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IXe congrès européen

d’Analyse musicale
9th European Music
Analysis Conference
ACCRA Approches contemporaines
de la création et de la réflexion artistiques

Université de Strasbourg

SMA

http://euromac2017.unistra.fr
The extended abstracts of papers and posters are available on-line
on the conference website.
The proceedings of EuroMAC 9 will be published on-line
after the conference.

Graphic design/Conception graphique


Jean-Marc CHOUVEL
Programme book design/Conception du livret du programme
Alexandre FREUND-LEHMANN (supervision)
Xavier HASCHER Sandrine BANDURA
Nathalie HÉROLD Mathilde BATTAGLIA
Laura WALDVOGEL Nerea BERNABEU SEPULCRE
Website design/Conception du site Internet :
Studio Meta
Alexandre FREUND-LEHMANN (supervision)
Xavier HASCHER Mathilde BATTAGLIA
Nathalie HÉROLD Madeleine LE BOUTEILLER
Julie WALKER Nerea BERNABEU SEPULCRE
Sandrine BANDURA Laura WALDVOGEL
EasyChair system management/Gestion de la plateforme EasyChair
Pierre COUPRIE

© 2017, LabEx GREAM, 5 allée du Général Rouvillois, 67083 Strasbourg Cedex.


Toute reproduction ou représentation de ce programme, intégrale ou partielle, serait
illicite sans l’autorisation de l’éditeur et constituerait une contrefaçon. Les cas
strictement limités à l’usage privé ou de citation sont régis par la loi du 11 mars 1957.
Sommaire

Un mot de bienvenue v
A Word of Welcome vii
Ein Willkommensgrußwort ix
Benvenuti xi

Remerciements xiii

Comités xv

Programme général 1

Thèmes des sessions préorganisées 23

Programme détaillé et résumés des présentations 41

Annexes 423
Détails pratiques 425
GREAM 429
IReMus 430
Index des auteurs 431
Index des modérateurs 437
Index des autres contributeurs 439

iii
Contents

Un mot de bienvenue v
A Word of Welcome vii
Ein Willkommensgrußwort ix
Benvenuti xi

Many thanks to... xiii

Committees and Advisory Boards xv

Programme Overview 1

Themes of Pre-organised Sessions 23

Detailed Programme and Abstracts of Presentations 41

Appendices 423
Practical Details 425
GREAM 429
IReMus 430
Index of Authors 431
Index of Chairs 437
Index of Other Contributors 439

iv
Un mot de bienvenue

Chers participants,
Bienvenue à Strasbourg pour le IXe congrès européen d’Analyse musicale ! Au nom
de tous ceux — personnes, institutions, organismes — qui ont été impliqués dans sa
préparation ou qui lui ont apporté leur soutien, j’ai le très grand plaisir de vous y
accueillir. Nous avons consacré tout le temps et l’énergie qu’il nous était possible,
toutes les ressources à notre disposition pour que ce congrès soit une réussite.
C’est pourquoi je souhaite vivement que ces journées contribuent à vous enrichir
tant sur le plan intellectuel et musical — avec les nombreuses communications et
conférences qui sont proposées pendant la durée de celles-ci mais aussi les concerts
qui leur sont associés — que sur le plan humain, grâce aux conversations formelles
et informelles, scientifiques ou personnelles, que vous pourrez y avoir.
Chaque congrès européen d’Analyse musicale se situe dans la continuité des
précédents et tient compte de leur expérience accumulée, de même que celle
d’autres rencontres scientifiques dans des domaines éventuellement différents.
Chacun est aussi confronté aux particularités et aux limites qui tiennent aux
formes d’organisation nationales ou locales de l’enseignement supérieur et de la
recherche. Pour le présent congrès, nous avons souhaité privilégier la diversité
linguistique et culturelle ainsi qu’accorder une attention particulière aux jeunes
chercheurs. Des ateliers leur sont ainsi particulièrement destinés, qui viennent en
complément du programme du congrès. Malgré leur orientation spécifique, ces
ateliers sont évidemment ouverts à tous.
Un colloque, encore plus un congrès de cette dimension, est l’occasion pour
chacun de présenter sa recherche devant la communauté des autres chercheurs
et de la faire profiter de l’aboutissement de son travail, ou au moins d’une étape
significative dans la progression de celui-ci. C’est l’occasion de recueillir les
critiques et les suggestions, de constater à travers les questions posées les points
qui resteraient à renforcer ou à améliorer. Mais aussi, c’est l’occasion d’apprendre
des autres participants et de les faire bénéficier en retour de sa propre expérience
en assistant à leur présentation et en intervenant à la suite de celle-ci.
C’est l’occasion, peut-être même encore plus, de tirer parti de l’espace de rencontre
que constitue ce congrès pour renouer des liens et en tisser de nouveaux. Les
pauses café et les pauses déjeuner, les réceptions, concerts et dîners ne sont pas que
des parenthèses mais font au contraire partie de ce que doit être un congrès, et qui
va au-delà de la somme des communications qui y sont données. Une rencontre telle
que celle-ci doit pouvoir inspirer et redynamiser tous ceux qui y participent, leur
rappeler qu’ils ne sont pas que des individus isolés mais qu’ils appartiennent à une
communauté large, celle de leur discipline scientifique.

v
9th European Music Analysis Conference

En parcourant ce programme, vous constaterez à quel point il est large et varié


par les thématiques traitées, le nombre et la diversité des séances, mais encore
l’origine des intervenants. On ne peut que se féliciter de la vitalité de notre
domaine, que nous l’appelions « analyse » ou « théorie » musicale. Les congrès
européens d’Analyse ont progressivement et depuis longtemps cessé de s’adresser
uniquement aux chercheurs résidant à l’intérieur des frontières de l’Europe,
dépassant l’opposition entre Europe de l’Est et Europe de l’Ouest, dépassant même
la confrontation entre Europe et Amérique du Nord, pour concerner à présent le
monde entier.
C’est une joie et un honneur pour nous d’accueillir des personnes d’horizons aussi
multiples. Il ne faudrait pas que l’exigence d’une langue unique et d’approches
unifiées réduise cette diversité au nom d’enjeux qui tiennent davantage au
pouvoir, à la domination politique et à la puissance économique, qu’à la curiosité
intellectuelle sans entraves et à la libre recherche de la connaissance. Que
ce congrès soit le lieu de la coopération et de l’émulation, et non celui de la
concurrence et de l’individualisme.
Le IXe congrès européen d’Analyse musicale est organisé par le laboratoire
d’excellence Groupe de recherches expérimentales sur l’acte musical (LabEx
GREAM) de l’université de Strasbourg, à l’initiative de la Société française
d’analyse musicale (SFAM) et en collaboration avec celle-ci ainsi que l’ensemble
des sociétés européennes d’analyse musicale : Gesellschaft für Musiktheorie
(GMTH), Gruppo Analisi e Teoria musicale (GATM), Polskie Towarzystwo Analizy
Muzycznej (PTAM), Société belge d’analyse musicale (SBAM), Society for Music
Analysis (SMA), Russian Society for the Theory of Music (OTM), Vereniging
voor Muziektheorie (VvM). Il bénéficie du soutien de l’Institut de recherche en
musicologie (IReMus, UMR 8223) à Paris, du conseil scientifique et du service
d’action culturelle de l’université de Strasbourg et de l’équipe d’accueil Approches
contemporaines de la réflexion et de la création artistiques (ACCRA, EA 3402),
du conseil scientifique et de l’école doctorale V de l’université Paris-Sorbonne,
du conservatoire de Strasbourg, de l’Eurométropole de Strasbourg et du Shadok-
fabrique du numérique de Strasbourg.
De la part du comité d’organisation, du comité scientifique, du comité consultatif
européen et du comité consultatif d’évaluation des propositions du IXe congrès
européen d’Analyse musicale et de la part de tous ses partenaires, je vous souhaite
un excellent congrès et un très agréable séjour à Strasbourg.

Xavier Hascher
Président du comité d’organisation
IXe congrès européen d’Analyse musicale

vi
A word of welcome

Dear conference delegates,


Welcome to Strasbourg for the 9th European Musical Analysis Conference!
On behalf of the people, institutions and organisations that have been involved in
its preparation or who have lent their support, I would like to express how delighted
we are to see you all here. A lot of time and energy has been spent, and all the
resources at our disposal have been mobilised to make this conference a success. I
truly hope that the next four days will contribute to broadening our horizons both
intellectually and musically via the many papers, lectures and talks we will be
hearing during the conference and the concerts associated with them. I also hope
this event will allow us to enrich ourselves on a human level through the formal,
informal, academic and personal conversations we shall surely have.
Each European Music Analysis Conference builds on those that have been held
before and takes into account the accumulated experience that has been gained, as
well as that of other scholarly meetings in different fields. All successive convenors
are faced moreover with the distinctive characteristics and limitations that underpin
our respective national or local forms of organisation in higher education and
research. For this conference we wanted to give priority to linguistic and cultural
diversity and to ensure a platform for young researchers. Specific workshops have
therefore been organised for them that will complement the overall agenda of the
conference. Despite their specific focus, these workshops are open to all.
A conference, and even more so one of this size, is an opportunity for each to
present their research before a community of fellow scholars and to share the
outcomes of our work or at least the significant steps that have so far been covered.
It is an opportunity to get comments and suggestions, and to see the points that need
to be expanded or improved via the questions raised during discussions. But it is
also an opportunity to learn something from other delegates and to let them in turn
benefit from one’s own experience by attending their presentations and responding
to them.
It is, moreover, an ideal occasion for delegates to renew the ties that exist between
us and to forge new contacts. The coffee breaks, lunches, receptions, concerts, and
dinners serve not only as necessary ‘interludes’ to the presentations and lectures;
they are a vital feature of what a conference should be beyond the purely academic
aspect. A meeting such as this one should inspire and rejuvenate those who
participate in it, and remind us all that we are not isolated individuals but rather
members of a wider community operating in our chosen areas of interest.

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9th European Music Analysis Conference

As you go through this programme, you will see how broad and varied it is in
terms of the topics covered, the number and diversity of the sessions, as well as
the geographic origins of the speakers. We should be proud of the dynamism that
currently underpins the field we either call music’ analysis’ or ‘theory’. For many
years now, European music Analysis conferences have gradually gone beyond
addressing only researchers residing within Europe; distinctions between Eastern
and Western Europe have been left behind; divergences between Europe and North
America have been surpassed; as of now, music analysis conferences are a world-
wide affair.
It is a joy and an honour for us to welcome people from so many backgrounds. The
expectation of a single language and unified, standardised approaches should not
infringe on this diversity in the name of issues that are more about the dynamics of
power, political domination and economic interests than the unrestricted pursuit of
intellectual curiosity and search for knowledge. We sincerely believe therefore that
this conference should be a venue for cooperation and emulation, and not an arena
for competition and individualism.
The 9th European Music Analysis conference has been organised by the University
of Strasbourg’s Experimental Research Group into Music in Act (GRÉAM) in
collaboration with the Société française d’analyse musicale (SFAM) and the
other European music analysis societies: Gesellschaft für Musiktheorie (GMTH),
Gruppo Analisi e Teoria musicale (GATM), Polskie Towarzystwo Analizy
Muzycznej (PTAM), Société belge d’analyse musicale (SBAM), Society for Music
Analysis (SMA), Russian Society for the Theory of Music (OTM), Vereniging voor
Muziektheorie (VvM). It is supported by the Institut de recherche en musicologie
(IReMus, UMR 8223) in Paris, the Scientific Board, the Department of Cultural
Outreach and the Arts research team Approches contemporaines de la réflexion
et de la création artistiques (ACCRA, EA 3402) of the University of Strasbourg,
the Scientific Board and Doctoral College No. 5 of Paris-Sorbonne University, the
Strasbourg Conservatoire, the Eurometropolis of Strasbourg and the Shadok centre
of digital culture in Strasbourg.
On behalf of the Organising Committee, the European Advisory Board, the
Programme Committee, and the Scientific Advisory Board for the 9th European
Musical Analysis Conference and all its partners, I wish you an excellent
conference and a very pleasant stay in Strasbourg.

Xavier Hascher
Chair, Organising Committee for the
9th European Music Analysis Conference

viii
Ein Willkommensgrußwort
Liebe Teilnehmer,
Willkommen in Strasbourg zum IX. Europäischen Kongress für müsikalische
Analyse! Im Namen all jener – Personen, Institutionen, Organisationen – die mit
seiner Vorbereitung zu tun hatten oder ihre Unterstützung einbrachten, habe ich
das außerordentlich große Vergnügen, Sie zu begrüßen. Wir haben alle Zeit und
Energie und alle uns zur Verfügung stehenden Mittel aufgewandt, damit dieser
Kongress ein Erfolg wird. Deshalb wünsche ich sehr, dass diese Tage zu Ihrer
Bereicherung sowohl auf intellektueller wie auf musikalischer Ebene beitragen
– mit den zahlreichen für die Dauer dieser Zeit vorgesehenen Beiträgen und
Konferenzen, aber auch mit den ihnen verbundenen Konzerten – sowie auf der
menschlichen Ebene, dank der formellen und informellen, der wissenschaftlichen
oder persönlichen Konversationen, die zwischen Ihnen stattfinden können.
Jeder Europäische Kongress musikalischer Analyse findet sich in der Kontinuität
der vorangehenden und berücksichtigt ihre gesammelten Erfahrungen, ebenso wie
jene anderer wissenschaftlicher Begegnungen in vielleicht anderen Sachbereichen.
Jeder sieht sich auch mit den Besonderheiten und Begrenzungen konfrontiert, die
aus den nationalen oder lokalen Organisationsformen der Hochschullehre und
der Forschung resultieren. Für unseren Kongress wollten wir die linguistische
und kulturelle Vielfalt privilegieren und den jungen Wissenschaftlern besondere
Aufmerksamkeit widmen. Zusätzlich zum Programm gibt es speziell an sie
gerichtete Ateliers. Trotz ihrer spezifischen Ausrichtung sind diese Ateliers natürlich
für alle offen.
Ein Kolloquium und noch mehr ein Kongress dieser Dimension sind eine
Gelegenheit für jeden, seine Forschungsarbeit vor der Gemeinschaft anderer
Wissenschaftler zu präsentieren und ihre Ergebnisse zu zeigen, oder wenigstens
eine bedeutsame Etappe in ihrem Voranschreiten. Es ist auch die Gelegenheit,
Kritiken und Hinweise entgegenzunehmen, durch Fragen die Punkte zu bemerken,
die zu verstärken oder zu verbessern sind. Aber auch im Gegenzug die anderen
Teilnehmer von seinen eigenen Erfahrungen profitieren zu lassen, indem man an
ihren Vorstellungen teilnimmt und dort das Wort ergreift.
Es ist vielleicht auch noch mehr die Gelegenheit, vom Begegnungsraum, den der
Kongress bietet, Vorteile zu erzielen, um Verbindungen zu erneuern und neue zu
knüpfen. Die Kaffee- und die Essenspausen, die Empfänge, Konzerte und Diners
sind nur Zwischenräume, aber gehören um so mehr dazu, was einen Kongress
ausmacht und reichen über die Summe der Beiträge die stattfinden, hinaus. Eine
Begegnung solcher Art muss alle Teilnehmenden inspirieren und wiederbeleben
können, ihnen in Erinnerung rufen, dass sie nicht nur isolierte Individuen sind,
sondern zu einer großen Gemeinschaft gehören, der ihres wissenschaftlichen
Faches.

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9th European Music Analysis Conference

Wenn Sie sich das Programm anschauen, werden Sie feststellen, wie reich und
verschieden es durch die behandelten Themen, die Anzahl und Vielfältigkeit der
Veranstaltungen, aber mehr noch durch die Herkunft der Teilnehmer ist. Wir
können uns nur zur Vitalität unseres Faches beglückwünschen, welches wir „Musik-
Analyse“ oder „-Theorie“ nennen. Die europäischen Analysekongresse haben
stetig und seit langem aufgehört, sich ausschließlich an die Wissenschaftler zu
richten, die in den inneren Grenzen Europas leben, dabei den Gegensatz zwischen
Ost- und Westeuropa überwindend, selbst die Konfrontation zwischen Europa und
Nordamerika überwindend, um nun die ganze Welt einzubeziehen.
Es ist uns eine Freude und eine Ehre, Personen mit so verschiedenen
Gesichtskreisen zu empfangen. Die Inanspruchnahme einer einzigen Sprache
und vereinheitlichter Ansätze darf diese Vielfältigkeit nicht im Namen von
Dingen reduzieren, die in Zusammenhang mit Macht, politischer Bestimmung
und ökonomischer Stärke stehen, sondern einzig intellektuelle Neugierde ohne
Schranken und freie Suche nach Erkenntnissen stehen im Mittelpunkt. Sei dieser
Kongress ein Ort der Zusammenarbeit und des Wetteiferns und keiner der
Konkurrenz und des Individualismus.
Der IX. Europäische Kongress für musikalische Analyse wird auf Initiative der
Französischen Gesellschaft musikalischer Analyse (SFAM) und in Zusammenarbeit
mit dieser sowie dem Ensemble der Europäischen Gesellschaften musikalischer
Analyse: der Gesellschaft für Musiktheorie (GMTH), Gruppo Analisi e Teoria
musicale (GATM), Polskie Towarzystwo Analizy Muzycznej (PTAM), Société belge
d’analyse musicale (SBAM), Society for Music Analysis (SMA), Russian Society for
the Theory of Music (OTM), Vereniging voor Muziektheorie (VvM) vom Laboratoire
d’excellence Groupe de recherche expérimentale sur l’acte musical (LabEx
GREAM) der Strasbourger Universität organisiert. Er erhält Unterstützung vom
Musikwissenschaftlichen Forschungsinstitut (IReMus, UMR 8223) in Paris, dem
wissenschaftlichen Beirat und dem Service der Kulturellen Aktion (action culturelle)
der Strasbourger Universität und dem Empfangsteam „Approches contemporaines
de la réflexion et de la création artistiques“ (ACCRA, EA 3402), dem
wissenschaftlichen Beirat und der „école doctorale V“ der Sorbonne-Universität
Paris, dem Strasbourger Konservatorium, der Eurométropole Strasbourg und
der digitalen Shadok-Fabrik Strasbourg. Im Namen des Organisationsteams, dem
wissenschaftlichen Komitee, dem konsultativen europäischen Komitee und dem
konsultativen Evaluationskomitee der Vorschläge zum IX. Kongress musikalischer
Analyse und im Namen all seiner Partner, wünsche ich Ihnen einen ausgezeichneten
Kongress und einen angenehmen Aufenthalt in Strasbourg.

Xavier Hascher
Vorsitzender des Organisationskomitees
IX. Europäische Kongress für musikalischer Analyse

x
Benvenuti

Cari partecipanti,
Benvenuti a Strasburgo per il IX° congresso europeo di Analisi musicale! In nome
di tutti e di tutte le persone, istituzioni ed enti coinvolti nei preparativi e di tutti
quelli che hanno dato il loro appoggio, é per me un immenso piacere accogliervi
qui. Abbiamo dedicato il massimo di tempo ed energia attingendo ad ogni risorsa a
nostra disposizione per far si’ che questo congresso sia un successo. E’ per questo
motivo che mi auguro che queste giornate possano arricchirvi tanto dal punto di
vista intellettuale e musicale — con le innumerevoli comunicazioni e conferenze
proposte, oltre ai vari concerti cui esse sono associate — quanto dal punto di vista
umano grazie alle conversazioni formali ed informali, accademiche o personali,
che avrete l’opportunità di condividere.
Ogni congresso europeo di Analisi musicale si colloca nella continuità dei
precedenti tenendo conto del cumulo di esperienze oltre ai vari incontri accademici,
magari in campi diversi. Ognuno di noi deve anche confrontarsi con le varie
particolarità ed i limiti stabiliti da forme di organizzazione nazionale o locale
dell’istruzione superiore e della ricerca. Nell’ambito di questo congresso, é stato
auspicable dare un privilegio alla diversità linguistica e culturale prestando al
contempo un’attenzione particolare ai più giovani ricercatori. A loro si indirizzano
i vari laboratori aggiunti al programma del congresso; ovviamente, ognuno é
invitato a parteciparvi malgrado il loro orientamento specialistico.
Un convegno di queste dimensioni regala ad ognuno di noi l’opportunità di
presentare le proprie ricerche al cospetto della comunità di altri ricercatori e di
far si’ che essa tragga profitto dal lavoro portato a termine o perlomeno da quello
che ha raggiunto una tappa significativa del suo percorso. E’ dunque l’opportunità
di raccogliere critiche e suggerimenti ed anche di rivedere i punti da rinforzare o
da migliorare attraverso le domande poste. Ma é anche l’opportunità di imparare
dagli altri partecipanti e far si’, anche in questo caso, che essi possano a loro volta
trarre profitto da tale esperienza andando ad ascoltare gli interventi degli altri e
magari coinvolgendosi tramite domande da porre in seguito.
Ed é maggiormente l’opportunità di avvalersi dello spazio di incontri costituiti
da questo convegno per poter riallacciare legami oltre che a crearne dei nuovi.
Le pause per il caffé o per il pranzo, ricevimenti, concerti e cene sono più che
parentesi in quanto fanno parte di cio’ che dev’essere un congresso – e questo va
al di là della somma delle comunicazioni che vi sono state presentate. Incontri
di questo genere dovrebbero dare ispirazione e dinamismo a tutti i partecipanti,
ricordando che non siamo solo individui in isolamento ma che facciamo parte di
un’ampia comunità, ovvero quella della nostra disciplina accademica.

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9th European Music Analysis Conference

Dando una semplice occhiata al programma, si vedrà a che punto esso dimostri
ampiezza e diversità in virtù delle varie tematiche accostate, della quantità e
della diversità delle sedute, oltre all’origine dei partecipanti. Non si puo’ fare
altro che congratularsi della vitalità del nostro campo di ricerche, che esso venga
denominato « analisi » oppure « teoria » musicale. Ogni congresso europeo
di Analisi ha ormai smesso di rivolgersi esclusivamente a dei ricercatori il cui
luogo di residenza si trovi entro le frontiere europee, superando l’opposizione
fra l’Europa dell’Est e l’Europa dell’Ovest, e superando – se volessimo cosi’
coinvolgere il mondo intero – persino ogni confronto fra l’Europa e l’America del
Nord.
E’ per noi una gioia e un onore accogliere tante persone dai molteplici orizzonti.
Spero che l’esigenza di una sola lingua et di approcci unificati non riduca tale
diversità a delle questioni legate più al potere, al dominio politico e alla potenza
economica e meno alla curiosità intellettuale e alla ricerca libera del sapere senza
ostacoli. Questo congresso é un luogo di cooperazione e di emulazione; non di
concorrenza e d’individualismo!
Il IX° congresso europeo di Analisi musicale é stato organizzato dal laboratorio
d’eccellenza Groupe de recherches expérimentales sur l’acte musical (LabEx
GREAM) dell’università di Strasburgo grazie all’iniziativa della Société française
d’analyse musicale (SFAM) in collaborazione con quest’ultima oltre all’insieme
delle società europee di analisi musicale: la Gesellschaft für Musiktheorie (GMTH),
il Gruppo Analisi e Teoria musicale (GATM), il Polskie Towarzystwo Analizy
Muzycznej (PTAM), la Société belge d’analyse musicale (SBAM), la Society
for Music Analysis (SMA), la Russian Society for the Theory of Music (OTM)
e la Vereniging voor Muziektheorie (VvM). Il convegno é stato sovvenzionato
dall’Institut de recherche en musicologie (IReMus, UMR 8223) di Parigi, dal
comitato scientifico e dal servizio d’azione culturale dell’università di Strasburgo
oltre che dal gruppo di accoglienza Approches contemporaines de la réflexion
et de la création artistiques (ACCRA, EA 3402), dal comitato scientifico e dalla
scuola dottorale V dell’università Paris-Sorbonne, dal conservatorio di Strasburgo,
dall’Eurométropole di Strasburgo e dal Shadok-fabrique du numérique di
Strasburgo.
Da parte del comitato organizzativo, del comitato scientifico, del comitato
consultativo europeo e del comitato consultativo di valutazione delle proposte del
IX° congresso europeo di Analisi musicale e da parte di ogni collaboratore, vi
auguro un felicissimo convegno ed un gradevolissimo soggiorno qui a Strasburgo.

Xavier Hascher
Presidente del comitato organizzativo
IX° congresso europeo di Analisi musicale

xii
Remerciements

Many thanks to...


Our partners
Michel DENEKEN (President, University of Strasbourg)
Catherine FLORENTZ (Vice-President for Research, University of Strasbourg)
Alessandro ARBO (Head of GRÉAM – Groupe de recherches expérimentales sur l’acte
musical/Experimental Research Group into Music in Act)
Pierre MICHEL (GRÉAM)
Daniel PAYOT (Head of the Arts research team ACCRA – Approches contemporaines
de la réflexion et de la création artistiques/Contemporary Approaches to Artistic Creative
Practice and Theory)
Sandrine MANSION (Faculté des Arts et ACCRA/Arts Faculty and ACCRA, University of
Strasbourg)
Marie-Noëlle MASSON (Chair of SFAM – Société française d’analyse musicale/French
Society for Musical Analysis)
Jean-Michel BARDEZ (SFAM)
Barthélémy JOBERT (Président, University Paris IV-Sorbonne)
Cécile DAVY-RIGAUX (Head of IReMus – Institut de recherche en musicologie/Institute
for Musicological Research, Paris)
Catherine MARCO (Strasbourg Conservatoire)
Géraldine FARAGE (Director of the Shadok centre for digital culture)
Isabelle PECUNIA (Shadok centre for digital culture)
Marie-Hélène BONNOT (Deputy director in charge of culture at the Eurometropolis of
Strasbourg)
Bernard STRAUSS (Head of SUAC – Service universitaire de l’action culturelle/
Department of Cultural Outreach, University of Strasbourg)
Sophie HEDTMANN (SUAC, University of Strasbourg)
Alice ULLMANN (Mission Investissements d’avenir/Investments for the Future
assignment manager, University of Strasbourg)
Serge SAETTLE (Payments manager, University of Strasbourg)
Stéphane LEY (DRI – Direction des relations internationals/International Relations
Office, University of Strasbourg)
Christine MAILLARD (Director of MISHA – Maison interuniversitaire des sciences
de l’homme – Alsace/Interuniversity Centre for the Humanities – Alsace, University of
Strasbourg)
Elhoussaine OUSSIALI (General secretary of MISHA, University of Strasbourg)
Fabio MISSAGGIA (Artistic director of Ensemble ‘I Musicali Affetti’)
Séverine CAPPIELLO (Director of Percussions de Strasbourg)
Lucie LENG (Percussions de Strasbourg)
Michael APPLEMAN (Violonist)

xiii
9th European Music Analysis Conference

Our staff for the edition of the Programme book and the Website
Sandrine BANDURA
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Nerea BERNABEU
Madeleine LE BOUTEILLER
Alexandre FREUND-LEHMANN
Laura WALDVOGEL
Julie WALKER

Our translators
Aurelio BIANCO (Italian)
Philip CLARKE (English)
Amanda HASCHER (English)
Annette SCHLÜNZ (German)
Giancarlo SICILIANO (Italian)

Our suppliers
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of Maintenance and Logistics-Administration and Finance Management, University of
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Services, University of Strasbourg)
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Publima (Conference accessories)

Our student staff

xiv
Comités

Committees and
Advisory Boards
Organising Committee

Xavier HASCHER
Université de Strasbourg
GREAM – ACCRA – SFAM
xhascher@unistra.fr

Nathalie HÉROLD
Université de Strasbourg
GREAM – ACCRA – SFAM (Secretary)
nathalieherold@htomail.com

Pierre COUPRIE
Université Paris-Sorbonne
IReMus – SFAM (Secretary)
pierre.couprie@paris-sorbonne.fr

Jean-Marc CHOUVEL
Université Paris-Sorbonne
IReMus – SFAM (Vice-president)
jean-marc.chouvel@paris-sorbonne.fr

General Secretary

Alexandre FREUND-LEHMANN
Scientific and financial manager
Project coordinator of GREAM
freundlehmann@unistra.fr

xvii
Programme Committee

Jean-Pierre BARTOLI Julia KURSELL


Université Paris-Sorbonne Universiteit van Amsterdam
jean-pierre.bartoli@paris-sorbonne.fr j.j.e.kursell@uva.nl

William DRABKIN Gesine SCHRÖDER


University of Southampton Universität für Musik
w.m.drabkin@soton.ac.uk und darstellende Kunst Wien,
gcm.schroeder@gmx.de
Catello GALLOTTI
Conservatorio di Musica Konstantin ZENKIN
Giuseppe Martucci, Salerno P. I. Tchaikovsky Conservatory, Moscow
catellogallotti@gmail.com kzenkin@list.ru

European Advisory Board

Jean-Michel BARDEZ John KOSLOVSKY


SFAM, France VvM, The Netherlands
jmbardez@orange.fr john.koslovsky@ahk.nl

Rossana DALMONTE Nicolas MEEÙS


GATM, Italy SBAM, Belgium
dalmonterossana@gmail.com nicolas.meeus@paris-sorbonne.fr

Julian HORTON Birger PETERSEN


SMA, United Kingdom GMTH, Germany
julian.horton@durham.ac.uk birger@uni-mainz.de

Ildar KHANNANOV Slawomira ŻERAŃSKA-KOMINEK


OTM, Russia PTAM, Poland
etudetableau@gmail.com s.kominek@uw.edu.pl

xviii
Scientific Advisory Board

Claude ABROMONT Antonio CASCELLI


Conservatoire national supérieur de musique Maynooth University, Ireland
et de danse de Paris, France
Alessandro CECCHI
Anna Rita ADDESSI Università di Pisa, Italy
Università di Bologna, Italy
Anne-Emmanuelle CEULEMANS
Moreno ANDREATTA Université catholique de Louvain, Musée
CNRS, France des instruments de musique de Bruxelles,
Belgium
Oana ANDREICA
Académie musicale “Gheorghe Dima” de Martin CLAYTON
Cluj-Napoca, Romania Durham University, United Kingdom

Mondher AYARI Mark DELAERE


Université de Strasbourg, France Katholieke Universiteit Leuven, Belgium

Mario BARONI François DELALANDE


Università di Bologna, Italy
INA-GRM, France

Amanda BAYLEY
Jean-Pierre DELEUZE
Bath Spa University, United Kingdom
Conservatoire royal de Mons, Belgium
Barbara BLEIJ
Conservatorium van Amsterdam, Nicolas DONIN
The Netherlands IRCAM, France

Beata BOLESLAWSKA- Stephen DOWNES


Royal Holloway, University of London,
LEWANDOWSKA
United Kingdom
Institute of Art, Polish Academy of
Sciences, Poland
Jan EZENDAM
Conservatorium Maastricht, The Netherlands
Gianmario BORIO
Università degli studi di Pavia, Italy
Franco FABBRI
Conservatorio « Arrigo Boito » di Parma,
Bruno BOSSIS
Italy
Université Rennes 2, France

David BURN Folker FROEBE


Katholieke Universiteit Leuven, Belgium Hochschule für Musik und Theater München,
Germany

xix
9th European Music Analysis Conference

Małgorzata GAMRAT Shay LOYA


University of Warsaw, Poland City University, London, United Kingdom

Philippe GANTCHOULA Ignazio MACCHIARELLA


École normale de musique de Paris, France Università degli studi di Cagliari, Italy

Philippe GONIN François MADURELL


Université de Bourgogne, France Université Paris-Sorbonne, France

Daniel GRIMLEY Teresa MALECKA


University of Oxford, United Kingdom Academy of Music in Kraków, Poland

Richard HERMANN Mikhail MALT


University of New Mexico, IRCAM, France
United States of America
Marco MANGANI
Ludwig HOLTMEIER Università degli studi di Ferrara, Italy
Hochschule für Musik Freiburg,
Albert-Ludwigs Universität, Germany José Oliveira MARTINS
Portuguese Catholic University, Porto,
Justyna HUMIĘCKA-JAKUBOWSKA Portugal
Adam Mickiewicz University in Poznań,
Poland Marie-Noëlle MASSON
Université Rennes 2, France
Steven JAN
University of Huddersfield, United Kingdom Nathalie MEIDHOF
Hochschule für Musik Freiburg, Germany
Martin KALTENECKER
Université Paris-Diderot, France Allan MOORE
University of Surrey, United Kingdom
Marina KARASEVA
Moscow Tchaikovsky Conservatory, Russia Markus NEUWIRTH
Katholieke Universiteit Leuven, Belgium
Valentina KHOLOPOVA
Moscow Tchaikovsky Conservatory, Russia Thomas NOLL
Escola superior de música de Catalunya,
Philippe LALITTE Spain
Université de Bourgogne, France
Susanna PASTICCI
Iwona LINDSTEDT Università degli studi di Cassino, Italy
University of Warsaw, Poland

xx
IXe congrès européen d’Analyse musicale

François PICARD Kenneth SMITH


Université Paris-Sorbonne, France University of Liverpool, United Kingdom

Michael POLTH Michael SPITZER


Hochschule für Musik und darstellende Kunst University of Liverpool, United Kingdom
Mannheim, Germany
Irina SUSIDKO
Egidio POZZI Gnessins Music Academy of Russia,
Università della Calabria, Italy Russia

Nicholas REYLAND Iwona SWIDNICKA


Keele University, United Kingdom Fryderyk Chopin University of Music, Poland

Matthew RILEY Johannella TAFURI


University of Birmingham, United Kingdom Conservatorio di Musica « Giovan Battista
Martini », Bologna, Italy
Stefan ROHRINGER
Hochschule für Musik und Theater München, Benedict TAYLOR
Germany University of Edinburgh, United Kingdom

Giorgio SANGUINETTI Elena TOKUN


Università degli studi di Roma Moscow P. I. Tchaikovsky Conservatory,
« Tor Vergata », Italy Russia

Ewa SCHREIBER Christian UTZ


Adam Mickiewicz University in Poznań, Kunstuniversität Graz, Austria
Poland
Ed VENN
Michiel SCHUIJER University of Leeds, United Kingdom
Conservatorium van Amsterdam,
The Netherlands Alastair WILLIAMS
Keele University, United Kingdom
Hugues SERESS
Centre d’études supérieures de musique et de Laurence WUIDAR
danse de Poitiers, France Université de Genève, Switzerland

Daniel SHUTKO
St. Petersburg N. A. Rimsky-Korsakov
Conservatory, Russia

Renata SKUPIN
Stanislaw Moniuszko Music Academy in
Gdansk, Poland

xxi
Programme général

Programme Overview
Plenary sessions

N° Date Schedule Title Chair Room



28-6-17 09:00 Welcome address and - Cavaillès
| introduction Lecture
09:30 Xavier Hascher Hall
& Nathalie Hérold
p. 43

1 28-6-17 09:30 Plenary lecture: Jean-Marc Cavaillès


| L’analyse musicale, une Chouvel Lecture
10:30 discipline autonome ? Hall
Marie-Noëlle Masson
& Jean-Pierre Bartoli
p. 44–45

8 30-6-17 09:00 Poster session Pierre Cavaillès


| p. 237–252 Couprie Lecture
10:30 Hall

14 01-7-17 16:00 Plenary lecture: Xavier Cavaillès


| Deep Music: The Global Hascher Lecture
17:00 Art-Science Music Hall
After Six Millennia
Robert Cogan
p. 420–421

3
Semi-plenary sessions
N° Date Schedule Title Chair Room

4.A 28-6-17 17:00 Semi-plenary talk Nicolas Cavaillès


| Sémir Badir, Meeùs Lecture
17:45 p. 125 (SBAM) Hall

4.B 28-6-17 17:00 Semi-plenary talk Sławomira Lecture


| Iwona Lindstadt, Żerańska- Hall 4
17:45 p. 126 Kominek
(PTAM)

4.C 28-6-17 17:00 Semi-plenary talk Immanuel Lecture


| Stefan Rohringer, Ott Hall 5
17:45 p. 127 (GMTH)

7.A 29-6-17 17:00 Semi-plenary talk John Lecture


| Rudolf Rasch, Koslovsky Hall 4
17:45 p. 229 (VvM)

7.B 29-6-17 17:00 Semi-plenary talk Ildar


| Tania Tsaregradskaya, Khannanov Lecture
17:45 p. 230 (OTM) Hall 5

7.C 29-6-17 17:00 Semi-plenary talk Rossana Cavaillès


| Mario Baroni, Dalmonte Lecture
17:45 Anna Maria Bodin (GATM) Hall
Antonio Grande
Luca Marconi,
Egidio Pozzi,
p. 231–232

11.A 30-6-17 17:00 Semi-plenary talk Marie-Noëlle Lecture


| Bruno Bossis Masson Hall 4
17:45 p. 325 (SFAM)

11.B 30-6-17 17:00 Semi-plenary talk Julian Cavaillès


| Michael Spitzer, Horton Lecture
17:45 p. 326 (SMA) Hall

4
Parallel sessions

N.B. Pre-organised (panel) sessions are signalled with the initials ‘P.O.’ The
presentation of the themes of these sessions can be found on pages 25ff.

No. Date Schedule Title Chair Room

2.A 28-6-17 11:00 Opposing Opposites in Georges Lecture


| America: Babbitt and Bloch Hall 5
12:30 Reich
Alison Maggart, p. 46
Joshua Mailman, p. 55
Stéphan Staub, p. 64

2.B 28-6-17 11:00 Musical Semiotics and Márta Lecture


| Narrativity Grabócz Hall4
12:30 Rebecca Day, p. 47
Sebastian Wanumen, p. 56
Katarzyna Bartos, p. 65

2.C 28-6-17 11:00 French Music (I): Fauré Muriel 3201


| and Saint-Saëns Boulan
12:30 Laurence Willis, p. 48
James Sobaskie, p. 57
Geoffrey Burleson, p. 66

2.D 28-6-17 11:00 Readings of Franz Liszt Nicolas 3206


| Susan Wollenberg, p. 49 Dufetel
12:30 Malgorzata Gamrat, p. 58
Kerri Kotta, p. 67

2.E 28-6-17 11:00 Contrasting Paths to Costas 3202


| Modernism: Bartók, Tsougras
12:30 Skalkottas and Christou
Noel Torres-Rivera, p. 50
Petros Vouvaris, p. 59
Varvara Gyra & Kostis
Karpozilos, p. 68–69

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9th European Music Analysis Conference

No. Date Schedule Title Chair Room

2.F 28-6-17 11:00 Analysing Arvo Pärt’s Tatiana Lecture


| Music Tsaregradskaya Hall 6
12:30 Elena Tokun, p. 51
Leopold Brauneiss, p. 60
Svetlana Savenko, p. 70

2.G 28-6-17 11:00 Improvisation and Style Beate 3203


| Andreas Metz, p. 52 Kutschke
12:30 Bert Mooiman, p. 61
Andrew Wilson, p. 71

2.H 28-6-17 11:00 European Instrumental Nicholas 3208


| Music of the 18th Baragwanath
12:30 Century
Carlotta Marturano, p. 53
Mafalda Nejmeddine, p. 62
Yuval Rabin, p. 72

2.I 28-6-17 11:00 Contemporary Musical Bruno 3204


| Horizons (I) Bossis
12:30 Damian Blätter, p. 54
Bohdan Syroyid, p. 63
Candida Felici, p. 73

3.A 28-6-17 14:00 The Second Viennese Joshua Lecture


| School (I): Berg, Mailman Hall 5
17:00 Organicism, and the
Teleology of Form
Ramiro Limongi, p. 74
Daniel Moreira, p. 85
Philip Stoecker, p. 95
Zachary Bernstein, p. 106
Matthew Arndt, p. 117

3.B 28-6-17 14:00 Leading Figures of Yves Lecture


| Modernity (I): Messiaen, Balmer Hall 6
16:30 Dutilleux, and Kurtág
Shigeru Fujita, p. 75
Sam Reenan, p. 86
Vincent Benitez, p. 96
Bianca Temes, p. 107

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IXe congrès européen d’Analyse musicale

No. Date Schedule Title Chair Room

3.C 28-6-17 14:00 Bridging the Twentieth Pierre 3206


| Century: Stravinsky, Michel
17:00 Varèse, and Boulez
Pieter van den Toorn, p. 76
Maureen Carr, p. 87
Michiko Fujita, p. 97
Lynne Rogers, p. 108
Catherine Losada, p. 118

3.D 28-6-17 14:00 French Music (II): Berlioz Jean-Pierre 3201


| and Debussy Bartoli
17:00 David Curran, p. 77
Michael Oravitz, p. 88
Clemens Kemme, p. 98
François Delecluse, p. 109
Elena Rovenko, p. 119

3.E 28-6-17 14:00 Issues of Rhythm and Metre Gesine 3203


| Danuta Mirka, p. 78 Schröder
17:00 Joseph Siu, p. 89
Julian Caskel, p. 99
Wing Lau, p. 110
Knar Abrahamyan, p. 120

Falling Nicely Into Place:


3.F 28-6-17 14:00 The Cadence in History and Giorgio Lecture
| Theory Sanguinetti Hall 4
17:00 David Lodewyckx, p. 79
Maddie Clarke, p. 90
David Sears, p. 100
William Caplin, p. 111
Boyd Pomeroy, p. 121

3.G 28-6-17 14:00 Sounds of Popular Music (I) Michael 3208


| Ángel Faraldo, Sergi Jordà & Spitzer
16:30 Perfecto Herrera,
p. 80–81
David Forrest, p. 91
Maxime Cottin &
Guido Saá, p. 101–102
Mark Richards, p. 112

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9th European Music Analysis Conference

No. Date Schedule Title Chair Room

3.H 28-6-17 14:00 Performance Studies Edward 3202


| Stijn Vervliet, p. 82 Venn
17:00 Sylvain Caron, p. 92
Karina Zybina, p. 103
Mine Doğantan-Dack,
p. 113
Panu Heimonen, p. 122

3.I 28-6-17 14:00 Lewin’s Legacy: Spaces Moreno 3204


| and Transformations Andreatta
17:00 Banjamin Graf, p. 83
Scott Brickman, p. 93
William Ayers, p. 104
Kenneth Smith, p. 114
Nathan Fleshner, p. 123

3.J 28-6-17 14:00 Listening, Perceiving, and Jean-Marc 3209


| Cognising Chouvel
17:00 Yaroslav Stanishevskiy, p. 84
Lawrence Zbikowski, p. 94
John Lawrence, p. 105
Ivan Jimenez &
Tuire Kuusi, p. 115–116
Erica Bisesi, p. 124

5.A 29-6-17 09:00 The Second Viennese Áine Lecture


| School (II): Pairing Heneghan Hall 5
12:30 Schoenberg and Webern
Franziska Brunner, p. 133
William Van Geest, p. 143
Sebastian Wedler, p. 153
Stephen Brown, p. 163
Yi-Cheng Daniel Wu, p. 173

5.B 29-6-17 09:00 New Technologies and Nathalie 3204


| Analysis (I) Hérold
12:00 Andrea Bareggi, p. 134
Rachel Mazzucco, p. 144
Egor Poliakov, p. 154
Aurélien Antoine & Eduardo
Reck Miranda, p. 164
Marcin Strzelecki, p. 174

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IXe congrès européen d’Analyse musicale

No. Date Schedule Title Chair Room

5.C 29-6-17 09:00 The Second Twentieth Candida Lecture


| Century: Between Italy Felici Hall 6
12:30 and France
Hyun Höchsmann, p. 135
Bruce Quaglia, p. 145
Joachim junker, p. 155
Gui-Hawn Lee, p. 165
Julie Delisle, p. 175
Pierluca Lanzilotta, p. 184

5.D 29-6-17 09:00 Partimento and Janet Lecture


| Schemata Bourne Hall 4
12:30 Olga Sanchez, p. 136
Michael Baker, p. 146
David Jayasuriya, p. 156
Marina Mezzina,p. 166
Paolo Teodori, p. 176
Gilad Rabinovitch, p. 185

5.E 29-6-17 09:00 Teaching and Pedagogy Anne- 3201


| (I) Emmanuelle
12:30 Johannella Tafuri & Ceulemans
Maria Grazia Bellia,
p. 137
Claire Roberts, p. 147
Marina Karaseva, p. 157
Derek Remeš, p. 167
Jean-michel Bardez,
p. 177–178
Edward Venn, p. 186

5.F 29-6-17 09:00 Leaving – and Regaining Kenneth 3203


| – the Shores of Tonality Smith
12:30 Elena Chernova, p. 138
Bert van Herck, p. 148
Anabel Maler, p. 158
Colin Davis, p. 168
José Oliveira Martins,
p. 179
Zane Gillespie, p. 187

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9th European Music Analysis Conference

No. Date Schedule Title Chair Room

5.G 29-6-17 09:00 Stylistic Features of Jazz Laurent 3208


| Mathilde Zagala, p. 139 Cugny
12:00 Paulo Perfeito, p. 149
Patrick Schenkius, p. 159
Barbara Bleij, p. 169
Walther Stuhlmacher,
p. 180

5.H 29-6-17 09:00 Music of the Non- Mondher 3209


| Western World: The Ayari
12:00 Mediterranean and
Beyond
Slawomira Żerańska-
Kominek, p. 140
Michalis Cholevas &
Juliano Abramovay, p. 150
Fériel Bouhadiba, p. 160
Anas Ghrab, p. 170
Nidaa Abou Mrad, p. 181

5.I 29-6-17 09:00 Anthropology, Sociology, Mario 3202


| and Cultural Studies Baroni
12:00 Renata Skupin, p. 141
Beate Kutsche, p. 151
Alexandre Robert & Irina
Kirchberg, p. 161
Joon Park, p. 171
Hugues Seress, p. 182

