage’
Christopher Mark: ‘Tippett and Melancholy’
Iain Stannard: ‘Bergson and the Concept of ‘Flow’ in Tippett’s Concerto for Orchestra’
GR I: Ives
Chair: David Metzer (University of British Columbia)
10,30-11am: Tea
11am-1pm
William Brooks: ‘…from…to…In Flander’s Fields: Composers’ Reception of John McCrae’s Poem’
Benjamin Goose: ‘The Opernkrise: Criticism and the Control of Culture’
Nanette Nielsen: ‘Paul Bekker’s Opera Productions: A Critical Stage for Ethics’
Darla Crispin: ‘Some Noisy Ruminations on Susan Sontag’s “Aesthetics of Silence” (1967)’
John Dack: ‘The Electroacoustic Music of Henri Pousseur: Between the “Fixed” and the “Open”’
Danae Stefanou: ‘“Travellers, there are no paths…”? The Case for a Nomadology of Performance’
Amy Beal: ‘”Music is a Universal Human Right”: Musica Elettronica Viva in Rome, 1968’