5.J 29-6-17 09:00 Schenkerian, James 3206


| Riemannian, and Neo- Sobaskie
12:30 Riemannian Theories
Hei Yeung Lai, p. 142
Ellen Bakulina, p. 152
Yvonne Teo, p. 162
Hiroko Nishida, p. 172
Thomas Jul Kirkegaard-
Larsen, p. 183
Walter Nery, p. 188

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IXe congrès européen d’Analyse musicale

No. Date Schedule Title Chair Room

6.A 29-6-17 14:00 Modulation as Perceived Ildar 3201


P.O. | by the Listener Khannanov
17:00 Ildar Khannanov, p. 189
Dimitar Ninov, p. 197
Ivan Moshchuk, p. 205
Miloš Zatkalik, p. 213
Panel discussion, p. 221

6.B 29-6-17 14:00 Analyzing Models and Vasili Lecture


P.O. | Creativity in the Long Byros Hall 5
17:00 Eighteenth Century
Peter van Tour, p. 190
Robert Gjerdingen, p. 198
Giorgio Sanguinetti, p. 206
Vasili Byros, p. 214
Nicholas Baragwanath,
p. 222
6.C 29-6-17 14:00 Benedikt Lecture
P.O. | Interpreting and Listening Leßmann Hall 6
17:00 to the Music of Debussy
Benedikt Leßmann, p. 191
Benjamin Lassauzet, p. 199
Lukas Haselböck, p. 207
Simon Trezise, p. 215
Panel discussion, p. 223

6.D 29-6-17 14:00 Aspects of Music Theory Vasilis 3203


P.O. | & Analysis Practives in the Kallis
17:00 Mediterranean Region:
Italy, Cyprus, and Israel
Liran Gurkiewicz, p. 192
Stefano Lombardi
Vallauri, p. 200
Massimiliano Locanto,
p. 208
Vasilis Kallis, p. 216
Panel discussion, p. 224

11
9th European Music Analysis Conference

No. Date Schedule Title Chair Room

6.E 29-6-17 14:00 Modal and Tonal Nicolas 3208


P.O. | Organization in Meeùs
17:00 Polyphonic Compositions
from the Late Middle Ages
to the Early Baroque
Nicolas Meeùs, p. 193
Christophe Guillotel-
Nothmann, p. 201
Anne-Emmanuelle
Ceulemans, p. 209
Daniele Sabaino &
Marco Mangani, p. 217
Panel discussion, p. 225

6.F 29-6-17 14:00 Quel futur pour la Jonathan Lecture


P.O. | Formenlehre? Challenging Guez Hall 4
17:00 Recapitulatory Paradigms
Poundie Burstein, p. 194
Anne Hyland, p. 202
Jonathan Guez, p. 210
Andrew Aziz, p. 218
Rebecca Peery, p. 226

6.G 29-6-17 14:00 Spectralism on the Amy 3206


P.O. | Margins: Spectral Bauer
17:00 Ideas and Intercultural
Influence
Alexandra Monchick, p. 195
Robert Sholl, p. 203
Amy Bauer, p. 211
Nicole Grimes, p. 219
Panel discussion, p. 227

6.H 29-6-17 14:00 Epistemologies of Music Alessandro 3202


P.O. | Theory and Analysis: Cecchi
17:00 Sound and Timbre
between Structure and
Epistemic Construct
Mark Reybrouck, p. 196
Nora Engebretsen, p. 204
Alessandro Bratus, p. 212
Alessandro Cecchi, p. 220
Martin Scherzinger, p. 228

12
IXe congrès européen d’Analyse musicale

No. Date Schedule Title Chair Room

9.A 30-6-17 11:00 Circumscribing the Open: Laura Lecture


| Cage and Pousseur Zattra Hall 5
12:30 André Douw, p. 253
Jeffrey Perry, p. 262
John Dack, p. 274

9.B 30-6-17 11:00 French Music (III): Satie Julia


| in Theory and Practice Kursell 3201
12:30 Alexander Amato, p. 254
Syrinne Melliti, p. 263
Anna Maria Bordin &
Antonio Trallo, p. 275–276

9.C 30-6-17 11:00 The Bel-Canto Era: Stefan Lecture


| Rossini, Donizetti, and Rohringer Hall 6
12:30 Bellini
Matthew Boyle, p. 255
Alberto Annarilli, p. 264
Marco pollaci, p. 277

9.D 30-6-17 11:00 Leading Figures of Anne-Sylvie Lecture


| Modernity (II): Xenakis Barthel-Calvet Hall 4
12:30 and Ligeti
Mark Delaere, p. 256
Mikhail Malt &
Benny Sluchin, p. 265–266
Judith Petty, p. 278

9.E 30-6-17 11:00 New Technologies and Pierre 3203


| Analysis (II) Couprie
12:00 Reiner Krämer, p. 257
Florende Levé,
Marc Rigaudière
& Florence Doé de
Maindreville, p. 267–268

9.F 30-6-17 11:00 Music of the Renaissance Carola 3204


| Alexander Morgan, p. 258 Hertel
12:00 Suzanne-Marie Kassian,
p. 269

13
9th European Music Analysis Conference

No. Date Schedule Title Chair Room

9.G 30-6-17 11:00 Rhythm and Gesture as Claude 3208


| Approaches to Analysis Abromont
12:30 Cyril Délécraz, p. 259
Silvio Ferraz &
Gustavo Penha, p. 270–271
Laura Toffeti, p. 279

9.H 30-6-17 11:00 Analysing and Birger 3202


| Interpreting Music with Petersen
12:30 Text
Jonathan Stark, p. 260
Mariette Crochu, p. 272
Caiti Hauck-Silva & Marco
da Silva Ramos, p. 280–281

9.I 30-6-17 11:00 Constructing Meaning, François 3206


| Constructing Identity: Picard
12:30 Classical Topics and
Schemata, Musorgsky’s
‘Pictures at an Exhibition’,
and Brahem’s Film Music
Janet Bourne, p. 261
Costas Tsougras, p. 273
Soumaya Gharbi, p. 282

10.A 30-6-17 14:00 Itinerari d’analisi Aurelio 3201


P.O. | per la musica italiana Bianco
17:00 d’inizio Seicento nel 450°
anniversario della nascita
di Claudio Monteverdi
Aurelio Bianco, p. 283
Sara Dieci, p. 291
Massimo Privitera, p. 299
Marco Gurrieri, p. 308
Panel discussion, p. 317

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IXe congrès européen d’Analyse musicale

No. Date Schedule Title Chair Room

10.B 30-6-17 14:00 New Approaches for Christopher Lecture


P.O. | Analyzing the Music of Murray Hall 5
17:00 Oliver Messiaen
Yves Balmer, p. 284
Thomas Lacôte, p. 292
Christopher Murray, p. 300
Stefan Keym, p. 309
Panel discussion, p. 318

10.C 30-6-17 14:00 Analyser la performance Alessandro 3203


P.O. | aujourd’hui : enjeux et Arbo
17:00 perspectives
Alessandro Arbo, p. 285
Philippe Lalitte, p. 293
Pierre Michel, p. 301
Mondher Ayari, p. 310
Pavlos Antoniadis, p. 319

10.D 30-6-17 14:00 Analyzing Mozart’s Nathan Lecture


P.O. | Operas: External Stakes, Martin Hall 4
17:00 Intrinsec Challenges
Lauri Suurpää, p. 286
John A. Rice, p. 294
Graham Hunt, p. 302
Paul Sherill, p. 311
Nathan Martin, p. 320

10.E 30-6-17 14:00 Formal, Theorical, and Moreno Lecture


P.O. | Computational Models in Andratta Hall 6
17:00 Popular Music Analysis
Trevor de Clercq, p. 287
Dmitri Tymoczko, p. 295
Mattia Bergomi &
Adriano Baratè, p. 303
Louis Bigo &
Moreno Andreatta,
p. 312–313
John Covach, p. 321

15
9th European Music Analysis Conference

No. Date Schedule Title Chair Room

10.F 30-6-17 14:00 Liszt after Liszt - Liszt Rossana 3206


P.O. | après Liszt Dalmonte
17:00 Nicolas Dufetel, p. 288
Rossana Dalmonte, p. 296
Antonio Grande, p. 304
Mariateresa Storino, p. 314
Panel discussion, p. 322

10.G 30-6-17 14:00 Ambiguity, Illusion & Ariane 3208


P.O. | Timelessness in Late and Jeßulat
17:00 Post-Tonal Harmony &
Ariane Jeßulat, p. 289 Uri
Inbal Guter, p. 297 Rom
Fabian Moss &
Martin Rohrmeier, p.
305–306
Uri Rom, p. 315
Panel discussion, p. 323

10.H 30-6-17 14:00 Ways of Organizing the Markus 3202


P.O. | Inventory: In Search of Neuwirth
17:00 a Systematic Ordering of
Voice-leading Schemata
Hans Aerts, p. 290
Thomas Noll, p. 298
Folker Froebe, p. 307
Markus Neuwirth, p. 316
Karts de jong, p. 324

12.A 1-7-17 9:00 Sounds of Popular John 3206


| Music (II) Covach
12:00 David Larkin, p. 331
Samantha Bennett, p. 341
Ben Duinker, p. 352
Alyssa Barna, p. 362
Christopher Doll, p. 373

16
IXe congrès européen d’Analyse musicale

No. Date Schedule Title Chair Room

12.B 1-7-17 9:00 Teaching and Pedagogy Jean-Michel 3203


| (II) Bardez
12:30 Job IJzerman, p. 332
Clotilde Verwaerde, p. 342
Lydia Carlisi, p. 353
Muriel Boulan, p. 363
Alon Schab, p. 374
Michiel Schuijer, p. 383

12.C 1-7-17 9:00 Reconsidering Later Nicole Lecture


| Romanticism Grimes Hall 5
12:30 John Koslovsky, p. 333
Sam Bivens, p. 343
Gabriel Venegas, p. 354
Peter H. Smith, p. 364
Emily X. X. Tan, p. 375
Soo Hyun Jeong, p. 384

12.D 1-7-17 9:00 Analytical Issues in Anas 3208


| Ethnomusicology Ghrab
12:30 Alice Tacaille &
François Picard, p. 334
Gérard Guillot, p. 344
Anastasiia Mazurenko,
p. 355
Hubertus Dreyer, p. 365
John Chun-fai Lam, p. 376
Yan Zheng, p. 385

12.E 1-7-17 9:00 Schumann, Brahms, and Susan 3201


| Elgar Wollenberg
12:30 Jon-Tomas Godin, p. 335
Desirée Mayr & Carlos
de Lemos Almada,
p. 345–346
Robert Snarrenberg, p. 356
Diego Cubero, p. 366
Loretta Terrigno, p. 377
Oliver Chandler, p. 386

17
9th European Music Analysis Conference

No. Date Schedule Title Chai Room

12.F 1-7-17 9:00 Counterpoint and Nicolas 3204


| Composition in Europe Meeùs
12:00 during the 17th and 18th
Centuries
Evgeny Vorobyov, p. 336
Stefan Garthoff, p. 347
Florian Vogt, p. 357
Natalia Plotnikova, p. 367
Julian Habryka, p. 378

12.G 1-7-17 9:00 Contemporary Musical Stéphan 3202


| Horizons (II) Schaub
12:30 Jin Hyung Lim, p. 337
Mylène Gioffredo, p. 348
Christopher Segall, p. 358
Frankie Perry, p. 368
Daniele Buccio, p. 379
José Luis Besada, p. 387

12.H 1-7-17 9:00 Formenlehre, Old Lauri Lecture


| and New Suurpää Hall 4
12:30 Stefan Eckert, p. 338
Joan huguet, p. 349
James DiNardo, p. 359
Veijo Murtomäki &
Timothy Jackson,
p. 369–370
Áine Heneghan, p. 380
Meghan Naxer &
Richard Devore, p. 388–389

12.I 1-7-17 9:00 Chopin, Mendelssohn, William Lecture


| and Franck Drabkin Hall 6
12:30 Carissa Reddick, p. 339
Wayne Petty, p. 350
Heewon Chung, p. 360
Benedict Taylor, p.371
Julie Walker, p. 381
Julian Horton, p. 390

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IXe congrès européen d’Analyse musicale

No. Date Schedule Title Chair Room

12.J 1-7-17 9:00 Modern American José Martins 3209


| Composers Oliveira
12:00 Chelsey Hamm, p. 340
David Hier, p. 351
Dan Blim, p. 361
Jean-Baptiste Masson,
p. 372
Laura Emmery, p. 382

13.A 1-7-17 14:00 Approaches to Schubert’s Anne Lecture


| Sonata Forms Hyland Hall 4
15:30 Gabriel Navia, p. 391
Yi Eun Chung, p. 401
Brian Black, p. 411

13.B 1-7-17 14:00 Epistemology and Mark Lecture


| Musical Hermeneutics Reybrouck Hall 5
15:30 Matteo Magarotto, p. 392
Claude Abromont, p. 402
Mario Baroni, p. 412

13.C 1-7-17 14:00 Sonic Explorations: José 3201


| Microtonality, Besada
15:30 Spectralism, and
Electroacoustic Music
Landon Morrison,
p. 393–394
Tim Bausch, p. 403
Laura Zattra, p. 413

13.D 1-7-17 14:00 Electronic and Mixed Eric 3203


| Music Maestri
15:30 Giacomo Albert, p. 395
Michael Clarke,
Frédéric Dufeu &
Peter Manning,
p. 404–405
René Mogensen, p. 414

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9th European Music Analysis Conference

No. Date Schedule Title Chair Room

13.E 1-7-17 14:00 Philosophical Approaches Alessandro Lecture


| Christopher Hasty, p. 396 Cecchi Hall 6
15:30 Jessica Wiskus, p. 406
Ricardo Mandolini, p. 415

13.F 1-7-17 14:00 Challenges in the Analysis Iwona 3204


| of Recent Music Lindstedt
15:00 Per Broman, p. 397
Tobias Tschiedl, p. 407

13.G 1-7-17 14:00 Analytical Christophe 3208


| Metholodologies and the Guillotel-
15:30 Music of the 17th Century Nothmann
Moritz Heffter, p. 398
Michael Dodds, p. 408
Stephen Slottow, p. 416

13.H 1-7-17 14:00 Semiotics and Semantics Michiel 3202


| of Tonality and Harmony Schuijer
15:30 Wai Ling Cheong, p. 399
Liudmila Kazantseva, p. 409
Duilio D’Alfonso, p. 417

13.I 1-7-17 14:00 Theory and Performance Sylvain 3206


| of 19th-Century Music Caron
15:30 Stephan Lewandowski,
p. 400
Hamish Robb, p. 410
Carla Rebora &
Francesco Parrino,
p. 418–419

20
Meetings and Workshops

Date Schedule Title Chair Room

28-6-17 18:00 Young Researchers’ Meeting Nathalie Cavaillès


| p. 128–130 Hérold Lecture
19:30 Hall

29-6-17 18:00 Careers Forum Nathalie Cavaillès


| p. 233–234 Hérold Lecture
19:30 Hall –
Lobby of
Le Patio

30-6-17 18:00 Meeting of the European Jean-Michel Cavaillès


| Societies for Music Analysis Bardez Lecture
19:30 and Theory Hall
p. 327–328

21
Concerts and Receptions

Date Schedule Title Room

28-6-17 20:30 Opening Reception and Concert Aula of the Palais


| Ensemble I Musicali Affeti, p. 131 Universitaire
23:30

29-6-17 20:30 Concert


| Les Percussions de Strasbourg, p. 235 Cité de la Musique
22:30 et de la Danse

30-6-17 20:30 Banquet Dinner


| p. 329 Le Shadok
23:30

1-7-17 17:00 Closing Recital


-| 17:45 Michael Appleman, p. 422 Cavaillès Lecture
Hall

22
Thèmes des
sessions pré-organisées

Themes of
Pre-organised Sessions
IXe congrès européen d’Analyse musicale

Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3201 Room 3201 Sala 3201 Raum 3201

6.A. Modulation as Perceived by the Listener

Chair: Ildar Khannanov

The studies of modulation, since the 18th-century, have been focusing on techniques
of part-writing, limited to written exercises and analyses of notation in the score.
However, the obvious area of application of this knowledge—the actual performance
and listening experience—is left, surprisingly, out of scope of many theories of
modulation, old and new. The goal of this session is to start the discussion of these
important aspects. In Bach’s binary form, analyzed in the first paper, the modulation
from tonic to dominant takes an unexpectedly long and winding path, while the
textbook suggests that it is the simplest of all modulatory techniques. In contrast with
that, in the second paper the analysis of Schubert’s Unfinished symphony shows that
the transition from one theme to another is shorter than expected. The psychological
effect of both has to be measured against the set of cognitive constraints and specific
features of short-, mid-, and long-term memory. There are two questions: how does
the listener cope with the constantly changing path of modulation and how does the
performer convey this information to the listener. An example of such activity is the
performances of music of Medtner and Rachmaninoff written around 1917, reflected
upon in the third paper. The author applies, besides psychological tools, some ideas
of Eastern philosophy. This allows to provide an epistemological dimension to the
discussion. The last paper adds yet another angle—that of psychoanalysis, thus
enriching the discussion with the aspect, rarely applied to harmonic analysis.

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9th European Music Analysis Conference

Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Amphithéâtre 5 Amphitheatre 5 Anfiteatro 5 Hörsaal 5

6.B. Analyzing Models and Creativity in the Long Eighteenth Century

Chair: Vasili Byros

Through the last decades of the twentieth century, music analysis was a largely positivist
and formalist enterprise—artworks were tacitly or explicitly viewed as quasi-natural
objects, containing inviolable laws to be identified and formalized by their observers.
The New Millennium introduced an international movement broadly characterized
as historically informed theory and analysis, which has reoriented analysis to the
description and explanation of cognitive and socio-cultural human activity: studies
in schema theory, Satzmodelle, and partimento theory have collectively viewed
musical scores and pedagogical artifacts as traces of the cognitive, social, and
cultural behaviors of musicians in a specific time and place. In a recent editorial
published in Eighteenth-Century Music, Giorgio Sanguinetti characterized these
various areas as an un-unified and “multifaceted ‘new theory’” (2014). Though as-
yet systematically un-unified, they find much common ground in their philosophical
and methodological assumptions regarding the act of music analysis—namely,
their analytic focus on musical models (schema, Idealtypus, Satzmodell), and their
interpretation of these models as the cornerstone of musical learning and creativity
from roughly 1680–1830. Music analysis as exemplified in schema and partimento
research may serve to describe and explain creative processes in late Baroque,
Galant, and Classical repertoires, their pedagogical media, and the creative reception
of these practices in the nineteenth century—how music analysis, in effect, may (re)
enact the creative act by tracking model transmission, learning/assimilation, and use/
appropriation. The session papers are case studies, which collectively illustrate that
musical models were central to music-creative faculties in the long eighteenth century.

26
IXe congrès européen d’Analyse musicale

Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Amphithéâtre 6 Amphitheatre 6 Anfiteatro 6 Hörsaal 6

6.C. Interpreting and Listening to the Music of Debussy

Chair: Lukas Haselböck

Since the 1960s and 70s, music theory and analysis have been affected by
performative and perceptional turns in multiple ways and have subsequently
developed a variety of new methodological approaches aiming at performative and
perceptional perspectives. This session tries to continue this ‘tradition’ and to add
some new insights. The analytical focus lies on the music of Debussy. Due to the
fact, that Debussy’s music seems to be surprisingly resistant against the application
of conventional methods of music analysis, perspectives of perception and
performance have always been considered. Authors like Deliége 1987, Imberty 1987
or Spampinato 2008 analysed works like Debussy’s Syrinx from the perspective of
perception. Performance-sensitive researches have been added in the field of vocal
(Bergeron 2010), piano (Johnson 1987, Howat 1996/97, Carlson 1998, Despax 2004)
and orchestral music (Trezise 1994, Briscoe 1999, Braus 2000). However, a link to
methods of formal and structural analysis is provided only in a few of these analyses.
New analytical perspectives could be opened up by intensifying the dialogue
between perception-/performance-sensitive and formal/structural analysis. In this
session, this aim will be realized by focussing on the aspects of musical prosody
and vocal contours, on musical humour and bodily experience, on sound quality
and its relationship to form and listening, on musical expectancy and recollection
and on questions of performance style. Thereby, it might be possible to deal with
the complex ambiguities which characterize Debussy’s music on different levels.

27
9th European Music Analysis Conference

Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3203 Room 3203 Sala 3203 Raum 3203

6.D. Aspects of Music Theory & Analysis Practices in the Mediterranean


Region: Italy, Cyprus, and Israel

Chair: Vasilis Kallis

The Mediterranean Region presents an area of intriguing peculiarities. On the


one hand, it is characterised by its cultural diversity as it embraces three different
continents. On the other, there is a sense of unity and continuity that manifests
itself in various expressions of human creativity, music in particular. The post-
structuralist approach has given due consideration to aspects of musical creativity
mainly through the anthropological and historical perspective over the last three
decades. The field of music theory and analysis, however, remains relatively
unexplored. We aim at identifying practices and functions of music theory and
analysis – broader and specific –in the Mediterranean region, focusing on three
countries: Italy, Israel and Cyprus. More specifically, the proposed papers engage in:
(i) Addressing individualities within each of the three regions
(ii) Identifying possible shared elements between them
(iii) Exploring the interaction between music theory and analysis in each
of the three aforementioned territories and the mainstream European tradition.
Each paper addresses a specific theme, and its methodological approach is determined
by the nature of the topic(s) it addresses. The harvested outcomes of each paper’s
endeavour will then be brought into a panel discussion that will address individuality and
commonality in the practice of music theory and analysis in the Mediterranean region.

28
IXe congrès européen d’Analyse musicale

Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3208 Room 3208 Sala 3208 Raum 3208

6.E. Modal and Tonal Organization in Polyphonic Compositions from the Late
Middle Ages to the Early Baroque

Chair: Nicolas Meeùs

The question whether Renaissance polyphonic compositions can be described as


modal has been the subject of much controversy since Edward Lowinsky’s Tonality
and Atonality in 16th century music (1962), through Carl Dahlhaus’ Untersuchungen
über die Entstehung der Harmonischen Tonalität (1967) and Bernhard Meier’s
Die Tonarten der klassischen Vokalpolyphonie (1974), to Harold Powers’ “Tonal
Types and Modal Categories in Renaissance Polyphony” (1981) and “Is Mode
Real? Pietro Aron, the Octenary System, and Polyphony” (1992). Now that these
disputes seem settled, the time is ripe for a reconsideration of the whole matter. The
session proposes to reconsider the case in three sets of compositions, the first from
the late Middle Ages, the second from the Renaissance and the third from the early
Baroque. The aim is to consider whether and how these works can be considered
modal, stressing in particular the “tonal” aspect in a general definition of the term,
i.e. the existence of a tonal centre and how it is ascertained. A first communication
describes the theoretical background of the reflection, by confronting properties of
the underlying diatonic system with those of the particular modal or tonal scales
concerned. The three following communications concerns corpuses of various
dimensions, considered from a mainly statistical point of view dealing with vocal
ambitus, cadential plans and dispositions, melodic formulas, contrapuntal writing, etc.
Our hope is to contribute developing more historically informed criteria for the
analysis of the modal and tonal organization of polyphonic music and to renew the
approach to modality (and tonality) in these works.

29
9th European Music Analysis Conference

Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Amphithéâtre 4 Amphitheatre 4 Anfiteatro 4 Hörsaal 4

6.F. Quel futur pour la Formenlehre? Challenging Recapitulatory Paradigms

Chair: Jonathan Guez

The last two decades have seen a surge of interest in studies of sonata form. Though
diverse in their analytical approaches, epistemological underpinnings, and target
repertories, these studies nevertheless share one feature in common: a relative lack of
interest in recapitulation. This session aims to remediate this neglect through the type
of sustained analytical and theoretical attention the recapitulation has often failed to
receive. Our papers address recapitulations in a range of repertoire—from the
eighteenth to the twentieth centuries; from virtually unknown composers to well-
known ones; and from absolute to program music. And they are representative of the
diversity of current approaches to the analysis of form: Schenkerian perspectives of
tonal structure commingle with the thematically focused Sonata Theory; Schmalfeldt’s
theory of processual becoming is placed in dialogue with Caplin’s architectural theory
of formal functions; and theories that presuppose a “content” of musical form interact
with formalist perspectives. Burstein demonstrates the range of options available for
deep-level dividers in early sonata forms and the impacts of these on a recapitulation’s
tonal drama. Hyland brings a Caplinian perspective to the young Schubert’s
predilection for off-tonic recapitulations. Guez uses Schubert’s piano music to
show the range of compositional strategies available for making recapitulatory tonal
alterations. Aziz provokes questions of genre by highlighting different recapitulatory
strategies in abstract and programmatic movements by Debussy and Ravel. And Perry
presents two recapitulations in Prokofiev’s early concertos as sites of critique—of his
own “unimaginative” expositions as much as the very norms he inherited.

30
IXe congrès européen d’Analyse musicale

Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3206 Room 3206 Sala 3206 Raum 3206

6.G. Spectralism on the Margins: Spectral Ideas and Intercultural Influence

Chair: Amy Bauer

This panel examines proto-spectral compositional ideas influenced and expanded by


contact with indigenous music and culture. Hindemith’s Unterweisung im Tonsatz
(1937) grounded a theory of harmonic tension in the overtone series. He put this
theory into practice composing for the trautonium, which led directly to his influential
music theory and to further organological pursuits rooted in perceptual acoustics.
Jean-Louis Florentz—a classmate of Grisey, Murail and Levinas—received much
of his spectral inspiration from Ethiopian liturgical music. Florentz presents his
musical system as a means of bridging musical and spiritual cultures. Helena Tulve’s
compositions are inspired by spectral composition as well as folk instruments and
oral traditions. These influences meld in music with a sustained focus on sonic detail
as an ethical and aesthetic choice. The works for voice and orchestra discussed by
Donnacha Dennehy juxtapose the microtonal variation of sean-nós (“old style”) Irish
songs and new timbres that result from spectral analysis of the harmonies of pure
frequencies derived from the human voice. All four composers stand on the margins
of what we formally think of as the Spectral school. Yet all investigate the properties
of timbre as material for composition, root their compositions in aural perception,
and wish to communicate to listeners in a new way. Their works are informed by an
aspect of both technological mediation and intercultural assimilation, but the music
of Florentz, Tulve and Dennehy is intensely physical as well, posing a challenge to
traditional theories focused on abstract and objective measures of analysis.

31
9th European Music Analysis Conference

Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3202 Room 3202 Sala 3202 Raum 3202

6.H. Epistemologies of Music Theory and Analysis: Sound and Timbre be-
tween Structure and Epistemic Construct

Chair: Alessandro Cecchi

Background to the session is the recognition of opposed tendencies in music theory and
ethnomusicology traditions in dealing with timbre and other sound parameters: on one
hand the tendency to underestimate, even neglect them as superficial aspects of music
in the framework of an opposition between structural and non-structural parameters;
on the other, the tendency to overestimate timbre and other emergent parameters
as rhythm at the detriment of melody, harmony and their combination. In general,
references to the otherness of timbre show that the musicological discourse implicitly
relies on the construction of dichotomies, including cultural gaps between Western
and non-Western music, art and popular music, notated and recorded music. This
session takes a critical look at these dichotomies and validates the idea of a paradox of
timbre in traditional epistemologies and ontologies of music. Relying on this basis, the
session aims at investigating sound and timbre as epistemic categories. In so doing, it
explores different theoretical and analytical traditions so as to compare and critically
discuss their different epistemologies in relation to music as sound. The individual
papers will take different musical practices as case studies, including art music, popular
music, and non-Western music. These will be considered in the perspective of a
listener’s experience. On the whole, the session will highlight many possible relations
between epistemic assumptions, music theory and the analysis of specific repertoires,
combining epistemological reflection, historical research, and music analysis,
including the use of software for visualising sound processes in recorded music.

32
IXe congrès européen d’Analyse musicale

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3201 Room 3201 Sala 3201 Raum 3201

10.A. Itinerari d’analisi per la musica italiana d’inizio Seicento nel 450° anni-
versario della nascita di Claudio Monteverdi

Chair: Aurelio Bianco

Questa sessione pre-organizzata s’inserisce nel quadro delle manifestazioni scientifiche


poste a suggello del 450° anniversario della nascita di Claudio Monteverdi (1567-
1643). Il contesto preso in esame è pertanto quello della musica italiana d’inizio
Seicento con una particolare attenzione all’opera di Monteverdi e degli autori a lui
vicini per linguaggio formale e ambito produttivo. L’incontro si propone di avviare
un dibattito su problemi e possibili strade da percorrere nell’esaminare la tradizione
musicale italiana del periodo che va fra tardo Cinquecento e primo Seicento, e più in
particolare nell’ambito della produzione monteverdiana così come della cerchia del
compositore cremonese: dalla musica vocale sacra e profana (con o senza strumenti
concertati), alla musica strumentale tout court.

33
9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Amphithéâtre 5 Amphitheatre 5 Anfiteatro 5 Hörsaal 5

10.B. New Approaches for Analyzing the Music of Olivier Messiaen

Chair: Christopher Murray

This session proposing new approaches for analyzing Messiaen’s music will revise
and sometimes contradict received notions concerning the composer’s creative
techniques and his particular reputation as a modernist innovator. It intends to shift
the center of gravity in existing analyses of the composer’s music away from the
neologisms of his writings toward the lesser-known innovations of his compositional
workbench and their nuanced relationship with earlier musical traditions. To this end,
the participants in this session propose interrelated analytical models for approaching
Messiaen’s music in terms of his creative techniques and musical universe. They
will focus on different steps in the compositional process and different levels in the
resulting work. Although they mobilize contrasting evidence, all of the contributors
highlight the usefulness of reinserting Messiaen’s works into the larger context of
his education, cultural background, and personal taste. Their findings underline
critical differences between analyses of Messiaen’s works on a so-called neutral
or immanent level and those that take into consideration new knowledge of his
working techniques and the intertextual associations of his musical universe. Balmer
et al.’s conception of Messiaen’s “borrowing technique” is developed in several
contributions, as is the potential impact of genetic sketch studies on the analysis
of Messiaen’s works. Several individual contributions present new ideas concerning
Messiaen’s composition with pre-composed formulas and his formal procedures
notably his “montage” and use of additive forms. Other techniques rarely applied
to Messiaen’s music are used to new ends, including Formenlehre, comparative
formal analysis, and reconstructive (rather than inductive) analytical perspectives.

34
IXe congrès européen d’Analyse musicale

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3203 Room 3203 Sala 3203 Raum 3203

10.C. Analyser la performance aujourd’hui : enjeux et perspectives

Chair: Alessandro Arbo

La session entend développer un dialogue autour des enjeux et des perspectives de


l’analyse de la performance musicale aujourd’hui. Il s’agira d’interroger quelques-uns
des objectifs et des méthodologies de la recherche actuelle en rapport avec la diversité
des pratiques musicales. L’attention se concentrera sur le rôle que l’acte performatif
joue aussi bien dans les pratiques musicales qui font appel à une fixation écrite des
œuvres que dans celles fondées sur une construction phonographique ou encore sur
une libre improvisation et/ou variation de modules transmis oralement. On considérera
l’analyse de la performance comme 1) étude des déviations introduites par le musicien
pour produire une interprétation particulière d’une œuvre ; 2) étude et modélisation des
processus d’improvisation dans les musiques de tradition orale ; 3) étude des gestes,
de la posture, des mimiques qui accompagnent et caractérisent la performance dans un
genre musical donné ; 4) étude comparative de la performance scénique entre musique
écrite et improvisation (caractéristiques musicales, attitudes corporelles et expressives,
environnements acoustiques, utilisation de la scène et de l’espace, lumières, etc).
On tentera de mesurer l’intérêt et les finalités de ces différentes déclinaisons de la
recherche, en questionnant les différentes méthodologies qu’elles mettent en œuvre.

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Amphithéâtre 4 Amphitheatre 4 Anfiteatro 4 Hörsaal 4

10.D. Analyzing Mozart’s Operas: External Stakes, Intrinsic Challenges

Chair: Nathan Martin

In a recent review, Deborah Burton called for “the entrance of theorists into the field
of opera analysis,” a field “long . . . dominated by musicologists” but now allegedly
abandoned by them “in favor of a phenomenological approach based on memory and
listening experience.” If opera analysis no longer seems to figure self-evidently among
“the most vital and interesting areas of musical research today,” as it once did for James
Webster, it has nonetheless been quietly yet diligently pursued by music theorists
across the last decades, even if frequently in the margins of other projects. In light
of Burton’s polemicizing, as well as Mary Ann Smart’s independent call for renewed
attention to opera analysis, it seems appropriate to highlight this ongoing work. The time
has come to reincorporate opera analysis into the resurgence of interest in eighteenth-
century music and music theory that has marked music theory in the last decades.
Collectively, the five papers in this session offer a kind of panorama or group portrait
of the “living options” (William James) available for analyzing Mozart’s operas.
In so doing, they undertake to draw together the various strands of analytical work
on this repertoire that are currently scattered throughout the secondary literature, to
begin synthesizing these disparate threads, and in so doing to provide a foundation
for future analytical and theoretical work on Mozart’s operas.

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IXe congrès européen d’Analyse musicale

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Amphithéâtre 6 Amphitheatre 6 Anfiteatro 6 Hörsaal 6

10.E. Formal, Theoretical, and Computational Models in Popular Music


Analysis

Chair: Moreno Andreatta

The analysis of popular music is a major research topic in the music-theoretical and
analytical community (Covach, 2005). Depending on the emphasis given on the
computational aspects, popular music analysis can be considered as a field Music
Information Research or MIR (Temperley and de Clercq, 2013) or a sub-discipline
of music analysis based on music-theoretical constructions (Bergomi, 2015), some
of which use mathematics as a main formalisation language (Tymoczko, 2011; Bigo
and Andreatta, 2014). Nevertheless, far from limiting our scope to mathematically-
driven approaches, we want to also include theoretical models which are based
on historical and aesthetic considerations. The aim of this session is to confront
different formal, music-theoretical, and computational perspectives in the analysis
of popular music. Far from limiting our scope to a musical repertoire based on
recording processes, the category of popular music we are using includes musical
expressions and genres such as pop, rock, jazz and chanson. The session will show
different music-theoretical approaches in the domain of popular music analysis, some
of which uses advanced mathematical models based on algebraic, geometrical and
topological formalizations of musical structures. Statistical methods, underlying
corpora analysis, are systematically confronted with more structural models, as
well as with historical and esthetical approaches, particularly around the notion of
“form” in popular music. The interplay between all these formal, theoretical and
computational models has deep consequences in the way in which the field of
MIR may be integrated within the wider academic field of popular music analysis.

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3206 Room 3206 Sala 3206 Raum 3206

10.F. Liszt after Liszt – Liszt après Liszt

Chair: Rossana Dalmonte

The aim of the session is to enrich the literature about the relationships between Liszt’s
music and some works (especially piano works) of the composers of the following
generation. The four papers of the session will examine some specific developments
/ transformations of certain of Liszt’s compositional devices, with regard to some
works by Skjabin, Busoni and Debussy. The theme will be observed basically from
two points of view: on the one hand the focus will be directed on the influence that
Liszt wielded on younger composers; on the other, the starting point will be the
different forms of appropriation of some aspects of Liszt’s style by the composers
under investigation. Since such influence and appropriation can occur in different
manners, the musical style of previous eras can similarly be criticized and modified
in various ways. The analytical studies produced in recent years have illustrated,
through very specialized methods, many aspects of musical language especially
with regard to its structures and taking in consideration the output of a particular
composer. Much less attention has been given to the modifications of the style itself
in the passage from one generation to the next. The special aim of the session is to
investigate what of Liszt’s style has remained in compositions produced some decades
after his death; we attempt to illustrate the boundaries of his influence on the music
and on the idea of music written by composers of the following generation and the
depth of their appropriation of some traits of his way of writing and thinking music.

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IXe congrès européen d’Analyse musicale

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3208 Room 3208 Sala 3208 Raum 3208

10.G. Ambiguity, Illusion & Timelessness in Late and Post-Tonal Harmony

Chairs: Ariane Jessulat & Uri Rom

Late and post-tonal music features chromatic saturation, frequent enharmonic


reinterpretations as well as symmetry-driven chord relations. This has given rise to
ample theoretical exploration in contemporaneous sources (Hauptmann, Riemann,
Schenker, Schoenberg) as well as newer theoretical frameworks (Theory of Tone
Fields, Neo-Riemannian Theory). In our proposed session we engage a broad spectrum
of “marked,” multivalent harmonic phenomena derived from the relevant repertoires.
Our first paper addresses the concept of “Second Diatonicism” (Dahlhaus), illustrating
that in certain types of music (Mendelssohn, Grieg, Reger), chromaticism is used in
a quasi-diatonic manner, engendering a sense of standstill and ‘timelessness.’ Our
second paper reaches into post-tonal music in which centricity still plays a role,
arguing that the chords with augmented sixth inherited from early Baroque still
possess striking tonal functionality even in otherwise atonal environments. The third
paper proposes a new integrative approach, combining concepts derived from Theory
of Tone Fields and Neo-Riemannian Theory, and introducing an expanded generative
syntactic framework that incorporates octatonic and hexatonic fields. The fourth
paper engages the principles of harmonic root progressions (Schoenberg) to analyze
passages by Brahms and Schoenberg, showing that local enharmonic ambiguities
may engender an illusionary superposition of two equally viable, but diametrically
opposed readings of the same passage. The diversity of approaches and topics boils
down to the methodological meta-question of analytically representing musical
(particularly harmonic) ambiguity and multivalence—a widely acknowledged
Achilles heel of analytical approaches that apply reduction of the surface level. This
question will propel our ensuing panel discussion.

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


14 h 00-17 h 00 14:00–17:00 14.00 – 17.00 14.00–17.00
Salle 3202 Room 3202 Sala 3202 Raum 3202

10.H. Ways of Organizing the Inventory: In Search of a Systematic Ordering of


Voice-leading Schemata

Chairs: Markus Neuwirth &Thomas Noll

In the past decade, numerous publications on voice-leading schemata have advanced


our understanding of music between ca. 1500-1900. From a music-analytical
perspective, it is the great flexibility of voice-leading schemata that make their
application in practice both appealing and troublesome. It is appealing because it
allows analysts to compare a wide range of seemingly diverse objects by subsuming
them under the same schema category. On the other hand, the extraordinary
variability regarding the realization of a given schema poses the question precisely
how a musical passage can be recognized as an instance of a given category.
Our session therefore aims to bring various strands of research on voice-leading
schemata in a productive dialogue. In so doing, we seek to contribute to a conceptual
improvement of schema theory, addressing problems such as the lack of a coherent
system underlying the multiplicity of schemata, the occasional overlap between distinct
prototypes, and the issues of style-dependent schema elaboration and concatenation.
Since the schema lexicon in its current form is far from all-encompassing, new
schemata will be introduced and their relation to existing schemata will be clarified.
The broad historical scope of a voice-leading approach is revealed by considering
a repertoire stretching from Froberger all the way to Jazz, with special attention
paid to 18th-century music. By bringing research on voice-leading schemata in
dialogue with powerful theoretical perspectives such as Schenkerian theory, the new
Formenlehre, structural modes, and 18th-century counterpoint, this session aims
to propose novel approaches to musical structure-building.

40
Programme détaillé
et résumés des présentations

Detailed Programme
and Abstracts of Presentations
28-06
IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

Welcome address and introduction


Xavier Hascher Nathalie Hérold
Université de Strasbourg Université de Strasbourg
GREAM, SFAM, France GREAM, SFAM, France
xhascher@unistra.fr nathalieherold@hotmail.com

We welcome all EuroMAC 9 delegates and provide them with a general overview
of the conference, as well as some insight into the choices that give EuroMAC 9
its particular character. The primary theme of the conference – ‘Extrinsic issues,
intrinsic challenges: what is the future for music analysis?’ – as well as the secondary
one – ‘Music analysis and music in act’ – both reflect a specific approach to music
analysis which will be addressed by several participants during the conference.
Some insight into the current state of the analytical-theoretical field will also be
inferred from the rich variety of themes offered to the conference. Some statistics
concerning submissions and selected contributions will also be presented. Finally,
we would like to emphasize some of the particular qualities of EuroMAC 9 in
comparison to previous European analysis conferences, in particular in respect of the
support afforded to young researchers, the cooperation between the European (and
international) societies for music analysis or theory, as well as the on-line publication
of the proceedings of EuroMAC 9, following that of the ‘pre-proceedings’ which will
take place before the start of the conference.

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9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


09 h 30-10 h 30 09:30–10:30 09.30 – 10.30 09.30–10.30
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

1. Plenary lecture

Marie-Noëlle Masson Jean-Pierre Bartoli


Université de Rennes II, France Université Paris-Sorbonne, France
gmn.masson@orange.fr jean-pierre.bartoli@paris-sorbonne.fr

L’analyse musicale, une discipline autonome ?

In its first theme, Euromac 9 immediately raised the issue of the “future of music
analysis”. This questioning entails that this challenged future results from what
established music analysis in the past as a characterized field of study, autonomous,
‘graphocentred’ and, in a manner of speaking, “autotelic”. The purpose of this lecture
is to unveil what it implies epistemologically. At an underlying level, the object of
music analysis is actually at the core of the debate: on one hand, the formal device of
music, as a self-centered language which refers to itself only, on the other hand, the
musical fact as a whole, (particularly acting as) a singular discourse about the world,
in other words a conflict between the explanation of a “musical language” and the
elucidation of a “musical cultural discourse”.
We will discuss this topic in parallel with what happened similarly in literary
studies —especially in France—, which has had a clear incidence on the evolution of
music theory and musicology. During the 1960s and 1970s, the field of literary studies
underwent a deep epistemological transformation by means of a new elaboration of
what is “poetics”. This science has forged tools for a new rigorous formal analysis.
In this perspective, like other artistic expressions, music analysis has benefited this
development of literary studies. Semiotic and linguistic paradigms have actively
contributed to reinforce the autonomy of music analysis. Thereafter, the same authors
who asserted “literature is a language finding its end in itself”, declared “the time
has come to an obviousness that we should not forget: literature concerns human
existence, it is a discourse”. Due to historical and cultural circumstances, it seems that
this conceptual dichotomy still under discussion, and the resulting issue of the status
of musical theory are not growing in the same way in different geographical spheres,
or at the same time, but everywhere they incur redefinition about the methodological
frameworks and the new claims of musical analysis.

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IXe congrès européen d’Analyse musicale

Honorary lecturer and researcher at Rennes II University, President of the French Society
for Musical Analysis (SFAM) and member of the editorial committee of the review Musurgia.
Both qualified in philosophy and musicology, Marie-Noëlle Masson attended her doctoral
thesis in EHESS whith F.‑B. Mâche : Musique et langage : de l’application de certains
concepts linguistiques dans les processus d’analyse musicale. Her writings are devoted to
musical analysis relating to rhetoric process, either inside musical context or external context
of music combined with texts and movies : Le modèle vocal, Musique et images au cinema, «
Verlaine/Fauré : Clair de lune : les interactions du texte et de la musique », « La poétique de
Schumann : essai d’analyse rhétorique », « Musique/langage : une métaphore ».

Professor at Paris-Sorbonne University, permanent member of Institut de recherche en


musicologie (CNRS-BnF-Paris-Sorbonne), and Vice-president of the French Society of
Music Analysis (SFAM), his writings are devoted to the musical language evolution, musical
semiotic and rhetoric, the Berlioz’s works, exoticism in music. Jean-Pierre Bartoli authored
L’Harmonie classique and romantique and is co-author of L’essor du romantisme : la fantaisie
pour clavier de C. P. E. Bach à Franz Liszt with Jeanne Roudet, co-editor of Antoine Reicha,
compositeur et théoricien with Herbert Schneider and Louise Bernard de Raymond. He takes
part in the Complete Edition of the works of Gabriel Fauré edition by Bärenreiter as member
of the scientific committee.

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9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

2.A. Session – Opposing Opposites in America: Babbitt and Reich

1. Alison Maggart
University of Southern California, United States of America
amaggart@gmail.com

Rethinking Milton Babbitt’s “Serious Music” as Play


For many scholars, it is evident that there is a deep sense of play, of immediacy, and of
spontaneity in Babbitt’s compositions and that perceiving this dimension of the music
is vital for experiential pleasure. Indeed, the rhetorics of play have often shaped the
casual discourse on his music. Theorists characterize Babbitt’s compositions as witty,
Haydnesque, and charming. They call attention to the interplay between different
musical parameters and to the shimmering brilliance of the musical surface. Such
language both reveals and influences how meaning in Babbitt’s music has been and is
constructed. Yet, it has often been overshadowed by more emphatic pronouncements
of the music’s “seriousness.”
This paper traces why this has been the case and then explores what an
interpretation of Babbitt’s music as “play” might entail. I argue that contemporary
understandings of play have been informed by deconstructionist perspectives that
preclude the ludic potential of formalist aesthetics. Insofar as “play” connotes
ambiguity, dialogical engagement, and a dismantling of totalizing systems, absolute
meaning, and authorship, it is perceived as antithetical to Babbitt’s agenda. Yet,
conceiving Babbitt’s music as “play” not only emphasizes dimensions of the music
that are often minimized (particularly within musicology)—his exploitation of serial
ambiguities, linear indeterminacy, interplay of invariances, and witty titles—it also
elucidates aspects of the experiential pleasure that listeners have intuited. Amid the
collection of analytic priorities advanced by new musicology (subjectivity, pleasure,
historicity, etc.), “play”—particularly as theorized by Gadamer—presents a new way
of understanding and analyzing Babbitt’s music.
Alison Maggart will receive her PhD in historical musicology from the University of Southern
California in summer 2017. Her dissertation reconsiders the aesthetics and reception of Milton
Babbitt by exploring allusion and quotation in several works from the late 1980s. She has been
recognized by USC’s Graduate School as a Provost Fellow and Bing Arnold Endowed Fellow
in the Humanities. In 2016 she was also the recipient of the Ingolf Dahl Award, conferred
upon the best graduate student paper presented at the joint Pacific Southwest and Northern
California chapters of the American Musicological Society. In addition to serial aesthetics,
Alison is interested in hermeneutics, intertextuality, theory and historiography in musicology,
and music and identity in the United States’ South.

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IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

2.B. Session – Musical Semiotics and Narrativity

1. Rebecca Day
Royal Holloway, University of London, United Kingdom
rebecca.day.2010@live.rhul.ac.uk

The Social, Philosophical, and Narrative Act of Music Analysis: Towards


a Theory of the Immanent Musical Subject

The history of music analysis might be drawn broadly alongside the dichotomy
between subject and object: from a focus on subjectivity within the Enlightenment
project of aesthetic autonomy, the ‘music itself’ was then separated from this
inherently philosophical and social context in formalist ‘objective’ reactions, before
a final return to ‘the subject’ in The New Musicology’s project to re-humanise the
discipline. It is my contention, however, that the act of music analysis cannot be
separated from either part of the subject/object dialectic, but rather that it exists
somewhere between these categories.
This paper will trace the ways in which corresponding symbolic networks of
musical form and philosophical subjectivity map onto each other using narrative
theory. In doing so, it will construct a network of ‘the relations between things’
that when combined with analysis, allows for the emergence of an immanent
musical subject. It will show the ways in which this subject ultimately manifests
as a dialectical opposition between subjectivity and objectivity, aesthetics and
formalism, and deviation and convention through a narrative analysis of the opening
of Beethoven’s ‘Waldstein’ Sonata, that focuses upon basic tonal principles. Through
this, a ‘toolkit’ for reading these narrative relational networks will be offered that
ultimately demonstrates the ways in which the aesthetic might be reconnected with
the analytical—or the subject with the object—and that argues that the act of music
analysis is therefore as philosophical and social as it is musical.

Rebecca Day is a PhD candidate in musicology at Royal Holloway, University of London,


where she holds an AHRC Techne Associate scholarship. She is a visiting lecturer in music
analysis, also at Royal Holloway, and a tutor in Music Theory and Analysis at the University
of Oxford. Her thesis focuses on conceptions of subjectivity in Mahler’s musical modernism,
and she has wider interests in the intersections between critical theory and music analysis.
She is student representative on the Society for Music Analysis committee and co-founder
of the Critical Theory for Musicology Study Group (affiliated with the Institute for Musical
Research).

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28-06

9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

2.C. Session – French Music (I): Fauré and Saint-Saëns

1. Laurence Willis
McGill University, Canada
laurence.willis@mcgill.ca

Fauré’s Nocturne No. 10 and the Twilight of Tonality

What does it mean to end? In the first decade of the twentieth century, tonality as a
monolithic carrier of musical meaning was reaching its end. As musical expression
stepped beyond the bounds of tonality, Gabriel Fauré continued to pursue a personal
tonal idiom. His Nocturnes are testament to this, as direct musical expressions (to
paraphrase Kœchlin) that interact dialectically with both the past and the composer’s
present. This paper sheds light on the idiosyncratic way that Fauré reacted to the
major upheavals of the early twentieth century, through analysis of his Nocturne
No. 10. First, I describe the ways that Fauré adapts and extends nineteenth-century
compositional norms. Secondly, I analyze moments in the piece that push beyond the
realm of common-practice tonality with transformational methods from Cohn (2012),
Bass (2001), and Douthett and Steinbach (1998). Thirdly, I place these findings in an
hermeneutic perspective, relating the ending of the piece to the twilight of tonality
and Fauré’s search for new expressive resources. The most startling example of
these new resources is found in the final dominant of the piece. A whole-tone scale
is harmonized with parallel major/minor seventh chords to extend and reinforce the
dominant. This moment of crystalline beauty leads us to the proper tonic and stands as
testament to Fauré’s integration of the new compositional procedures of his students
Kœchlin and Ravel.

Laurence Willis is a PhD candidate in music theory at McGill University under the supervision
of Professor Jon Wild. His dissertation treats form in nineteenth-century character pieces
for piano, including Brahms and Reger. His other current research projects include tonality
in recent microtonal music, approaches to electronics in G. F. Haas’s string quartets, and
rhetoric in Schumann’s fugues. Laurence has presented his research at the Society for Music
Theory annual meeting and other international conferences. He recently won a teaching
award for post-tonal theory. He previously studied at the University of Surrey where he won
the Shoana M. Mackay Dissertation Prize for his work on Debussy’s Prelude No. 4.

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IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

2.D. Session – Readings of Franz Liszt

1. Susan Wollenberg
University of Oxford, United Kingdom
susan.wollenberg@music.ox.ac.uk

Reading Liszt’s “Sospiri!” (1887): “Lateness”, Memory, Nostalgia and


Place in the Nineteenth-Century Piano Miniature

Ever since a serendipitous find in a library led me to R.C. Lee’s edition of three
late piano pieces by Liszt, I have cherished a strong sense of the particular qualities
of the third of these, his ‘Sospiri!’, A 233/5, no. 5 of the Fünf kleine Klavierstücke
(not to be confused with ’Un sospiro’, no. 3 of his Trois études de concert, A 118).
Once again, as in previous encounters with the piano miniature genre, I found myself
contemplating a case of multum in parvo (‘much in a small space’). Such ‘miniatures’
invite a multi-layered analysis, responding to the richly-packed content within their
small frame.
In my paper I seek to draw out the layers of meaning embedded in Liszt’s piece
and its evocative title (as well as considering the non-verbal programme it may
contain); I suggest some interpretations of the piece’s significance in relation to
Liszt’s life, his pianistic style, ideas of ‘late Liszt’, and ideas of place – in this case,
Venice, with its associations for Liszt and his contemporaries. In addition I propose a
formal interpretation of the seemingly unique structure of ‘Sospiri!’, together with an
investigation of the processes and effects of memory and nostalgia conveyed by this
tiny, somewhat neglected, gem of a piano ‘fragment’.
With this project I hope to contribute to new developments in rethinking genre,
and ways of analysing the musical miniature, while shining light on a rewarding
piece hardly discussed in the literature.
Susan Wollenberg was until September 2016 Professor of Music at the University of Oxford,
Lecturer at Brasenose College, and Fellow and Tutor of Lady Margaret Hall, where she now
holds an Emeritus Fellowship. Her publications include Music at Oxford in the Eighteenth
and Nineteenth Centuries (2001); Concert Life in Eighteenth-Century Britain (2004), co-
edited with Simon McVeigh; and, co-edited with Therese Ellsworth, The Piano in Nineteenth-
Century British Culture: Instruments, Performers and Repertoire (2007). She edited the
proceedings of the international bicentenary conference ‘Fanny Hensel (née Mendelssohn
Bartholdy) and her Circle’ (Oxford, 2005) for Nineteenth-Century Music Review (2007).
Her monograph, Schubert’s Fingerprints: Studies in the Instrumental Works, was published
in 2011. She co-edited, with Aisling Kenny, Women and the Nineteenth-Century Lied (2015).

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

2.E. Session – Contrasting Paths to Modernism: Bartók, Skalkottas and


Christou

1. Noel Torres-Rivera
The Graduate Center, CUNY, United States of America
noeltorresrivera@gmail.com

The Case of the Exposition of the Second Movement of Bartók’s Sonata


for Solo Violin Sz. 117

The notion of intertextuality has been widely discussed within literary studies.
Nonetheless, even though there are some substantial works that address the concept
as applied to musical analysis, their concerns have only been slowly incorporated
into the standard analytical practice. This paper takes as a case study the exposition
of Bela Bartok’s Sonata for Solo Violin. Even though the influence of J.S. Bach on
this Sonata has been widely acknowledged since its premiere in 1944, most analyses
focus on aspects of pitch-class content and motivic development, implying an
understanding of this musical text as self-contained and omitting interpretations that
regard the meaning of some of its salient features in terms of its dialogue with both
the music of Bach and other violin solo fugues. Bringing the issue to the foreground,
and adapting some concepts from Harold Bloom’s theory of influence, this project
considers the exposition of the second movement of Bartók’s Sonata for Solo Violin
vis-à-vis two fugal works for solo: J.S. Bach’s Sonata for Solo Violin no.1 and Eugene
Ysaÿe’s Sonata no.1. Without making a historical claim, the paper suggests that the
meaning of some seemingly stable structural aspects not only of Bartok’s fugue but
also of Ysaÿe’s and Bach’s can be considered as dependent on its dynamic position
within the proposed network of musical texts. Through the analysis two broad issues
are addressed: first, the intertextual nature of any musical text and its repercussions
on formal analysis; second, the consideration of twentieth-century composers’
understandings of eighteen-century fugal writing.

Noel Torres-Rivera holds a bachelor degree in Violin Performance from the Conservatory
of Music of Puerto Rico and a Master degree in Music Theory from Temple University in
Philadelphia, PA. He is currently a doctoral student in Music Theory at the Graduate Center
of the City University of New York. His research interests are music and meaning, semiotics,
topic theory, and Puerto Rican and Latin American twentieth-century music. Noel currently
teaches music theory at City College of New York and serves as the program annotator for the
Puerto Rico Symphony Orchestra and the Casals Festival.

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IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

2.F. Session – Analysing Arvo Pärt’s Music

1. Elena Tokun
Moscow P. I. Tchaikovsky Conservatory, Russia
helentokun@mail.ru

Algorithms of Tintinnabuli Form in the Music of Arvo Pärt

The formal line of development in 20th century music points to the steady
algorithmisation of imaginative processes, including sonic processes.
In analysing Arvo Pärtʼs music, we are making a surprising discovery: In his original
tintinnabuli-technique, the composer has invented mechanisms for processing
diatonic (or polymodal) material, that in their essence function similarly to the serial
technique of dodecaphony. However, the tintinnabuli technique is not connected
with the serialisation of the parameters of sound: The essence of tintinnabuli lies in
the algorithmisation of musical form that proceeds from formulaic thinking. Such a
creative mode differs qualitatively from the serial technique. In tintinnabuli music,
the formula could be defined as a minimized numerical program that incorporates the
algorithm of development, but at the same time contains the summary of the musical
workʼs pitch structure in its variety.
In Pärtʼs compositional technique, the methods for working with melodic material,
the logic of which is calculated with the help of the arithmetical progression, and with
verbal text, all the parameters of which are most frequently used by the composer as
a mathematical foundation for the construction of melodic voices (in other words, the
text “dictates” numerical progressions), can be considered equally important. Unlike
the arithmetical progression, the text allows of the “reading out” of more diverse and
multilevelled numerical progressions that are projected into counterpoint, harmony
(the vertical pitch structure), and the logic of form as a whole. To a large extent, this
is exactly the source of the novelty of tintinnabuli.

Elena Tokun is a research scientist of the Moscow P.I. Tchaikovsky Conservatory. Graduated
from the Moscow Tchaikovsky Conservatory (2003), during 2003–2006 - a postgraduate
student of the Moscow Conservatory (scientific advisor Professor Yevgeny Nazaikinsky). Ph.
D. thesis: “Arvo Pärt. Tintinnabuli: composition technique and style” (Moscow, 2010).

51
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9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3203 Room 3203 Sala 3203 Raum 3203

2.G. Session – Improvisation and Style

1. Andreas Metz
Sibelius Academy, University of the Arts Helsinki, Finland
andreas.metz@uniarts.fi

Melodic Fluency in Keyboard Menuet Improvisation

Galant-style keyboard improvisation, as it is currently practiced, relies largely on


partimento bass-line realization exercises and diminution exercises that involve
idiomatic outer-voice patterns known as schemata. Schemata are particularly effective
for two reasons: they facilitate improvisation in a manner consistent with the stylistic
conventions of the eighteenth century and they can be combined to generate short
pieces or entire sections of a longer movement. However, as useful as schemata are
for the purpose of improvisation, they do not necessarily guarantee the kind of large-
scale melodic direction and continuity (melodic fluency) that is often characteristic
of composed rather than improvised music.
In order to address the issue of melodic fluency, the author will highlight the
relationship between schemata, large-scale melodic design, and form in ten short
menuets by C. P. E. Bach. Since the large-scale melodic paths of major and minor
compositions usually differ, the author has chosen to examine menuets that are
exclusively in the major mode.
The analytical results suggest that there are three large-scale melodic paths that
typically govern the choice and order of schemata in C. P. E. Bach’s major-mode
menuets. Each melodic path features a distinct stepwise descent that occurs in the
first reprise and determines the melodic contour of the second reprise. The three
melodic descents are as follows: 5-4-3-2; 6-5-4-3-2; and 3-2-1-7-6-5. Adherence to
these melodic paths will result in menuet improvisations that are not only melodically
fluent but also stylistically authentic.
Andreas Metz is a Lecturer of Music Theory at the Sibelius Academy, University of the Arts
Helsinki, Finland. He holds a PhD in music theory from Indiana University. Prior to his
appointment at the Sibelius Academy he was an Assistant Professor of Music Theory at Baldwin
Wallace University near Cleveland, Ohio. He has presented at conferences hosted by the
Sibelius Academy, the Music Theory Society of New York State, the Mannes School of Music,
and Indiana University. His research interests include temporality in slow nineteenth-century
instrumental music, Schenkerian analysis, the partimento tradition, model composition, and
stylistic keyboard improvisation. He currently teaches harmony, counterpoint, partimento
realization, and aural skills.

52
28-06
IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

2.H. Session – European Instrumental Music of the 18th Century

1. Carlotta Marturano
McGill Univeristy, Canada
carlotta.marturano@mail.mcgill.ca

“Non-Viennese” Sonata Form: François-Adrien Boïeldieu and the


French Classicism

At the end of the eighteenth century, Paris assumed a fundamental role, parallel but
inevitably intersecting with that of Vienna, in the development of instrumental music
resulting in the birth of the French piano school. Hence, I decided to explore the
consequences of possible alternative geographies, seeking to pinpoint a transnational
cultural transfer between “non-Austrian” repertoires and the Viennese one.
In my presentation, I undertake an investigation on the nine solo piano sonatas of
François-Adrien Boïeldieu (1775-1834) who was one of the most important
representatives of the Parisian musical milieu of that time. More precisely, I explore
François-Adrien Boïeldieu’s particular treatment of sonata form in the first movements
of his sonatas. My analytical research is based on the principles and typological
categories presented in William Caplin’s theory of formal functions for Viennese
classical music. In this way, I identify constant features of Boïeldieu’s approach
to sonata form which correspond to what classic paradigm defines as exceptional,
presenting the possibility that the origins of some of these irregularities can be
found in the French repertoire. Furthermore, the musicological literature on French
instrumental music mainly provides a framework for a historiography of musical
life in France and a stylistic orientation of the piano repertoire but fails to account
for the specific features of sonata form in Boïeldieu and his contemporaries. My
investigation could indeed enable a more holistic knowledge not only of this central
repertoire albeit rather unknown, but also of the Viennese classicism tout court.

Carlotta Marturano is an Italian doctoral student in Musicology at McGill University in


Montréal, Canada. A graduate of Musicology at the University of Pavia, her education had
a strong analytical and philological emphasis, with particular attention to the study of the
creative process. Concurrently with her university, an important part in her education was
her Master’s Degree in Piano Performance at the Conservatory of Pavia. Her main research
interests are Beethoven and French piano instrumental music at the turn of the nineteenth
century. Recently, she has broadened her interests by opening up to the Digital Humanities
with a project focusing on digital genetic editions of Beethoven’s works.

53
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9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3204 Room 3204 Sala 3204 Raum 3204

2.I. Session – Contemporary Musical Horizons (I)

1. Damian Blättler
Rice University, United States of America
damian.blattler@rice.edu

Louis Andriessen’s “De Stijl” and Rendering Mondrian Musical

In the movement “De Stijl” from his oratorio De Materie, Louis Andriessen adapts
Piet Mondrian’s 1927 Composition with Red, Yellow and Blue for musical use.
Andriessen determines the total area of the painting and that of each of its eight
quadrilaterals; arranging the quadrilaterals sequentially as if reading from left to right
and from top to bottom, he converts the dimensions into time units at the ratio of one
square centimetre to one crotchet. The five colours of the painting (including the
black of the lines) are then mapped onto five timbral groups, each with associated
musical material. This paper reads this act of translation not just as an ingenious
large-scale structural constraint, but also as a study into the nature of musical time.
The mapping of the Mondrian into music is by no means exact, and attending to
the details of the painting’s “musicalization” – chief among them a web of motivic
transformations and the reshuffling of and intercutting between blocks of material –
can reveal multiple paths through the work. This paper details the mechanisms that
make possible this diversity of temporal experience, and discusses how the movement
– a piece about Mondrian and aesthetics within an oratorio about spirit and matter –
participates in Andriessen’s broader fascination with time as explored in pieces such
as De Tijd and De Snelheid.

Damian Blättler is Assistant Professor of Music Theory at Rice University in Houston, Texas.
His primary research interest is in the expanded tonal practices of the 20th and 21st centuries,
and includes projects on the importance of chord voicing in additive harmony, 20th-century
theories of chord structure, the structural use of the octatonic in the music of Ravel, and the
music of Louis Andriessen.

54
28-06
IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

2.A. Session – Opposing Opposites in America: Babbitt and Reich

2. Joshua Mailman
University of Alabama, United States of America
jmailman@alumni.uchicago.edu

Babbitt’s Beguiling Surfaces, Improvised Inside

Musicologists such as Gloag, Taruskin, and Chau characterize serialism as deterministic


and coldly “objective.” Yet Babbitt’s serial music often sounds spontaneous, quirky,
and charmingly oddball. Furthermore Dubiel, Mead, and others show Babbitt’s
precompositional structures only predetermine his surfaces in a relatively limited
sense. This has been overlooked, being not the main focus of Dubiel, Mead, and
others, who instead emphasize internal coherence of Babbitt’s compositions.
This paper reorients our thinking on Babbitt’s music away from predetermined
structures, toward an alternative that reflects its quirky qualities. This involves (1)
explaining partially ordered sets (posets) as the true basis of Babbitt’s precompositional
structures; (2) mathematically modeling the linear indeterminacy of posets of pitch
class (pc) aggregates, serving as a basic structural unit; (3) demonstrating surprising
flexibilities of ordering enabled by posets (hundreds of thousands of possibilities!);
(4) portraying surface arrangements of pcs as “improvisation,” in the sense George
Lewis proposes, quoting philosopher Gilbert Ryle; (5) recomposing part of Babbitt’s
Composition for Four to reveal a jazzy melody based on the same precompositional
unit (poset); (6) revealing how Babbitt “improvisationally” forges motivic connections
between surface and structure by exploiting opportunities enabled by the structure’s
partial ordering. The connections are based on interval classes (in Semi-Simple
Variations) and major and minor triads (in Whirled Series).
Custom-made computer graphics illustrate the flexibilities of partial orderings
and a hypothetical musical instrument is proposed and audio-visually illustrated to
suggest how one could literally improvise (in a live performance) using a Babbitt
partial ordering structure.
Joshua Banks Mailman has been teaching music at Columbia University, NYU, UC Santa
Barbara, and University of Alabama, since earning his Ph.D. in Music Theory from the
Eastman School in 2010. He researches form from flux: dynamic form. His writings appear
in Music Theory Spectrum, Music Analysis, Perspectives of New Music, TEMPO, Journal
of Sonic Studies, Psychology of Music, Music Theory Online, Open Space Magazine, and
Leonardo Electronic Almanac. He has written on narrative, embodiment, electroacoustic
music, interactivity, and post-tonal analysis in books and proceedings of Music Perception
and Cognition, Cognitive Sciences of Music, Sound and Music Computing, and Analytical
Approaches to World Music. He is co-chair of the Society for Music Theory’s Analysis of
Post-1945 Music Interest Group. www.joshuabanksmailman.com

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9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

2.B. Session – Musical Semiotics and Narrativity

2. Sebastian Wanumen
Fundación Universitaria Juan N. Corpas, Colombia
sebastian.wanumen@juanncorpas.edu.co

Modernism, Nature and Music Analysis

Ecomusicology, as an emerging field within musicology, attempts to give systematic


explanations of diverse relationships between nature and music. Consequently,
eco-critical interpretation of musical texts has been of cardinal importance for
ecomusicology. Hence, this paper addresses different positions towards nature from
two modernist composers. On the one hand, Arnold Schönberg’s music has been
widely studied in terms of religious status and compositional theories. Similarly,
Manuel de Falla’s nationalism and modernism, has been part of several academic
works. However, considerations on their views on nature and the way both
represented it need to be surveyed. Thus, this paper aims to explain how Schönberg’s
Moses und Aron and Falla’s El Amor Brujo represent a natural element and how
this representation has a specific meaning in their aesthetic and philosophical
conceptions. While analysing the musical language employed to represent fire, it is
assessed Schonberg’s and Falla’s positions towards nature, this is ¿What did they
think about nature and why? The paper concludes that the music reflects the function
of nature that different cultural movements of modernism assigned to it. Therefore,
Schoenberg’s representation of fire functions as an icon for “German superiority of the
idea” (the twelve-tone-row, in this case) and its connection to Christian God, this is,
an anthropocentric representation. On the other hand, Falla offers a more ecocentric
representation of fire and nature that it is connected to modernist primitivism and
post-tonal and modal devices. Ultimately, the paper calls to think about issues of
representation and cultural meaning of nature.

Born in Colombia and educated as music historian but also as pianist. His research interests
include twentieth-century Colombian film music and opera, Colombian contemporary
composers, Latin-American Twentieth-century music analysis and Ecomusicology.Currently,
he is Assistant professor of music history and analysis in Bogotá, Colombia.He has worked
as part of the academic committee at the Colombia’s National Symphony Orchestra, where he
also writes liner and program notes.

56
28-06
IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3201 Room 3201 Sala 3201 Raum 3201

2.C. Session – French Music (I): Fauré and Saint-Saëns

2. James Sobaskie
Mississippi State University, United States of America
jsobaskie@colled.msstate.edu

Allusion Analysis in Fauré’s Fantaisie pour piano et orchestre

Gabriel Fauré’s Fantaisie pour piano et orchestre (1918) anticipated Neoclassicism,


yet often is not associated with that artistic movement, perhaps because it is unburdened
by anxiety of influence. Drawing upon Fauré’s Symbolist aesthetic, it exploits a variety
of musical allusions to suggest multiple, co-existent temporalities, avoiding pastiche
via referential subtlety plus an underlying progressive narrative. The Fantaisie thus
documents a composer in communion with an audience acquainted with his style and
œuvre, as well as the rich range of Western music. Its title suppresses expectations of
a Romantic piano concerto and suggests the work’s eclectic and interactive nature,
signalling that reflection is essential to its experience.
Fauré’s Fantaisie pour piano et orchestre alludes to multiple temporalities
via references to features from a range of historical forms and genres, including
fugue, concerto grosso, sinfonia concertante, rondo, sonata, the waltz and operatic
paraphrase. In addition, it exploits motifs from Fauré’s lyric drama Pénélope
(1913), as well as self-borrowings from his mélodies and instrumental music that
would have been readily recognised by listeners familiar with his œuvre. Eliciting
reminiscences of these genres and works, Fauré’s Fantaisie pour piano et orchestre
evokes the past in engaging ways, bound by a comprehensive contextual process that
dramatically resolves near the end of its ternary form. This presentation will reveal
the role of allusion in Fauré’s Fantaisie pour piano et orchestre and demonstrate the
composition’s determined modernity.

James William Sobaskie teaches at Mississippi State University and serves as Book Reviews
Editor of Nineteenth-Century Music Review. A member of the Comité Scientifique for
Œuvres complètes de Gabriel Fauré, his critical edition of Fauré’s last two compositions,
a piano trio and string quartet, inaugurated the monument in 2010. Dr Sobaskie’s essay,
‘Chopin’s Legacy in France: The Music of Gabriel Fauré’, appears in Chopin 1810–2010:
Ideas – Interpretations – Influence, available from the Fryderyk Chopin Institute. With Joe
Davies, James Sobaskie has edited the anthology Drama in the Music of Franz Schubert for
publication by Boydell & Brewer. He also is completing a book, The Music of Gabriel Fauré:
Style, Structure and the Art of Allusion, to be published by Routledge.

57
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9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3206 Room 3206 Sala 3206 Raum 3206

2.D. Session – Readings of Franz Liszt

2. Małgorzata Gamrat
University of Warsaw, Poland
malgorzatagamrat@gmail.com

19th-Century Song Cycle as an Object of Interdisciplinary Analysis. A


case of Franz Liszt’s Song Cycles

A song cycle is one of the best known examples of the aforementioned


interdisciplinarity. In artistic laboratory, composers worked with two independent
means – word and sound – and created a new one which was a combination of the two.
The possibility of extending a single song opens up a new way for composers – now,
they can create their own artistic means allowing to make a cycle from independent
pieces. They used a variety of methods, for example: the same musical motifs in
different songs, the same formal constructions, tonality, texture, imitation of other
instruments, etc. On poetical level, they used already existing texts, sometimes a
poetical cycle (i.g. Winterreise) or composed their own cycles using separate poems
(i.g. Schwanengesang). In that case a cycle has to be coherent in terms of its themes
(plot) or topics, motifs, the construction of lyrical “I,” narrativity, dramaturgical
logic, expressions (similar or opposed). The 19th-century song cycles can be more
coherent on poetical or musical (or both) levels. My methodological proposal is to
combine and connect different musicological approaches; one for poetical level of
song cycles, and the other for musical cycles. This is the first step of my analysis. The
next, the most important, is to observe an interaction between music and poetry; how
composer work into two media and makes new one.

Małgorzata Gamrat, docteur en sciences humaines (2012) et HDR en sciences d’art (2017);
depuis octobre 2013 elle travaille à l’Institut de Musicologie de l’Université de Varsovie.
L’intérêt principal de ses recherches porte sur la musique de Franz Liszt ainsi que sur la
culture européenne du XIXe et du XXe siècles. Elle travaille aussi dans le champ des recherches
musico-littéraire et interdisciplinaires. L’auteur de deux livres sur la musique pour piano et
vocale de Franz Liszt : Muzyka fortepianowa Franza Liszta z lat 1835-1855 w kontekście idei
‘correspondance des arts’ (Warszawa 2014) et Między słowem a dźwiękiem. Pieśni na głos i
fortepian Franza Liszta (Warszawa 2016). Rédactrice d’une revue scientifique „Musicology
Today” (De Gruyter).

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IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3202 Room 3202 Sala 3202 Raum 3202

2.E. Session – Contrasting Paths to Modernism: Bartók, Skalkottas and


Christou

2. Petros Vouvaris
University of Macedonia, Greece
vouvaris@uom.gr

Melancholy Subjects, Melancholy Objects: Nikos Skalkottas’s 16 Songs

The empathetic emphasis put on Nikos Skalkottas’s portrayal as a melancholy subject


is common to most biographical accounts of his life (hi)story. In fact, investing in
Skalkottas’s melancholy has been instrumental in validating his genius, a common
illocutionary commitment of all scholarly attempts to secure his position in the canon.
What has not as yet been thoroughly investigated is the way Skalkottas’s melancholy
plays into our understanding of his music and his music into our understanding of
melancholy. The aim of this paper is to interpretively approach three of Skalkottas’s
16 Songs for mezzo-soprano and piano (his most substantial contribution to the song
genre) as melancholy objects in an attempt to capture both something of this music
as the product of a melancholy subject and something of the sound of melancholy
under the inescapable sign of the subject. Admitting the heuristic fiction of the
musical work as subject on the grounds of being entangled in comparable orders of
symbolic necessity, the interpretation of the structural narrative of Skalkottas’s songs
adopts a Lacanian perspective. Thereby, the analyses track the “stain” on the music’s
symbolic order that disrupts the automatism of its signifying chain. By identifying
symbolic gestures of renouncing desire, diatonic surfeits as revelling in surplus
jouissance, and uncanny returns as succumbing to the death drive, I read Skalkottas’s
insistence to compose with no hope of having his works performed and appreciated
as a manifestation of his sublimating attempt to aim for a symbolic life beyond his
biological death and to (re)invent himself as subject qua music.

Petros Vouvaris is an Assistant Professor in Music Form and Analysis at the Department
of Music Science and Art, University of Macedonia, Greece and a member of the board of
directors of the Hellenic Musicological Society. He holds a doctoral degree from the University
of Wisconsin-Madison, USA, a master’s degree from the University of North Carolina-
Greensboro, USA, and a bachelor’s degree from the Aristotle University of Thessaloniki,
Greece. He has presented papers at international conferences and has published articles in
both Greek and international journals. His book Introduction to the Formal Analysis of Tonal
Music was published in 2015 (Athens: HEAL-Link). He is an active performer and has given
piano solo and chamber music recitals both in Greece and the USA.

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9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

2.F. Session – Analysing Arvo Pärt’s Music

2. Leopold Brauneiss
Universität Wien - Institut für Musikwissenschaft, Österreich
leo.brauneiss@chello.at

Transformation serieller Techniken im Tintinnabuli-Stil Arvo Pärts

Wie bei seriellen Kompositionen ist der Ausgangspunkt des Komponierens auch beim
Tintinnabuli-Stil eine lineare Tonfolge; im Unterschied zur Zwölftonreihe handelt es
sich dabei allerdings nicht um eine individuelle Anordnung der zwölf chromatischen
Tonqualitäten, sondern um historisch gegebene und allgemein verfügbare
Tonleitern, genauer deren für jedes Werk spezifische Präsentation nach jeweils
anderen Regeln. Am wichtigsten ist dabei das abstrakt-mathematische Prinzip der
Addition, das Pärt aus seiner seriellen Phase übernommen hat. Der gleich bleibende
kompositionstechnische Ansatz verbindet sich mit einer ästhetischen Umkehr: Die
postulierte Gleichberechtigung aller zwölf chromatischen Töne erscheint als Verlust
tonaler Differenzierung, die immer zwölf Töne umfassende Reihe als Einengung
gegenüber einer prinzipiell unendlichen Tonleiter, die Reduktion als radikalere
Lösung des Problems der Einheit im Vielfachen, die Selbstbeschränkung nicht als
Verarmung, sondern als Konzentration, die Vereinfachung der Regeln als Garant für
Transparenz und Stimmigkeit des Systems.

Geboren 1961 in Wien. Nach dem Studium von Musikwissenschaft, Geschichte,


Musikerziehung und Klavier an der Universität Wien und der Hochschule für Musik und
darstellende Kunst Wien Lehrer zunächst an einem Wiener Gymnasium, ab 1990 am J. M.
Hauer - Konservatorium bzw. an der J. M. Hauer – Musikschule Wiener Neustadt (Klavier,
Korrepetition, bis 2007 auch theoretische Fächer). Ab 2004 Lehrauftrag für Tonsatz an der
Universität Wien, ab 2006 auch Lehrbeauftragter für Tonsatz an der Hochschule für Musik
und Theater Felix Mendelssohn Bartholdy in Leipzig. Seit etwa 20 Jahren Publikationen
Vorträge und Kurse zum Tintinnabuli-Stil Arvo Pärts, enge Zusammenarbeit mit dem Arvo
Pärt Center. Komponist vorwiegend kammermusikalischer Werke.

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IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3203 Room 3203 Sala 3203 Raum 3203

2.G. Session – Improvisation and Style

2. Bert Mooiman
Royal Conservatoire, The Hague, Netherlands
b.mooiman@koncon.nl

Style-Oriented Improvisation and Music Theory

During the past three decennia, musical improvisation has attracted a renewed interest,
not only from the fields of musical performance and pedagogy, but also of cognitive
science, musicology and music philosophy. Music theory so far has been less keen
to embrace improvisation: its ephemeral character makes it a problematic subject of
analytical studies, whereas conversely a normative approach to music theory (as it
often occurs in conservatoires) is of limited use for an improviser. Nevertheless, the
fact that improvisation by nature deals with music-as-event challenges music theory
in an interesting way. Music theory as traditionally practised has a strong tendency
to reification because of its dependence on concepts – a phenomenon that affects its
usefulness (and consequently its popularity) as a conservatoire subject. This paper
aims to sketch possibilities of a non-reified music theory by means of stylistically
oriented improvisation. Regarding music as a language, improvising in (or: inspired
by) musical styles from the past for the performer means actively appropriating
these musical languages, instead of merely knowing them passively. This concerns
not only improvised ‘new’ music, but also – importantly – improvisation within the
performance of a score. Drawing on the idea of loci communes, ‘commonplaces’
in both composed and improvised music, it will be shown that especially the close
resemblance of some gestural loci to familiar music theoretical concepts challenges
music theory. It will be argued that a pre-theoretical understanding of musical events
is crucial – and that improvisation might be helpful here.

The Dutch pianist, organist, improviser and music theorist Bert Mooiman studied at the Royal
Conservatoire in The Hague, where he took his certificates as a solo pianist and organist
cum laude. In 2003 he finished his Music Theory studies with a prize winning paper on the
relation between the work of Olivier Messiaen and French Romantic tonal harmony. Since
then he has taught music theory as a principal subject, improvisation and piano at the
Royal Conservatoire. He performs both on piano and on organ. His work as a researcher
and his activities as a performer meet in his lifelong interest in improvisation as a basis for
interpretation, which also became the topic of his current PhD research at Leiden University.

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9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3208 Room 3208 Sala 3208 Raum 3208

2.H. Session – European Instrumental Music of the 18th Century

2. Mafalda Nejmeddine
Université d’Évora, Portugal
mafaldanejmeddine@gmail.com

Caractérisation formelle et stylistique des sonates portugaises pour


clavier publiées au XVIIIème siècle

L’importance de la sonate pour clavier au Portugal à la deuxième moitié du XVIIIème


siècle est confirmée par l’apparition de trois publications de sonates lesquelles
constituent les seules œuvres portugaises pour clavier imprimées durant tout ce
siècle: Dodeci Sonate, Variazioni, Minuetti per Cembalo de Francisco Xavier Baptista
et Sei Sonate per Cembalo d’Alberto José Gomes da Silva, publiées à Lisbonne,
ainsi qu’une sonate composée par Pedro António Avondano et publiée à Londres
sur le titre A Favourite Lesson for the Harpsichord. L’objectif de cette étude est (i)
d’analyser la forme et le style de ces sonates, (ii) de déterminer le modèle de la sonate
portugaise pour clavier publiée, et (iii) de comparer, au niveau de la forme et du style,
les sonates publiées et les sonates non-publiées de ces mêmes compositeurs. Pour
cela, cette étude a débuté par la recherche des sources musicales des œuvres pour
clavier de ces compositeurs et une recherche biographique, suivie de l’élaboration
d’une grille d’analyse, à partir de la Théorie de la Sonate de Hepokoski et Darcy,
appliquée aux œuvres identifiées. Les résultats montrent que les sonates publiées
sont caractérisées par une écriture typiquement galante et se présentent fréquemment
dans un modèle constitué par un cycle de deux mouvements, un mouvement rapide
et un menuet, composé dans une tonalité majeur (47,4%). Ce modèle se distingue
des modèles de composition des sonates qui n’étaient pas destinées au grand public.
Cette étude a permit d’identifier l’aspect musicologique des sonates portugaises pour
clavier publiées au XVIIIème siècle.
Mafalda Nejmeddine est claveciniste, Docteur de l’Université d’Évora en musique et
musicologie, spécialité d’interprétation, experte dans la musique ancienne portugaise,
notamment, la sonate portugaise pour clavier. Comme interprète, elle a étudié le clavecin
dans les classes de Ilton Wjuniski à Paris et de Cremilde Rosado Fernandes à Lisbonne.
Son répertoire s’étend de la musique ancienne à la musique contemporaine avec un accent
particulier sur le répertoire portugais du XVIIIème siècle. Mafalda Nejmeddine a enseigné le
clavecin à l’Université du Minho et a publiée la collection Sei Sonate per Cembalo d’Alberto
José Gomes da Silva en collaboration avec Gerhard Doderer. Actuellement elle se consacre
à la recherche et à l’interprétation de la musique portugaise pour clavier du XVIIIème siècle.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3204 Room 3204 Sala 3204 Raum 3204

2.I. Session – Contemporary Musical Horizons (I)

2. Bohdan Syroyid
Katholieke Universiteit Leuven, Belgium
bohdan.syroyid@student.kuleuven.be

Analysis of the use of Silence in Frédéric Devreese’s Passage à 5,


Mascarade, Danse de l’Auberge and Valse Sacrée

Frédéric Devreese (1929) is a prominent Belgian classical and film composer who
has written over 200 musical compositions, as well as, 27 film scores. In this paper,
we approach the analysis of four of his compositions, including one film score cue,
basing our analysis on the presence and absence of silence. Currently, there are not
many modern musicological analysis from the silence perspective, particularly, if we
take into consideration that some of most influential analytical methods and theories
developed during the past century did not address directly the silence phenomenon
(e.g. Schenkerian Analysis, Set-Theoretical Analysis). Therefore, a theoretical
framework is built upon the revision of rather unpopular and segregated theories
about silence functions and classifications developed throughout the 20th Century.
The chosen musical examples for the present study were personally recommended by
Frédéric Devreese as being relevant by its silence usage. Our subject of study is limited
to silences that are represented on the score (i.e. rests, phrase marks, staccatos, breath
marks, etc.). Consequently, a better understanding of the analysed compositions is
achieved, and an analytical method for studying silence functions is distilled and
applied, opening horizons to future silence-based musicological analysis.

Bohdan Syroyid is a PhD student in musicology at the KU Leuven (Belgium) with his
doctoral project ‘Analysis of the use of silence in the musical compositions of Vivian Fine’
under the supervision of Mark Delaere, and a MFA student in ‘Professional Composition and
Orchestration’ at ThinkSpace Education in collaboration with the University of Chichester
(UK) directed by Guy Michelmore. With a Bachelor’s Degree in ‘Musical Composition’ by
the Higher Conservatory of Music of Málaga (Spain) and a Master’s Degree in ‘Musical
Research’ by the International University of La Rioja (Spain), his current research is focused
on the functions of silence in music and music composition for film and media. Since 2015, he
is the president of ACIM (Málaga).

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12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

2.A. Session – Opposing Opposites in America: Babbitt and Reich

3. Stéphan Schaub
Université de l’Etat de São Paulo à Campinas (UNICAMP) / Noyau
interdisciplinaire d’étude du sonore (NICS), Brésil
schaub@nics.unicamp.br

Analyses de l’œuvre et analyse de sa logique


compositionnelle : quelques réflexions méthodologiques articulées
autour de Clapping Music de S. Reich

Une part importante de la musique du XXe siècle a été élaborée à travers des systèmes
abstraits qui ont guidé les mains des compositeurs dans des directions nouvelles
et produit des œuvres en grande partie imperméables aux approches analytiques
traditionnelles. La présente communication propose une réflexion sur les options
méthodologiques disponibles à l’analyste dans l’abordage de telles œuvres. Elle
distingue, dans un premier temps, entre les considérations « historiques » (contextes
biographiques, esthétiques...) ; la reconstruction/compréhension des univers
poïétiques et l’analyse des résultats sonores abordés indépendamment des éléments
précédents. Elle s’intéresse ensuite aux intersections entre ces trois perspectives en
insistant plus particulièrement sur la formalisation des systèmes compositionnels,
sur la description/représentation des surfaces sonores et sur l’exploration de leurs
influences réciproques à l’aide de la simulation informatique. Cette réflexion est
organisée autour de l’œuvre Clapping Music (1972) de S. Reich qui joue tour à tour
le rôle d’illustration et celui de « modèle » (dans un sens proche de celui utilisé en
biologie) à partir duquel tenter une généralisation.

Stéphan Schaub est musicologue, spécialiste du XXe siècle et chercheur au NICS (noyau
interdisciplinaire d’étude du sonore) de l’université de l’état de São Paulo à Campinas
(UNICAMP), au Brésil. Il s’est formé en percussion, en composition musicale et en
mathématiques à l’Université d’Arizona (USA) avant de se consacrer à la musicologie à
l’EHESS, à l’IRCAM et à l’université de Paris IV. Il soutient sa thèse en 2009 sur les rapports
entre mathématiques et composition musicale chez I. Xenakis et M, Babbitt. Sa recherche
concerne les liens entre musicologie, informatique et création musicale. Il fonde en 2017 le
« Laboratoire d’études musicales et de modélisation de l’écoute » (LEMME) dont l’une des
principales finalités est de rapprocher le domaine de l’analyse assistée par ordinateur de
celui de la conception de performances interactives.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

2.B. Session – Musical Semiotics and Narrativity

3. Katarzyna Bartos
Academy of Music, Kraków, Karol Lipiński Academy of Music, Wrocław, Poland
kasiabartos@op.pl

Semiotics of Light in Music

Since the beginning of European culture light is one of these phenomena that is a
source of inspiration for all artists. Its existence was also studied by philosophers
and physicists. Although it may sound unbelievable, light often inspires composers.
But how visual phenomena can be transferred onto hearable ones? I was struggling
with finding an answer for that question, since there are thousands of compositions
inspired by light and, at the same time, almost no publication in which there would
be a method of analyzing such music suggested. The only method that can be found
is the one suggested by Eero Tarasti in Semiotics of Classical Music. How Mozart,
Brahms and Wagner Talk to Us (Berlin 2012) but not used to analyze the whole piece.
The aim of this paper is to show how music inspired by light can be analyzed. The
piece „Lumiere” by Agata Zubel will be an example taken under consideration.
To analyze aforementioned piece I will use the Eero Tarasti’s method. I will explain
his approach to this topic, show problems of this method. Finally, I will present my
own approach to it. The result of my paper is an analysis of a piece that light is the
main source of inspiration. I will show how visual phenomenon is transferred by a
composer into a music. I will also show the results of my research on a small group
of people, which aim was to answer the question: can light be heard?

Katarzyna Bartos, teaching assistant at Karol Lipiński Music Academy in Wrocław, Poland.
PhD student of theory of music at Music Academy in Kraków, Poland. She was a scholar
of Erasmus-programme (Universität für Musik und darstellende Kunst Wien). In 2015 her
master dissertation about representation of light in music was awarded the highest grade.
As a theorist she gives lectures in Poland and abroad (Great Britain, Greece, Lithuania,
Portugal and Switzerland). Her interests range from music, especially folk, contemporary and
Polish, the issue of symmetry in art and mathematics to cultures of Asia and Oceania.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

2.C. Session – French Music (I): Fauré and Saint-Saëns

3. Geoffrey Burleson
Hunter College-City University of New York, United States of America
geoffrey.burleson@hunter.cuny.edu

Proto-Impressionism in Piano Works of Camille Saint-Saëns

Camille Saint-Saëns’s prolific catalog includes a significant body of solo piano


works, 5 piano concerti, and several concertante works featuring the piano. Several
of these pieces foreshadow later developments by so-called impressionist composers,
exhibiting harmonic ambiguities, use of modality, oblique tonal relationships, and
textures idiomatic to musical impressionism. This paper will highlight specific proto-
impressionistic elements in three works of Saint-Saëns: two of the composer’s piano
études, and the 2nd movement of his Fifth Piano Concerto, Op. 103.
The Prélude from Saint-Saëns’s Étude in A Major, Op. 52, No. 5 (1877) features
very difficult undulating parallel sixths within each hand. There are also passages of
great harmonic ambiguity, including a lengthy series of unrelated major and minor
triads, very audacious for its time, and unanalyzable via the tenets of functional
harmony. Saint-Saēns’ Étude Op. 111, No 4 (Les Cloches de las Palmas) [1899]
expands these proto-impressionistic tendencies, including elements that do not
appear in the literature until Ravel’s Jeux d’eau. Throughout, modality and tonal
chromaticism intermingle, and bell-like textural effects anticipating Ravel’s La vallée
des cloches (written five years later) are used to strong and striking effect.
The Fifth Piano Concerto (1896) includes many ingenious tonal as well as coloristic
effects, including cadenza passages featuring “ghost overtones” (my label). Saint-
Saëns’s role as a harmonic and textural innovator presaging and sometimes going
beyond impressionist idioms is little explored and underappreciated in reception
history, as these and other examples should manifest.
Geoffrey Burleson is Professor of Music at Hunter College-City University of New York,
and is additionally on the piano faculty of Princeton University. Current recording/research
projects include Camille Saint-Saëns: Complete Piano Works, on 5 CDs, for the Naxos Grand
Piano label. Volumes 1 (Complete Piano Études), 2, 3 and 4 have been released to high
acclaim from Gramophone, International Record Review, Diapason (France) and elsewhere,
and have garnered International Piano Choice Awards from International Piano Magazine.
Volume 5, to be released in 2018, will feature unpublished works that Prof. Burleson
obtained from the Bibliothèque Nationale de France. Other noteworthy recordings include
AKOKA (Oxingale), featuring Messiaen’s Quatuor pour la fin du temps, which received a
2015 JUNO Award nomination.

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IXe congrès européen d’Analyse musicale

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

2.D. Session – Readings of Franz Liszt

3. Kerri Kotta
Estonian Academy of Music and Theatre, Estonia
kerri.kotta@gmail.com

Multi-Movement Work as Complete Gesture in Liszt and other 19th


Century Composers: towards the Concept of Two-Dimensional Cycle

One of the achievements of the New German school was a decisive rethinking of
musical form. The new thinking manifests itself in at least two ways: in one-movement
forms in which the sonata form was combined with the elements of sonata cycle, and
in multi-movement structures in which the separate movements were brought closer
to each other by using similar thematic material and musical rhetoric.
The one-movement sonatas displaying the features of a sonata cycle are referred
to as two-dimensional or double-functional sonata forms in the literature. The paper
aims to demonstrate that the opposite – i.e. the multimovement structures which
show a dimension of a movement form – is also a possibility. The paper especially
focuses on the three-movement instrumental works of Liszt and other 19th century
composers displaying three-part fast-slow-fast pattern. In his book on sonata form
Hepokoski discusses multi-movement structures as complete gestures from the point
of view of their rotational design. The approach works even better in the multi-
movement compositions showing remarkable thematic resemblance between the
movements. A rotation in such a work tend to display a binary rhetorical design in
which the dramatic first part is followed by the lyrical second part. Due to the contrast
between the two thematic groups, the boundaries between the rotations are clearly
articulated. The divergence between the boundaries of the two dimensions seems to
occur between the first and second movements, but not between the second and last
movements of the works discussed in this paper.
Kerri Kotta (b. 1969) works currently as a professor of music theory at the Estonian Academy
of Music and Theatre (EAMT). In 2007 he received MA in composition and in 2004 PhD
in musicology in EAMT. In 1994-2004 he has taught at Tallinn University and since 2004
at EAMT. Kerri Kotta’s research interests include Schenkerian analysis, theories of form,
and Estonian music. He is an editor in chief of the academic Eduard Tubin Complete Works
edition and a member of board of the interdisciplinary yearbook of Estonian Musicological
Society (EMS) “Res Musica”. He is a chairman of EMS and International Eduard Tubin
Society. The detailed CV of Kerri Kotta can be accessed in the Estonian Research Portal at:
h t t p s : / / w w w. e t i s . e e / P o r t a l / P e r s o n s / D i s p l a y / 5 7 1 e 8 5 0 8 - 3 f b c - 4 6 c d - b 9 d 7 -
db2f26fc7081?tabId=CV_ENG

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9th European Music Analysis Conference

Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

2.E. Session – Contrasting Paths to Modernism: Bartók, Skalkottas and


Christou

3. Varvara Gyra 3. Kostis Karpozilos


Independent musician and musicologist, The Contemporary Social History
France Archives, Greece
varvaragyra@yahoo.com kostis.karpozilos@gmail.com

Compositional Praxis and Historical Time in the Late Works of Jani


Christou

The avant-garde Greek composer Jani Christou (Cairo 1926 - Athens 1970) composed
pieces synthesizing multiple forms of artistic expression and wrote theoretical texts
providing an intellectual theoretical and experimental framework that encompasses
his philosophical and psychoanalytical conceptualizations, his multi-disciplinary
prism and his distinctive musical notation. This paper aims to discuss Christou’s work
in close connection with the socio-political setting of the 1960s that signify a period
of global turbulence and significant transformations by focusing on the influence of
the social-political setting on compositional praxis. More particularly, it highlights
the formative ideas mainly in two major Christou’s works -The Strychnine Lady
(1967) and Epicycle I (1968) - and illustrates the appearance and representation(s)
of themes, images and debates deriving from the contemporary social and political
atmosphere in his musical notation and notes.
The paper highlights the dialectic between the politics of confrontation, ranging
from the Vietnam War to the fear of the Atomic Bomb, and the formulation of
Christou’s philosophical reflections on music and performance according to his
‘protoperformance’ concept and to his ‘phoenix pattern’. Moreover, it analyzes his
oeuvre through the ‘praxis-metapraxis’ concept, which suggests a conceptualization
of performance theory, and the direct influence of socio-historical events on his
compositional praxis. Finally, it focuses on the use of historical time units as basic
elements shaping musical structure and the presence of symbols (repetition signs,
dices etc.) combining the fatality of eternal repetition of history and the aleatoric
dimension characterizing an experimental happening-performance.

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Varvara GYRA was born in Ioannina, Greece, and has been living in Paris, France, since
1998. She studied the guitar in Paris with Roland Dyens and Francis Kleynjans, graduated
from the Ecole Normale de Paris and has been awarded scholarships by the Academy of
Athens and the Onassis Foundation. She holds a Ph. D. in Musicology (University of Paris
VIII) and her thesis is on the work of the Greek 20th century composer Jani Christou. She
has recorded three CDs, won four international prizes and performed in various countries all
over the world. www.varvaragyra.com

Kostis Karpozilos is a historian and the Director of the Contemporary Social History Ar-
chives (ASKI) in Athens. He is the scriptwriter of the documentary Greek-American Radicals:
the Untold Story (2013) and the author of a book on the Cretan socialist intellectual Stavros
Kallergis. His book Red America: Greek Immigrants and the Vision of a New World, 1900-
1950 came out in February 2017. He was a postdoctoral fellow at Columbia University,
Princeton University and at St Antony’s College, University of Oxford and has taught at the
University of the Peloponnese, and at Sciences Po. His current research engages with the role
of political imagination in times of crisis and the emergence of ex-communists in the interwar
period. https://oxford.academia.edu/KostisKarpozilos

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

2.F. Session – Analysing Arvo Pärt’s Music

3. Svetlana Savenko
Moscow Tchaikovsky Conservatory, Russia
savenkosi@mail.ru

Aesthetics and Style of Arvo Pärt’s Work: Revolution or Evolution?

The creativity of Arvo Pärt (born 1935) is widely known by now throughout the world;
works of the composer are popular in various social and professional circles. Most
of his works since the 1970s belongs to the traditional genres of Christian liturgical
tradition; they are based on sacred words as a substantial and structural phenomenon.
Nevertheless, in his avant-garde works of the 1960s he used techniques of serial
dodecaphony and total serialism, Klangfarbenkomposition, extended instrumental
playing, collage and polystylistics. The last composition of such kind was ‘Credo’
(1968) whereupon there was a period of almost complete silence, which lasted about
eight years. Pärt called his new style tintinnabuli (lat. little bells). It was in sharp
contrast to earlier avant-garde writing, based on binary oppositions: variability –
stability, dissonance – euphony, chromatic – diatonic, new techniques of playing and
notation – traditional (or old) ways of playing and scoring.
However, we can see continuity of various levels between the two styles Pärt;
its investigation is the main purpose of the present study. In the first place there are
relations on the level of aesthetics and creative psychology, and then in the field
of compositional techniques which are permanently marked by a high degree of
rationality.
The main conclusion of the present study is to look anew at the phenomenon of
Arvo Pärt’s creativity, which developed between the poles of revolution and evolution.

Svetlana Savenko is senior researcher of State Institute for Art Studies and professor
of Contemporary Music at the Moscow State Conservatory, author of more than 100
publications (including several books) in Russian, English, and German. The major fields of
her specialization are Russian music, music of the 20th century including avant-garde and
contemporary music. Among her books are Stravinsky’s biography (ARKAIM, Chel’abinsk,
2004), a monograph “Mir Stravinskogo” (2001; German edition under the title “Igor
Strawinsky. Physiognomie eines Komponisten”, Verlag Ernst Kuhn, Berlin, 2014) and
the Russian publication of Chronique de ma vie and Poétique musicale of Stravinsky with
commentary (ROSSPEN, Moscow, 2004; second edition Moscow – St. Petersburg, 2012).

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Salle 3203 Room 3203 Sala 3203 Raum 3203

2.G. Session – Improvisation and Style

3. Andrew Wilson
University of Basel, Department of Musicology, Switzerland
andrew.wilson@unibas.ch

Analysing Erwin Schulhoff’s Improvised Performances of the 1930s

There is growing evidence that some musicians affiliated to early 20th century mod-
ernism engaged in forms of improvisation as a mode of composition as well as a
means of performance. For instance, Erwin Schulhoff, the Czech composer and vir-
tuoso pianist of German-Jewish descent, not only composed scores that allow per-
formers interpretive freedom (possibly actualized in the moment of performance)
but was also known as a keen and capable improviser. In this talk I will analyse two
instances of Schulhoff’s improvisations which have been preserved on distinct me-
dia. The first is a recorded performance probably dating from 1933 of a piece entitled
Sami Dva (Only Two) whose score remains lost. This recording is a rare testimony of
Schulhoff’s jazz orientated piano duo performed with Oldrich Letfus. The second is a
1936 solo extemporization known as Optimistische Komposition, which Schulhoff is
believed to have transcribed on paper a few days after the performance. Drawing on
various analytical methods, I will address some of the challenges that emerge when
theorizing on Schulhoff’s improvisatory skills from a historical perspective.

Born in 1968 in Neuchâtel (Switzerland), Andrew Wilson is currently working as a scientific


collaborator at the Musicology Department of the University of Basel. After initial studies in
computer sciences at the University of Neuchâtel and training as a classical and jazz pianist,
he has worked as an English teacher and translator. In October 2012, he received a Master
of Arts in Musicology and in English/American literature and linguistics at the University of
Basel, with honours (insigni cum laude). Since then, Andrew Wilson has been researching his
PhD topic ‘Concepts of improvisation and their impact on early twentieth century art music’.
In April 2014, this project was officially accepted as a research program at the Department
of Musicology of the University of Basel and is funded by the Swiss National Science Foun-
dation.

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12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

2.H. Session – European Instrumental Music of the 18th Century

3. Yuval Rabin
Hebrew University, Jerusalem, Israel
yuval.rbn@gmail.com

Die Kreation guter Veränderter Reprisen gemäss C.Ph.E. Bach


Der Begriff “veränderte Reprisen” (VR), der von C.Ph.E.Bach (CPEB) geprägt wurde,
beschreibt eine Wiederholung von einem ganzen Stückteil mit Veränderungen. So
z.B. notiert CPEB ein Stück mit VR, das aus zwei Teilen von je 16 Takten besteht,
in 64 Takten (statt 32 mit Wiederholungszeichen). CPEB komponierte knapp siebzig
Clavierstücke mit VR. Er schrieb sein “Credo” diesbezüglich am Ende des ersten
Teils seines Buches “Versuch über die Wahre Art das Clavier zu spielen”.
Die Betrachtung der VR von CPEB zeigt, dass es sich hier nicht um einfache
Verzierungen handelt und nicht nur der harmonische Ablauf als Basis geblieben ist,
sondern auch einige Melodie-Noten und vor allem die verschiedenen Charaktere
verschiedener Motive beibehalten sind. Manche Fachleute sind der Ansicht, die
Veränderungen sollten improvisiert werden. Doch die genaue Betrachtung der
„VR-Sammlung“ von CPEB zeigt, dass die Erschaffung guter VR mit einer guten
Vorbereitung verbunden ist. Es besteht die Frage, nach was CPEB bei den VR strebt,
bzw. ob und wenn ja welche Logik hinter den VR von CPEB steckt? Sind die VR eine
reine Bearbeitung oder Variationen? Oder ist es ein anderes Phänomen mit einem
speziellen Zweck, das durch spezielle Methoden erreicht wird?
Wenn im Fall von Variationen jede einen anderen Affekt erzeugt und fast immer
mit einer typischen Änderungsform kreiert wird, so sind die VR mit unterschiedlichen
Veränderungsmotiven und Charaktern ausgestalttet. Alle für die VR typischen
Veränderungsarten unterstützen laut Forschungen im kognitivien Bereich die
Wiedererkennung einer Melodie. Die veränderten Motive sind in der Regel auf eine
konsequente Art verwendet, jedoch im Einklang mit der Satzstruktur.
Dr. Yuval Rabin, Israel. Ph.D. (2015) an der Hebrew University, Jerusalem,
Dissertationsthema “Das Phänomen der Veränderten Reprisen bei C. Ph. E. Bach und
seine Besonderheit”. „Solisten-Diplom“ (2001, mit Auszeichnung) von der Musikakademie
der Stadt Basel (Orgel, Cembalo, Clavichord). B.Mus. (1995), und B.Ed.Mus. (1996) von
der Jerusalemer Musikakademie (Orgel, Musiktheorie, Barockmusik und Pädagogik).
Forschungs-Schwerpunkte: Analyse, Aufführungspraxis, veränderte Reprisen bei C.Ph.E.
Bach und jüdische Musik. 2014 Preis der jungen Forscher der IMS. Rabin ist tätig sowohl
als Musikwissenschaftler, als auch als aktiver Musiker. Seit 2011 künstlerischer Leiter der
Israel Organ Association und seit 2012 der “Tage der Jüdischen Musik”, im künstlerischen
und wissenschaftlichen Bereich. 2014 erschien (bei MDG) seine CD C.P.E. Bach organ music
with varied repeats, die mit “5 Stars” vom “Choir and Organ Magazin” ausgezeichnet wurde.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Salle 3204 Room 3204 Sala 3204 Raum 3204

2.I. Session – Contemporary Musical Horizons (I)

3. Candida Felici
Istituto Superiore di Studi Musicali “Vittadini”, Pavia, Italy
candida.felici@conspv.it

Inner Structures and Spirituality in Jonathan Harvey’s Music

The paper aims to analyse the way in which Jonathan Harvey’s compositional
language and the use of new technologies interact with extra-musical motivations,
essentially tied with a search for transcendence. The analysis will focus on some
of Harvey’s instrumental works with or without electronics (Run Before Lightning,
Tombeau de Messiaen, Quartet no. 4, Flight Elegy), in order to answer the question:
can the interaction of musical structures with spiritual, religious or oneiric implications
realize a sort of narrative in music? In his mature works Harvey alternates moments
of ecstatic meditation with moments of high vitality, where the contrasting elements
and musical objects eventually melt and finally loose their individuality. The concept
of ambiguity is central to Harvey’s aesthetics: ambiguity can be found in the difficulty
to recognize the sound origin, in timbre transformation, in the blurring of borders
between harmony and spectrum, sound and noise, electronically conceived sound
and instrumental sound. In Harvey’s thought, musical ambiguity is a way to represent
Buddhist emptiness and a way to attain a pure land (as Buddhist term).

Candida Felici obtained diplomas in piano and harpsichord, a degree in musicology at


Rome University, a Ph.D. at Fribourg University (2003) and a post-doctoral scholarship at
Bologna University (2005-2007). From 2006 she has been teaching Music History in Italian
Conservatories of Music. Her research focuses on contemporary music and on Baroque
music. She has published books, critical editions and several essays. She is assistant editor
of the online musicological journal Gli spazi della musica and member of the Committee for
musicological teachings of the Società Italiana di Musicologia.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

3.A. Session – The Second Viennese School (I): Berg, Organicism, and the
Teleology of Form
1. Ramiro Limongi
National University for the Arts, Music Department, Argentina
ramiro_limongi@yahoo.com
Form and Teleology Beyond the Tonal System Around 1910
An essential part of Western thought, teleology defined the structure of temporal poietic
enterprises since Aristotle described classical tragedy. Present all along centuries of
musical developments, it finally became indigenous to tonal music. Additionally, an
equivalence between organization and organicism was later crystallized, particularly
by German composers. The late nineteenth century posed the crisis of its consequent
formal conception, concurrently with the exploration of tonality limits and a growing
interest on the thought and music of Eastern cultures. However, due to habits of
perception and the nature of brain processes themselves, listeners compare, and relate
sequential musical events, deducing implications and expectations. Sense-making
greatly depends on building patterns and establishing hierarchies, for which teleology
proved effective and therefore hard to disappear.
Even when emancipated dissonance, atomized materials, and condensed information
were crashing the very frame of musical intelligibility, around 1910, Anton Webern
still kept the organic conception of form, proposing a distinguishable directionality
and a sense of development linking the treatment of his ideas. Contemporaneously,
Debussy, while maintaining more traditional vocabulary elements and, occasionally,
some conventional relationships, tended to abandon narrative designs. Although
his works were often considered shapeless or nebulous because of the absence of
dramatic outbursts, an apparent static quality and his interest in other parameters
as axial organizers, he carefully handled elements, evaluating their interaction, thus
generating markers that allowed a clear perception of larger formal structures.
A comparative analysis of Debussy’s Des pas sur la neige and Webern’s Op. 7,
No. 3 exemplifies these contrasting approaches.
MA in Music Performance (NYU, 2000) (Fulbright scholar). BA in Music (National University
Institute for the Arts, Argentina, 2006). Music teacher degree (National Conservatory of
Music, Argentina, 1991). Municipal Composition Award (Buenos Aires City, 2002-2003).
Music teacher (National University for the Arts, UNA, Music Department -Music Analysis,
Philosophy-; Municipal Music School J. P. Esnaola -Flute for instrument teaching majors,
Music History 1). Director’s assistant (Music Education Center, UNA, 2013-2015). Editorial
Secretary (Enseñar Música: Revista panamericana de investigación, 2013-2015; Boletín de
Investigación Educativo-Musical/ADOMU, since 2017). Referee (Coloquio Internacional
de Educación Musical a Nivel Superior, Universidad Autónoma de Aguascalientes, México,
2016-2017). ISME member since 2013. Member of the Music Teacher Association (Buenos
Aires) since 2016. PhD student (UNA, since 2014.)

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

3.B. Session – Leading Figures of Modernity (I): Messiaen, Dutilleux, and


Kurtág

1. Shigeru Fujita
Tokyo College of Music, Japan
shigeru.fujita16@gmail.com

Henri Dutilleux’s dodecaphonism in Métaboles and Tout un monde


lointain
Dutilleux’s dodecaphonism has been underestimated, mainly due to his declaration
during the early postwar years that “je ne pense pas devenir dodécaphoniste.”
Some recent studies have, nonetheless, sparked a revival of interest in his
dodecaphonism by clarifying that Dutilleux’s thinking was more constructivist
than generally believed. My presentation aims to evaluate the significance
of the dodecaphonism in Dutilleux’s music by tracing the evolution of his
dodecaphonic writing from Métaboles to Tout un monde lointain. To do this,
I reciprocally examine the sketch study I performed with support from the
Paul Sacher Foundation and the analytical study in which I used post-tonal theory
terminology. Using this method, I demonstrate two major findings. First, in Métaboles,
Dutilleux reconciled his preferred diatonic harmonies with the dodecaphonic
tone row used as ostinato in the “Obsessionnel” section; thus, in the course of the
composition, he transformed an initial, more chromatic tone row into a staggered
combination of ascending fourths. Second, in Tout un monde lointain, Dutilleux
sought to deduce an expanded set of harmonies from the dodecaphonic tone row
by installing a transpositional symmetry in it; therefore, the first nine notes of the
tone row constitute the enneatonic collection, similar to Messiaen’s third mode. This
tone row permitted him to deduce characteristic modal harmonies with a structural
coherence as the content of the first nine notes was unchanged in its fourth and eighth
transpositions. Dutilleux thus introduced a new horizon in dodecaphonism through
the concept of the “tone row of limited transposition.”
Shigeru Fujita is an associate professor at the Tokyo College of Music and teaches history,
theory, and analysis of contemporary art and music in several institutions in Japan. He
graduated from Université de Paris, Sorbonne and received his Ph.D. in musicology from the
Tokyo University of Arts. In addition to presenting in international musicological conferences,
he has published his articles in peer-reviewed journals or books, for example, “Des canyons
aux étoiles: Messiaen’s rational thinking in the designing of musical form” (2010); and
“Interlocking-Directional tonality : la conceptualisation d’une nouvelle organisation tonale
dans les ballades de Chopin et de Liszt” (2013). He has also translated Introduction à la
musique tonale by Henri Gonnard (Paris, Champion, 2011) into Japanese.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

3.C. Session – Bridging the Twentieth Century: Stravinsky, Varèse, and Boulez

1. Pieter van den Toorn


University of California, Santa Barbara, United States of America
cbvan@aol.com

The Rite of Spring Revisited; Stravinsky’s Stratifications, the


Psychology of Meter, and African Polyrhythm

Many of the dance movements in The Rite of Spring are stratifications, polyrhythmic
structures in which there is a superimposition of fragments and patterns that repeat
according to varying cycles or spans. Typically, these repeating fragments are often
displaced relative to the meter. This paper will address the aesthetics of these processes
by turning first to the psychology of meter and second to several examples of African
polyrhythmic dances. The completely ahistorical nature of this comparison between
Stravinsky and African polyrhythm carries with it a certain fascination of its own.

Pieter C. van den Toorn is Professor Emeritus at the University of California, Santa Barbara.
His books include The Music of Igor Stravinsky (1983), Stravinsky and The Rite of Spring
(1987), Music, Politics, and the Academy (1995), and Stravinsky and the Russian Period
(2012). He is currently working on a short book for a more general audience, Simply
Stravinsky.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

3.D. Session – French Music (II): Berlioz and Debussy

1. David Curran
Royal Holloway College, University of London, United Kingdom
david.curran.2011@live.rhul.ac.uk

Love and History in Berlioz’s “Chasse Royale et Orage”, a Semiotic-


Schenkerian Perspective

‘Chasse Royale et Orage’ (Royal Hunt and Storm) is one of the most celebrated
numbers of Berlioz’s penultimate opera, Les Troyens. Signifying the moment during
which Didon and Énée consummate their love, this orchestral tableau plays witness
to the first confrontation of the opera’s two main themes: love and history. Formal
analysis of the piece, however, has been thin on the ground. Ian Kemp has provided
valuable if informal commentary on the movement in his edited essay collection on
the opera. He suggests a structural premise in a large-scale crescendo and identifies
motivic connections between several of the work’s themes. Nevertheless, his
programmatic reading fails to satisfy the analyst who seeks corroboration in a closer
reading of the music. This paper offers a semiotic-Schenkerian poetics of the number
in order to elucidate more rigorously how ‘meaning’ manifests itself in the orchestral
prelude as a dialectical ‘play’ between ‘structure’ and ‘expression.’

David Curran read music as an undergraduate at the University of Bristol before going on
to Royal Holloway College, University of London where he studied for a master’s degree in
Advanced Musical Studies and continues to study for a PhD. His research so far examines
intersections between music analysis and the history of ideas, with a particular focus on the
symphonies, operas, and aesthetic views of Hector Berlioz. He draws on a wide range of
musical analytical techniques including Schenkerian analysis, Sonata Theory, and semiotic
and narratological approaches to music. Observations in the musical realm often also give
rise to excursions into philosophical, historical, and literary sources, including, primarily, the
work of Rousseau, Schiller, and Hegel.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3203 Room 3203 Sala 3203 Raum 3203

3.E. Session – Issues of Rhythm and Metre

1. Danuta Mirka
University of Southampton, United Kingdom
d.mirka@soton.ac.uk

Between Overlaps and Elisions

The technique of phrase linkage in which the end of one phrase coincides with the
beginning of another has been described by music theorists since the eighteenth
century and further explored in the twentieth. The exploration was initiated by Lerdahl
and Jackendoff (1983), who distinguished between two forms of this phenomenon—
overlap and elision—but their distinction was questioned by Benjamin (1984) and
dismissed as merely “logical” by Rothstein (1989: 46). In my paper I will argue
that it is more than just logical. Rather, it accounts for different perceptions of
phrase linkages in real time and bears upon the perceptual effect of hypermetrical
irregularities caused by them. I will use my dynamic model of meter (Mirka 2009)
and extend it upon hypermeter in order to study such effects in the repertoire of
Haydn’s and Mozart’s chamber music for strings.

Danuta Mirka is Professor of Music Theory and Head of Research in Music at the University
of Southampton. A former vice president of the Society for Music Analysis, she is the co-editor,
with Kofi Agawu, of Communication in Eighteenth-Century Music (2008) and the editor of
The Oxford Handbook of Topic Theory (2014), which received the Citation of Special Merit
from the Society for Music Theory in 2015. Her books include The Sonoristic Structuralism
of Krzysztof Penderecki (1997) and Metric Manipulations in Haydn and Mozart: Chamber
Music for Strings, 1787–1791 (2009), which won the SMT’s 2011 Wallace Berry Award. Her
articles have appeared in The Journal of Musicology, Journal of Music Theory, Music Theory
Online, Eighteenth-Century Music, and Musical Quarterly.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

3.F. Session – Falling Nicely Into Place: The Cadence in History and Theory

1. David Lodewyckx
University of Leuven / Maastricht Academy of Music, Belgium / Netherlands
david.lodewyckx@kuleuven.be

The Fulfillment of Mattheson’s “Quart-Wunder”: 18th-Century


Performance Practice and the Gradual Standardization of a New
Cadential Pattern

In the second volume of his Forschende Orchestre (Quartae Blanditiae, 1721),


Johannes Mattheson explains how a fourth, considered against the bass, is always
dissonant and should resolve by going one step down. Mattheson mentions common
compositional practice and judgement by (his) ears as distinctive arguments. He
blames theorists who describe the fourth, in one way or another, as a consonance.
Mattheson mockingly quotes Francisco de Salinas (De Musica, 1577), who referred
to a mass by Josquin to demonstrate that a fourth is consonant. If we could only trace
back that mass, says Mattheson, then maybe a ‘Quart-Wunder’ will occur?
Apparantly Mattheson was not fully aware of the ‘Quart-Wunder’ in his own time:
a specific cadential pattern gradually developed from the late 17th century until it
became one of the most typical cadence formulae in the 18th century. In this cadence,
a fourth above scale degree five in the bass proceeds by going one step up instead of
resolving downwards. The fourth is seemingly treated as a consonance: Mattheson’s
‘Quart-Wunder’ is fulfilled.
In this paper I will first explore Mattheson’s position and arguments. After that, I
will demonstrate how performance practice played a crucial role in the development
of the cadential scheme at hand, using Corelli’s opus 5 (3rd edition, 1710) and Tartini’s
Trattato (ca. 1750) as main sources. Finally, I will present repertoire examples from
the end of the 17th century until ca. 1750 to clarify the different steps from early
experiments (implicit acknowledgment) to full mastery (explicit acknowledgment).
David Lodewyckx studied music theory at the Lemmensinstituut (2003) and musicology at the
University (2007), both in Leuven, Belgium. Between 2007 and 2011, he served as a research
assistant for Prof. Dr. Pieter Bergé at the musicology department of the Leuven University.
Since March 2012, he is working on his PhD in musicology, focusing on a contextualized
study of Marpurg’s galant cadence. In 2013-2014 he resided at the Schola Cantorum
Basiliensis (Switzerland) as a research fellow, under supervision of Dr. Felix Diergarten.
Since September 2015, David Lodewyckx is a lecturer of music theory and music history at the
Maastricht Academy of Music, The Netherlands. He is currently vice-president of the Dutch-
Flemish Society for Music Theory (VvM).

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

3.G. Session -– Sounds of Popular Music (I)

1. Ángel Faraldo 1. Sergi Jordà


Pompeu Fabra University, Spain Pompeu Fabra University, Spain
angel.faraldo@upf.edu ergi.jorda@upf.edu

1. Perfecto Herrera
Pompeu Fabra University, Spain
perfecto.herrera@upf.edu

A Study of Tonality in Electronic Dance Music

In this paper, we present a study of tonal practises in Electronic Dance Music, an


umbrella term referring to a variety of electronic music sub-genres intended for
dancing at nightclubs and raves. In particular, we look at how commonplace digital
production techniques, mostly revolving around the Digital Audio Workstation, might
have an impact in the development of tonal language. Such techniques, seem certainly
closer to cinematographic montage (based on splicing, layering and processing sound
files) than to traditional musical operations on symbolic data (i.e. musical notation).
Electronic Dance Music presents an optimal choice for such study, for it completely
embraces digital production techniques and, given its strong orientation towards the
dance floor, it is rather open-ended regarding its harmonic language. Furthermore,
its cyclical structure based on loops, seems to have implications in the ways listeners
integrate tonal units together, which are unlikely in other tonal dialects. For example,
we found that simultaneous layering of several audio files often leads to poly-modal
or atonal excerpts; in other cases, fragments with sparse pitch content (a simple bass
line or a tuned bass-drum) should be seen as amodal (i.e. with a clear tonic but no
sense of modality). We often observed modal variants other than the traditional major
and minor, and confirmed that its structural organisation based on loops neutralises
the tonal dialectics present in other types of music.

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Ángel Faraldo (Spain, 1980) is a musician concerned with the creation, dissemination and
teaching of experimental music. Active as a composer and improviser, his work extends into
sound installations, site-specific performances and sound design for dance and opera. He
has studied Classical Guitar at the Royal Conservatoire in Madrid (ES), holds a Master
in Sonology from the Royal Conservatoire in The Hague (NL) and has received music
composition lessons from a variety of composers (Carlos Bermejo, J. M. López López, J.
M. Sánchez Verdú, etc.). He is currently a PhD candidate at the Music Technology Group,
Universtitat Pompeu Fabra, where he studies tonality in Electronic Popular Music.

Prof. Sergi Jordà holds a BS in Fundamental Physics and a PhD in Computer Science and
Digital Communication. He is an Associate Professor at Universitat Pompeu Fabra in
Barcelona, where he directs the Music and Multimodal Interaction Lab. His main research
interests are in the confluence of HCI, tangible, musical and physiological interaction, and is
specially interested in bringing MIR knowledge for helping music creation and for creating
empowering musical tools. He has led several EC founded projects, and authored more
than 120 publications counting peer-reviewed conference papers, journal articles and book
chapters. He has received many awards such as the Swets & Zeitlinger best paper award ICMC
(2001), a Ciutat de Barcelona award in Multimedia category (2007) or Ars Electronica’s
Golden Nica (2008). https://scholar.google.es/citations?user=jKDwPyUAAAAJ&hl=ca

Prof. Perfecto Herrera holds a BS in Psychology, and works at the Music Technology Group,
Universitat Pompeu Fabra, since 1997. As researcher and project manager, he contributed to
the MPEG-7 standardization initiative from 1999 to 2001 and to the EU-IST-funded projects
CUIDADO (2000-2002), SIMAC (2003-2005), EMCAP (2006-2008) and GiantSteps (2013-
2016). He was (2005-2011) the Director of the Department of Sonology, Superior Music School
of Catalonia (ESMUC), where he teaches Music Technology, Acoustics, Psychoacoustics,
Critical Listening Skills, and Technologies for Music Research. His main research interests
are audio and music content processing, classification in humans and machines, and music
perception, cognition and emotion, areas in which he has co-authored more than 150 research
papers and articles in peer-reviewed international conferences and journals. https://scholar.
google.com/citations?user=x4X0Ia8AAAAJ

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

3.H. Session – Performance Studies

1. Stijn Vervliet
LUCA School of Arts - Associated Faculty of the Arts, KU Leuven, Belgium
stijn.vervliet@luca-arts.be

Analysing Tempo, Rubato and Expressive Timing in Recordings of


Alexander Scriabin’s Early Piano Preludes
Situated within the field of performance analysis, this paper introduces recently
developed approaches to the analysis of recorded music. Focusing on the analysis of
extracted tempo data (global tempo and expressive timing), this case study examines
recordings of Scriabin’s late Romantic piano preludes [Opus 2 until Opus 22]
between 1910 and 2010. Given their widely varied nature, these 53 preludes form an
ideal research corpus to study late 19th - early 20th century Romantic pianism and its
transition into modern performance practices. The database of recordings currently
contains over 1400 individual prelude performances by 106 different pianists. A
comparative analysis of the recordings, employing a combination of aural analysis
methods as well as analyses using audio-software tools and statistical data analysis
techniques, aims at mapping the differences and communalities in pianist’s artistic
performance decisions.
Preliminary results show that 1) pianists do take remarkably high degrees of
freedom concerning their global tempo choice in relation to Scriabin’s tempo
markings; 2) tempo spreads between different performances of the same preludes
are unexpectedly huge; 3) pianists demonstrate a considerable variety of rubato
styles and expressive timing playing techniques such as dislocation, arpeggiation and
various forms of rhythmic alteration, however, their use seem to have been changing
gradually over time. By developing a method which enables large scale comparative
analyses of tempo and tempo modifications, this case study provides insights about
tendencies and singularities in a century of performance history and facilitates an
objective modelling of playing styles and delineation of musically meaningful
performers’ profiles.
Stijn Vervliet (°1984) is coordinator of the research group Performance Practice &
Composition, as well as master research coordinator of the instrument department at LUCA
School of Arts, Leuven (BE). He holds a Master’s degree in Music, piano (2007). His main
research interests are performance analysis, historical informed performance, and more
recently, musical communication and interaction processes. He is currently PhD researcher
at the Faculty of Arts, KU Leuven. Since 2010 he is affiliated researcher and researcher in the
arts at the Faculty of Arts, KU Leuven. Besides his research and concert activities, he worked
as a piano teacher at several Music Academies throughout Flanders over the past ten years.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3204 Room 3204 Sala 3204 Raum 3204

3.I. Session – Lewin’s Legacy: Spaces and Transformations

1. Benjamin Graf
University of Texas-Arlington/Dallas Baptist University, United Sates of America
benjamin.graf@uta.edu

The Gateway to Tonal and Metaphorical Transformation

The voice exchange is one of the most fundamental voice-leading techniques in tonal
music. Even though voice exchanges are implicitly associated with Schenkerian
theory and analysis today, Schenker did not discuss the concept in depth. As a result,
Timothy Cutler’s article, On Voice Exchanges, contains the most current lexicon of
voice-exchange techniques. My paper proposes one vital addition to the existing array
of voice exchange paradigms. Embedded voice exchanges possess a unique expressive
potential because they unfold two exchanges from the same point of departure. After
one voice exchange emerges as a tonal/structural goal, a second exchange supersedes
the first, materializing as a transformation of the initial tonal process. The second
exchange has the same contrapuntal origin as the first, but transcends it in terms of
structural significance. Therefore, unlike any pre-existing type of voice exchange,
embedded voice exchanges can signify a particularly transformative poetic or
compositional idea. My voice-leading analyses of pieces by Bach, Beethoven and
Chopin not only showcase this striking contrapuntal maneuver and its expressive
potential, but also open up new avenues for further research and analysis.

Dr. Benjamin Graf is an active scholar in music theory, pedagogy and performance. He is
on the faculty at both Dallas Baptist University and the University of Texas-Arlington. He
published his dissertation, An Analytical Study of Paradox and Structural Dualism in the
Music of Ludwig van Beethoven, under Timothy Jackson at the University of North Texas last
May. Ben has earned numerous awards, scholarships and grants throughout his career for
both research and teaching. He has presented papers at regional, national, and international
conferences in the United States, Australia, and (now) Europe. Ben is currently pursuing
publication of three papers: 1) “Beethoven’s Transcendent Voice Leading,” 2) “Pardon the
Interruption: Reconsidering Schenker’s Sonata-Form Paradigms,” and 3) “Before the Heroic
E-flat.”

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3209 Room 3209 Sala 3209 Raum 3209

3.J. Session – Listening, Perceiving, and Cognising

1. Yaroslav Stanishevskiy
Moscow P. I. Tchaikovsky Conservatory, Russia
yarostan@mail.ru

On Physico-Acoustical Bases of Sonance and Tension

Up to the present moment musical science explains fundamental phenomena of


harmony, such as sonance and tension, either by abstract numerical logic in frequency
relations of sounds, or by specifics of perception. However, the above-mentioned
phenomena are the reflection of real acoustic processes and physical phenomena.
Though regularities of perception of a sonance are well-known, their objective
reasons exist only at the level of hypotheses, and phenomenon of tension is still
regarded only as a result of perceptual effects. Nevertheless, I. Orlov’s investigation
(1929) showed that objectively perception of tension depends on tuning of frequency
relations. Also modern physics of nonlinear processes has revealed the universal
laws in dynamic systems including both acoustic systems and homo sapiens as a
biological organism. In I. Blekhman’s research (1981) and in the collective work by
A. Pikovsky, M. Rozenblyum, J. Kurts (2003) exact correlations between regularities
of physical processes and regularities of perception of a sonance and tension are
discovered. Detection of correlation between such objective phenomena as resonance
and synchronization of waves on the one hand and phenomena of sonance and
tension on the other hand: 1) sets tasks of creation of physico-mathematical models
of processes influencing on properties of perception; 2) allows explaining essence
of phenomena of harmony by creation of physical and mathematical models; giving
reasoned characteristic of various cases of manifestation of sonance and tension (for
example, level of discordance, energy of tension); creating the theory of analysis of
harmony as the process consisting of acoustic events.

Yaroslav Stanishevskiy was born in 1988. Graduate from the Department of Music Theory
and History (2013) and the Department of Organ (2014) of Moscow P. I. Tchaikovsky
Conservatory. In 2013 – 1016 was a postgraduate student of Moscow Conservatory. Music
teacher in Music School of Children after L. N. Oborin, copy editor of The Journal of Russian
Society for Theory of Music. Area of interests — harmony, works: diploma thesis “The
Concept of Tone System Relationship in Russian Works on Harmony”, articles on theory by
N. A. Roslavets, on life and work of P. B. Leiberg and on the problems of theory of tone system
relationship.

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

3.A. Session – The Second Viennese School (I): Berg, Organicism, and the
Teleology of Form

2. Daniel Moreira
Universidade Católica Portuguesa, Portugal
daniel.moreira.83@gmail.com

Making Sense of Pitch in the “Free Atonal” Second Viennese School


Repertoire: a Teleological Approach based on Salience Conditions
How one should understand pitch in the music Schoenberg, Berg and Webern
composed in the so-called ‘free atonal’ period is still quite controversial. From the
1950s and 60s, strictly atonal readings based on pitch-class set-theory (Forte, 1973)
have become the dominant approach, but they have been criticized for analyzing pitch
in non-hierarchical terms and ignoring remnants from common practice tonality.
Recognizing the shortcomings of such an approach to the repertoire under
consideration, I follow Lerdahl (2001) and Newton (2014) in claiming that ‘theories
of tonality and atonality should … be linked’ and hence a more nuanced approach is
required — one that while recognizing the revolutionary significance of that music
still acknowledges the extent to which it contains ‘a puzzling amount of old [tonal]
material in unfamiliar contexts’ (Christensen, 1987).
I thus propose an analytical method for early post-tonal music which follows
Lerdahl (2001) in arguing that in the absence of conventional tonal syntax the
relative salience of (contextually emphasized) pitches becomes a major determinant
of perceived pitch structure. Unlike Lerdahl, however, I state that reiterated emphasis
of specific pitch-classes allows such pitch-classes to gradually become (increasingly
stable, almost tonal-like) goals of motion. I thus recover Kramer’s (1988) notion
that in early atonal repertoire a sense of progression remains crucial in the listener’s
experience of the temporal unfolding of musical events.
To show how my method works, I focus in Schoenberg’s Op. 11/1 and Berg’s Op.
5/1, proving a new understanding for the final chord of each of the two compositions.
Daniel Moreira holds a M.A. in Music Theory and Composition (Higher School of Music,
Arts and Performance, Polytechnic Institute of Porto – ESMAE/IPP; 2010) and is at present
a PhD candidate in Music Composition (King’s College, University of London; 2012—). As
a composer, his music has been commissioned, among others, by Casa da Música, Festival
Musica Strasbourg, European Concert Hall Organisation and Chester&Novello. As a
theorist, his work (centered around pitch and temporality in atonal music) has been presented
at EuroMAC (Leuven, 2014), KeeleMAC (Keele, 2015) and CIATM (Rimini, 2016) and
published in Revista Portuguesa da Musicologia (2016). Since 2009, he has been teaching
analysis and composition at ESMAE/IPP. Since 2014, he is a researcher at CITAR/Catholic
University of Portugal.

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

3.B. Session – Leading Figures of Modernity (I): Messiaen, Dutilleux, and


Kurtág

2. Sam Reenan
Eastman School of Music, University of Rochester, United States of America
sreenan@u.rochester.edu

The Connective Role of the Parenthèses in Dutilleux’s Ainsi la Nuit

In conversation with Roger Nichols, Henri Dutilleux described the method of


composition that produced his lone string quartet, Ainsi la Nuit: “There are small
cells which develop bit by bit. This may perhaps show the influence of literature,
of Proust and his notions about memory” (Nichols 1994, 89). While Delcambre-
Monpoel, Hesketh, Chendler, and others have analyzed the piece rather traditionally,
focusing on thematic and motivic details of primarily the quartet’s main movements,
none has sufficiently examined the compositional fallout of the influence of Proustian
memory. Proust’s conception of memory consists of both an unconscious and a
conscious faculty, involuntary and voluntary memory, respectively.
In order to appeal to these two forms of memory, this analysis will examine the
deployment of implicit and explicit references in Ainsi la Nuit. Implicit references,
which derive from involuntary memory, will be shown to occur 1) as the reiteration
of pitch-domain motives that are altered in secondary domains such as timbre,
register, or presentation in time and 2) as manipulations of certain inherent properties
of some pitch-domain element in order to generate novel pitch motives. Explicit
references, which are consciously apprehended by voluntary memory, will present
as exact or readily identifiable repetitions that establish referential chords, certain
salient motives, regularities of rhythm, and other features that the listener can
immediately access upon first impression. I will show that these critical projected
references are generated in the Introduction and Parenthèses sections, rather than the
main movements.

Sam Reenan is Ph.D. student in music theory at the Eastman School of Music. His current
research interests include harmony and form in the vocal music of Richard Strauss and
Gustav Mahler; transformational and post–tonal theory and analysis; musical memory
in contemporary French music; and the perception of tension, resolution, and musical
organization. Sam is co-author of an article recently published in Music Theory Online, a
journal of the Society for Music Theory. He has also presented at the annual meeting of the
Music Theory Society of New York State. He completed a BM in Music Theory and a BS in
Biological Sciences at the University of Connecticut (2014).

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3206 Room 3206 Sala 3206 Raum 3206

3.C. Session – Bridging the Twentieth Century: Stravinsky, Varèse, and Boulez

2. Maureen Carr
The Pennsylvania State University, United States of America
mac4@psu.edu

Contrapuntal Elements in Selected Passages from Igor Stravinsky’s


Concerto for Two Pianos (1932–35)

Igor Stravinsky began writing his Concerto for Two Pianos in 1932 while living in
Voreppe, France, and completed it in Paris in 1935. There are 7 freestanding sketches
for this work, which provide insight into Stravinsky’s compositional process for
Concerto. Preliminary study of the sketches show how he systematically displaced
notes at the octave as if to dramatize the zig-zag effect existing in other works such
as Persêphone, and also how he used interrelated motives in a repetitive texture
that alternated with contrasting material both juxtaposed and superimposed. This is
reflective of his earlier compositional process. At times he also reordered intervals
within these melodic and rhythmic cells and reduced and expanded intervals that
participate in a motoric style. In 1931, Stravinsky used a similar metaphor when he
described his Concerto for Piano and Winds (1923–24) as tractor music. Further
discussion about Stravinsky’s approach to interval patterns in other passages of
the Concerto for Two Pianos, Virgil Thompson’s concept of Style as Subject in his
review of a performance of the Concerto for Two Pianos, the balance between the
two solo piano parts, and analysis comparing the Fugue of Beethoven’s Sonata (Op.
110) with the Fugue in the last movement of Stravinsky’s Concerto for Two Pianos.
Presentation will include diplomatic transcriptions of original sketches (housed at
the Paul Sacher Stiftung) that illustrate this approach of Stravinsky to use interval
patterns that appear as far back as Firebird (1910) and continue forward to Variations
in Honor of Aldous Huxley (1965).
Maureen Carr is Distinguished Professor of Music Theory at The Pennsylvania State
University. Her works examining Stravinsky’s use of Neoclassicism include Multiple Masks:
Neoclassicism in Stravinsky’s Dramatic Works on Greek Subjects (University of Nebraska
Press) and her most recent book, After the Rite: Stravinsky’s Path to Neoclassicism (1914–
1925) (Oxford University Press). Her current project, After Apollo: Stravinsky’s Path
Through the Models of Bach (1929–1965), is under contract with Oxford University Press. A
volume she co-edited with Severine Neff, Gretchen Horlacher, and John Reef, The Rite at 100,
is now available from Indiana University Press. A new article about The Rake’s Progress is
in the collection Faust in Music (ed. Lorna Fitzsimmons), currently in production with Oxford
University Press.

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3201 Room 3201 Sala 3201 Raum 3201

3.D. Session – French Music (II): Berlioz and Debussy

2. Michael Oravitz
University of Northern Colorado, United States of America
michael.oravitz@unco.edu

Form and Structural Narrative in Debussy’s Prélude à l’après-midi d’un


faune
Debussy’s early orchestral masterpiece Prélude à l’après-midi d’un faune, as is well
known, comprises a work inspired by Stéphane Mallarmé’s eponymous poem. The
poem reinvokes the ancient mythological figure Pan as a first-person protagonist who
reminisces upon whether or not an erotic experience was dreamed or real. Given
the work’s use of similar but continuously evolving thematic material, and given
certain scholars’ desires to find correspondences between the poem and the musical
work, a number of variant formal readings exist. Debussy himself suggested a non-
literal congruence between the poetry and the music, and this study does likewise,
combining particular pitch-structural facets of the work with more general musical
topics that are suggested in the work’s gestures, topics that loosely complement the
Attic and erotic themes of the poem (Bellman: 2014).
Unique resolutions of the C-sharp to G tritone, a dissonant interval experienced
at key junctures in the work (see Austin: 1970), correspond with a loose narrative
that is formed by a strand of contrasting extramusical topics that complement the
work’s larger sections. Previous studies generally agree on the locations of the larger
sections, but do not attempt to read a broader structural narrative into the work,
perhaps because of Debussy’s own implicitly voiced distaste for literal, tone-poem-
esque depictions in his 1903 critique of Beethoven’s Sixth Symphony. Debussy
manages to create a less specific narrative that transcends the play-by-play attributes
of the traditional tone poem, but one that implants in the listener an unmistakable
sense of coherence.
Michael Oravitz (MM and Ph. D, music theory, Indiana University) is Associate Professor
of Music at the University of Northern Colorado, where he teaches courses in music theory
and history. He maintains interests in the music of Debussy and its formal designs, as well as
meter’s role in contributing to those formal designs. He has published on form in Debussy’s
piano music in Res Musica (2015) and Les Cahiers de la Société québécoise de recherche en
musique (2013), and has presented on Debussy in a number of international and national
conferences, including the Seventh International Conference on Music Theory (Tallinn and
Pärnu, 2014), the national conference of the Society for Music Theory (Nashville, 2008), and
Euromac 6 (Freiburg, 2007). Michael also maintains interests in music theory pedagogy, and
has published in the Journal of Music Theory Pedagogy (2012).

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3203 Room 3203 Sala 3203 Raum 3203

3.E. Session – Issues of Rhythm and Metre

2. Joseph Siu
Eastman School of Music, United States of America
jsiu2@u.rochester.edu

Reexamining the Loosely-Knit Subordinate Theme in the Classical


Style: A Phrase Rhythmic Approach

Building on the idea of Schoenberg and Ratz that the subordinate theme is more
loosely organized than the tight-knit main theme, Caplin (1998) described many
loosening techniques that are commonly found in the subordinate theme of the
classical sonatas. However, in his classification of formal units within the tight-knit/
loose continuum, Caplin did not recognize rhythm and meter as one of the possible
criteria to contribute to the looseness of the subordinate theme. In this paper, I propose
a reexamination of the loosely-knit subordinate theme in the classical style from the
perspective of phrase rhythm.
Phrase rhythm, as defined by Rothstein (1989), is the musical phenomenon that
embraces both hypermeter and phrase grouping. In several recent studies, theorists
have suggested that phrase rhythm indeed holds an important role in the articulation
of formal structures. Drawing from the analytical techniques developed by Rothstein,
Temperley (2003), and Ng (2012), my paper will report a corpus study on all the
sonata form first movements in the piano sonatas written by Haydn, Mozart, and
Beethoven from 1760 to 1799. From my initial analyses, there are four main types of
phrase rhythmic strategies that the classical masters utilized to enhance the looseness
of the subordinate theme: 1.) the use of non-duple hypermeter; 2.) the insertion of
some extra measures as anacrusis; 3.) the use of end-accented phrases; and 4.) the
placement of strong hyperbeats on local dominant harmony.

Joseph Siu is a PhD candidate in Music Theory at the Eastman School of Music, and his study
is supported by the Doctoral Fellowship Award from the Social Sciences and Humanities
Research Council of Canada. His research interests include phrase rhythm and musical
form, music cognition and perception, and music theory pedagogy. Joseph has presented his
research at many international, national, and regional conferences, and he was the recipient
of the Best Student Paper Award at the 2014 conference meeting of the South Central Society
for Music Theory. In 2015, Joseph was awarded the Teaching Assistant Prize for Excellence
in Teaching by the Eastman School of Music.

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

3.F. Session – Falling Nicely Into Place: The Cadence in History and Theory

2. Maddie Kavanagh Clarke


Durham University, United Kingdom
maddiekavanaghclarke@gmail.com

An Investigation of the Cadence in Early Nineteenth-Century Syntax

Despite representing one of the most fundamental aspect of formal theory, a single,
codified definition for the cadence remains elusive. Among major recent contributions
to Formenlehre, theorising of the cadence has lagged behind understandings of form
and syntax (although, see for example Caplin, 2004; Neuwirth and Bergé (eds), 2015;
Schmalfeldt, 1992). These issues are compounded in the largely virgin, untouched
territory of the early nineteenth-century. Reliance on classical models has inhibited
production of comprehensive theories detailing the new syntaxes of the romantic
period, and the interaction between syntax, formal articulation, and cadence.
This paper interrogates current literature, evaluating the cadential strategies
producing formal articulation, and presents a new method for understanding cadence
and closing function in the early nineteenth-century, taking the outer movements of
Mendelssohn’s String Quartets as representative case studies. The theory of formal
functions provides the most fruitful starting point for syntactic analysis, but modified
to a more fluid perspective, allowing for romantic syntactic change. In order to best
understand novel nineteenth-century practice, we must produce a flexible theory
capable of encompassing non-cadential closure, weaker cadential articulation, deferral
of structural closures, elision, non-congruence, and reinterpretation of inter-thematic
cadences as intra-thematic cadences, and vice-versa, rather than a prescriptive set of
normative models.

Maddie Kavanagh Clarke (MA, Distinction, Durham University; first class honours Bachelor
of Music degree, University College Dublin) is completing a PhD at Durham University,
funded by an Arts and Humanities Research Council (AHRC) Northern Bridge Doctoral
Training Partnership Scholarship. Previous awards include a Durham Faculty of Arts and
Humanities Masters Scholarship, and a University College Dublin stage-two scholarship for
exceptional academic achievement. In 2015 she received a ‘Faculty of Arts and Humanities
Celebrating Success’ certificate in recognition of her academic record, and in 2013 was
awarded joint first prize at the 7th Annual CHMHE (Council of Heads of Music in Higher
Education) Undergraduate Musicology Competition in Ireland. Maddie’s research focuses on
romantic music analysis, formal theory, syntax, cadences, and Mendelssohn.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3208 Room 3208 Sala 3208 Raum 3208

3.G. Session – Sounds of Popular Music (I)

2. David Forrest
Texas Tech University, United States of America
david.forrest@ttu.edu

Transcendence in Pop-Rock Music

Mode-preserving, major-third root movement, e.g. C major to A major or C minor


to E minor, produces a perceptual paradox that simultaneously destroys any sense
of background diatonicism and forces irreconcilable interpretations of consonance
and dissonance. Studies by Richard Cohn, Richard Taruskin, and Matthew Bribitzer-
Stull identify art- and film-music examples ranging from Orfeo to Star Wars that
connect this type of progression with descriptions of uncanny or supernatural
phenomena. This paper expands the social implications of the technique by exploring
the association in contemporary pop music. Surveying over 50 songs from 1966-
2016, the paper identifies six types of uncanny scenarios associated with PL and
LP progressions: visions, transcending barriers, nonsense poetry, supernatural
phenomena, psychological conditions, and descriptions of dystopia. With each
category, this paper inspects examples in detail and provides hermeneutic readings
where the association between lyrics and harmony is less obvious. While not every PL/
LP transformation evokes an uncanny experience, when the transformations are used
conspicuously between adjacent or framing harmonies, the pervasive associations
with the uncanny, across sub-genre and generational lines, are hard to ignore.

David Forrest serves as Assistant Professor of Music Theory at Texas Tech University. He
has presented research in Europe and the United States on tonal and post-tonal analysis,
music theory pedagogy, and the scholarship of teaching and learning. Dr. Forrest’s work has
been published in Music Theory Spectrum, Oxford Bibliographies Online, and College Music
Symposium. He serves as lead editor and contributing author to the forthcoming book, Essays
on Benjamin Britten from a Centenary Symposium from Cambridge Scholars Publishing. He
has earned research awards from the Texas and South Central Societies for Music Theory. Dr.
Forrest serves on the Executive Board of the Texas Society for Music Theory and as President
of the West Texas Children’s Chorus.

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3202 Room 3202 Sala 3202 Raum 3202

3.H. Session – Performance Studies

2. Sylvain Caron
Faculté de musique/université de Montréal, Canada
sylvain.caron@umontreal.ca

Analyser l’expression musicale : le cas des « Hiboux » de Baudelaire/


Vierne/Delunsch

Au cours des dernières années, le domaine de performance studies a suscité le


développement de méthodes et d’outils pour analyser l’interprétation musicale. Plus
particulièrement, la question de l’expression représente un champ d’investigation
qui permet d’étudier les musiques enregistrées. Pour analyser la mélodie « Les
Hiboux » de Vierne, sur un poème de Baudelaire, dans la version de Delunsch /
Kerdoncuff , nous retenons quatre paramètres : l’intonation, le tempo, le vibrato et la
nuance. Où, pourquoi et comment des accents expressifs se manifestent-ils ? Quels
rapports entretiennent-ils avec la partition ? Avec Sonic Visualiser, nous représentons
visuellement la forme d’une interprétation afin d’y rendre visibles les gestes expressifs.
Nous mettons ceux-ci en relation avec la partition, par une analyse faite selon la
méthode de Bisesi, Friberg et Parncutt. Cette méthode se fonde sur l’identification
de différents accents (harmonie, métrique, courbe mélodique et segmentation) qui
sont autant de potentialités expressives. Ce regard permet de dégager le style d’une
interprétation, qui représente un choix, une mise en équilibre actualisé des paramètres
expressifs selon les potentialités de la partition. Les retombées de notre étude visent
les interprètes, pour la préparation d’une interprétation analytiquement informée,
et les musicologues, qui cherchent une approche analytique qui permet l’étude de
l’immense corpus des mélodies françaises enregistrées.

Sylvain Caron est professeur titulaire à la Faculté de musique de l’Université de Montréal. Il


dirige le Groupe de recherche en interprétation musicale, analyse et expression (GRIMAE)
et il a été président de la Société québécoise de recherche en musique. Il est coéditeur de
deux livres : Musique et modernité en France (2006); Musique, art et religion dans l’entre-
deux-guerres (2009). Il a présenté des conférences à la Historical Keyboard Society of North
America (2015) et au Third Performance Studies Network International Conference (2014).
Détenteur d’un doctorat en interprétation, il demeure actif comme organiste interprète.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3204 Room 3204 Sala 3204 Raum 3204

3.I. Session – Lewin’s Legacy: Spaces and Transformations

2. Scott Brickman
University of Maine at Fort Kent, United States of America
brickman@maine.edu

Collection Vectors and the Octatonic Scale

Allen Forte, writing in The Structure of Atonal Music (1973), tabulated the prime
forms and vectors of pitch-class sets (PCsets). Additionally, he presented the idea of
a set-complex, a set of sets associated by virtue of the inclusion relation. Post-Tonal
Theorists such as John Rahn, Robert Morris and Joseph Straus, allude to Forte’s set-
complex, but do not treat the concept at length.
The interval vector, developed by Donald Martino (“The Source Set and Its
Aggregate Formations,” Journal of Music Theory 5, no. 2, 1961) is a means by
which the intervals, and more specifically the dyads contained in a collection, can be
identified and tabulated. There exists no such tool for the identification and tabulation
of collections other than dyads that are contained in larger collections.
My presentation will be a study of the properties of a set, commonly known as the
octatonic scale. The study will examine the properties and relationships among the
subsets of the octatonic scale. The goals of the presentation will be twofold: first, to
construct a model that summarizes the properties of the subsets of the octatonic scale
in a “collection vector”, and second, to theorize about pitch-class set networks that
allow the navigation from one octatonic hexachord to another.

Composer Scott Brickman (b. 1963, Oak Park, Illinois) holds music degrees from the
University of Wisconsin and Brandeis University. Since 1997 he has taught at the University
of Maine at Fort Kent, where he is currently Professor of Music and Education. His CDs
Winter and Construction, Dear Darwin, and 96 Strings and Two Whistles are available on the
Ravello label of Parma Recordings. The Kiev Philharmonic, L’viv Chamber Orchestra and
Lemberg Sinfonietta have performed his orchestra works. He has presented scholarly papers
about Fanny Mendelssohn and Clara Schumann at Academic Music Conferences in the US.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3209 Room 3209 Sala 3209 Raum 3209

3.J. Session – Listening, Perceiving, and Cognising

2. Lawrence Zbikowski
University of Chicago, United Sates of America
larry@uchicago.edu

What Text Painting Can Tell Us about Musical Structure

Text painting is usually thought of as a rather cheap trick: to summon the leaps of a
tiger, as Josef Haydn did in No. 21 of The Creation, all one needs is a succession of
rapid arpeggios, spaced at appropriate intervals and increasing in register. But although
Haydn himself deprecated such tricks (calling those he later used in The Seasons
“Frenchified trash”), the technique of text painting can tell us much about musical
structure. After all, the actual leaps of a tiger have no significant sonic component:
to connect Haydn’s arpeggios with the energetic movements of a fearsome beast we
have to draw on a cognitive capacity that contributes much to the distinctiveness of
human cognition: analogy. More specifically, tricks like text painting—and, more
broadly, the correlation of musical sound with physical gestures, the steps of dance,
and the physical and psychological processes associated with emotions—rely on
humans’ capacity to draw analogical connections between sequences of musical
sound and various dynamic processes. In this paper, I will review recent research
on analogy, explain how correlations between structural elements from two different
domains can yield a type of reference (such that rapid arpeggios might be understood
to refer to the leaps of a large animal), and offer analyses of examples of text painting
that show how the careful arrangement of sequences of musical sound can summon
complex and multivalent dynamic processes.

Lawrence M. Zbikowski is Professor in the Department of Music at the University of Chicago.


He is the author of Conceptualizing Music: Cognitive Structure, Theory, and Analysis (2002)
and Foundations of Musical Grammar (2017). He has recently contributed chapters to The
Oxford Handbook of Topic Theory, Music, Analysis, Experience, Sémiotic de la musique /
Music and Meaning, and Music in Time, and has published articles and reviews in Music
Analysis, Music Theory Spectrum, Ethnomusicology, the Dutch Journal of Music Theory,
and the Journal of Musicological Research. During 2010–11 he held a fellowship from the
American Council of Learned Societies and was also Fulbright Visiting Research Chair at
McGill University.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

3.A. Session – The Second Viennese School (I): Berg, Organicism, and the
Teleology of Form

3. Philip Stoecker
Hofstra University, United States of America
philip.s.stoecker@hofstra.edu

Musical Reference in Alban Berg’s String Quartet op. 3

In a letter written to Arnold Schoenberg, dated July 27, 1920, Alban Berg notated
twelve different ascending interval cycles, from 1 to 12, in a note-against-note
alignment, which he referred to as “Eine theoretische Spielerei.” Berg’s alignment
of interval cycles has been an invaluable source of study. George Perle (1977) and
David Headlam (1999) discuss the cyclic chart and examine instances of comparable
structures throughout Berg’s oeuvre, especially the Vier Lieder, op. 2; the String
Quartet, op. 3; and Wozzeck. In this presentation I will re-examine an aligned-cycle
motive in Berg’s String Quartet to show how this cyclic design may be a subtle
musical representation of Alban Berg and his initials, A/B-flat. In bars 2–3 of the
first movement, Berg aligns a descending chromatic motive (A-flat, G, F-sharp) in
the viola together with a descending interval of perfect fourths (F–C–G) in the cello,
which generates three different intervals: 3, 7, and 11. This particular alignment has
the potential to generate a semitone interval of A/B-flat, his initials. To support my
argument, I will discuss a manuscript page found in Berg’s sketchbook for the String
Quartet (F21 Berg 7). Located in the Österreichische Nationalbibliothek (Austrian
National Library) in Vienna, this interesting sketch reveals that Berg may have used
the opening aligned-cycle motive to musically represent himself.

Philip Stoecker is Associate Professor and Chair of the Music Department at Hofstra
University. He has presented papers at meetings of the Society for Music Theory, Music
Theory Midwest, Music Theory Society of New York State, the Arnold Schönberg Symposium,
and other regional and international conferences. His articles have appeared in Journal of
the Arnold Schönberg Center, Journal of Music Theory, Journal of Music Theory Pedagogy,
Music Analysis, Music Theory and Analysis, Music Theory Online, Music Theory Spectrum,
and Theory and Practice. He has served the Music Theory Society of New York State in several
capacities: Chair of the Program Committee, Secretary, and Member of the Board. He is
currently serving as Secretary for the Society for Music Theory.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

3.B. Session – Leading Figures of Modernity (I): Messiaen, Dutilleux, and


Kurtág

3. Vincent Benitez
The Pennsylvania State University, United States of America
vincentbenitez@hotmail.com

Birdsong as Compositional and Theological Determinants in Olivier


Messiaen’s Opera Saint François d’Assise

In a conversation with Claude Samuel in 1986 about Saint François d’Assise (1975–
83), Olivier Messiaen declared that scene 6, Le Prêche aux oiseaux, signified his
“greatest success in the bird-song style.” Undoubtedly, Saint Francis and his love of
nature inspired Messiaen the Roman Catholic to focus on the friar’s life for the subject
of his magnum opus. He considered Saint Francis as a fellow ornithologist because
of his fondness for birds, as exemplified by his fabled sermon to them at the Carceri.
Indeed, this sermon was a critical factor in Messiaen’s choice of subject for his opera.
Not surprisingly, birdsong plays a significant role not only in the large-scale musical
and theological design of Saint François but also in Messiaen’s complex musical
surfaces.
This paper examines how birdsong shapes Saint François from both structural
and theological viewpoints. It analyzes the music of several birds from both melodic
and harmonic perspectives, showing how these avian songs fit into the opera’s flow of
musical events. The paper then examines how birdsong influences Saint François’s
formal designs at deeper structural levels. The songs of the Alouette des champs I and
II lead the way in this regard, as their instrumental colorings function as referential
timbres, subsuming their pitch materials as they help to define the opera’s structural
designs. In relation to the opera’s theological message, birdsongs not only signify
the presence of nature in the drama but also the unseen realm of God. They are, in
essence, celestial characters that comment on the seen realm of Saint Francis.
Vincent P. Benitez is Associate Professor of Music at the Pennsylvania State University. He
holds two doctorates in music, the PhD in music theory from Indiana University, and the
DMA in organ performance from Arizona State University. His research focuses on the music
of Messiaen, reflected by two forthcoming books, Olivier Messiaen’s Opera, Saint François
d’Assise (Indiana University Press) and Olivier Messiaen: A Research and Information
Guide (Routledge), and numerous articles and national/international presentations. Benitez
has additional research interests in the analysis of Baroque and popular music, publishing
articles (especially on Bach and Buxtehude) and reviews on these topics in various journals
and essay collections. He is also the author of The Words and Music of Paul McCartney
(Praeger, 2010).

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

3.C. Session – Bridging the Twentieth Century: Stravinsky, Varèse, and Boulez

3. Michiko Fujita
Belgique
fujita.michikoje@gmail.com

Segmentations comparées et interprétations

Density 21.5 a été analysée par diverses méthodes et techniques qui, en plus du
poids accordé à différents paramètres, sont liées aux différents langages dont peut
se réclamer cette pièce pour flûte seule composée par Edgard Varèse en 1936. Les
différents principes sur lesquels reposent ces analyses comprennent la présence de
polyphonie (Kresky 1984), la cognition incarnée (Brower 1997), les manipulations
d’intervalles (Bernard 1986, Kloth 1991), l’évolution des hauteurs (Nattiez 1975)…
autant de prismes analytiques conduisant à appréhender la pièce de manière parfois
contradictoire. Or on trouve dans les interprétations des éléments qui peuvent refléter
ces différentes manières d’aborder la pièce. Cependant, la précision de la notation
de Varèse ne laisse que peu de choix en matière de respirations, de dynamiques et
d’articulation aux flûtistes. Afin de mettre en évidence certains éléments ou certains
partis-pris en matière de découpe, ces derniers doivent donc faire appel à des
césures subtiles, des variations en matière de temps de résonnance des notes ainsi
que d’accentuations, ou encore par des prises de libertés en matière d’articulation
(Gieghorn 1961, Graf 1989, Artaud 1992). Mais de manière générale, peuvent être
menées à propos des interprétations de Density 21.5, des réflexions analogues à celles
engendrées par la comparaison des analyses de partition : découpe, identification de
motifs, de conduites de voix, caractère structurel accordé à certains intervalles...

Flûtiste et musicologue, Michiko Fujita a obtenu un master spécialisé en flûte traversière


à l’Institut Supérieur de Musique et de Pédagogie de Namur (IMEP), ainsi qu’un master
en musicologie appliquée à l’Université Libre de Bruxelles en 2015. Son mémoire, sous la
direction de Christopher Murray et Valérie Dufour, portait sur la comparaison des analyses
de Density 21.5 (1936, flûte seule, Edgard Varèse). Elle enseigne actuellement la flûte
traversière et l’initiation musicale en milieux scolaire et parascolaire.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

3.D. Session – French Music (II): Berlioz and Debussy

3. Clemens Kemme
Conservatory of Amsterdam, The Netherlands
ckemme@xs4all.nl

Analysing Debussy Today

Claude Debussy famously enriched our musical language with various modes of 5 to
8 tones, harmonic parallellism, chordal extensions, and third circles. Yet on hearing,
his music also seems to be firmly rooted in the tonal tradition. And indeed most of his
scores show the traditional key signatures. In the literature, however, Debussy is still
often depicted as the man who ‘broke’ with the tonal tradition. Isolated fragments,
often stripped of their original key signatures, are used for explaining the modernist
agenda of ‘the emancipation of the dissonance’, music ‘beyond tonality’, harmonically
‘non-functional’, ‘purely modal’ or ‘solely determined by interval structures’.
This paper tries to find a new balance in appraising Debussy’s achievement,
analysing his music from both historical and analytical perspectives. The piece
‘Nuages’, for example, often used in textbooks as an example of musical modernism,
appears to contain a wealth of references to its musical past: allusions to Berlioz’s
Symphony Fantastique and Mussorgsky’s Sunless, German 6th shortcuts and third
circles as in Schubert, Mussorgsky, and Rimsky. Famous are also Debussy’s frequent
Tristan reminiscings, e.g. in his Faune. The essence of Debussy’s achievement
then seems to be his masterly fusion of our tonal inheritance and new ways of
challenging and stretching-up our perception of musical coherence. Realizing this,
we should finally be able to avoid the music-theoretical pitfall for which Debussy
already warned René Lenormand: ‘There is something almost barbarous about your
quotation of passages which, ... detached from their context, can no longer justify
their “curiousness”.’

Clemens Kemme is a music theorist and arranger. He teaches analysis, harmony, and
arranging at the Conservatory of Amsterdam. His specializations are Mozart, Debussy, Ravel,
early Stravinsky, and jazz. He is working on a dissertation entitled Mozart’s Mass in C minor,
K. 427: History, Theory, and Practice of its Completion and on a new edition of Mozart’s Mass
in C minor, K. 427, for Breitkopf & Härtel.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3203 Room 3203 Sala 3203 Raum 3203

3.E. Session – Issues of Rhythm and Metre

3. Julian Caskel
Hochschule für Musik und Tanz Köln, Germany
j.caskel@arcor.de

The Medium is the Metre. A Thread within the History of Analyzing


Beethoven’s Fifth Symphony

The development section of the first movement of Beethoven’s Fifth Symphony


includes a famous passage of thinned-out orchestral chords that has been of some
importance both in older and in recent theories of musical metre.
A first reading conceives this texture as a suspension of metric pulse (the passage
does not display any regular metre). But a reverse reading conceives the same texture
as a suspension of all other parameters to the preserved metric pulse (the passage can
only be explained through a reference to its metric design).
In a preliminary step it will be shown that the decision for or against one of these
two readings does not seem to be haphazard. In a second step this decision possibly
also can be detected as a historical shift in recordings of the symphony. But in a final
step this shift might be confronted with still another source: An analysis that refers
to a sound record exhibits different preferences than an analysis that primarily refers
to a piano reduction (that heightens harmonic progressions but obliterates orchestral
colors).
The combination of these complementary threads of analysis allows a final
hypothesis: The metre in this passage might be a different one today than it was
hundred years ago. Thus the history of music theory has to combine different species
of investigation: The “positivist” analysis of the written score, the “empiric” analysis
of performances and the “cultural” analysis of the media prerequisites.

Julian Caskel studied musicology, philosophy and political science at the universities of
Heidelberg and Cologne. He completed his Ph.D. in 2008 with a work on scherzo movements
in the 19th century. From 2010-2013 he worked at the University of Cologne in a research
project on rhythm and modernity. He teaches regularly at the Folkwang Hochschule Essen
and the HFMT Köln (where he serves for one semester as replacement professor in 2017).
In 2015 he co-edited the Handbuch Dirigenten published by Bärenreiter. He is the author of
various articles on music theory, performance history and music history covering Haydn,
Schubert, Mahler and contemporary music.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

3.F. Session – Falling Nicely Into Place: The Cadence in History and Theory

3. David Sears
Johannes Kepler University Linz, Austria
david.sears@jku.at

“Family Resemblance” and the Classical Cadence Typology:


Classification Using Phylogenetic Trees

In the Formenlehre tradition, contemporary accounts of the classical cadence typically


identify the most common cadence categories according to essential characteristics
relating to harmony and melody. I present an alternative view, one that exemplifies the
probabilistic approach to category formation adopted by cognitive psychologists over
the last half century, in which a category is understood as a network of overlapping
attributes, and members are prototypical to the extent that they bear a family
resemblance to—have attributes in common with—other members of the category.
To support this claim, this paper presents a corpus study of the classical cadence
that re-examines the cadence typology presented in William E. Caplin’s treatise,
Classical Form—represented here by a collection of 245 exemplars selected from 50
sonata-form expositions in Haydn’s string quartets (Opp. 17–76) of the five cadence
categories that achieve cadential arrival (perfect authentic, imperfect authentic, half,
deceptive, and evaded)—using a family of techniques for similarity estimation (the
ratio model) and clustering (the neighbour-joining method) pioneered or inspired by
psychologist Amos Tversky.
The analysis correctly classified 233 of the 245 cadences in the collection and
discovered pertinent sub-types for certain categories that have only recently been
described in the Formenlehre tradition. Thus, this study supports the view that
category systems for the classical cadence are psychologically relevant if they mirror
the structure of attributes encountered in a given repertory that listeners are likely
to learn and remember, where category membership is determined not by essential
features, but by family resemblance.
David Sears is a post-doctoral researcher in the Department of Computational Perception
at Johannes Kepler University in Linz, Austria. He completed his PhD in music theory
in the Schulich School of Music at McGill University in 2016. His research attempts to
identify, classify, and predict the most recurrent temporal patterns in music of the classical
style using both experimental and corpus-analytic methods. His other research interests
include eighteenth-century form, computational approaches to music theory, emotion and
psychophysiology, and the analysis of popular music. Recent publications have appeared in
Music Perception, the International Journal of Psychophysiology, Eighteenth-Century Music,
and an edited volume on cadences in the classical repertoire.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

3.G. Session – Sounds of Popular Music (I)

3. Maxime Cottin 3. Guido Saá


Université Nice Côte d’Azur, France Universidad de Buenos Aires, Argentine
maximecottin@hotmail.fr guido.saa@gmail.com

Rock Minimalism: Loop and Motivic Transformations in the Music of


King Crimson (1981-84)

In 1981, the british prog rock band King Crimson reappeared with a brand new
album entitled “Discipline”. The new material was very different from their previous
compositions. Instead, the band chose to mix a wide range of influences from rock,
minimalism and African drumming, which led to an intensive use of the loop within
all musical parameters. This paper will investigate the compositional processes
undertaken by King Crimson in the early eighties. This period (1981-1984) can be
perceived as a radical transformation of their own musical language that reveals an
incoming influence and a rethinking of rock musical aesthetics. The paper will take
a close look at some seminal compositions such as “Frame by Frame”, “Three of a
Perfect Pair” and “Discipline”. Formal analysis provides a good global view of the
musical material used (scales, chords and progressions, pitch collections, rhythmic
ideas, motives, instruments and effects), which is the best data to be used as a tool
to explain aesthetic decisions: form and musical syntax, pre-compositional pitch
structures, ways to represent lyrics, thematic or tonal integration, use of improvisation
or strict planning, etc.
We aim to demonstrate how this innovative musical language uses various
techniques and influences that include minimalism, motivic integration, the use of
various effects dramatically and texturally oriented, and the use of the loop in order to
create an avant-garde aesthetic. This research, by adopting an analytical perspective,
will help understanding the aforementioned style used by the band in order to reinvent
its own musical paradigms.

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Maxime Cottin obtained a doctorate in musicology from the university of Nice Côte d’Azur.
His domain of research concerns the English progressive rock as well as the concept of
maximalism in popular music. He occupied a position of assistant teacher in Nice where he
gave courses on popular music history and analysis. He is the author of an article on King
Crimson published in La Revue de Musicologie, and he is a co-author of an article on Björk’s
“Crystalline”, published in the collective book Song Interpretation in 21st Century Pop music
(Ashgate). He currently occupies a teaching position in Saint-Raphaël music academy.

Guido Saá is a Musicology graduate by the Universidad de Buenos Aires and is finishing
the Piano Solo Undergradate in the Manuel de Falla Conservatory. He started his academic
career by investigating independently several different subjects: contemporary pop,
Argentinian rock, gender studies and the counterpoint in the later Beethoven. Today he is
researching as an adscript in three Subjects in the Universidad de Buenos Aires: Musical
morphology, Research Methodology and Latin-American and Argentinan Music with diverse
research projects. He also teaches in high school and dictates some courses on classical
music in several institutions.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

3.H. Session – Performance Studies

3. Karina Zybina
University Mozarteum Salzburg / Eliette and Herbert von Karajan Institute, Autria
karina.zybina@karajan.org

Completing the Incomplete: the First eight Bars of W.A. Mozart’s


“Lacrimosa” in the 19th-20th Centuries

This paper concentrates on the reception history of one small fragment from W.A.
Mozart’s Requiem in D minor, K. 626, the first eight bars of Lacrimosa. Written in
1791, but left unfinished by the composer himself, this piece became a perpetual
‘work in progressʻ, ever open to all kinds of experimentation by those who dared to
complete the legendary fragment, and/or record one of those completions. Changing
the form and the character of the original score, these numerous arrangements and
editions of the 19th-20th centuries incorporate their own ideas and approaches into
Mozart’s original conception, thus creating many new ‘faces’ of the famous work
and revealing its complex reception history. This reception history, in turn, forms
an integral part of performance practice: by recording various versions of the piece
and adding their own interpretation to the already complicated mixture, different
conductors and orchestras added new layers of meaning to the reception history that
I trace in my paper. In my analysis, I focus first on Mozart’s original score, then on
several later versions of this score, and, finally, on several most important recordings
of these later complete versions. This interdisciplinary approach aimed at reception
and perception history may help uncover a new multifaceted view of Mozart’s
original score, in which the attempts to complete and record the incomplete fragment
in the 19th-20th centuries superimposed their own layers of (mis)conceptions and
(mis)understandings on Mozart’s unfinished work.

After completing her Master’s degree at the Moscow State Tchaikovsky Conservatoire, Karina
Zybina spent one year at the University of Zurich with the research project ‘The church music
of W.A. Mozart’ (supported by the Swiss Federal Government Scholarship). Since 2012, she is
working on her PhD thesis ‘The litanies of Mozart and the Salzburg tradition’ at the University
Mozarteum Salzburg. She was a member of various research projects, among others, ‘The
music sources of Salzburg in the Middle Ages and the Renaissance’ at the University Paris
Lodron Salzburg. Since 2014, she is a research assistant at the Eliette and Herbert von
Karajan Institute.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3204 Room 3204 Sala 3204 Raum 3204

3.I. Session – Lewin’s Legacy: Spaces and Transformations

3. William Ayers
University of Cincinnati, College-Conservatory of Music, United States of America
ayerswr@mail.uc.edu

Microtonality and Transformation: Analyzing Easley Blackwood’s 19


Notes with a Modified Tonal GIS
Easley Blackwood’s Twelve Microtonal Etudes provide a unique analytical challenge,
presenting recognizable tonal structures within the context of non-twelve-tone equal-
tempered tunings. Specifically, the etude “19 Notes” uses a nineteen-tone space and
approximates the diatonic scale within this space—whole steps of the scale equal
three unit intervals and half steps of the scale equal two unit intervals. Blackwood
juxtaposes diatonic approximations with chromaticism and microtonal constructions,
requiring an analytical methodology that can manage both the functions of tonal
music and the additional constructs provided by microtonal equal temperaments. In
this paper I will analyze Blackwood’s etude “19 Notes” with a modified version of
Rings’s tonal GIS that accounts for the additional elements provided by nineteen-tone
equal temperament. This methodology is informed by Blackwood’s own research
into approximated diatonic structures in non-twelve-tone equal temperaments and
by Joseph Yasser’s exploratory examination of the supra-diatonic scale, a nineteen-
tone entity that incorporates both the twelve regular chromatic degrees and seven
additional auxiliary degrees (Yasser’s terms) spaced in a maximally even fashion
between the twelve regular degrees. For Yasser, the expansion from twelve to nineteen
tones results in an increase of perceptual elements in the space; to use the vocabulary
of Rings, as the number of pitch-class chroma in the system increases, the number of
scale-degree qualia also increases. This analysis of “19 Notes” will demonstrate that
Blackwood’s etude validates Yasser’s projections by interpreting the nineteen-tone
space with twelve regular scale degrees and seven auxiliary degrees.
William Ayers is a PhD candidate and Graduate Student Fellow at the University of Cincinnati,
College-Conservatory of Music. He is currently teaching at Xavier University. His research
focuses on twentieth-century American music, alternative tunings, and music in interactive
media. Will is currently writing a dissertation titled “Structural Properties and Compositional
Processes in Non-Twelve-Tone Equal Temperaments.” Will is also an active composer. His
works incorporate elements of process and often reformulate compositional styles from the
twentieth century. Most recently his work A Sense of Something Commonplace was premiered
by pianist Brianna Matzke and violinist Hajnal Pivnick at the Tribeca New Music Festival in
New York City. Will holds degrees from Belmont University and the University of Cincinnati,
College-Conservatory of Music.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3209 Room 3209 Sala 3209 Raum 3209

3.J. Session – Listening, Perceiving, and Cognising

3. John Lawrence
University of Chicago, United States of America
johnyilawrence@gmail.com

Hearing Voices in Their Hands: Performing and Perceiving Polyphony

Theorists agree that classical music is often composed of multiple simultaneous


horizontal components, but not on what these components should be called, and
how they should be defined or divided. This paper integrates three standard answers
to this question—traditional music theory’s concept of the contrapuntal “voice,”
music cognition’s concept of the auditory “stream,” and metaphor theory’s concept
of the fictional “agent”—into a single perceptual model that accounts for their
interdependence.
My model treats all of these concepts (and the concept of “texture” itself) not
as material properties of a written score, but rather as modes of listener attention
in response to features of a sounding performance. To demonstrate this, I examine
recordings by pianists acclaimed for bringing out potential melodies in “inner
voices” (Josef Hofmann, Shura Cherkassky, etc.). I show that different performances
of the same passage can project different numbers of voices, streams, and agents,
and re-distribute pitches differently among these components. I analyze how these
pianists achieve these different segmentations through inflections of dynamics and
articulation. And I examine the aesthetic discourse that surrounded this art of re-
segmentation during the so-called “golden age” of Romantic piano.
This redefinition of textural labels as perceptual responses to performances
affirms the need for analysts to attend to the performance practices that their analyses
implicitly assume. Dynamics and articulation are not just means of expressing
conceptually prior pitch structures; rather, they are integral parts of how such
structures are constituted in the first place.

John Y. Lawrence is a PhD student in Music Theory at the University of Chicago, and adjunct
lecturer at the University of Illinois-Chicago. He previously completed a bachelor’s degree
at Yale University and a master’s degree at King’s College London. His research focuses
on listeners’ perceptions of meaning and form in music of the 18th and 19th centuries. His
current dissertation project, titled “Listening in Color,” explores the effects of orchestration,
dynamics, and registral spacing in music of the early Romantic era.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

3.A. Session – The Second Viennese School (I): Berg, Organicism, and the
Teleology of Form

4. Zachary Bernstein
Eastman School of Music, University of Rochester, United States of America
zbernstein@esm.rocehster.edu

Is the Twelve-Tone System Inherently Organicist? A Reflection on


Conflicting Perspectives, with Notes on Analysis

In early accounts, such as those by Schoenberg and Webern, the answer to the question
posed in the title is clearly yes: organicism permeates the origin stories of twelve-
tone composition. Nonetheless, important questions remain, three of which will be
addressed in this paper. What implications does organicism have for analysis? How
have later accounts of twelve-tone music addressed its organicist inheritance? And
to what degree should we interpret later serial music—such as post-war serialism—
in light of organicism? This paper will quickly survey historical and more recent
texts, evaluating their various perspectives on these subjects, and apply the lessons of
that survey to excerpts of Schoenberg, Webern, and Babbitt, with a few comparative
comments on post-war European serialists, who provide a contrasting case.
Organicist accounts often focus on two types of relation: part-whole, frequently
entailing hierarchical development, and part-part, which focuses on associations
between discrete parts of a piece. Associative relations can have a continued relevance
in twelve-tone music, even when hierarchical relations may be attenuated or lacking.
The study concludes, therefore, with an argument that an organicist model that is
flexibly conceived and applied might continue to be a useful tool for the modern
analyst.

Zachary Bernstein is Assistant Professor of Music Theory at the Eastman School of Music of
the University of Rochester. His work has appeared in Music Theory Spectrum, the Journal
of Music Theory, Theory and Practice, and Music Theory Online. His primary focus has
been the music and thought of Milton Babbitt; additional work has examined spectralism,
experimentalism, the music of Rebecca Clarke, and the theories of Leonhard Euler.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

3.B. Session – Leading Figures of Modernity (I): Messiaen, Dutilleux, and


Kurtág

4. Bianca Temes
Gh. Dima Music Academy, Cluj-Napoca, Romania
filarmonica_cluj_bianca@yahoo.com

The Reserach of Contemporary Music: an Analytical “Hovercraft”?


Colindă Baladă by György Kurtág – a Case Study

With which analytical tools could the present-day researcher approach a contemporary
work, especially one which does not fit any classical framework and whose coherence
is not easily discernible at first glance? Kurtág´s Colindă Baladă, composed in 2009,
is an ideal case study in this regard, since it is designed in a modular form whose
constituent parts seem unconnected with one another. The technical mastery of this
work is matched by the richness of its semantic layers and complex formal design.
Echoing in certain respects Bartók´s brilliant Cantata Profana, Kurtág´s piece takes
the Romanian colinda a stage further as its source of inspiration, both in terms of
structure and musical substance. The score is packed with dramaturgical indications;
scattered throughout the text are allusions to Wagner´s Tristan (“pseudo-Tristan”), or
Gesualdo (“ppp di Gesualdo”), together with outright quotations of folk melodies, all
of which signpost the stylistically divergent segments of the piece.
By simultaneously evoking both an archaic and a contemporary mood, contained
within a manifestly epic structure, Colindă Baladă epitomises Kurtág´s unique
style. Rather than featuring postmodernism and intertextuality, it plots a complex
poetic labyrinth which seems incomprehensible in itself, but which displays a meta-
coherence within Kurtág´s entire oeuvre. In order to decode this intricate structural
and stylistic maze, the analyst has to be equipped with an “amphibious” tool, allowing
navigation across disparate terrains: aesthetic, formal, ethno-musicological, and
stylistic.
Bianca Ţiplea Temeş is Reader Ph.D. at Gh. Dima Music Academy in Cluj, and served as
head of the Artistic Department at the Transylvania Philharmonic. Her research focuses on
Ligeti and Kurtág, her writings have been published in Romania and abroad, among them a
chapter of a collection of essays on Ligeti edited by Routledge. She has been visiting professor
at Universidad de Oviedo, Istituto Mascagni Livorno, Paderewski Music Academy Poznań,
and University College Dublin. She was Visiting Scholar at the University of Cambridge,
obtained a DAAD Scholarship at Humboldt University in Berlin and received a research
grant from the Sacher Foundation. In 2016 she became the founder of the Festival “A Tribute
to György Ligeti in his Native Transylvania”.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

3.C. Session – Bridging the Twentieth Century: Stravinsky, Varèse, and Boulez

4. Lynne Rogers
Mannes School of Music at The New School, United States of America
rogersl1@newschool.edu

Stravinsky’s Serial Games

Even after Stravinsky developed the trademark twelve-tone techniques that distinguish
his last works, he continued to experiment. Many of these serial explorations seem
more like compositional games – games of which, as Joseph Straus notes, Stravinsky
was both inventor and player. Presenting evidence from analyses of the composer’s
sketches for The Flood, Abraham and Isaac, Requiem Canticles, and an unfinished,
late work, I analyze instances of Stravinsky’s serial “games” that in their innovations
go beyond his well-known hexachordal arrays and even further from the practices
of classic serialism. These serial games appear to depend upon spontaneously
invented sets of rules, from which the composer could derive in a systematic –if often
circuitous– manner new pitch resources from those already established. Through
these new resources, he could create the sounds presumably desired for composition
but unavailable within existing pitch structures.
Uncovering some of Stravinsky’s hitherto unknown serial techniques enriches
our view of his creative practice and offers solutions to analytical puzzles posed by
passages in the late music whose pitch structures could not previously be explained.
I also examine, when Stravinsky’s serial games are at their most intricate, how the
resulting pitch configurations might justify their complex gestations. In addition, this
paper offers an historical precedent for Stravinsky’s serial games in his algorithmic
approaches to melody harmonization in The Rite of Spring, thus demonstrating a
career-long tendency toward compositional games and rules.

Lynne Rogers is the Edward Aldwell Professor of the Techniques of Music at the Mannes
School of Music at The New School in New York City. She also taught at Oberlin Conservatory,
William Paterson University, and The University of Texas, and held the Endowed Chair in
Music at The University of Alabama in 2013. During 2010–11, she served as president of the
Society for Music Theory.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

3.D. Session – French Music (II): Berlioz and Debussy

4. François Delecluse
université Jean Monnet, Saint-Étienne/ Institut de Recherche en Musicologie,
France
delecluse.f@gmail.com

Qu’est-ce qu’une technique de composition ?

Un des problèmes de l’analyse musicale provient du sort réservé à la notion de technique


de composition. L’abstraction esthétique qui fonde toute expérience analytique a
tendance à obstruer la signifiance propre à un objet musical : sa signification aux
yeux du compositeur n’est pas la même que celle que lui accordent les auditeurs
ou les analystes. Qualifier un phénomène musical au terme d’une analyse, est-ce du
même coup désigner une technique, que le compositeur a utilisé pour concevoir de
la musique ? En décrivant une œuvre, ne définit-on pas une manière de composer et,
par-là, ne substitue-t-on pas une représentation subjective de la composition à celle
de l’auteur de l’œuvre ? Si tel est le cas et si l’analyse musicale a tant que ce soit
affaire avec le vrai, elle ne peut alors faire l’économie d’une interrogation sur ses
outils et leurs stratifications historiques, ni faire l’impasse sur les représentations de
l’acte créateur qu’il transmet.
Pour illustrer l’enjeu épistémologique que représente la notion de technique de
composition dans ce contexte, une analyse génétique, au moyen d’une archéologie de
l’œuvre, donne l’occasion de rendre compte des concepts qui voilent la représentation
de l’acte créateur. En m’appuyant sur l’exemple de l’Étude pour les agréments, pour
laquelle Debussy a composé deux codas, je souhaiterais montrer comment l’analyse
peut assumer le projet de mieux comprendre les problèmes qui se posent à un
compositeur au cours de l’écriture d’une œuvre, en observant comment il utilise ses
outils, c’est-à-dire ses techniques de composition.

François Delecluse prépare actuellement une thèse de doctorat en musicologie à l’Université


Jean Monnet de Saint-Étienne sous la direction de Denis Herlin (IReMus/CNRS) et Yves
Balmer (ÉNS de Lyon/CNSMDP/IReMus). Après des études à l’École Normale Supérieure
de Lyon, il se forme au Conservatoire de Paris (CNSMDP) où il obtient les prix d’analyse,
d’esthétique et d’harmonie. Ses travaux portent essentiellement sur la musique de Claude
Debussy, dont sa thèse explore le processus créatif en analysant les esquisses du compositeur.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3203 Room 3203 Sala 3203 Raum 3203

3.E. Session – Issues of Rhythm and Metre

4. Wing Lau
University of Arkansas, United States of America
winglau@uark.edu

Redirecting the Temporal Flow: Brief Meter Changes in German Lieder

A brief change of meter, usually spanning less than six measures, is a commonly used
compositional technique in the nineteenth-century German lieder. My paper provides
three archetypes of such brief meter changes in the lieder by Schubert, Schumann,
and Brahms. I investigate each composer’s approach to brief meter changes and show
how the insertion of new time signature redirects the temporal flow, relates to the
text-meaning, and yields flexibility in performance.
The three archetypes of meter changes produce distinct effects: (1) Recitative-
like metric fluctuation. Schubert and Brahms often explore this effect but in very
different ways. (2) Rhetorical-lengthening, which can generate rhetorical pauses or
paint a textual tension. This effect is most common in Brahms’s lieder, although few
examples are found in Schumann’s lieder. (3) Change of perceived tempo at a coda
or transition, usually enhanced by other surface events such as key changes and text
repetitions. This effect is often used by Schumann and Brahms.
Building on Lau’s classification of meter changes, Krebs’s metric dissonances,
and London’s metrical perception, my study shows that Brahms explores more of the
different facets of brief meter changes among the three composers, possibly building
on Schubert and Schumann’s experiments. By tracing the different approaches and
providing an analytical framework for brief meter changes of these three composers,
my study provides tools for further investigation of brief meter changes in other
genres.

Wing teaches music theory at the University of Arkansas. Her research focuses on rhythm
and meter, German lieder, and the relationship between performance and analysis. She has
published with Music Theory Online, and has presented at numerous international and
regional music conferences, including the Doctors in Performance Festival Conference, the
Society for Music Theory, Music Theory Midwest, Music Theory Southeast, Rocky Mountain
Society for Music Theory, and the Pacific Northwest Chapter of the American Musicological
Society. Wing holds a Ph.D. in Music Theory from the University of Oregon and a M.M. in
Piano Performance from Indiana University Jacobs School of Music.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

3.F. Session – Falling Nicely Into Place: The Cadence in History and Theory

4. William E. Caplin
Schulich School of Music, McGill University, Canada
william.caplin@mcgill.ca

The “Reopened” Half Cadence: A Striking Cadential Anomaly

This paper identifies a cadential anomaly in instrumental music of the classical


style, in which a perfect authentic cadence (PAC) appears to close a phrase (usually
an initiating one), but the final tonic suddenly opens up onto a half cadence (HC)
instead. The phrase is then repeated, and the original PAC returns to close the ongoing
thematic process. Beyond merely describing the phenomenon of the “reopened”
half cadence, I aim to uncover what motivates its usage and why it appears as an
appropriate mode of closure in some special compositional circumstances. Detailed
analyses of five reopened HCs (Beethoven, Op. 36; Beethoven, Op. 24; Mozart, K.
458; Mozart, K. 515; Haydn, Op. 55, No. 1) reveal that this cadential anomaly can be
seen to arise from specific motivic, harmonic, and formal concerns that are unique to
the theme. For each case, I explore the formal context under which the cadence arises,
assess the particular ways in which the PAC is manipulated to become a HC, and
posit reasons for why the technique is appropriately employed, usually in reference
to the motivic or harmonic content of the “basic idea” of the theme. Two additional
passages (Beethoven Op. 30, No. 3; Mozart K. 421) are perhaps dubious cases of the
technique, though understanding their thematic organization in light of a potential
reopened HC provides new modes of formal interpretation. The reopened HC not
only reveals ingenious compositional manipulations, but also engages a listener-
oriented approach to some thorny issues of cadential expectation and retrospective
reinterpretation.

William E. Caplin is James McGill Professor of Music Theory at the Schulich School of
Music, McGill University, specializing in the theory of musical form and the history of
harmonic and rhythmic theory in the modern era. His book Classical Form (winner of the
1999 Wallace Berry Book Award from the Society for Music Theory) has been revised as
the textbook Analyzing Classical Form (OUP, 2013). A former president of the SMT, he has
presented many keynote addresses, guest lectures, and workshops in North American and
Europe. He is currently writing a large-scale project entitled “Cadence: A Study of Closure
in Tonal Music.” In 2015 Caplin was elected a Fellow of the Royal Society of Canada.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

3.G. Session – Sounds of Popular Music (I)

4. Mark Richards
Florida State University, United States of America
mcrichards@fsu.edu

Multimodality and Tonal Ambiguity in Rock’s Aeolian Progression

Although rock’s Aeolian progression has been described by Biamonte (2010), Everett
(2009), and Moore (1992), among others, as residing in the Aeolian mode as bVI-
bVII-i (or bVI-bVII-I), its regular conflation with a major-mode interpretation of
IV-V-vi and the tonal ambiguity that results have not been discussed in any great
detail. When surrounded by passages clearly in the relative major or minor, or when
the final chord of the progression is absent, the tonality of the Aeolian progression
is significantly weakened since the harmony can suggest multiple tonics. This paper
proposes melody to be fundamental in distinguishing between the two interpretations.
Specifically, a particular mode is favored when the melody either emphasizes its
tonic note, or is bounded by the mode’s tonic and dominant notes. Thus, rather than
view such progressions entirely in one mode or another, such an approach aims to
characterize their tonal fluidity in a way not easily captured by Roman numerals.
While the Aeolian progression has been recognized as a staple of rock harmony, it
is not always unequivocally aligned with the Aeolian mode but may instead waver
between two modes. This presentation is an initial foray into the precariousness and
flexibility of the progression’s perceived tonality.

Mark Richards is an Assistant Professor of Music Theory at Florida State University. While
his previous research has dealt with form and style in music of Beethoven, his current
work explores issues of tonal ambiguity in post-classic rock music, and the structure and
associations of themes in film music. Richards’ work has been widely published in peer-
reviewed journals such as Music Theory Spectrum, Music Analysis, and Music Theory
Online, and he is currently writing monograph for Indiana University Press titled Continuity
in Beethoven: Stylistic Transformation in the Sonata Forms. Richards has presented his
work at such conferences as the International Conference for Music Theory, and the annual
meetings of the Society for Music Theory, and Music and the Moving Image.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

3.H. Session – Performance Studies

4. Mine Doğantan-Dack
United Kingdom
dogantanm@yahoo.com

Performative Knowledge as an Analytical Tool: Embodying Beethoven’s


Musical Dynamics

The richly diverse dynamic markings in Beethoven’s scores have been the subject
of various studies, not only in terms of the (correct) manner of performing them but
also with regard to their role in clarifying the formal design of his compositions and
in relation melodic, harmonic and textural patterns However, there has not been any
research on the embodied experience, and emergent meanings, of performing musical
dynamics in general, and in Beethoven’s dynamics in particular, and how this kind of
performative knowledge might constitute a music analytical tool. This paper presents
research on the role and meanings of the musical dynamics in the performance of
Beethoven’s Piano Trio Op. 70 No. 2 in E Flat Major. The interruptive character of
some of the dynamic gestures in this Trio provokes a narrative-analytical account of
the music. Beethoven’s dynamic gestures problematize the epistemic security that
performers normally have with regard to the relationship between dynamic and pitch-
based shapes. This paper aims to address: 1) how the sense of effort that arises during
the realization of musical dynamics be conceptualized and theorized; 2) how musical
dynamics articulate musical time as it unfold in the real-time of performance; 3)
how the performance of musical dynamics can be integrated into a music-analytical
understanding of a piece of music. By theorizing about the performance of musical
dynamics, and thereby emphasizing the significance of the embodied and subjective
elements for music analysis, the paper contributes to a largely neglected area of
research.
Mine Doğantan-Dack is a concert pianist and musicologist. She was born in Istanbul, and
studied at the Juilliard School of Music (BM, MM). She continued her studies in musicology
first at Princeton University (MA) and later at Columbia University, where she received a
PhD in music theory. Mine has taught at various institution in the UK, most recently at Oxford
University. Her books include Mathis Lussy: A Pioneer in Studies of Expressive Performance
(2002) and the edited volumes Recorded Music: Philosophical and Critical Reflections
(2008), and Artistic Practice as Research in Music (forthcoming May 2015, Ashgate). Her
concerto performances this season include Schumann’s and Grieg’s Piano Concertos, and
Rachmaninoff’s Rhapsody on a Theme of Paganini. www.minedogantandack.com

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3204 Room 3204 Sala 3204 Raum 3204

3.I. Session – Lewin’s Legacy: Spaces and Transformations

4. Kenneth Smith
University of Liverpool, United Kingdom
kmsmith@liverpool.ac.uk

Skryabin’s Late Acceleration through Hexatonic and Octatonic Space

Skryabin’s last sonata is segregated into areas of major third chord-relations


(hexatonic progression) and minor-third relations (octatonic progression). The way
that Skryabin traverses these spaces calls for a reassessment of his voice-leading
procedures. Skryabin’s late music has been assessed in several different ways in
recent times (Kallis, 2015; Callender, 1999; Baker, 1986). To my mind, however,
none have fully grasped the way that the segregation of different spaces cohere
within a broader framework. The aim is to demonstrate, using Skryabin’s Sonata No.
10, that a broadly-defined diatonic thread weaves together octatonic and hexatonic
spaces, taking account of the charges and discharges of tense sonorities that push
through the space in which they are defined. The analytical methods employed are
broadly neo-Riemannian, but synthesise Lendvai’s (1971) axis system with a more
specific Funktionstheorie. Based on a model in which function is assigned to a single
collection of minor-third-related chords (say a Dominant axis might be represented
by G, B@, C#, E chords), I show that a general rotation of function (T–S–D–T)
cuts indiscriminately through the different harmonic spaces. The rotation of function
described above, based on charges and discharges of leading-tones (Harrison 1994),
show a fundamentally diatonic energy that exists despite a surface of octatonic or
hexatonic progression. This has clear implications for the ways in which we hear
‘alternative’ tonal spaces, possibly even the ‘atonal’. Discussion could develop into
potential for hearing or experiencing diatonicism within such ‘other’ spaces.

Dr Kenneth Smith is a senior lecturer in Music at the University of Liverpool. He completed


his doctoral training in Durham (2009) with a thesis the harmony of Alexander Skryabin
and was formerly an undergraduate at King’s College, London. His first book, Skryabin,
Philosophy and the Music of Desire was published in 2013 and he has published articles in
leading academic journals since 2011. His current book project is provisionally called Desire
in Fin de Siecle Tonality: A Psychodynamic Theory of Chromatic Harmony and extends
Riemannian theory into the early 20th Century repertoire. He is a trustee of the Society for
Music Analysis and is a member of the editorial board of Music Analysis, and was guest
editor in their recent special issue on Popular Music.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3209 Room 3209 Sala 3209 Raum 3209

3.J. Session – Listening, Perceiving, and Cognising

4. Ivan Jimenez 4. Tuire Kuusi


Sibelius Academy and University of Sibelius Academy, UNIARTS, Helsinki,
Pittsburgh, Finland / United States of Finland
America tuire.kuusi@uniarts.fi
ivan.jimenez.rodriguez@uniarts.fi

The Challenges of Aurally Connecting Structurally Similar but


Superficially Dissimilar Musical Events: Important Considerations in
Analytical Listening

One potential benefit of musical analysis is its capacity to offer listeners new
ways of experiencing music. However, the ease with which listeners experience
the structures that analysis can unveil depends on their musical background as
well as the perceptual salience of the structures and relationships in question. Our
research studies listeners’ ability to establish aural associations between structurally
similar but superficially dissimilar musical events. In the first experiment, we asked
musicians and non-musicians to identify classical pieces and popular songs from
their harmonic reductions. In the second experiment, we asked jazz musicians with
varying levels of training to identify jazz standards from harmonic reductions.
Our research demonstrates that identifying music from a harmonic reduction in an
open-set task is a challenging task that is significantly easier for musicians with
extensive experience analysing, composing, or improvising music than for other
types of listeners. Musical factors such as rhythmic similarity, melodic similarity,
and harmonic-rhythm similarity were also found to have a significant influence on
the experimental task. These results suggest that extensive experience with analysis,
composition, and improvisation can develop listeners’ ability to mentally add missing
surface elements to a musical reduction. We propose that similar types of creative
listening may be at work when analysts aurally explore subtle connections when
analysing music. Our findings provide a point of reference that analysts can use to
predict the likelihood that listeners of varying levels of musical training will aurally
experience the subtle connections that analysis aims to reveal.

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Dr. Ivan Jimenez is a visiting researcher at the Sibelius Academy, University of the Arts,
Helsinki, Finland, working in collaboration with Dr. Tuire Kuusi on a 3-year music cognition
project funded by the Kone foundation. Their current project studies the ways that different
types of listeners remember chord progressions and other types of harmonic structures. Dr.
Jimenez has taught music theory and contemporary music at the University of Pittsburgh,
US, and the Pontificia Universidad Javeriana, Bogotá, Colombia. He has presented his work
on music theory, music theory pedagogy, and music cognition at numerous national and
international conferences. His papers have been featured in the Proceedings of ICMPC and
the Journal of Music Theory Pedagogy.

Dr. Tuire Kuusi works as the Vice Dean, responsible for research and doctoral education, and
as a supervisor of doctoral students at the Sibelius Academy, University of the Arts, Helsinki,
Finland. Her doctoral dissertation examined theoretical models of similarity. Her research
interests are in music-theoretical concepts and their concrete representations in music. In
addition, she has carried out research on musical emotions, tune recognition, and topics
related to teaching and supervising university students. She has published numerous research
articles (in Music Perception, Psychology of Music, the Journal of New Music Research, and
Musicae Scientiae, among others) and acted as a reviewer.

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

3.A. Session – The Second Viennese School (I): Berg, Organicism, and the
Teleology of Form

5. Matthew Arndt
The University of Iowa, United States of America
matthew-arndt@uiowa.edu

Berg’s Piano Sonata and Reverse Organicism

Much analytical and critical commentary on Alban Berg’s Piano Sonata, op. 1, has
viewed the piece through an organicist lens, arguing that the piece enacts some sort
of becoming. This tendency holds even for Theodor W. Adorno’s analysis, which
Adorno himself criticizes as inadequate to his insight that Berg’s music instead
accomplishes a “permanent re-absorption back into itself,” which “comprises its true
modernity.” Vasili Byros attempts to build on Adorno’s insights but does not critique
Adorno’s analysis. My aim is to revise Adorno’s analysis of Berg’s Sonata so as to
accord with his own insights and with Arnold Schoenberg’s little heeded principle that
development often proceeds backwards. In other words, the introduction of a contrast
signifies a leap in development, which is generally followed by back-formations that
fill in the gap so as to make the coherence of the contrasting parts comprehensible.
What is characteristic of Berg’s music is that backwards development is exhaustive—
not, as in more common, merely suggestive—re-absorbing both the components and
the products of a Grundgestalt or basic shape into an even more elementary motive.
The use of Schoenberg’s theories is apropos as Berg composes the Sonata under
Schoenberg’s instruction. Permanent re-absorption, or what I call reverse organicism,
is particularly prominent in the Sonata, which famously begins as if it were ending.
This study expands possibilities for analysis, substantiates and refines Adorno’s
criticism, and shines a new light on Berg’s accomplishments.

Matthew Arndt, Assistant Professor of Music Theory at the University of Iowa, holds a Ph.D.
from the University of Wisconsin–Madison, an M.M. from the University of Colorado at
Boulder, and a B.A. with honors from Lewis & Clark College. Professor Arndt studies the
application of insights from the history of music theory to music theory pedagogy, analysis, and
criticism. He is the author of The Musical Thought and Spiritual Lives of Heinrich Schenker
and Arnold Schoenberg (Routledge, forthcoming). His articles appear in Theoria, Theory
and Practice, the Journal of Schenkerian Studies, and the Journal of Music Theory. Articles
are forthcoming in the Proceedings of the Eighth International Symposium on Traditional
Polyphony, Music Theory and Analysis, and Music Theory Spectrum.

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3206 Room 3206 Sala 3206 Raum 3206

3.C. Session – Bridging the Twentieth Century: Stravinsky, Varèse, and Boulez

5. Catherine Losada
University of Cincinnati, United States of America
losadacc@ucmail.uc.edu

Stravinsky and Boulez: Compositional Process, Form and Development

Commentators on Boulez’s music, from early ones (e.g. Bradshaw and Bennett
1963, Rosen 1986) to recent (e.g. Edwards 2006, Campbell 2010, Goldman 2011,
Losada 2014), have noted Stravinsky’s influence on Boulez’s approach to form. The
composer himself motivated this line of commentary through numerous references to
Stravinsky’s formal techniques (e.g. Boulez [1983, 1988, 1989] 2005). Although this
influence has been shown to have important ramifications in the realm of structure,
for example, in the “dialogue of oppositions” that Goldman considers essential to
Boulez’s late works, the way in which it manifests in Boulez’s compositional process
has not been addressed in detail.
This paper sheds light on the central role of Stravinsky’s influence on Boulez’s
compositional process. It presents two sketches from Domaines (2nd version, 1968)
that relate to one another such that one could be derived from the other through a
straightforward application of Stravinsky’s cut and paste techniques (Nabokov 1951,
Horlacher 2001, Carr 2002). Extending beyond previous scholarship, it discusses
the way Boulez adapted this approach to move away from simple juxtaposition
(including straightforward repetition) and towards contrasts incorporating continuous
development. In Boulez’s music, straightforward and complex passages are subsumed
within orthogonal perceptible, large-scale juxtapositions. These are defined by tempo,
texture, rhythm, dynamics and expressive content, as well as inner qualities revealed
by examination of the harmonic language, a central focus of the analysis. Applying
transformational theory, the analysis explains the correlation of the harmonic content
with these other musical parameters and its implications in terms of formal function.
Catherine Losada is currently Associate Professor of music theory at the College-Conservatory
of Music, University of Cincinnati. She holds a Ph.D. from the City University of New York
Graduate Center and has published articles and reviews in Music Theory Spectrum, Music
Analysis, Journal of Music Theory, Music Theory Online, the Journal of Mathematics and
Music, and Quaderni di Matematica. Dr. Losada was the 2016 winner of the Society for
Music Theory’s Outstanding Publication Award for her Music Theory Spectrum article on
Pierre Boulez. She is former president of Music Theory Midwest and a current member of the
Executive Board for the Society of Music Theory.

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3201 Room 3201 Sala 3201 Raum 3201

3.D. Session – French Music (II): Berlioz and Debussy

5. Elena Rovenko
Moscow P. I. Tchaikovsky Conservatory, Russia
rovenko-lena@mail.ru

Features of Form Building in Debussy’s Music in the Light of Bergson’s


Conception of “la Durée”
Debussy’s equating of musical development to natural laws has led to interpretation
of his works according to the natural-science principles (J. H. Webster, R. Howat).
It’s also necessary to take into consideration the laws that govern the life of the mind,
due to the fact that in Debussy’s music the “ordering” of time correlates to specifics
of organization of psychological time. Henri Bergson was the first person, who has
paid attention to this feature. Based on psychology of perception, he characterized
Debussy’s music as “music of la durée” and delivered it in compliance to “a melody
of our inner life”, which assumed interpenetration of mental conditions and images
of consciousness, and unpredictability of every moment. Between the qualities of la
durée and features of Debussy’s compositions some correlations have been detected:
1) continuous creation of novelty — tendency to non-repeatability of music material
in principle; 2) indivisibility of the progressive movement — mitigation of boundaries
between sounds by smoothing of attack and damping phases; 3) comprehension of
space as a trace of la durée — emergence of musical architectonics in listener’s
consciousness a post factum; 4) filling of psychological time is conglomerate
of unpredictable states and images — filling of musical time is conglomerate of
unpredictably interacting motives, themes, accords, etc. For ascertainment of
properties of Debussy’s art and qualities of la durée comparative method has been
used. Investigation of the composer’s thinking involves actualizing of the concepts,
offered by Bergson relying on T. Ribot (dynamic scheme; intuitive and reflective
forms of creative imagination).
Elena V. Rovenko was born in 1986. Graduated from the Department of Music Theory and
History of Moscow P. I. Tchaikovsky Conservatory (2010). In 2010 – 2012 was a postgraduate
student of Moscow Conservatory (scientific advisor — Prof. Konstantin V. Zenkin). PhD in
History of art (2013), thesis: New Epochal Thinking at the turn of 19th – 20th centuries
in French philosophy (Bergson) and Art (Debussy, Redon). Researcher of the Researcher
Center for Methodology of Historical Musicology (since 2010), the teacher (since 2011)
and associate professor (since 2016) of the Foreign Music History Department of Moscow
Conservatory. Author of 20 articles and monograph Category of time in philosophical and
artistic thinking. Henri Bergson, Claude Debussy and Odilon Redon. Moscow: Progress-
Tradition, 2016. 840 p.

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3203 Room 3203 Sala 3203 Raum 3203

3.E. Session – Issues of Rhythm and Metre

5. Knar Abrahamyan
Yale University, United States of America
knar.abrahamyan@yale.edu

Repetition in Shostakovich’s Ostinati: Interplay of Meter and Context

Scholars have addressed Dmitry Shostakovich’s compositions from many


perspectives, including issues of extended tonality, neo-modality, form, and
hermeneutics. Yet sparse analytic attention has been given to Shostakovich’s
treatment of rhythm and meter, even though his works are often adventurous in this
respect. Dispersed throughout Shostakovich’s career, for instance, are ostinato-based
movements in which the recurring unit contains a built-in metric indeterminacy. Such
movements appear in various guises and genres, but all feature a melodic or harmonic
repeated pattern that entails varying structural and affective significance, based upon
underlying contextual shifts.
In this paper, I examine the “Largo” entr’acte from Lady Macbeth of the Mtsensk
District, Op. 29 (1932) and the “Adagio” from String Quartet No. 10, Op. 118
(1964). In the “Largo,” metric irregularity is only implicit, and the ostinato theme
serves as a viable point of metrical reference. In contrast, the “Adagio” presents an
ostinato unit in which the explicit written-out metrical shifts weaken its potency
for a metric foundation. To trace the interactions between the repeated unit and the
challenging contra-metric activity in the accompanying variations, I incorporate
Harald Krebs’s familiar grouping and displacement metrical dissonance types, and
Valentina Kholopova’s notion of metric mutability. In addition, I scrutinize how
deeper-level hypermeter participates in shaping the large-scale form. By addressing
broader issues of repetition’s impact on perception, and in attempting to disentangle
the complex dichotomy between temporal linearity and cyclicity, my comparative
analysis points to new avenues for the analysis of ostinati—in Shostakovich but also
in other repertories.
Knar Abrahamyan is currently pursuing a PhD in Music Theory at Yale University. Among
her interests in music are intersections of analysis and performance, Russian theoretical
thought, and music of the Soviet Russia. As a Fulbright fellow, prior to attending Yale, Knar
spent the 2015-16 academic year in Moscow where her research focused on the music of
Dmitri Shostakovich and theoretical writings of Yuri Kholopov. Knar holds a BM in Piano
Performance, BA in Communications, and MM in Piano Performance from Lee University
(Cleveland, TN). She also completed a MM in Music Theory from the Indiana University
Jacobs School of Music (Bloomington, IN). Knar enjoys playing piano, practicing yoga, and
drawing.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

3.F. Session – Falling Nicely Into Place: The Cadence in History and Theory

5. Boyd Pomeroy
University of Arizona, United Sates of America
pomeroy@email.arizona.edu

On Metrically Weak Cadential 6/4s

This paper explores an intriguing and under-investigated byway of 19th-century


harmonic practice. Schenker referred to the phenomenon indirectly, in connection
with the idea of a “triumph of absolute meter” (over conditions of harmonic stability).
Carl Schachter later explained it as the “anticipating 6/4,” which, though theoretically
sound, is not wholly satisfactory: 1) in overstating its rarity—it is in fact very common
in certain genres (especially, but not restricted to, waltzes); 2) in downplaying its
potential for constructive metrical conflict; 3) in its questionable characterization
of a temporal shift (of the V6/4–5/3 complex) as an “anticipation” (and failure to
distinguish the different phenomenon of real anticipatory 6/4s).
Our conditioning to hear cadential 6/4s as metrically strong is so ingrained that
the chord itself possesses the power to reorient our perception of meter (William
Rothstein, Samuel Ng). The resultant opposing pulls between metrical framework
and the chord’s natural metrical “signal” create an effect of metrical flux that is
well modeled by the concept of shadow meter (Rothstein, Frank Samarotto); in this
context, perceived less as a temporary overriding of the real meter than a (short-term)
coexistence with it.
A potential compositional resource is the weak 6/4’s susceptibility to reinterpretation
(both metrical and harmonic); my analyses explore a varied repertoire of associated
techniques in music from Mozart to Dvorak, with special emphasis on the waltzes of J.
Strauss II, whose varied and inventive treatment of this phenomenon was unmatched.

Boyd Pomeroy is an Associate Professor of Music Theory at the University of Arizona. He


holds degrees from the University of Edinburgh, Guildhall School of Music & Drama, and
Cornell University. He is known for his work on Schenkerian analysis, formal studies of music
of the 18th and 19th centuries, and the music of Debussy, on all of which he has presented
and published extensively over the years. Recent publications include the entry “Schenkerian
Analysis” for the Oxford Bibliographies Online series, as well as contributed chapters to the
collections Bach to Brahms, Explorations in Schenkerian Analysis, and Debussy’s Resonance
(all published by University of Rochester Press).

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3202 Room 3202 Sala 3202 Raum 3202

3.H. Session – Performance Studies

5. Panu Heimonen
University of Helsinki, Finland
panu.heimonen@helsinki.fi

Concerto Form, Analysis, and Conversation: From Performance


Practice to Cultural Knowledge
This paper asks on a general level what type of knowledge there is involved in music
analytical process and how this affects analytical results, exemplified by Mozart’s
1. movement concerto form. The paper builds a method for analysing dialogue in
Mozart’s piano concertos. Dialogue takes place between two modalities embedded
in theme actors that at large scale level represent the mental attitudes of participating
solo and ritornello sections, albeit also those of individual themes. Two Mozart’s piano
concerto 1. movements (KV 456 and KV 482) are analyzed. Resulting compositional
profiles show how through epistemic considerations one can infiltrate cultural and
personal level experiences into music analytical process.
The novel theoretical framework consists of existential semiotic theory (Tarasti
2015) and linguistic analysis of epistemic modalities (Jaszczolt 2009, Williamson
2013). To access the sense of Enlightenment performance practice one integrates
and contextualizes the temporal model of dialogue using ideas from new historicism
(Greenblatt 1988) to build an Enlightenment sense of dialogue into concerto discourse.
In music analytical process, the prime epistemological issues are internalized to the
concerto discourse through epistemic modalities and related temporal references. The
methodological frame is able to bring together those constituents that are needed to
simulate a sense of sociability in musical discourse. This opens an avenue for cultural
knowledge to enter the musical work, its formal structures. Whereas performance
practice in a narrow sense involves phrasing and articulation, one now gains access
to Enlightenment cultural practice as exemplified by the conversational nature of
concerto form.
Panu Heimonen has been educated at the Sibelius-Academy (MA, Music theory and analysis)
and the University of Helsinki (MA, Musicology, Philosophy). His research centres on music
analysis and narrative theory with applications to various musical contexts, including musical
performance. He has special interest in bringing together narrative ways of analysing music
with traditional music analytical techniques such as Schenkerian analysis and musical
Formenlehre. Besides the music of F Liszt he works on music analytical and narratological
questions as they relate to first movement concerto form in WA Mozart’s piano concertos. He
has published in the journal Res Facta Nova (“Concerto Questions”). His other research
interests include intertextuality in music analysis.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3204 Room 3204 Sala 3204 Raum 3204

3.I. Session – Lewin’s Legacy: Spaces and Transformations

5. Nathan Fleshner
University of Tennessee, United States of America
nathan.fleshner@gmail.com

Lewin’s Figure 0.1, Freud’s Analysis Interminable, and Their


Implications for Music Analysis

David Lewin’s Figure 0.1 from his monumental Generalized Musical Intervals
and Transformations is well known. In that figure, point s becomes point t by the
transformation i. This paper uses Lewin’s Figure 0.1 as the basis for a dialogic
model between various analytic interpretations. In doing so, it proposes an additional
directional arrow to Lewin’s original diagram, allowing not just the traversal from
s toward t, but also t returning to s. Such an addition broaches the idea that two
different analyses enter into a dialogue in which each informs the other.
In revising Lewin’s figure, this paper draws on the work of other analysts as
well as the psychoanalytic literature. Adele Katz notes that a synthesis of different
perspectives is more important than simply an analysis. Katz’s perspective reveals not
a reductive analysis commonly attributed to Schenker, but rather a dialogic synthesis
between different analytic observations and structural levels. A strikingly similar
analytic dialogue has been described by Sigmund Freud and British psychoanalyst,
Adam Phillips. In Freud’s description of the analytic process, the analyst and
analysand are in dialogue, essentially co-creating an analytic interpretation of the
analysand’s unconscious content. These syntheses and constructions are discussed
and related to the dialogic process between different music analyses, showing that
Lewin’s transformation process is a critical component to our analytic practices. In
his essay, “Analysis Terminable and Interminable,” Freud admits that in some sense
an analysis is never truly complete, just as shown in my reformation of Lewin’s
famous diagram.
Nathan Fleshner will be Assistant Professor of Music Theory at the University of Tennessee
beginning Fall 2017. He has presented papers at many international conferences including
EuroMAC 8 and the Second International Conference on Music and Consciousness at Oxford.
His research interests include the portrayal of dreams and mental illness in music, Schenkerian
theory, the application of psychoanalysis to the study of music, popular music, and the use of
iPad apps for both theory pedagogy and music cognition. His research has been published
in the Journal of Music Theory Pedagogy, the College Music Symposium, and the edited
volumes, Music Video Games: Performance, Politics, and Play (Bloomsbury Press) and The
Oxford Handbook of Hip Hop Studies (Oxford University Press, forthcoming).

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3209 Room 3209 Sala 3209 Raum 3209

3.J. Session – Listening, Perceiving, and Cognising

5. Erica Bisesi
KTH - Stockholm / University of Bratislava, Sweden / Slovakia
bisesi@kth.se

Measuring and Modelling Perceived Distance among Collections in


Post-tonal Music: Music Theory Meets Music Psychology

Can we perceive similarity among chords or keys, and which computational models
best account for it? How distance profiles are related to other structural aspects (e.g.
grouping, rhythm, melody) in different pieces of music? We compare five contrasting
models of the distance between collections in different post-tonal pieces and test
them against perceptual data. The models include an adaptation of the Parncutt
(1988, 1993) psychoacoustical model of distance between chord-roots, three models
of distance based on interval similarity (MEMBn, ASYM, REL: Rahn, 1979-
1980; Morris, 1980; Lewin, 1987), and atonal voice-leading (uniformity, balance,
smoothness: Straus, 2003). Our repertoire includes three post-tonal pieces belonging
to different stylistic conventions: Webern Canon for Voice and Clarinet Op. 16 No.
2, Bartok Mikrokosmos No. 84 (Merriment), and Scriabin Prelude Op. 74 No. 5. The
profiles of distance between sets are computed by means of algorithms (Ariza, 2002).
Results of the computational analyses are then interpreted in terms of the formal and
micro- structure of the pieces. Finally, set distances are innovatively explored from
the viewpoint of music perception. We ask 20 musicians with different expertise to
evaluate pairs of simultaneous or consecutive sets on a rating scale, and correlate
empirical data with predictions by different models. A pilot study conducted on the
Webern Canon Op. 16. No. 2 and involving 12 music experts indicated that distances
between different sets are significantly perceivable (F(10,110)=3.54, p=.0004,
h2=.24) and shaped by a combination of distance balance, mutual embedding and, to
a lesser extent, distance relatedness.
Erica Bisesi was born in Gorizia, Italy. She holds a PhD in Mathematics and Physics, a MA in
Piano Performance, and is completing a MMus in Music Theory and Analysis. She has taught
acoustics and psychoacoustics at the Udine Conservatory, and psychoacoustics and music
cognition at the University of Graz. From 2009 to 2016, Erica has been working as postdoc
researcher at the Centre for Systematic Musicology, Graz, funded by FWF Austria. Erica
is currently a researcher at the KTH, Stockholm, and lecturer at the Comenius University,
Bratislava. Her research and teaching lie mainly in the area of computational musicology,
music cognition, music performance, expression and emotion, and music theory and analysis.
Erica is also active as a concert pianist.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


17 h 00-17 h 45 17:00–17:45 17.00 – 17.45 17.00–17.45
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

4.A. Semi-plenary talk

Sémir Badir
FNRS – Université de Liège, Belgique
semir.badir@ulg.ac.be

La musique parmi d’autres

En admettant que l’analyse musicale fournisse des résultats qui ne soient pas
uniquement de décomposition mais qu’elle procède également à des formes de
recomposition de son objet, autrement dit, en admettant que la musique soit un langage
et qu’elle développe un discours qui fasse, d’une manière ou d’une autre, sens, nous
cherchons à établir, dans le cadre d’une sémiotique générale, des caractéristiques
langagières, discursives et sémantiques propres à la musique face à d’autres formes
(au moins postulées) de langages : la langue, la logique formelle, l’arithmétique, la
peinture abstraite et le cinéma.

Sémir Badir, maître de recherches du Fonds de la Recherche Scientifique-FNRS à l’Université


de Liège, est un linguiste spécialisé en sémiotique. Son projet intellectuel est celui d’une
épistémologie conforme aux pratiques discursives du savoir. Il est l’auteur de Hjelmslev
(Belles-Lettres, 2000), Saussure. La langue et sa représentation (L’Harmattan, 2001),
Epistémologie sémiotique. La théorie du langage de Louis Hjelmslev (Honoré Champion,
2014). Il a co-dirigé une vingtaine d’ouvrages et numéros de revue (Protée, Semen, Semiotica,
Visible…).

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17 h 00-17 h 45 17:00–17:45 17.00 – 17.45 17.00–17.45
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

4.B. Semi-plenary talk

Iwona Lindstedt
Institute of Musicology, University of Warsaw, Poland
i.lindstedt@uw.edu.pl

Józef Michał Chomiński’s Concept of Sonoristic Harmony

The concept of sonoristic harmony is rooted in the theory of sonology, which was
evolved gradually over a period of nearly three decades (since 1961) in the writings
of Polish prominent music theorist, Józef M. Chomiński (1906–1994).
The term itself forms a kind of an oxymoron because it goes beyond the traditional
concept of harmony (pitch-oriented) towards the idea of ‘sonoristics’ understood
as a compositional technique which focuses on sonic explorations and uses sound
colour as the main constitutive element of the musical structure. Thus, in this context,
harmony is adapted for the description of the intricacies of modern avant-garde music
and means a musical element transformed into values of a ‘purely sonorous’ origin.
Chomiński’s concept encompasses not only the question of harmony but also
the issues of counterpoint and instrumentation, which are considered from the
sonological point of view. It involves the whole achievable sound material, including
noises and sounds of indefinite pitch. The core of the concept of sonoristic harmony
is built on the classification of ‘vertical structures’. They replace traditional chords
and represent various degrees of sound density, including verticals made up of pitch
intervals, sound impulses, bourdons, ostinatos, as well as glissandos and clusters. At
the higher level of systematics, the diverse forms of interaction of these phenomena
in multi-layered sound structures are presented.
The aim of this paper is to explain Chomiński’s concept using the appropriate
music examples and to assess its expected applicability as a tool for analysis of a
musical work.

Iwona Lindstedt since 1998 has been an assistant professor at the Institute of Musicology,
University of Warsaw. Her research interests center on historical, theoretical and analytical
aspects of 20th and 21st-century music. She has published, among others, on the work of
Krzysztof Penderecki, Witold Lutosławski and Kazimierz Serocki, books on serialism and
sonoristics in Polish music as well as articles on methods for the analysis of music. Since
2012 she has been involved in a wide range of Internet projects devoted to the life and work of
Polish 20th-century composers, e.g. http://ninateka.pl/kolekcje/en/three-composers. She is a
vice president member of the Polish Composers’ Union’s Musicologists Section and a founder
member of the Polish Society for Music Analysis.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


17 h 00-17 h 45 17:00–17:45 17.00 – 17.45 17.00–17.45
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

4.C. Semi-plenary talk

Stefan Rohringer
Hochschule für Musik und Theater München, Deutschland
stefanrohringer@web.de

Frédéric Chopins Prélude a-Moll op. 28, 2 – eine metapherntheoretische


Perspektive

Im Vortrag wird Frédéric Chopins Prélude a-Moll op. 28, 2 als eine Komposition
des Übergangs zwischen zwei unterschiedlichen ›funktionalen Programmen‹,
der ›Ursatz-Tonalität‹ (nach Heinrich Schenker) und der ›Tonalität der Tonfelder‹
(nach Albert Simon), beschrieben. Irritierende Klangbildungen werden dabei als
innermusikalische Metaphern verstanden, die durch den ›Import‹ von Elementen
›fremder‹ Quellbereiche bzw. den ›Eintritt‹ zugehöriger systemischer Kontexte
in ›vertraute‹ Zielbereiche entstehen. Der Analyse folgt eine metatheoretische
Reflexion, die der Frage nachgeht, welche Möglichkeiten eine metapherntheoretische
Perspektive im Hinblick auf die Verknüpfung der unterschiedlichen ›funktionalen
Programme‹ im Rahmen einer holistischen Theoriebildung eröffnet.

Stefan Rohringer studierte Schulmusik, Klavier, Tonsatz, Hörerziehung, Musikwissenschaft


und Geschichte in Köln. Er ist Professor für Musiktheorie an die Hochschule für
Musik und Theater München. 2004–2008 Präsident der Gesellschaft für Musiktheorie
(GMTH). 2006 bis 2015 Mitherausgeber der ZGMTH.

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


18 h 00-19 h 30 18:00–19:30 18.00 – 19.30 18.00–19.30
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

Young Researchers’ Meeting


Meeting convenor: Dr Nathalie Hérold, member of the EuroMAC 9 Organising
Committee, secretary of SFAM, member of GRÉAM

The ‘Young Researchers’ Meeting’ is an opportunity for all the doctoral researchers,
post-doctoral researchers and early-career professionals attending EuroMAC 9 to
meet and discuss several topics that are of particular interest to them. The meeting is
also open to all EuroMAC 9 participants who want to get the latest updates concerning
the situation and the projects of European (and non-European) doctoral researchers,
post-doctoral researchers and early-career professionals in the field of music analysis
and theory.

Welcome address and introduction to the meeting (Dr Nathalie Hérold)

Topic 1. Professional integration and career development in music analysis and


theory

– Issues to be discussed

• Professional integration and career development of music analysts and theorists


in an academic or non-academic environment
• Types of positions requiring skills in the field of music analysis and theory
• Specificities related to the type of institution (universities, conservatoires,
music academies, music schools, etc.) as regards professional integration
• Financial resources for research projects in music analysis and theory in an
academic and non-academic context
• Professional integration and career development of female music analysts and
theorists
• Role of the European (and non-European) analysis societies as regards
professional integration and career development in music analysis and
theory
• ...

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– Some short talks to introduce the topic

• Professional Integration in an Academic Environment (Music Schools &


Academies, Universities) in the Context of a Gap between Composition and
Musicology: The Situation in Croatia – Dr Sanja Kiš Žuvela (University of
Zagreb/Music Academy, Croatia – Board member of CAMT)
• The Role of Content-Semantic Analysis in the Study of Theoretical Disciplines
in the Children’s Art School in Russia – Elena Zhurova (Moscow N.G.
Rubinstein School for the Arts, Russia – Board member of OTM)
• Musical Analysis in General Education as a Pedagogical Tool for Cultural
Development – Bohdan Syroyid (KU Leuven, Belgium – President of ACIM,
Association of Composers and Performers of Málaga)

– Questions and general discussion on topic 1

Topic 2. European and international networks in music analysis and theory


– Issues to be discussed

• Academic and non-academic social networks and communities in music


analysis and theory
• Communication, cooperation, knowledge and information sharing, mentoring
in music analysis and theory
• Team work and collaborative projects in music analysis and theory
• Relationships between young researchers, between young researchers and
experienced researchers
• National and international mobility experiences in the field of music analysis
and theory
• Role of the European (and non-European) analysis societies as regards
European and international networks in music analysis and theory
• ...
– Some short talks to introduce the topic

• Outreach within the UK Analysis Community: The SMA’s Support for Young
Researchers – Rebecca Day (Royal Holloway/University of London, United
Kingdom – Board member of SMA)
• The GRÉAM’s Young Researchers’ Group: An Evolving Network for Musical
Research – Dr Julie Walker (University of Strasbourg, France)
• Experience of International Mobility: Relations between France and Poland
– Dr Hab Małgorzata Gamrat (University of Warsaw, Poland – Secretary of
PTAM)
– Questions and general discussion on topic 2

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Topic 3. New approaches and practices in music analysis and theory


– Issues to be discussed

• Relation of music analysis and theory with other disciplines (human


sciences, experimental sciences, exact sciences), and its impact on new
methodologies
• Relation of music analysis and theory with musical practice (composition,
performance), and its impact on new methodologies
• Use of new tools, new technologies, and their impact on analytical and
theoretical practices
• Engagement of music analysts and theorists in teaching or in musical
practice
• Audiences and publics of music analysis and theory
• Role of the European (and non-European) analysis societies as regards new
approaches and practices in music analysis and theory
• ...
– Some short talks to introduce the topic

• Music as Science: How Interdisciplinarity Encouraged my Pursuit of Music


Theory – Hannah Pell (University of Graz, Austria)
• Artistic Training as a New Field for Research and Theoretical Thinking in
Argentina – Ramiro Limongi (National University for the Arts, Argentina)
• Disseminating Music Analytical Knowledge through New Technology: Toward
a Global Perspective – Panu Heimonen (University of Helsinki, Finland)

– Questions and general discussion on topic 3

Conclusion of the meeting

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Mercredi 28 juin Wednesday, 28 June Mercoledì 28 giugno Mittwoch, 28. Juni


20 h 30-23 h 30 20:30–23:30 20.30 – 23.30 20.30–23.30
Aula du Palais Aula of the Palais Aula del Palazzo Aula im Palais der
universitaire universitaire universitario Universität

Opening Reception
and Concert of Ensemble ‘I Musicali Affetti’

The opening reception will be preceded by an address by Prof. Michel Deneken,


President of Strasbourg University. The short concert will be introduced by Dr
Aurelio Bianco, Head of the Music Department.
Ensemble ‘I Musicali Affetti’ will perform the Sonata from Op. 2 by the Italian
virtuoso violinist and composer Biagio Marini (1594–1663). Marini published his
Op. 2 – entitled Madrigali e symfonie a 1, 2, 3, 4, 5 – in Venice in 1618 while he was
employed at St. Mark’s Cathedral under the direction of Monteverdi, who was chapel
master at the basilica at that time.
The concert will be followed by a buffet dinner, starting at 9.15 pm.
‘I Musicali Affetti’ is an Italian string ensemble specialising in performances of
baroque music. It is led by violinist Fabio Missaggia. A recording of this work jointly
produced by Ensemble ‘I Musicali Affetti’ and GRÉAM is to be released on CD/
DVD in the spring of 2017.
Please consult the website of Ensemble ‘I Musicali Affetti’: http://www.
imusicaliaffetti.com.
Address of the venue: 9 place de l’Université, 67000 Strasbourg
To get from Le Patio to the Palais universitaire (University Main Building), please
see p. 426.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

5.A. Session – The Second Viennese School (II): Pairing Schoenberg and

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Webern

1. Franziska Brunner
University of Georgia, United States of America
ziskabru@uga.edu

“Tierisch Unmittelbarer Ausdruck”: Analyzing Timbre in Schoenberg’s


Sprechmelodie

Arnold Schoenberg’s Harmonielehre (1910) and Fundamentals of Musical


Composition (1937–48) show a specific interest in vocal tone color. His exploration
of Sprechstimme significantly parallels these writings. Schoenberg was aware of
timbre as a compositional tool, but also, that listeners might not engage with this
facet of music. Schoenberg emphasized the importance of moving away from the
constructed elements in music (e.g. theme, harmony, form), in favor of direct artistic
expression by more abstract means. During the same period, he ended Harmonielehre
by reiterating the importance of timbre, without offering solutions for hearing or
analyzing timbre. Rather, he challenged readers with the now famous question “Wer
wagt hier Theorie zu fordern?”. Essays by Bonenfant, Fales, Jarman, Kurth, and
Young in the field of voice studies offer a methodological basis for timbral analysis
which I will apply to several melodramas from across Schoenberg’s oeuvre. My work
augments insight from traditional types of formal and harmonic analysis, and creates
new critical perspectives. It elevates the collaborative influence of performers,
prompts careful re-evaluation of existing recordings, and allows potential for sound
to act as a carrier of meaning. This approach not only develops understanding of
familiar works in the classical canon and Western popular music; it also provides
another point of engagement for less familiar music (e.g. non-Western-, modern-,
electronic-, and early music).

Franziska Brunner is a PhD Candidate in Musicology at the University of Georgia. Her


dissertation addresses issues of vocal timbre in Arnold Schoenberg’s Sprechmelodien.
She is currently researching in Vienna with grant support from the Fulbright and OeAD
programs as well as the Willson Center for Arts and Humanities at the University of
Georgia. Her article “Shifting Sprecher: Timbral Use and Development from Gurrelieder
and Pierrot lunaire” is forthcoming in the Journal of the Arnold Schönberg Center. Her
research interests include music of fin-de-siècle Vienna, German Lied, pedagogy, issues
of embodiment, extended vocal techniques, and German literature.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Salle 3204 Room 3204 Sala 2304 Raum 3204
29-06

5.B. Session – New Technologies and Analysis (I)

1. Andrea Bareggi
ESME Sudria - Lyon, France
bareggia@tcd.ie

Towards Objectivity in Automatic Segmentation of Music Score by


XML/MIDI Language

Automatic music analysis is an area of ongoing research. The segmentation of a


musical score is used by the musician for shaping phrases. However, machines are
not (yet) able to recognise phrasing in a music score, therefore different strategies that
not necessary involve musicality as a human skill have to be used. Since the process
described in this work is a mathematical estimation of the boundary strength of
musical events (pitch and duration of notes, rests, and sound intensity) as a function
of quantized time in a music score, we can assume that the segmentation process is a
knowledge based process, and not a sensory driven process – like most of the music
analysis process made by humans. The process is called, in this work, Local Boundary
Detection Model (LBDM). The goal of this work is to establish a mathematical
model for automatic segmentation of scores in XML or MIDI format. The model
take account of the musical style of the examined score, therefore a weight vector
is holistically defined for each music style. The reference repertoire is western
tonal music, however, a set of coefficient can be created for atonal music, popular,
traditional, rock, rap...

Researcher in computational engineering and musicology, I carried out a double scientific


career both in music and engineering. After a piano diploma by the conservatory of G.
Donizetti of Bergamo (Italy), I obtained a licence at Trinity College of London (United
Kingdom) in piano performance and a Ph.D in mechanical engineering at Trinity
College of Dublin (Ireland). After moving to France I’ve obtained a Master degree in
musicology at Université Lumiere Lyon 2, with a final year work about the expression
of alterity by minimal music in science fiction movies. My research topic in musicology
involves early harpsichord music in southern Italy, intertextual relationship in the
collaboration between Edoardo Sanguineti and Luciano Berio, algorithms for music
information retrieval.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

5.C. Session – The Second Twentieth Century: Between Italy and France

29-06
1. Hyun Höchsmann
East China Normal University, China
hhochsmann@gmail.com

Prometeo, Tragedia dell’ascolto – “A new way of thinking music” in Lui-


gi Nono
Prometeo, Tragedia dell’ascolto, a ‘musica per dramatica’, presents a ‘theatre
of consciousness’ and an affirmation of the continuity of creative endeavours for
freedom. Seeking to discover ‘a new way of thinking music’ and ‘a transformation of
thinking’, Nono explored the possibilities of new modes of listening and re-awakening
active listening. Prometeo is a realisation of listening as thinking. Prometeo comprises
shifting microtonal chords in the chorus (cori spezzati, split choirs of the polychoral
singing in Venice in 16th century), the contrapuntal overlapping of the solo voices and
the orchestration in which the instruments are played at the extremes of their ranges.
The electronic acoustic configurations in Prometeo generate continuously changing
contextualisations of sound. In presenting a ‘mobile sound’ Prometeo provides
immersion in a ‘multi-directional listening’. Nono’s conception of composition as ‘a
consciousness of technique which is made possible by a transformation of thinking’
expands the understanding of the aims of music analysis in exploring the syntax
and the semantics of musical text and performance. The present approach builds on
Nono’s engagement with Critical Theory. Nono’s ‘critical composition’ emphasises
the simultaneity of musical invention, moral commitment, political action and the
necessity for contemporary music to ‘intervene in the sonic reality of our time’.
Engaging with Nono’s music expands the methodology of music analysis to integrate
interdisciplinary methods of exploring the cognitive and social dimensions of music.
Nono’s musical thought articulated the central themes of the relations between the
composition and social reality, the nature of musical material, listening approaches,
and musical time and space.
Hyun Höchsmann received a Ph.D. in philosophy from the University of London.
Höchsmann is affiliated with East China Normal University in Shanghai as a visiting
professor. She has taught at the Julliard School of Music, Brandies University and at the
American University in Cairo. Her publications include On Chuang Tzu, On Philosophy
in China and Zhuangzi. For The International Global Studies Encyclopaedia of the
Russian Philosophical Society, she has written articles on Kant. Höchsmann’s work has
been supported by the Andrew Mellon Fellowship and the National Endowment for the
Humanities for research at the Department of French and Comparative Literature, Yale
University. Her research interests include Philosophy of Music, Eastern Philosophy,
Critical Theory and Comparative Literature.

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09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
29-06

5.D. Session – Partimento and Schemata

1. Olga Sanchez
Northwestern University, United States of America
osanchez@u.northwestern.edu

Interactions between Topics and Schemata: The Case of the Sacred Ro-
manesca

Eighteenth-century composers showed remarkable consistency in their musical


settings to operatic scenes with religious connotations. This stable coupling between
signifier (slow tempo, soft dynamics, chorale texture, I-V-vi opening) and signified
(expressive attributes such as serenity, spirituality, or transcendence) constitutes what
McKee (2007) calls the sacred hymn topic. The inclusion of a chord progression in
the definition of a topic is unusual, but the sacred hymn contains precise harmonic
and melodic features—which coincide with the first stages of the Romanesca schema
(Gjerdingen 2007). This paper investigates the relationship between the Romanesca
and the sacred hymn through corpus analysis, contributing to the emerging study of
interactions between schemata and topics (Byros 2014, Caplin 2014, Rice 2014). A
corpus representative of the music heard in Vienna between 1775-1800 reveals that a
high proportion of Romanescas share attributes with the sacred hymn, that the schema
appears with higher frequency in sacred works, and more often in opera seria than
opera buffa. Gjerdingen does not observe affiliations of the Romanesca with affect
or genre, but by the end of the century these associations seem strong. Although the
schema might have originally lacked a semantic dimension, it acquired ceremonial
meanings over time, arguably functioning as a signifier of the past. Analytic vignettes
from Haydn, Mozart, and Beethoven show the sacred Romanesca in context. This
music illustrates that attending to relations between topics and schemata can enhance
music analysis and help reconstruct the experiences of historical listeners attuned to
their subtle but far-reaching interactions.
Olga Sanchez is a PhD candidate in Music Theory and Cognition at Northwestern University
working on a dissertation entitled “The hymn as a musical topic in the age of Haydn, Mozart,
and Beethoven.” Her research gravitates around issues of meaning and expression in music,
with a focus on the Classical style. Before moving to the United States and embarking in
her academic career Olga was an active clarinet performer and music educator in Madrid.
She has received awards from the Society for Eighteenth Century Music, the Music Theories
Societies of New York State and the Mid-Atlantic, and the Center for Iberian and Latin
American Music.

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09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

5.E. Session – Teaching and Pedagogy (I)

29-06
1. Johannella Tafuri 1. Maria Grazia Bellia
inCanto Center of Bologna, Italia Conservatoire of music of Catania, Italia
johannellamusica@gmail.com mariagraziabellia@gmail.com

Expressive Performance Analysis of Children Aged 4-5 Years: Teaching


Models and Vocal Abilities
Studies on performance usually deal with music intended for concerts. Very few of
them are devoted to the genesis of expressive abilities that first arises in children’s
singing. Several studies observed the ability of children aged 4-5 years to sing in
an expressive way using little variations in timing, dynamics and other musical
characteristics. A question arises: would children show better expressive abilities if
teachers attract their attention to some properties? Do they enjoy to moulding their
voice to show different emotions? The aims of this research are to analize and compare
the results obtained with a group of children when performing spontaneously two
learned songs and when performing the same songs after receiving specific instructions
by the teacher. First phase: two songs were chosen and five teachers prepared an
expressive performance of both: particular parameters (timing, dynamics, phrasing,
timbre quality…) were accurately chosen. Each teacher sang them often with the
expressivity chosen, to the 4-5 year-old children at their school without explaining /
demanding any expressive character. When children knew those songs well, teachers
recorded their performance individually. Second phase: the same teachers sang
again the same songs inviting children to pay attention to the particular parameters
chosen. Then teachers recorded the children’s individual performance. The analysis
of the children performances, through Sonic Visualizer, confirmed a certain presence
in the children’s performance of the teacher’s expressive model. Nevertheless the
improvement obtained through specific instructions, show the ability of children to
produce a more expressive performance and their enjoyment of it.
Johannella Tafuri, late professor of Methodology of Music Education at the Conservatoire
of Bologna (Italy), at present of Lugano (Switzerland) and at the Centro inCanto, Bologna.
Professor of Methodology of research in music education and contributor to various italian
and foreigner magazines, published several books, among which Infant Musicality, Ashgate
2008, a longitudinal reasearch on musical development since pre-natal life to 6 years.

Maria Grazia Bellia, professor of Methodology of Music Education at the Conservatoire of
Catania (Italy), choir conductor and researcher. As choir conductor she founded the Young
Choir of Donna Olimpia School in Roma (Italy) and the Manos Blancas Choir of Roma. As
researcher, she is particularly interested in action-research and published several articles in
different italian magazines.

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09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Salle 3203 Room 3203 Sala 3203 Raum 3203
29-06

5.F. Session – Leaving – and Regaining – the Shores of Tonality

1. Elena Chernova
Institut für Musikwissenschaft, Universität Regensburg, Deutschland
tschernowa@googlemail.com

Aleksandr Kastal’skijs Kompositionstechnik und theorie als Inbegriff


des “russischen Stils” und “Erlösung” von der Funktionsharmonik
Die Neue Richtung (Nóvoe napravlénie) in der russischen geistlichen Musik (ca.
1880-1917) ist eine vielschichtige Erscheinung, die Theorie und Praxis der russischen
Kirchengesangstraditionen betraf. Sie suchte nach neuen Wegen der mehrstimmigen
Gestaltung der Liturgie, die mit der immanenten Natur der monodischen Gesänge
übereinstimmen würde, und zwar auf der Grundlage der Erkenntnisse der musikalischen
Mediävistik. Die Neue Richtung begann als Gegenbewegung gegen die stilistische
Entfremdung des Kirchengesangs von seiner jahrhundertelangen modalen Tradition
und die damit verbundene Säkularisierung seiner Ästhetik. In meinem Vortrag
werden die wichtigsten kompositionstechnischen Prinzipien der Schlüsselfigur
der Neuen Richtung, Aleksandr Kastal’skij (1856-1926), systematisiert, in dessen
Schaffen die zentralen Elemente dieser Schule zusammenfließen und dessen Ideen
einen wesentlichen Einfluss auf die russische Musik des 20. Jhdts. hatten. Über zwei
Jahrzehnte arbeitete er am neuen, auf die vor kurzem wiederentdeckten Quellen mit
monodischen Gesängen und mehrstimmigen Neumenpartituren, sowie die Editionen
mehrstimmiger Volkslieder stützenden satztechnischen Ideal. In der 1924 unter dem
Titel Osobennosti narodno-russkoj muzykal’noj sistemy publizierten Studie stellt er eine
Reihe alternativer, auf den Prinzipien der volkstümlichen und modalen altrussischen
Mehrstimmigkeit basierender Satzmodelle den stereotypen funktionsharmonischen
Schablonen gegenüber. Anhand einiger kompositionstechnischer Aspekte aus zwei
theoretischen Schriften Kastal’skijs wird gezeigt, wie sich das bis heute noch nicht
klar genug definierte Phänomen des ‘russischen Stils’ in der Musik kontinuierlich
herausbildete.
Elena Chernova, geb. 1985 in Wolgograd (Russland), studierte seit 2001 Musiktheorie an
der Hochschule für Künste Wolgograd. Das Zweitstudium in Historischer Musikwissenschaft
absolvierte sie 2011 an der Universität Regensburg mit einer analytischen Masterarbeit
über russische Klaviersonaten zu Beginn des 20. Jhdts. Anschließend begann das aktuell
laufende Promotionsprojekt über die russisch-orthodoxe Nachtwache. 2015 erhielt sie das
Promotionsstipendium der Bayerischen Förderung Frauen in der Forschung. Seit 2016
ist sie Mitglied des russisch-amerikanischen Projektes Orthodox Sacred Music Reference
Library. Ihre Interessenschwerpunkte liegen auf Kompositionstechniken der Spätromantik,
historischen analytischen Ansätzen, Theorie und Geschichte liturgischer Gattungen der
orthodoxen Musik.

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09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

5.G. Session – Stylistic Features of Jazz

29-06
1. Mathilde Zagala
Université Paris-Sorbonne, France
mathilde.zagala@gmail.com

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

Ce travail porte sur le motif polyrythmique de « trois sur quatre » (caractéristique du


ragtime et du jazz) dans la musique écrite en circulation à la Nouvelle-Orléans d’avant
le jazz enregistré, de 1835 à 1917. S’inscrivant à l’intersection de l’histoire culturelle
de la musique et de l’analyse du rythme, il s’appuie sur trois méthodes d’analyse
(celle des polyrythmies percussives d’Afrique centrale de Simha Arom, celle des
dissonances métriques développée par Harald Krebs et celle des polyrythmies dans le
jazz de Laurent Cugny) adaptées et appliquées à des corpus archivistiques dépouillés
notamment à la Hogan Jazz Archive (Nouvelle-Orléans), rendant compte de la vie
musicale dans les salons de la bourgeoisie néo-orléanaise du XIXe siècle, puis de
l’émergence du ragtime et du premier jazz. Si tout au long de cette période, les
exemples de trois sur quatre sont constitués de la superposition d’une figure rythmique
contramétrique d’une durée de trois unités sur une figure rythmique commétrique
d’une durée de quatre unités de même valeur, à partir du ragtime et du premier jazz,
un modèle se distinguant clairement de son utilisation au XIXe siècle s’établit : le «
paradigme du secondary rag ». Pourtant, ce modèle n’apparaît pas pour la première
fois dans la musique états-unienne avec la publication de Maple Leaf Rag de Scott
Joplin (1899) et des premiers ragtimes, comme l’énoncent les travaux sur ce sujet
depuis près d’un siècle, mais bien près d’un demi-siècle plus tôt, dans un morceau
de 1855 du compositeur néo-orléanais Louis Moreau Gottschalk – The Banjo. Cette
découverte offre de nouvelles perspectives sur l’histoire du ragtime et du premier
jazz et leurs liens avec la musique populaire afro-américaine de banjo de la mi-XIXe
siècle.
Docteure en Musique et Musicologie de l’Université Paris-Sorbonne (2016), Mathilde Zagala
a soutenu une thèse, dans le cadre d’un contrat doctoral, avec le soutien de la commission
franco-américaine Fulbright, sur l’un des rythmes les plus caractéristiques de l’histoire du
jazz : le motif polyrythmique de « trois sur quatre » dans la musique écrite en circulation à
la Nouvelle-Orléans d’avant le jazz enregistré, de 1835 à 1917, préparée sous la direction de
Laurent Cugny. Professeure de flûte traversière et de formation musicale, elle est également
titulaire d’un Prix d’excellence de Flûte traversière (2009), d’un DEM de Formation musicale
(2006), d’une Médaille d’or de musique de chambre (2009) et d’un CFEM de piano (2009).

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09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Salle 3209 Room 3209 Sala 3209 Raum 3209
29-06

5.H. Session – Music of the Non-Western World: The Mediterranean and


Beyond
1. Sławomira Żerańska-Kominek
University of Warsaw, Pologne
s.kominek@uw.edu.pl
Compositional Strategies in non-Western music.
The case of Turkmen music
The contrast between oral and written transmission, well described by ethnologists
and literature scholars, constitutes a crucial criterion for distinguishing music that
represents either an oral or a written paradigm of musical thinking. The proposed
paper will deal with the conceptualisation and features of oral compositional
strategies in non-Western music. The analysis will deal with selected works of
Turkmen music that is transmitted orally and does not possess a written theoretical-
aesthetic doctrine comparable with European or oriental theory. In spite of this, both
the rules underlying composition and also the criteria for interpreting music are
very well defined in the Turkmen tradition in the lexicon of musical terms, forming
a logical and internally cohesive system of concepts. This system is devised from
semantic variants of the word yol, meaning ‘path’ or ‘journey’, and is a metaphor
of various aspects of musical structure and performance. The ‘path’ as a metaphor
of the composition process is also documented in European theory and practice. In
mediaeval sources, the structure of a work is a ‘path’ taken by the composer and by
anyone who subsequently performs or listens to the work. And this means not only
that all music is played as an ‘event in time’ or an experience that ‘contains time’,
but above all that a work is consciously composed and performed as a ‘flow in time’.
The processual concept of the creative process has consequences also for form and
forming, for the relations between the movements and sections of a work and also for
the linking of its elements and their overall cohesion. The processual model of the
creative process is the chief criterion for differentiating between an oral and a written
paradigm of musical thinking.
Sławomira Żerańska-Kominek is a musicologist and anthropologist of music, professor in
the Institute of Musicology, University of Warsaw. She took her Ph.D. in musicology from the
University of Warsaw (1976). She received Independent Researcher Degree in musicology in
1986, and full professor degree in 1996. Sławomira Żerańska-Kominek is the author and editor
of “Symbols of time and space in Central Asian music”; “Music in Culture. Introduction to
Ethnomusicology”; „Crazy Harman. The concept of music and musician in the Türkmen Epic
Tale, Harman Däli”; „The Orpheus myth. Inspirations and reinterpretations in European
artistic tradition”; “Music in the garden – the garden in music”; “Musical children of
Venus and other essays in anthropology of music”. She is the editor-in-chief of the Polish
musicological journal Musicology Today.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

5.I. Session – Anthropology, Sociology, and Cultural Studies

29-06
1. Renata Skupin
Institut de théorie de la musique, Académie de musique de Gdańsk, Pologne
r.skupin@amuz.gda.pl

Les rôles respectifs de l’objet et du sujet en analyse de


l’orientalisme musicale

L’orientalisme musical est une représentation créative et intentionnelle de l’Orient.


Si le thème oriental, le contexte ou toute autre connexion substantielle d’une
œuvre musicale avec l’Orient est extériorisée dans le titre d’une pièce musicale ou
commentée par compositeur, la reconnaissance et l’analyse de l’orientalisme sont
justifiées . Mais si ce sont seulement des présuppositions de l’analyste (intentio
lectoris) et l’orientalisme musicale n’est pas intersubjectivement reconnaissable
et compréhensible par l’auditeur ? Notre point de départ est la délimitation des
catégories théoriques et analytiques : l’Orient (exotique et non-exotique) et l’exotique
(l’orientale), l’orientalisme (exotisant et non-exotisant), l’exotisme (oriental),
l’orientalité (exotique et non-exotique) et l’exoticité en référence à l’œuvre musicale.
Les buts poursuivis par notre recherche consistent à verifier des possibilités et identifier
des restrictions des méthodologies et des théories analytiques déjà existantes (non
seleulement dans le contexte des études postcoloniales et la conception saïdienne de
l’orientalisme). Le corpus soumis à l’analyse comporte les œuvres dites orientalistes
venant des traditions nationales : français, anglais, russe et polonais. Notre réflexion
cherche à mettre en valeur des rôles respectifs de l’objet et du sujet dans l’analyse de
l’orientalisme dans la musique, surtout le character transitif des signes et des figures de
l’orientalisation (la seconde augmentée, l’ornamentation mélismatique, les formules
d’ostinato etc.). Nous proposons un modèle binaire d’analyse et d’interpretation de
l’orientalisme musical en tant qu’un paradigme : familiarité – extranéité, en montrant
le rôle décisif de l’intentionnalité (intentio auctoris, intentio lectoris, intentio operis)
dans les pratiques orientalisantes.
Dr hab. Renata Skupin est un théoricien de la musique, musicologue, professeur associé
d’analyse musicale, de techniques de composition contemporaines et de méthodes d’analyse
musicale à l’Institut de théorie de la musique, depuis 2012 le doyen de la Faculté de direction
d’orchestre, composition et théorie de la musique à l’Académie de musique de Gdańsk
(Pologne). Ses publications sont consacrées à la musique du XXe siècle, en particulier
l’œuvre de Giacinto Scelsi (e.a. un livre Poetyka muzyki orkiestrowej Giacinto Scelsiego —
między Wschodem a Zachodem, Kraków 2008), l’exotisme et l’orientalisme dans la musique
polonaise et l’analyse musicale. Elle est rédacteur en chef et éditeur de 6 volumes de la revue
scientifique « Aspekty Muzyki ».

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9th European Music Analysis Conference

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09 h 00-09 h 30 09:00–09:30 09.00 – 09.30 09.00–09.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

5.J. Session – Schenkerian, Riemannian, and Neo-Riemannian Theories


29-06

1. Hei Yeung Lai


The Chinese University of Hong Kong, Hong Kong
johnlaihy@gmail.com

Goehr’s Piano Sonata through a Transformational Lens

Alexander Goehr’s Piano Sonata is his first composition to have secured a performance
in an international context, one that de facto launched his professional career. Besides
inspiring from the rhythmic characteristics of Bartók and Messiaen, Goehr points
out that Liszt’s Piano Sonata and Schoenberg’s Chamber Symphony also informed
his Sonata, “which contained [his] first experiment in the combination of twelve-
note row and modal harmony.” The subtitle “in memory of Serge Prokofiev” in the
published scores also confirms Goehr’s reference to the Russian composer. Existing
literatures on the Sonata mainly focus on its historical references. Row analysis plays
a dominating role in examining the piece but they fail to account for its overall pitch
organization and large-scale structure. Furthermore, albeit the recognition of the
influence of Prokofiev to Goehr’s Sonata, scholars have not yet examined how exactly
the influence is reflected in the work. This paper shall thus scrutinize the thematic and
structural framework of the Sonata. Due to the strong family background that Goehr
shares with Schoenberg, I contend that the Schoenbergian technique of developing
variation may have also served the thematic expansion process well. I suggest that
the transformational networks constitute as a useful agent to depict the expanding
thematic process in Goehr’s Sonata. In addition, the application of the Klumpenhouwer
networks reveals the deeper structural framework of the Sonata. The transformational
analysis thus reveals an intricate array of functional relationships among different
themes and structural entities, which reside at a variety of levels in the composition.

Hei Yeung LAI has just completed his M.Phil. degree in music theory in the Chinese University
of Hong Kong. His thesis, titled “Form and Pitch Organization in Three Dodecaphonic Piano
Sonatas from the 1950s,” takes different approaches to facilitate a comparative study among
the piano sonatas written by Ernst Krenek, Alexander Goehr, and Pierre Boulez. He has
presented various papers at some international and regional conferences in the U.K., Italy,
Slovenia, Austria, and Japan, including the IMS 20th Quinquennial Congress (2017) and
the RMA Annual Conference (2016). His paper, “Rethinking Form: A Structural Analysis
of ‘Constellation-Miroir’, Formant 3 of Boulez’s Third Piano Sonata,” was published in the
proceedings From Modernism to Postmodernism: Between Universal and Local in August
2016.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

5.A. Session – The Second Viennese School (II): Pairing Schoenberg and

29-06
Webern

2. William Van Geest


University of Michigan, United States of America
vangeest@umich.edu

Two metrical problems in Webern’s String Quartet op. 28

Meter in Webern’s music has posed music analysts significant challenges, and his
String Quartet, Op. 28 is no exception. I identify two such difficulties. The first is found
in the second movement, well-known for the bizarre, nearly ametrical texture of its
scherzo; indeed, Bailey (1995) devotes half of her examination of meter in Webern’s
late works to this movement. While Webern’s considerable vacillation on the metrical
disposition of this movement, which Bailey documents, would suggest the importance
of meter, she reluctantly concedes its arbitrary nature. I disagree. Invoking evidence
from the theoretical writings of his teacher, Arnold Schoenberg (1994), and drawing
analogies with Webern’s views on pitch organizations as illuminated by Shreffler
(1994), I describe a view of meter that both account for the metrical difficulties this
movement presents and accords with Webern’s broader aesthetics and poetics. The
second problem is found in the first movement. In the longest extant analysis by the
composer of one of his works (Roman, in Moldenhauer 1979), Webern describes
relations between the piece’s form and its meter; in particular, the sixteenth bar of
every variation “plays a different [metrical] role each time” (Moldenhauer 1979).
Nevertheless, how this is the case defies meter as conventionally conceived and
handled (Huron 2006, Lerdahl and Jackendoff 1983). I examine the various roles this
final bar plays in each variation, and I propose several possible explanations for what
Webern had in mind, relating this to his manipulation of row-forms based on formal
analysis modeled by Kathryn Bailey (1991).

William van Geest is a Ph.D student in Music Theory at the University of Michigan. He
specializes in the history of music theory, rhythm and meter, and medieval grammar. His
dissertation explores rhythmic theory in thirteenth-century France. William has presented
papers at several national and international conferences, including the Society for Music
Theory, KeeleMAC, the Canadian University Music Society, and the International Conference
of Students of Systematic Musicology. William’s paper “New Perspectives on Meter in Webern:
Opp. 5/iv, 11/i, and 29/i” is forthcoming in the inaugural issue of the Brandeis Journal of
Musicology and Theory.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Salle 3204 Room 3204 Sala 3204 Raum 3204
29-06

5.B. Session – New Technologies and Analysis (I)

2. Rachel Mazzucco
Texas Tech University, United States of America
rachel.mazzucco@ttu.edu

Micro-Diatonicism and Formal Structure in 20th-Century Music

20th-century music engages with the diatonic collection in new and fascinating ways.
While some composers abandon it completely, others find new ways to embrace it,
however, coming to specific terms with the 20th-century use of the diatonic collection
is challenging. I will show how several 20th-century melodies employ tri- and tetra-
chordal subsets of the diatonic scale. I call this trait melodic micro-diatonicism. After
comparing the use of melodic micro-diatonicism in these compositions, I will argue
that melodic micro-diatonicism can be an indicator of formal structure. Of the 12
tri-chordal set classes, 9 are subsets of sc 7-35, the diatonic collection. Of the 29
tetra-chordal set classes, 13 are subsets of 7-35. Therefore, in an average of randomly
generated melodies, we would expect 75% of the tri-chords and 44.83% of the tetra-
chords to belong to subsets of set class 7-35. These percentages will be used as a
baseline to describe the level of micro-diatonicism in a melody. For example, taking
a sampling of four 12-tone rows from various Webern works, the average tri-chordal
micro-diatonicism is 57.5%, and the average tetra-chordal micro-diatonicism is
13.9%, both well below baseline. By contrast, diatonic tunes are 100% tri- and
tetra-chordal micro-diatonicism. I am using the programing language Python and
the Music21 library in order to assist in the gathering and analysis of data. When
examining the diverse music of the 20th-century, the micro-diatonic lens can lead to
new insights into the design of melodies that fall comfortably into neither tonality,
nor atonality.

Rachel Mazzucco teaches harp and music theory at Texas Tech University. Her research
interests include cognitive theory as it relates to learning, 20th-century music, and is currently
engrossed in the music of Paul Hindemith; she has presented her research to local, regional,
and international audiences. Ms. Mazzucco holds a B.M. in Music Performance and a B.S. in
Mathematics from Texas Christian University, as well as an M.M. in Music Performance from
Texas Tech University, where she is currently pursuing her PhD studying music theory. In
addition to her analytical research, she maintains and active performance schedule, playing
principal harp with the Lubbock and Amarillo Symphony Orchestras as well as numerous solo
and chamber engagements throughout West Texas.

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09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

5.C. Session – The Second Twentieth Century: Between Italy and France

29-06
2. Bruce Quaglia
University of Minnesota, United States of America
bruce.quaglia@gmail.com

Micrological Listening: Molecularity and the State in Luigi


Nono’s Late Electro-Acoustic Music

Recent scholarship in musicology has seen the emergence of Deleuze’s concept of


the “molecular” and its related spectra of “micrological” concepts applied to music
composed since 1950. Molecularity is a Deleuzian term that describes ungovernable,
untotalizable, states of flux that implicate not only the intertwined dynamics of
physical, and sociocultural relations, but also the very acts of listening and musical
analysis, too. In Luigi Nono’s late electroacoustic music from the 1980s, an evolving
concept of space treated as “microverse” is developed. It relates the late works to
one another, but also sets them apart from Nono’s earlier overt Marxist engagements,
achieved through the integration of serial procedures with the use of documentary
texts. The manipulation of social and acoustic space in these late works involves
performers and listeners interacting with live electronics and directed sound within
a collaborative compositional system. Guai ai Gelidi Mostri is one of Nono’s
first collaborations with Massimo Cacciari wherein he curates a series of textual
fragments that form the philosophical substrate of the work itself. These include
passages from Lucretius, Ovid, Pound, Nietzsche, Rosenzweig and Benn synthesized
within Cacciari’s own late political discourse. I will use the framework provided
by the Deleuzian categories of the micrological as a way of exploring the means by
which Nono’s sonic landscapes enact the complex commentary of Cacciari’s texts. I
will also query those features of Deleuze and Guattari’s critique of “the state,” that
Cacciari and Nono explicitly reject in favour of a more specifically Venetian frame
of reference.
Bruce Quaglia is currently Assistant Professor of Music at the University of Minnesota. He
is both a composer and scholar. Quaglia’s research focuses on philosophical questions in the
analysis of the music of Luciano Berio, Donald Martino, Robert Morris, Luigi Nono, Arnold
Schoenberg, Igor Stravinsky, and Charles Wuorinen. His research at the Archivio Luigi Nono
in 2012 has resulted in several recent conference papers, including presentations at EuroMAC
2014 and at the Utopian Listening Festival hosted by Harvard and Tufts Universities in
March, 2016. Quaglia’s publications have appeared in Music Theory Spectrum, Music Theory
Online, Perspectives of New Music, and as part of edited collections from Oxford University
Press, Cambridge Scholars Publishing, and Ashgate Publishing.

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09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
29-06

5.D. Session – Partimento and Schemata

2. Michael Baker
University of Kentucky, United States of America
michael.baker4676@gmail.com

A Dorian Middleground Schema in Bach’s Minor-Key Fugue Exposi-


tions

Many modern textbooks on counterpoint explain the subject/answer relationship in


baroque fugues in terms of contrasting keys, with the subject centred “in the tonic,”
the answer “in the dominant.” Others describe this more neutrally as a matter of
transposition from subject to answer. These descriptions are commonplace in modern
accounts of fugue; however, it is worth remembering that fugue originated in a
modally-oriented musical style. As music transitioned from modality towards tonality,
vestiges of modal organization remained a significant aspect of the musical language
of various composers. Consideration of latent modality in baroque music can inform
our modern understanding of eighteenth-century contrapuntal techniques in general,
and Bach’s fugues in particular. This paper proposes that a Dorian middleground
schema exists in many of Bach’s minor-key fugues, where the characteristic division
of the Dorian mode into a species of fifth and a species of fourth resembles the
pairing of structural linear progressions guiding the subject and answer in many
minor-key fugue expositions. Following a critical review of prior Schenkerian
writings on fugue, especially the work of William Renwick, I will present analyses
of several expositions from Bach’s fugues, demonstrating structural characteristics
of four subject/answer paradigms common in many minor-key fugues. The Dorian
middleground schema pursued in this paper suggests a nuanced explanation of the
subject/answer relationship in baroque fugues, based in modal thinking rather than
abrupt modulation or routine transposition, and illustrates the persistent influence
of seventeenth-century modal approaches to fugue on the music of Bach and his
contemporaries.
Michael Baker is associate professor of music theory at the University of Kentucky, where he
teaches courses on harmony and voice leading, solfeggio, counterpoint, and the analysis of
musical form. His articles have appeared in journals such as Theory and Practice, College
Music Symposium, The Musical Times, The Dutch Journal of Music Theory, TEMPO, Indiana
Theory Review, and The Journal of Schenkerian Studies; additionally, he has research
forthcoming in collections of essays on music by women composers and the analysis of opera.
Michael is also an avid horn player, having minored in horn during his doctoral studies at the
Indiana University Jacobs School of Music, and plays in several local and civic ensembles in
and around Lexington, KY.

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09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Salle 3201 Room 3201 Sala 3201 Raum 3201

5.E. Session – Teaching and Pedagogy (I)

29-06
2. Claire Roberts
University of the Arts Bern, Switzerland
claire.roberts@hkb.bfh.ch

Solfeggi: Sounding their hidden Depths

Though a great deal of scholarly research has addressed an implicit theorizing by


the “Neapolitan school” in the music theory domains of analysis, harmony and
counterpoint, little attention has been given to the field of aural skills training. In the
absence of a distinct subject dedicated to aural skills, it is necessary to investigate
the existing repertoire from the classes taught in the Neapolitan conservatories
for indications of aural training functions. Concerning the teaching repertoire, the
solfeggi have received comparatively little scholarly attention and there is to date
no consensus regarding their definition and actual function. As we know from the
Allgemeine Musikalische Zeitung, Naples in 1805 boasted 200 exceptional singers
but only two mediocre piano teachers. This would suggest that in the early 19th
century the voice was possibly also the instrument of choice in the educational
milieu. Solfeggi, as melodic counterpart to the partimenti, were in all likelihood not
only used as singing exercises, but can be seen as vehicles through which a variety
of aural skills, music theoretical knowledge as well as compositional techniques
were taught. A better understanding of the solfeggi and their functionality could give
useful impulses to current music theory and aural skills instruction. In my paper I will
focus on the solfeggi from an aural skills perspective, analyzing selected solfeggio by
Niccolò Zingarelli (1752 – 1837) from the point of view of an aural skills instructor,
attempting to show their potential for aural skills training beyond the obvious aspects
of fluency in sight singing.

Claire Roberts teaches aural skills and music theory at Bern University of the Arts in
Switzerland. She studied music pedagogy and aural skills instruction at the University of
Music in Freiburg im Breisgau. She is currently working on her dissertation on integrative
methods of aural skills training in late 18th-century Naples. Her main teaching interest is to
link ear training with practical musicianship, for example through classes on ornamentation
and improvisation as well as systems of tuning and temperament.

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09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Salle 3203 Room 3203 Sala 3203 Raum 3203
29-06

5.F. Session – Leaving – and Regaining – the Shores of Tonality

2. Bert van Herck


New England Conservatory, United States of America
bert.vanherck@necmusic.edu

The Evolution of Scriabin’s Language Through the Evolution of the


Mystic Chord

In this paper the evolution of Scriabin’s musical language will be discussed with
particular attention to the development of the mystic chord. Late Scriabin is
recognized as being post-tonal. Yet, there is no clear point when Scriabin abandoned
tonality and started embracing post-tonal music. As a matter of fact the mystic chord
that characterizes the late music has roots in his earlier compositions. Starting with
a preference for the Neapolitan chord, Scriabin transitions to an emphasis on the
augmented sixth chord, to finally merge this with the dominant seventh chord in a
specific voicing. This gradual transition from early tonal music under the influence of
Chopin, until his remarkable personal style at the end will be presented. The emphasis
is therefore on the gradual transition from tonality to post-tonality. The aim is: first to
bridge the traditional rupture between tonality and post-tonality; and second to look
at Scriabin’s post-tonal music in a different perspective. While the traditional tonality
has been transformed, there are some remains of the old language that still shape the
post-tonal compositions. This may bring a new perspective on how to approach the
late music of Scriabin.

Bert Van Herck is faculty at New England Conservatory. He holds a PhD from Harvard
University where he studied with Magnus Lindberg, Julian Anderson, Chaya Czernowin,
Brian Ferneyhough, and Helmut Lachenmann. With Hans Tutschku, he studied electroacoustic
music. In the fall of 2006 he was an exchange scholar at Columbia University, working with
Tristan Murail. Besides his compositional activities, his interest in music theory has lead to
presentations in international conferences on the music by Oliver Knussen, spectral music,
and the music of Magnus Lindberg.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Salle 3208 Room 3208 Sala 3208 Raum 3208

5.G. Session – Stylistic Features of Jazz

29-06
2. Paulo Perfeito
Universidade Católica Portuguesa - Porto, República Portuguesa
paulo.perfeito@fulbrightmail.org

Twentieth Century Compositional Techniques Applied to Jazz: Pitch-


Class Sets in Jazz Composition and Improvisation

The paper Pitch-Class Sets in Jazz Composition and Improvisation presents a


creative method to coalesce traditional jazz with techniques and elements of post-
tonal composition. Since very early in the history of jazz, composers made numerous
attempts to combine it with erudite music. Throughout the 20th century classical
composers came up with several aesthetic and conceptual developments but jazz, until
very recently, did not move in the same direction. To maintain a fruitful collaboration
between composers and improvisers, if the pallet of compositional techniques
available to the jazz composer expands, I would argue that a similar development
must occur in the field of improvisation. For composers, this paper proposes creative
process stretching beyond the familiar tonal or modal schemes and, in the interest of
coherence and unity with pre-composed material, it offers a complementary approach
to soloists. In a jazz context, some pitch class sets are more appealing than others
because of their melodic and intervallic properties and therefore will be studied more
comprehensively than others. For example (025) is a fundamental building block
of the pervasive pentatonic/blues scale, (0258) outlines a rootless altered dominant
chord and (027) outlines the idiosyncratic voicing in fourths. Since one this project’s
emphasis is improvisation, a practice where memory plays a crucial role to both the
listener and the performer, the use and study of pitch-class sets will be limited to non-
ordered trichords and tetrachords.

Paulo Perfeito is a trombonist, composer and pedagogue, born in Porto, Portugal in1974.
Paulo holds a Bachelor of Music degree from Berklee College of Music’ 2001, a Master
of Music degree from the New England Conservatory 2007 and is currently in the process
of finishing a Doctor of Musical Arts degree at the prestigious Eastman School of Music.
Among numerous awards, Paulo was the recipient of a DownBeat Student Music Award in
2013, the Marian McPartland Scholarship, a Fulbright Scholarship, the Herb Pomeroy Award
for Outstanding Jazz Composer and Arranger and the Bolsa Jovens Criadores from Centro
Nacional de Cultura in 2000 and 2001. Paulo teaches at ESMAE-IPP, Universidade de Aveiro,
Universidade Católica Portuguesa.

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09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Salle 3209 Room 3209 Sala 3209 Raum 3209
29-06

5.H. Session – Music of the Non-Western World: The Mediterranean and


Beyond

2. Michalis Cholevas 2. Juliano Abramovay


University of Macedonia, Greece Codarts - University for the Arts, Brazil
m.holevas@gmail.com julianoabramovay@gmail.com

Locally Rhythmical and Metric Organisation of Music Phrases in Free


Rhythm Taksim Improvisations

The current study examines the rhythmical and metric organization of phrases in the
classical form of Ottoman Taksim. Taksim is a non-metric form of improvisation in
classical Ottoman music. The phenomenon is being taught, presented and analyzed
by musicians on a basis of melody with notions such as the melodic development and
melodic gravity. Recent computational analysis suggests, in addition, the relevance
of rhythmical presence in Taksim. Our research contributes to this line of inquiry.
We transcribed and analyzed improvisations from masters of the Taksim field, as
registered in the Makampedia database. We found clear rhythmical patterns and
structures in improvisations and model those findings with the use of basic music
theory. The study widens our perception of musical phrasing and melodic flow,
it creates educational possibilities for bridging the gap between non-rhythmical
and metric approaches and it gives us new tools for modal music education and
performance in educational institutions such as Conservatories. The outcome of the
research has been put into practice and it is being under test in various modules of the
Turkish Music curriculum at Codarts, University for the Arts, Rotterdam.

Michalis Cholevas is a multiinstrumentalist playing Yayli Tanbur, Ney, Saz and Tarhu. He
studied with Masters such as Kudsi Erguner, Ömer Erdoğdular and Erdal Erzincan. He
moved to the Nehterlands for an MA in music performance for which he was granted a full
scholarship. Michalis currently works at Codarts Rotterdam teaching various modal music
modules and supervising the research of Master students. He is a PhD candidate with the
subject of Makam Analysis: Makampedia; From Practice to Theory, at the University of
Macedonia, Thessaloniki, Greece.

With a background on classical guitar, performed regularly in the musical scene from São
Paulo (Brazil) with the groups Grand Bazaar, Orkestra Bandida and singer Luiza Lian.
Soundtrack composer for dance, theatre and cinema, contributed with music for the movie
“360”, directed by Fernando Meirelles. Also performs solo and in small ensembles, always
seeking repertoires that reveal unexpected musical connections. Based in Rotterdam since
2016, is following a Master at Codarts on the fretless guitar.

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09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Salle 3202 Room 3202 Sala 3202 Raum 3202

5.I. Session – Anthropology, Sociology, and Cultural Studies

29-06
2. Beate Kutschke
University of Salzburg, Austria
beate.kutschke@gmx.de

What is the “Sound of the Revolt” and how to Make Music-


Analytical Sense out of it?

In the first decade after the turn of the millennium, German writers on music coined
the term ‘sound of the revolt’ in order to describe music considered to be closely
connected with the student and protest movements of the 1960s and 70s. Although
the term immediately appealed to readers and researchers on ‘1968’ and, therefore,
became soon included in the general discourse, it is by no means obvious to which
acoustic-auditive phenomenon or phenomena the expression refers. What is clear
from the context in which the term has been used is that the ‘sound of the revolt’
refers to music, not just all kinds of sounds and noises, having occurred in the context
of the social movements of this time period. However, which kind of pieces, bands
and musical styles out of the vast spectrum of music which was composed and
performed during the student and protest movements have speakers had in mind if
they use(d) the term? What does ‘sound’ in ‘sound of the revolt’ mean: a sonic profile
mainly defined by timbre (which is as such a highly complex phenomenon) or rather
a multi-parametric acoustic-auditive configuration that continuously alters its shape
in the minds of the listeners?

Dr. Beate Kutschke is Wissenschaftliche Mitarbeiterin at the University Salzburg where she
is leading a research project focusing on the computer-assisted analysis of the small rounded
two/three-part form in early 18th-century music. In the past, she taught at national and
international universities such as Harvard, the University of Hong Kong, the University of
Arts in Berlin and the Technical University of Dresden. Previous research revolved around
music and protest in 1968 (second monograph), Baroque music and the moral-ethical change
around 1700 (third monograph), music semiotics and philosophy as well as music and heroism
focusing on protest music and Holocaust music.

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09 h 30-10 h 00 09:30–10:00 09.30 – 10.00 09.30–10.00
Salle 3206 Room 3206 Sala 3206 Raum 3206
29-06

5.J. Session – Schenkerian, Riemannian, and Neo-Riemannian Theories

2. Ellen Bakulina
University of North Texas, United States of America
ellen.bakulina@unt.edu

Exploring Linear-Analytical Elements in the Writings of Leo Mazel

This paper explores elements of linear analysis in the 1937 monograph (untranslated
into English) on Chopin’s Fantasy, op. 49 by the Soviet musicologist Leo Mazel. My
two goal are (1) to draw parallels between Mazel’s and Schenker’s work, and (2) to
build an original Schenkerian reading of Chopin’s Fantasy based on both Mazel’s and
Carl Schachter’s analyses of the piece. By building an original reading of the piece
enriched by Mazel’s monograph, I show that elements of linear-analytical thinking
can be implicit in analysis ostensibly unrelated to Schenker’s work or to graphic
techniques. Several elements in Mazel’s book have direct relevance to Schenkerian
theory. First, Mazel explains mm. 1–2 as projecting a perfect fourth on two levels,
one as a filled-in version of the other—an expression somewhat resembling the idea
of a linear progression. Second, Mazel’s harmonic reductions essentially represent
a middleground-level imaginary continuo (William Rothstein’s term). Finally, the
most remarkable section is Mazel’s discussion of the Lento passage, which he calls
the “central episode”, mm. 199–235. He explains this passage as a sort of extension
(or prolongation) of the G-flat major harmony, which then becomes an augmented-
6th chord and moves to an F-major chord. Mazel’s analysis essentially amounts to a
prolongational idea due to a reference to a structurally retained tone G flat. I finish
by offering a strictly Schenkerian reading of the Fantasy that incorporates Mazel’s
semitonal-motion idea at multiple structural levels.

Ellen Bakulina is Assistant Professor of Music Theory at the University of North Texas, and a
recent graduate of the City University of New York (2015). She has degrees from the College
of the Moscow Tchaikovsky Conservatory (Russian), McGill University (Canada), and
CUNY (USA). She has previously taught at all these institutions, as well as Yale University’s
Department of Music, where she served as coordinator of the musicianship program in 2015–
16. Ellen’s areas of interest include Schenkerian analysis, theories of form and meter in tonal
music, the music of Sergei Rachmaninoff, and the Russian music-theoretical tradition. Her
articles have appeared in several journals, including the Canadian journal Intersections,
Music Theory Online, and the Journal of Music Theory.

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

5.A. Session – The Second Viennese School (II): Pairing Schoenberg and

29-06
Webern

3. Sebastian Wedler
University of Oxford, United Kingdom
sebastian.wedler@music.ox.ac.uk

Tonal Pairing as a Strategy of Lyrical Time: Anton Webern’s Langsamer


Satz (1905)

Completed in June 1905 as one of the earliest compositional studies which Anton
Webern produced under the tutelage of Arnold Schoenberg, the Langsamer Satz has
been made subject to scholarly inquiry only inasmuch as it provides early evidence
of Brahms’s influence upon Schoenberg’s musical thought and didactics. Yet to locate
the importance of Webern’s Langsamer Satz only within the ‘Brahms fog’ (W. Frisch),
whether for historiographic or stylistic convenience, would be to misunderstand the
work. Rather, as I shall argue, Webern interpreted the ‘Brahmsian techniques’ that
Schoenberg had introduced him to (the traditional Formenlehre, functional harmony
and developing variation) as expressive means and devices by which to reformulate
his pre-existing idiosyncratic concern for ‘lyrical temporality’. The starting point of
my interpretation is the work’s pairing of C minor and E-flat major, set up already
in the first eight bars, as tonics operating on the same hierarchical level. Through a
combination of Schenkerian analysis and neo-Riemannian transformations, as well
as a study of the manuscripts and sketches archived at the Paul Sacher Foundation,
I will explore the compositional strategies that Webern utilized in order to maintain
this tonal pairing throughout the work, in contradistinction to the more common
conception of tonal pairings as instances of ‘directional tonality’. As such, the
Langsamer Satz invites us not only to see the early Webern entering into dialogue
with, rather than (as is commonly heralded) a one-sided adoption of, Schoenberg’s
ideas; but also proves a pertinent place to think through the genealogy of Webern’s
lyrical physiognomy.

Sebastian Wedler is a Junior Research Fellow at St. Hilda’s College, Oxford, as well as Lecturer
in Music at Merton, University, and The Queen’s Colleges. He completed his doctorate on
Anton Webern’s tonal music (1899–1908) at the University of Oxford, under the supervision of
Professor Jonathan Cross and funded by the Arts and Humanities Research Council, Merton
College, and the Paul Sacher Foundation, Switzerland, where he was appointed a Fellow in
2014. He is the recipient of the ‘Merton College Prize Scholarship’ (2014/15), as well as the
‘Link 2 Future’ Award (2011) from the Institute of Psychoanalysis, Zurich (PSZ).

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Salle 3204 Room 3204 Sala 3204 Raum 3204
29-06

5.B. Session – New Technologies and Analysis (I)

3. Egor Poliakov
Hochschule für Musik und Theater Leipzig, Deutschland
egor.poliakov@hmt-leipzig.de

Computergestützte Analyse und ihr praktischer Einsatz in der musik-


theoretischen Lehre

Auf der Grundlage von statistischen Untersuchungen an deutschsprachigen


Musikhochschulen und einzelnen Universitäten sowie auf der Grundlage einer
Stichprobe, welche im Jahre 2016/2017 über die Gesellschaft für Musiktheorie GMTH
durchgeführt wurde, ließ sich ein aktuelles Bild der Verwendung neuer Medien sowie
der technischen Ausstattung in Unterrichtsräumen im Bereich der musiktheoretischen
Lehre erstellen. Dieses Bild diente als eine Basis für die Entwicklung zweier Modelle
zur Methodik des musiktheoretischen Unterrichtens. Das erste Modell basiert auf
der FFT-Echtzeitklangtransformation/Analyse des Audiomaterials und ist primär
für die Einführung in Grundlagen computerbasierter Analysemethoden im Rahmen
von Gruppenunterricht konzipiert. Realisiert durch ein Max-Patch, werden in einer
spezifischen Umgebung verschiedene FFT-basierte Algorithmen mit grafischen
Repräsentationen des Audiosignals zusammengeführt. Das zweite Modell beruht
primär auf der Synchronisation von unterschiedlichen computeranalysebasierten
grafischen Repräsentationsformen eines Klangmaterials, die durch verschiedene
externe Softwares erzeugt und in einer einheitlichen Interfaceebene als Bild-Dateien
zusammengefasst werden können. Dabei besteht die Möglichkeit, durch ein Timeline
mehrere Analysearten, mit Aufzeichnungen aus der Höranalyse zu kombinieren und
diese Kombination als ein komplexes Präsentationstool zu verwenden.

Geb. 1984 in Artjomowsk/UdSSR. Studium in Komposition und elektronischen Musik an der


HMT Leipzig und MHS Stuttgart bei Peter Herrmann, Ipke Starke und Marco Stroppa. Seit
2013 wissenschaftlicher Mitarbeiter im Fach Musikwissenschaft/Elektronische Musik an der
HMT Leipzig. Realisation zahlreicher Projekte als Musikinformatiker und Klangingeneur in
In- und Ausland. Seit 2014 Arbeit an einer Promotion „Computergestützte Signalanalyse als
Grundlage einer komplexen musiktheoretischen Untersuchungsmethode in der Praxis und
Lehre“.

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

5.C. Session – The Second Twentieth Century: Between Italy and France

29-06
3. Joachim Junker
Hohenstaufen-Gymnasium, Deutschland
joachimjunker@hotmail.com

“Altri spazi, altri cieli”: Komponieren und Denken in Luigi Nonos Das
atmende Klarsein

Die beiden zentralen um 1980 entstandenen Werke Luigi Nonos, das Streichquartett
Fragmente – Stille, An Diotima und Das atmende Klarsein, wurden bereits in
zahlreichen musikwissenschaftlichen Publikationen behandelt. Während die
Kompositionstechniken, die dem Streichquartett zugrunde liegen, inzwischen
vollständig entschlüsselt und auf ihre Implikationen für das Verständnis des Werkes
hin untersucht wurden, bleiben zur Kompositionsweise von Das atmende Klarsein
und zu den von ihr ausgehenden Deutungsperspektiven noch immer viele Fragen
offen. Erschwert wird der analytische Zugang zu diesem Werk dadurch, dass Nono
hier – von ersten Versuchen in Con Luigi Dallapiccola abgesehen – erstmals live-
elektronische Klangtransformationen verwendet, die für sein weiteres Schaffen
der 1980er Jahre richtungsweisend sind. In dem Vortrag sollen neue Erkenntnisse
zur Kompositionstechnik von Das atmende Klarsein präsentiert werden, die aus
einer Auswertung von Nonos Kompositionsskizzen und von Aufnahmen des
Experimentalstudios der Heinrich-Strobel-Stiftung des Südwestfunks hervorgehen.
Ausgehend von diesen Materialien sollen – unter Berücksichtigung der Schriften des
Philosophen Massimo Cacciari, mit dem Nono um 1980 eng zusammenarbeitete – die
vorhandenen Deutungsansätze des Werkes kritisch hinterfragt und weiterentwickelt
werden. Im Mittelpunkt stehen dabei seine geschichtsphilosophischen Grundlagen,
die sich in der kompositorischen Gestaltung seines Zeitverlaufs widerspiegeln.

Joachim Junker studierte in Saarbrücken Schulmusik, Germanistik und Musiktheorie und


promovierte an der Universität zu Köln mit einer Dissertation über Luigi Nonos Streichquartett
Fragmente – Stille, An Diotima. Er hielt zahlreiche musikwissenschaftliche Vorträge und
veröffentlichte mehrere Aufsätze zur Musik des 20. Jahrhunderts sowie zu musiktheoretischen
und -pädagogischen Fragen. Er arbeitet an einem Gymnasium in Kaiserslautern als Lehrer
für Musik und Deutsch und ist Präsident des BMU Rheinland-Pfalz. Gegenwärtig engagiert
er sich verstärkt in der Fortbildung von Musiklehrkräften.

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
29-06

5.D. Session – Partimento and Schemata

3. David Jayasuriya
University of Southampton, United Kingdom
david.jayasuriya@talktalk.net

Fonte And Monte in the Symphonies of Joseph Haydn

Recent scholarship in eighteenth-century music recognises the importance of galant


schemata as central elements in compositional pedagogy and practice. Moreover, the
functioning of these musical conventions as well-understood devices or procedures
within the dynamics of communication between composer and listener is a notable
feature of classical music. Fonte and Monte were of particular importance as the
only schemata to be discussed by contemporary theorists such as Riepel and Koch.
While variation of these schemata was recommended for composers, my research
has exposed the remarkable variety and extent to which Haydn employs schematic
manipulation in his symphonies. My research has required the development of an
analytical framework for the identification and description of Fonte and Monte
schemata. In this paper, I explain how this framework comprises definitive parameters
within the three broad categories of construction, completion and context. I then
describe its application to an empirical study of Haydn’s symphonies, with discussion
of its principal statistical findings. The empirical and analytical results confirm that
Haydn’s employment of Fonte and Monte is far more extensive than previously
realised, and I offer several examples from the symphonies which illustrate not only
the skill and sophistication of his manipulations, but also the qualities of wit, humour
and irony for which the composer is renowned. My study therefore performs a dual
purpose: to propose a model of general application for the empirical analysis of galant
schemata, and to show how it sheds light on a previously unknown aspect of Haydn’s
musical style and compositional methods.

David Jayasuriya recently completed a PhD at the University of Southampton on the application
and manipulation of Fonte and Monte in Haydn’s symphonies. He previously gained a Master
of Music degree with distinction in Theory and Analysis from Royal Holloway, and also has
FTCL and LRSM diplomas in piano performance. His doctoral research at Southampton
was funded by UK Arts and Humanities Research Council, and supervised by Professor
Danuta Mirka. David is also interested in schematic employment by other eighteenth-century
composers, and his article “Fonte in Mozart’s Piano Sonatas, and the ‘Possibly Corrupt
Minuet’ K.331” is scheduled for publication in 2017.

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

5.E. Session – Teaching and Pedagogy (I)

29-06
3. Marina V. Karaseva
Moscow Tchaikovsky Conservatory, Russia
karaseva@mosconsv.ru

Mobile Way to Music Analysis: Learning Fundamentals


Digitally
In the last decade new touchscreen devices and mobile applications created new
opportunities for the study of music analysis and its basic components. Touchscreen
facilities get the possibility to feel music kinesthetically while playing it directly
on the screen. Tablets and smartphones create new conditions for visualized
learning new timbres, rhythms, and chords. Nowadays great variety of “iTheory”
applications (mainly on Android and iOS) is methodologically unknown to the most
musicologists and music teachers. The main purpose of this paper is to demonstrate
such applications, disclose their methodological potentialities, and to show how
to use them in music analysis. “iTheory” applications may be classified under two
types. The first type, “music materials” is divided into three main groups: acquisition
of music fundamentals (sight reading, ear training, dictation, listening exercises in
intervals, chords, scales), quiz games (testing knowledge in music compositions),
simulators of music instruments (symphonic and folk in style). Special features
of applications aimed at study of ethnic traditional music may be considered in
connection to the academic purposes. The second type, “applications-facilitators”
may be divided into three groups: play-sheets music applications (facilitating sight
reading), speed changers of audio and video playback (without pitch changing), and
fragment repeaters. All of them may be of substantive use for analysis of difficult
music intonation and harmony as well as speech melodic line in verbal languages.
In that way, professional adaptation of “iTheory” mobile applications to academic
study may improve skills in music listening, stimulate an interest for improvisation
on virtual instruments.
Graduated from the Moscow State Tchaikovsky Conservatory (1982). PhD, Grand Doctor
in Music Art. Full Professor of the Moscow State Tchaikovsky Conservatory, Department of
Music Theory. Advisor to the Rector. Honored Art Worker of the Russian Federation. Member
of the Russian Composers Union. Senior Fulbright Scholar. Co-Founder & Supervisor
of Splayn.com – social network for musicians. An author of many books and articles on
ear training. Among them are the three-volume “Course of Modern Solfeggio” (1996) and
the monograph “Solfeggio - a Psychotechnique of Ear training” (1999, 3rd ed. - 2009), a
complex methodological investigation in the field of practical music cognition. She delivers
her own psychological training seminars and master-classes in Russia and abroad. http://
www.mosconsv.ru/ru/person.aspx?id=8816

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Salle 3203 Room 3203 Sala 3203 Raum 3203
29-06

5.F. Session – Leaving – and Regaining – the Shores of Tonality

3. Anabel Maler
The University of Chicago, United States of America
amaler@uchicago.edu

Hearing Function in Post-Tonal Contexts

When analyzing post-tonal compositions, it is often difficult to make sense of how


ideas and phrases relate to one another. In reference to Classical music, William
Caplin argues that each chunk of music has a formal function—a role that the chunk
plays within the formal organization of the music. I propose that attentive listening
to formal functions, processes, and hierarchies of the sort that is basic to Caplin’s
theory is not tied exclusively to tonal music or specific formal types. In fact, attending
to these features in post-tonal works can shape one’s understanding of their formal
organization. From my perspective, a musical event or a phrase in a post-tonal
composition possesses a changeable formal function in relation to its context. My
aim is to develop an account of how listeners apprehend formal units in post-tonal
compositions. I demonstrate how the theory of formal function, developed with
reference to tonal compositions, can be adapted for post-tonal works using examples
from the post-tonal literature, drawing on recent research in music cognition (Dibben,
Zbikowski), tonal and post-tonal form (Caplin, Schmalfeldt, Howland), and theories
of listener expectation and repetition (Huron, Margulis). In my paper I use close
analyses of Webern’s op. 11 no.1 and Varèse’s Density 21.5 to demonstrate the value
of a form-functional approach. My ultimate aim is to present form as an emergent
property of music, a process by which a listener apprehends and actively shapes the
formal organization of a passage as she hears music in time.

Anabel Maler is a PhD candidate in Music Theory and History at the University of Chicago.
She hails from Ottawa, Canada and completed her Bachelor’s and Master’s degrees in
music theory at McGill University. Her dissertation is entitled “Hearing Form in Post-Tonal
Contexts.” Anabel’s academic interests include musical form and function, music of the late
twentieth century, feminist music theory, music and disability, musical gesture, sign language
music, and music in Deaf culture. Her work on song signing has been published in Music
Theory Online and the Oxford Handbook of Music and Disability Studies. She has presented
her work at the annual meetings of the American Musicological Society, the Society for
American Music, and the Canadian University Music Society.

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

5.G. Session – Stylistic Features of Jazz

29-06
3. Patrick Schenkius
Conservatory of Amsterdam, Royal Conservatoire The Hague, The Netherlands
p.schenkius@ahk.nl

Wayne Shorter and the 12-Bar Blues Form

Wayne Shorter’s (b. 1933) compositions are characterized by stretching conventional


forms as well as bending traditional harmony, all bound together by a rhythmical
persuasive melody. The standard 12-bar blues form is characterized by its three
corresponding phrases and basic harmonic plan. The uncomplicated nature of the
blues form seems to contradict with the modernity of Shorter’s compositions. Six
blues-based pieces were composed and recorded by Wayne Shorter between 1961
and 1966, and two compositions with separate elements of the blues. This paper
will examine how Wayne Shorter relates to definitions of the standard 12-bar form,
starting with a display of the characteristic elements of the instrumental jazz blues.
The ternary structure as well as the standard length of the 12 bars is clearly present
in all of the discussed blues pieces. Wayne Shorter uses traditional riff-like bluesy
melodies, though not always in a strict way. Motivic relationship is another important
aspect to make the three phrases correspond to each other as statement, restatement
and conclusion. Shorter’s distinctive harmonic approach for his blues pieces is the
most important feature. Like his contemporaries John Coltrane and Horace Silver,
Shorter modernizes the sound of his blues by using unexpected chord substitutions,
constant parallel structures, suspended dominant seventh chords, progressions
borrowed from other keys, minor mode as a key center and unusual final cadences to
conclude the blues form.

Patrick Schenkius (b. 1969) graduated in 1995 as jazz guitarist (Royal conservatory, The
Hague) and finished in 1997 two studies, Jazz Music Theory and Arranging /Composing
Jazz (Amsterdam Conservatory). He teaches jazz music theory (Analysis, Harmony, Ear
training and Solfège) and is research supervisor on both institutes. He is active as guitar
player in a jazz trio and working as bandleader, arranger and guitarist in a combo with
a singer performing original arrangements of the Frank Sinatra small band repertoire. In
March 2016, Patrick Schenkius finished his Master study Music Theory Jazz (Amsterdam)
about the multiple transformations of the standard twelve-bar blues form in instrumental jazz.
The conclusion led to an adapted definition of the instrumental jazz blues.

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Salle 3209 Room 3209 Sala 3209 Raum 3209

5.H. Session – Music of the Non-Western World: The Mediterranean and


29-06

Beyond

3. Fériel Bouhadiba
université de Tunis, Laboratoire de Recherche en Culture, Nouvelles technologies et
Développement, Tunisie
feriel_bh@yahoo.fr

Analyse musicale et culturalité : Des défis posés par l’acte musical à la


partition en tant qu’outil d’interprétation et d’analyse dans les
traditions modales arabo-musulmanes

Par son inaptitude à la représentation de l’essence de l’œuvre modale, la partition


pose la double problématique de médiation compositeur-interprète et œuvre-analyse.
Les démarches de fixation ayant abouti à un cloisonnement des œuvres dans le cadre
des partitions et à une schématisation des modes en échelles musicales, force est de
constater que ce système ne répond pas aux spécificités de ce type de musique et de
répertoires. L’identité d’une considération du musical en tant qu’acte enraciné dans
la pratique aux niveaux interprétatif et compositionnel, nécessite ainsi une réflexion
quant au statut actuel de l’oralité et à l’usage de la partition dans les cultures musicales
de tradition orale. L’importance des espaces de décalage et de mobilité que confèrent
l’application d’un système scriptural et la pratique d’une tradition orale, pose des défis
à la partition nécessitant la détermination des éléments clés de l’empreinte modale
dans leurs rapports aux champs ouverts et aux champs de fixation des corpus. Ceci
permettra d’établir des données systémiques culturellement définitionnelles d’un
langage musical de tradition orale menacé d’une dénaturation de ses composantes
identitaires par l’écrit sur les plans interprétatif, didactique et analytique.

Fériel Bouhadiba est docteur en Arts et Sciences de l’Art de l’Université Paris 1 Panthéon-
Sorbonne, sa thèse étant intitulée : Du dire musical comme expression de l’être – Culturalité
et subjectivité compositionnelles : neuroesthétique, poïétique et sémiotique des musiques
modales arabo-musulmanes de tradition orale. Musicologue, compositrice et luthiste soliste
(luth oriental), elle est enseignante en Master de recherche à l’Université des Sciences
Humaines et Sociales de Tunis chargée du module Patrimoine artistique populaire et membre
du Laboratoire de Recherche en Culture, Nouvelles technologies et Développement (cuntic)
de l’Université de Tunis.

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

5.I. Session – Anthropology, Sociology, and Cultural Studies

29-06
3. Alexandre Robert 3. Irina Kirchberg
Université Paris-Sorbonne – Institut Observatoire Interdisciplinaire de Création
de Recherche en Musicologie, France et de Recherche en Musique, Canada
alexandre.vpr@hotmail.fr irina.kirchberg@umontreal.ca

Analyse musicale et sociologie : comment saisir des processus de


socialisation de l’oreille ?

A partir de leurs travaux respectifs et dans une perspective comparatiste, les auteurs
centreront leur propos sur les processus de socialisation musicale et, plus précisément,
sur les manières dont se construisent socialement des « oreilles » – entendues non
comme de simples organes biologiques, mais comme des organes ouverts à toutes
sortes de transformations perceptives et appréciatives. Une première enquête se
penchera sur l’expérience du compositeur Déodat de Séverac (1872-1921) au sein de
la classe de composition de Vincent d’Indy de la Schola Cantorum entre 1896 et le
début des années 1900. Une seconde enquête examinera les conditions d’acquisition
des compétences d’auditeur dans l’univers des amateurs de musique de jeux vidéo.
Au-delà d’une attention commune portée aux phénomènes de socialisation, ces deux
recherches se rejoignent en ce qu’elles tentent de saisir dans un même mouvement
la dimension sociale ou collective des pratiques d’écoute, d’une part, et la spécificité
des formes symboliques sur lesquelles s’appuient ces mêmes pratiques, d’autre
part. À partir de cette réflexion croisée, les auteurs discuteront des conditions et des
questions de recherche qui rendent nécessaire l’alliage d’outils d’analyse musicale et
d’outils conceptuels et méthodologiques issus de la sociologie.

Alexandre Robert est ATER à l’UFR de musicologie de l’Université Paris-Sorbonne et membre


de l’IReMus. Docteur en musicologie depuis 2016, son travail de thèse, situé au croisement de
la musicologie et de la sociologie, était consacrée à la pratique de la composition de Déodat
de Séverac.

Irina Kirchberg docteure en musicologie de l’université Paris-Sorbonne (thèse sur l’analyse


sociologique des processus de création musicale). Elle est postdoctorante à Montréal au sein
de l’équipe de recherche internationale sur les publics de la musique P2M et chargée de cours
pour le DESS en médiation de la musique de l’UdeM. Alexandre Robert et Irina Kirchberg ont
codirigé l’ouvrage Faire l’art en 2014 et finalisent la publication du collectif Bourdieu et la
musique à paraître fin 2017.

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10 h 00-10 h 30 10:00–10:30 10.00 – 10.30 10.00–10.30
Salle 3206 Room 3206 Sala 3206 Raum 3206
29-06

5.J. Session – Schenkerian, Riemannian, and Neo-Riemannian Theories

3. Yvonne Teo
University of Melbourne, Australia
yvonne.teo1@yahoo.com

A Synthesis of Schenkerian and Neo-Riemannian Theories:


The First Movement of Paul Hindemith’s Piano Sonata No. 1 as a Case
Study

The Schenkerian method has been long recognised as a useful tool to analyse
primarily tonal repertoire whereas Neo-Riemiannian theory is useful in analysing
the heavily chromatic harmony of the nineteenth century. Studies have suggested
that the respective methods when applied on their own are effective at drawing out
some elements of musical structure. But each method also fails to acknowledge other
significant aspects of the music. The aim of this study is to explore the possibility of
a synthesis of the two methods and to demonstrate the applicability and effectiveness
of this synthesis to the analysis of a twentieth-century sonata. Current findings have
indicated that graphical representations such as a hybrid form of the middleground
level of Schenkerian analysis with Neo-Riemannian analysis, line graphs depicting
the number of intervallic changes between pitch collections and tables detailing
the amount of movement between each chord and the basic interval pattern of the
music will illustrate and account for the connection from one chord to the next
through common tones and it will account for all types of chords (not just major and
minor triads). To synthesise both Neo-Riemannian theory and Schenker’s approach
and demonstrate this combined use not just for the purpose of studying musical
construction but also by relating it to musical practice would indicate the effectiveness
of the combined approach, and suggest its importance in future work. This research
can have significant implications in the study of music and could continue to form a
bridge between music theory and performance.
Yvonne Teo is completing a Master of Music in Musicology at the University of Melbourne,
funded by the Australian Postgraduate Award scheme. She received her BMus in Music
(Musicology) with Class 1 Honours and a Graduate Diploma in Education from the University
of Queensland. She also has her Diploma in Piano Performance from the Associated Board
of the Royal School of Music (ABRSM). Her research involves the synthesis of Schenkerian
and Neo-Riemannian methods with Hindemith’s First Piano Sonata as a case study. She
is interested in theory and analysis of music, with particular focus on Schenkerian, Neo-
Riemannian and set theories, application of analysis to teaching and learning in music
education settings and applying analysis to create informed performance practices.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

5.A. Session – The Second Viennese School (II): Pairing Schoenberg and

29-06
Webern

4. Stephen Brown
Northern Arizona University, United States of America
stephen.brown@nau.edu

Interval Pairing in a Serial Context: Webern’s Variations op. 30

Webern’s twelve-tone rows often feature a limited range of interval classes between
their adjacent members. For example, the row of the String Trio, Op. 20 is confined
to interval classes 1, 4, and 5, while those of the String Quartet, Op. 28 and the First
Cantata, Op. 29 are restricted to interval classes 1, 3, and 4. Intervallic focusing
culminates in the Variations for Orchestra, Op. 30, one of Webern’s crowning twelve-
tone works. In the row of this piece, all the intervals between adjacent pitch classes
belong to either interval class 1 or interval class 3: that is, the entire row is made
up of half steps, minor thirds, and their inversions. Owing to this row, as well as
Webern’s handling of it, the Variations comprise an extended study in the pairing
of interval classes 1 and 3. Though the piece has received significant attention from
previous analysts, this fundamental aspect of the work has gone under-examined.
In response, this paper uses a two-dimensional model of pitch space, or Tonnetz,
to explore ic1/ic3 relationships in the piece. As the paper demonstrates, melodic
motions in the piece can be illuminated by visualizing them as moves within the
Tonnetz. Moreover, relationships between different chord types can be modeled by
various transformations in the Tonnetz, such as flipping or rotating. In sum, the paper
argues that a Tonnetz model can shed new light on a significant work of Webern along
with an important facet of Webern’s compositional language.

Stephen Brown is Professor of Music Theory at Northern Arizona University, where he serves
as Coordinator of Theory and Composition. Steve has done research in the theory and analysis
of post-tonal music, with a focus on the music of Shostakovich. His articles have appeared
in the Journal of Music Theory, Music Theory Spectrum, and Music Analysis, among other
journals. Steve has served on the editorial board of Music Theory Online and as president of
the Rocky Mountain Society for Music Theory. Currently he serves on the editorial board of
SMT-V, the podcast journal of the Society for Music Theory.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3204 Room 3204 Sala 3204 Raum 3204
29-06

5.B. Session – New Technologies and Analysis (I)

4. Aurélien Antoine 4. Eduardo Reck Miranda


Plymouth University, United Kingdom Plymouth University, United Kingdom
aurelien.antoine@postgrad.plymouth.ac.uk eduardo.miranda@plymouth.ac.uk

Computer Generated Orchestration: Towards Using Musical Timbre in


Composition

Timbre is a musical attribute that has been largely discussed among the research
community. However, there is still a lot to investigate, especially in regards to timbre
and orchestration, which involves polyphonic timbre: a phenomenon that emerges
from the mixture of instruments playing simultaneously. In this paper, we report
on the development of a system capable of automatically analysing and classifying
perceptual qualities of timbre within orchestral audio samples. Here, we have decided
to use verbal descriptors of timbral properties, such as brightness or roughness, in our
system in order to make the tool accessible to non-acoustics experts. Furthermore,
this automatic timbral classification approach has been implemented in a computing
system capable of generating orchestral compositions based on the timbral properties
contained in audio files input by the user. Our rationale for developing such a system
is to create a means of incorporating musical timbre in the composition of music,
which is often focused mainly on traditional Western music theory (i.e. pitches,
chords). Such developments could enrich creative music systems and aid composers
in their metier.

Aurélien Antoine is a PhD candidate in Computer Music at Plymouth University, UK. He


is conducting his research under the supervision of Professor Eduardo R. Miranda in the
Interdisciplinary Centre for Computer Music (ICCMR). Aurélien is interested in the perception
of musical timbre from orchestral sound and is investigating ways to incorporate this aspect
into intelligent computer-aided orchestration systems. His research developments have been
presented in various international conferences.

Eduardo Reck Miranda is a composer and research scientist working in the fields of Artificial
Intelligence and Music Technology. He is Professor in Computer Music at Plymouth University,
where he is director of the Interdisciplinary Centre for Computer Music Research.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

5.C. Session – The Second Twentieth Century: Between Italy and France

29-06
4. Gui-Hwan Lee
Cincinnati College-Conservatory of Music, United States of America
bmwe34m5@naver.com

Charting the Expansions in Pitch and Pitch-Class Space in Luciano


Berio’s Sincronie, Nones, and the First Movement of Sinfonia

In this paper, I suggest my own analytical approach for a characteristic harmonic


progression found in Berio’s works in the 1950s and the 60s. This type of progression
presents a registral expansion in pitch space coinciding with a chromatic saturation in
pitch-class space, and often emerges at structurally important moments. Although a
few studies, including Osmond-Smith (1985), Losada (2009), and Neidhöfer (2012),
have examined or mentioned the techniques underpinning such progressions, no
study has proposed a methodology designed for understanding Berio’s characteristic
harmonic extension. Regarding this issue, this paper suggests two analytical devices
inspired by previous analyses and Berio’s sketches: interval-cycle chart, and voice-
leading map for pitch-class space. The former arranges twelve pitch classes in
the form of three linearly-presented ic3 cycles stacked at the semitone, and neatly
illustrates four types of interval cycles (ic1/11, ic2/10, ic3/9, and ic4/8). The latter
illustrates voice-leading possibilities between two adjacent chords in the form of the
chromatic scale. I then apply these tools in my analysis of the passages from three
pieces by Berio: Nones (1954), Sincronie (1964), and the first movement of Sinfonia
(1968). Through the analysis, I demonstrate two specific techniques to extend/contract
a chord in both pitch space (i.e., register and density) and pitch-class space (i.e.,
chromatic saturation): intervallic balance, and split transposition (i.e., two different
transpositions occurring simultaneously, O’Donnell, 1997).

Gui-Hwan Lee began the Master’s program in musicology at Cincinnati College-Conservatory


of Music (CCM) in 2013, then added in 2015 the M.M. in music theory at the same institution.
In the summer of 2016, Lee finished his master’s thesis about Luciano Berio’s string quartet
and orchestral music for the musicology degree, and will complete both degrees by the summer
of 2017. Currently, Lee is developing two main research projects which he will pursue during
his doctoral study: aesthetics and styles of post-1945 instrumental music, and global/local
qualities of East-Asian popular songs as well as film music.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
29-06

5.D. Session – Partimento and Schemata

4. Marina Mezzina
Gruppo Analisi e Teoria Musicale, Italia
mezzina2014@gmail.com

On Footprints of “Galant Style” in Mendelssohn’s Music


Learning

This paper attempts to take a picture of Berlin music life during the early XIX century
thanks to the story of young Mendelssohn and his studies with his revered teacher
Zelter. It tries to find out how far the Italian tradition of partimento and the so called
“Galant Style” spread beyond their early boundaries of countries and their cultural
environment. Thanks to the most recent researches of, among others, G. Sanguinetti
and R. Gjerdingen we may consider the compositional practice of the XVIII century
under the light of a courtly taste. If we consider young Mendelssohn like a perfect
heir of that tradition and not an imperfect romantic composer, it is possible to read in
a different manner the criticism to his compositions. I will try to sketch a genealogical
line of composers and their musical styles, and the traditions crossing in the Berlin
musical area from the early eighteenth century, until they eventually arrived in Zelter’s
hands, ready to teach to the gifted young Mendelssohn. I will hunt for footprints of
“schemata” in some Zelter compositions and in C. P. E. Bach and I’ll try to find
the same “schemata” in Mendelssohn early works. As a result, these works can be
finally related to a great tradition and relieved from a criticism ex post that judged
them with its own artistic point of view. In particular I will try to reinterpret the early
compositional attempts of Mendelssohn through that tradition in the aim of putting
them in the right place in music history.

Marina Mezzina is professor of Music Theory and Music Perception at the Conservatorio di
Musica in Avellino. She graduated in Piano and Vocal chamber music and she holds a post
graduate Master in Music Theory and Analysis with a thesis on Schenker’s early studies on
the German Lied. As musicologist and performer her main research interests are in Lieder,
Art songs and Musical theatre. Her publications include essays on Britten’s theatre, Lieder
and Romanza da Camera, as well as Ear training and Music perception. She has additional
research interests in early eighteenth-century’s compositional practice.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

5.E. Session – Teaching and Pedagogy (I)

29-06
4. Derek Remeš
Eastman School of Music, United States of America
derekremes@gmail.com

J. S. Bach’s Chorales: Reconstructing Eighteenth-Century German


Figured-Bass Pedagogy in Light of a New Source

According to C. P. E. Bach, J. S. Bach began students with figured-bass chorales


before teaching fugue. This ordering implies that harmony was conceptually prior to
counterpoint in Bach’s thinking. Therefore, exploring how Bach taught harmony may
illuminate his music and inform our own teaching. Robin A. Leaver recently discovered
a new source which likely originates from J. S. Bach’s students. The anonymous
manuscript, called the Sibley Choralbuch, contains 226 figured-bass chorales and
likely had a pedagogical purpose, since it matches C. P. E.’s description of his father’s
pedagogy. This source also relates to the multiple-bass chorale tradition of Bach’s
students, Kittel and Kirnberger, of which new sources have also recently surfaced. I
contend that multiple-bass pedagogy, together with the various strategies described
in contemporaneous German sources, forms a pedagogical bridge between a simpler,
keyboard style of figured-bass chorale realization and the more complex, vocal one.
Ever since C. P. E.’s publication of his father’s chorales in 1765, music pedagogues
have held up J. S. Bach’s vocal style of chorale harmonization as a model. The Sibley
Choralbuch implies that a simpler, keyboard style of figured-bass realization was the
started point in Bach’s pedagogy. I will attempt to reconstruct how Bach may have
led students from the keyboard to the vocal style, based on contemporaneous sources.
While the Baroque era is often called the Age of Counterpoint, a harmony-centered
perspective, informed by Bach’s teaching, ultimately illuminates our understanding
of Baroque music, as well as our own pedagogical methods.
Derek Remeš is a PhD Theory and DMA Organ student at the Eastman School of Music
(Rochester, New York). He holds Masters degrees in Music Theory Pedagogy and Organ from
Eastman, and Bachelors degrees in Composition and Film Scoring from Berklee College of
Music (summa cum laude). His research interests include music pedagogy of the German
Baroque and French Romantic eras, figured-bass theory, early music analysis, and historical
keyboard improvisation. Mr. Remeš has presented twice at the Music Theory Society of New
York State conference, as well as at the Society for Seventeenth-Century Music, the Eastman
Rochester Organ Initiative, and Pedagogy into Practice conferences. Mr. Remeš is co-
authoring a book on Bach’s pedagogy with Robin A. Leaver.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3203 Room 3203 Sala 3203 Raum 3203
29-06

5.F. Session – Leaving – and Regaining – the Shores of Tonality

4. Colin Davis
Sam Houston State University, United States of America
colinldavis@gmail.com

Chord Superimposition in Two Late Orchestral Works by


Ferruccio Busoni

The musical language of Ferruccio Busoni’s mature works (ca. 1907-1924) offers
an interesting challenge for the music analyst. While harmony is primarily tertian,
the surface level of the music is often complicated by the migration of chromatic
lines among voices, misalignments of thematic and motivic ideas with the underlying
harmonic progression(s) and harmonic overlap or superimposition of tertian chords.
This presentation considers aspects of chord superimposition in relation to voice-
leading procedures and harmonic progression in two of Busoni’s orchestral elegies,
Berceuse élégiaque (1909) and Gesang vom Reigen der Geister (1915). Linear
analysis is incorporated to unravel the dense fabric of voices at the surface level of
the music and reveal the underlying harmonic structure and the significant role chord
superimpositions play in shaping the overall structure of each work.

Colin Davis, PhD, is a lecturer in music theory at Sam Houston State University in Huntsville,
Texas. His research interests include the synthesis of source study and music analysis,
Schenkerian analysis, and linear analysis of extended-tonal and post-tonal music, especially
involving the works of Allan Pettersson, Jean Sibelius, and Ferruccio Busoni. In his
dissertation, he examined the concept of polyphonic harmony in three of Ferruccio Busoni’s
orchestral elegies. He served as editor of the Journal of Schenkerian Studies for Volumes 3
through 7. Dr. Davis received a BM in music theory with a piano performance certificate from
the University of Texas at Austin and a MM and PhD in music theory with a related field in
musicology from the University of North Texas.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

5.G. Session – Stylistic Features of Jazz

29-06
4. Barbara Bleij
Conservatory of Amsterdam, Netherlands
b.bleij@ahk.nl

Wayne Meets World: Compositional Methods in Three Wayne Shorter


Pieces

Many of Wayne Shorter’s mid-60s compositions have become part of the core jazz
repertoire. Commonly, these compositions are seen as a blend of traditional hard
bop elements and highly personal and original, if not idiosyncratic, innovations. This
ties in with persistent jazz narratives of the Promethean ‘genius’, who shapes and
transforms jazz from within. For one thing, such a view prohibits looking at jazz in the
broader cultural-historical context in which it is created. In the case of Shorter, this is
all the more problematic since his technical procedures do get viewed as essential in
the development of jazz. Analyses of three iconic pieces, ’E.S.P.’, ’Virgo’, and ’Infant
Eyes’, will shed light on Shorter’s compositional techniques, and demonstrate that
they are in fact quite lucid and straightforward. Although each constructed differently,
the compositions share a type of design: a ‘basic idea’ shapes their configuration,
from the background organization to the foreground details. Harmonic phenomena
that deviate from tonal conventions in jazz are tied to the ‘basic idea’, while tonality
still works as a unifying factor. It will be argued that Shorter not only drew on the
jazz tradition but also on other contemporary threads, something he has consistently
alluded to in his many public – yet woefully cryptic – utterances. In this way, the
paper offers a more balanced view on the cultural heritage that Shorter saw as his
own, and, by extension, on sources that fed jazz as a whole in a period that shaped so
much of jazz to come.

Barbara Bleij holds degrees in music theory (classical music and jazz) and piano (jazz).
She teaches music theory at the Conservatory of Amsterdam. She is co-founder of the Dutch
Journal of Music Theory (currently Music Theory and Analysis) of which she was Editor from
1996-2007, and former President of the Dutch-Flemish Society for Music Theory.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3209 Room 3209 Sala 3209 Raum 3209
29-06

5.H. Session – Music of the Non-Western World: The Mediterranean and


Beyond

4. Anas Ghrab
Centre des Musiques Arabes et Méditeranéenne, Tunisie
anas.ghrab@gmail.com

L’analyse de la musique modale enregistrée : nouvelles


approches, nouvelles méthodes

Dans le cadre de la réflexion générale sur le futur de l’analyse musicale, notre


communication se focalisera sur l’analyse de la musique modale enregistrée. Nous
présenterons premièrement un état des lieux des recherches dans ce domaine,
notamment certains travaux touchant à l’analyse de traditions musicales turque et
indienne. Nous verrons ainsi quels étaient les solutions choisies par rapport à deux
étapes fondamentales dans ce type d’analyse : la détection de la fondamentaion (pitch)
et la détection de la tonique (tonic detection). En deuxième lieu, nous présenterons
et discuterons les approches actuelles relatives à : 1. l’analyse de l’intonation et
la détection des intervalles mélodiques d’après les enregistrements sonores; 2. la
question de la hiérarchie entre les degrés de la mélodie; 3. le rôle de l’axe temporel
dans l’analyse mélodique computationnelle et sa prise en considération par rapport
aux degrés analysés. Puis, en troisième lieu, nous présenterons notre démarche
afin de rendre ce type d’analyse accessible aux musicologues non spécialistes de
l’analyse computationnelle, tout en soulignant l’importance d’intégrer cela à un
mécanisme de gestion collaborative des données, qu’elles soient sonores, autrement-
dit les enregistrements analysées, ou les données d’analyse qui sont les résultats des
opérations computationnelles.

Suite à sa formation musicale au Conservatoire National de Musique de Tunis, il entame des


études de musicologie à l’Université-Lumière Lyon 2 puis obtient son doctorat de l’Université
Paris-Sorbonne (Paris-IV) sous la direction de Nicolas Meeùs. Ses recherches se focalisent
sur l’histoire de la théorie musicale d’après les écrits arabes ainsi que sur l’analyse modale
assistée par ordinateur. Les réflexions qu’il développe portent également sur les défits actuels
liés aux humanités numériques pour la gestion, l’édition et l’analyse des données, aussi
bien textuelles que sonores. Il est actuellement maître-assistant à l’Institut de Musique de
Sousse (Tunisie) et responsable des activités scientifiques au Centre des Musiques Arabes et
Méditerranéennes (Sidi Bou Saïd/Tunisie).

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

5.I. Session – Anthropology, Sociology, and Cultural Studies

29-06
4. Joon Park
University of Arkansas, United States of America
joonpark@uark.edu

Score, Record, and Bytes: Influence of Musical Medium on Analysis

Consumers of music gain access to musical experience through a monetary transaction


much like purchasing an industrial product. I argue that this experience cognitively
primes how musical work is conceptualized, which influences the discourse on music
analysis today. In analysing music, we tend to treat music as a product of a factory-
like process which, I argue, is the deepest base of today’s analytic method. As the
methods we acquire music shift from purchasing physical mediums (e.g., a score,
a cassette tape, a cd) to non-physical ones (e.g., streaming services, nightclub), the
priming weakens. My talk demonstrates how the analysis of music without physical
medium might require a different epistemological ground through an analysis of
two DJ-mix sets. The primary aim of my research is to construct a new foundation
for analytic methods that corresponds to the new non-physical medium for music. I
show that music, that is composed and produced without a physical medium in mind,
should not be analysed regarding the function of its internal component because it is
no longer conceptualized as an industrial product. Instead, drawing from Foucault’s
three épistèmes, I argue that music in the new medium are better understood in terms
of the Renaissance épistème, namely resemblance and similitude, to describe musical
components to their intra- and extra-musical counterpart. As a demonstration,
I analyse two DJ mixes: “28 Roses” by Mitsu the Beats and “0181” by Four tet,
focusing on the resemblance of their sampling of Joe Henderson’s “Black Narcissus.”

Joon Park is an Assistant Professor of Music Theory at the University of Arkansas. His research
interest includes the history of music theory, jazz analysis, and Baroque improvisation. His
article exploring the methodological differences between jazz and classical analysis appeared
in Journal of Jazz Studies. Park has presented at national meetings of the Society for Music
Theory and numerous regional conferences. Park received a PhD in Music Theory from the
University of Oregon with a dissertation, “Music, Motion, Space: A Genealogy.” He received
an MA in Music Theory Pedagogy and the BM in Music Theory from Eastman School of
Music. In addition to research, he plays harpsichord and jazz piano.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3206 Room 3206 Sala 3206 Raum 3206
29-06

5.J. Session – Schenkerian, Riemannian, and Neo-Riemannian Theories

4. Hiroko Nishida
Kyushu University, Japan
nishida.hiroko@gmail.com

Questioning Theoretical Robustness: Quasi-Integration of Neo-Rieman-


nian and Schenkerian Theories

In American music theory, since the 1970s, the establishment of various societies
and specialized journals has triggered the diversification of methods. Among the
diffusing methods, Schenkerian theory has dealt primarily with classical tonal music,
while Neo-Riemannian theory is an analytical tool for post-tonal and late Romantic
music. Despite such a fundamental difference, the integration or differentiation of
the theories has been suggested in several studies (Samarotto 2003, Hook 2007,
Goldenberg 2007, Rings 2007, Baker 2008). This case study examines the claims
made by these studies, and clarifies the effects of the methodological arguments that
advocate a new theory over an existing one. The effects are twofold: first, enabling
heuristic interpretations through a hybrid theoretical framework by quasi-integration
and second, displaying the capacity of one theory by explaining the revelations of the
other. In other words, a series of arguments stems from the methodological difference
between the theories: theories differ in setting as an end objective, the renewal of the
interpretation of musical pieces or the evocation of a new theoretical model. This
questions the methodological “robustness” of a theory that enables a meta-level
discussion of theory and analysis as a philosophy of music theory.

Hiroko Nishida is an Assistant Professor at the Faculty of Design at Kyushu University in


Japan and holds a Ph.D. in Musicology from Tokyo University of the Arts. From 2005–2007 she
studied music theory during her doctoral course at the Universität für Musik und darstellende
Kunst Wien. Her research focuses primarily on Schenker and Schenkerian discourses.
Publications include articles on Schenker’s narrative interpretations and editorial method,
that have appeared in the Journal of Schenkerian Studies, Aesthetics, Musicological Society
of Japan, etc., and translating Schenker’s Beethoven’s Ninth Symphony (2010), Beethoven’s
Last Five Piano Sonatas: Critical Edition, Op.109, Op.110, Op.111, Op.101 (2012–2015),
and Eva and Paul Badura-Skoda’s Interpreting Mozart (2016) into Japanese along with her
colleagues.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.0-0
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

5.A. Session – The Second Viennese School (II): Pairing Schoenberg and

29-06
Webern

5. Yi-Cheng Daniel Wu
Soochow University School of Music, China
ywu7@buffalo.edu

Webern’s op. 12 No. 2 Die geheimnisvolle Flöte: Pitch Orthography, Text


Setting, and Form

In tonal music, pitch orthography reflects different structural and functional meanings
of notes in various contextual and textural settings such as harmony, melody,
and voice leading. At the turn of the twentieth century, many composers attempt
to progress beyond the confines of traditional tonality, whose works, as generally
perceived by most analysts nowadays, treat the twelve chromatic notes as the twelve
enharmonically equivalent pitch-classes and thus present “the dissolution of … [the]
notational conventions of earlier times” (Gillies 1993, 43). Contrary to this general
sentiment regarding orthography, the present paper brings the significance of pitch
notation into sharper focus by investigating its crucial role in the course of the text-
setting and form in Webern’s Op. 12, No. 2. I will demonstrate how Webern utilizes
orthography to reinforce the structure of the text and the narrative of form, assisting
the analyst in considering notation as a core element while examining the pitch
structure of the early 20th-century music.

Yi-Cheng Daniel Wu completed his Ph.D. (2012) in Music Theory at the University at Buffalo
(USA). Prior to coming to Soochow University School of Music (China) in Fall 2013 as
the Assistant Professor of Music Theory, he taught at Wesleyan University (USA), where he
served as the Visiting Assistant Professor of Music. His articles appear in Indianan Theory
Review (2013), Musicology Australia (2016), Music Analysis (2017), and a book chapter in
Form and Process in Music: 1300–2014 edited by Jack Boss. Aside from music theory, he
is also interested in piano performance. In the Spring of 2009, he received first prize in the
2008-2009 UBSO Concerto Competition, in which he performed the first movement from
Saint-Saëns’s Second Piano Concerto.

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11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3204 Room 3204 Sala 3204 Raum 3204
29-06

5.B. Session – New Technologies and Analysis (I)

5. Marcin Strzelecki
Academy of Music in Krakow, Poland
marcin.strzelecki@amuz.krakow.pl

Stylometric Analysis of Music in Search of Cross-cultural


Similarities

Musical style is a term used commonly, being at the same time defined in various
ways. From a cognitive point of view, musical style is a particularly perceptible
quality. With the use of large music databases, it is possible to search for similarities
between musical phenomena of different times and locations. Such an extensive
approach toward style leads to significant consequences. Similarities may be the result
of chance, as well as indicate a common natural grounds for musical creation, e.g.
psycho-acoustic constrains. This may be an important contribution to the discussion
on musical universals. Modern computational stylometry takes advantage of the idea
of multidimensional scaling. Stylistic phenomena are treated as objects located in a
spatial model whose particular dimensions are determined by specific psychoacoustic
music features. The distance between objects is interpreted as a measure of the
difference. Conversely, proximity means stylistic similarity. In an experiment,
thousands of music excerpts from all around the world where subjected to qualitative
analysis. Perceptible musical features were extracted, such as generalised properties
of melody, harmony, timbre, rhythm, and micro and macro-formal qualities. Objects
located in the spatial model were clustered. Armed with such methods, one may
compare stylistic qualities of music from various points of view, for example
as references inside a single piece of music, as a stylistic development within an
individual composer’s lifetime, works of groups of composers, works within one
stylistic genre, music of a particular era, cultural circle or a geographical region.

Marcin Strzelecki: educated as theorist (PhD) and composer (master deg.), is active
instrumentalists and multimedia artist. Works at Academy of Music in Krakow, Poland,
teaching musical analysis, and contemporary composition techniques (particulary: computer
aided composition). Also, cooperates with Krakow Academy of Fine Arts, giving lectures
on„“soundart”, sound installations, multimedia. As theorist, runs empirically oriented
reasearches on: Witold Lutosławski’s music, form the perspective of perception, timbral
and harmonic analysis, with use of odvanced information processing techniques, empirical
foundations of musical creativity (cognitive and acoustic constraints).

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.0-0
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

5.C. Session – The Second Twentieth Century: Between Italy and France

29-06
5. Julie Delisle
CIRMMT-OICRM / Faculté de musique, Université de Montréal, Canada
julie.delisle.2@umontreal.ca

Analysis of Jour, contre jour by Gérard Grisey : A Perceptual Approach

Composed in 1979, Gérard Grisey’s Jour, contre jour, for 13 instruments, electronic
organ and tape, is one of his few works that include electroacoustic elements. The
use of instrumental extended techniques, of a tape, and of live audio effects such as a
phase shifter and a ring modulator makes it difficult to apprehend this work only from
the original score, which is often more prescriptive than descriptive. For this reason,
the aim of this paper is to present a perceptual analysis of Jour, contre jour based on
the adaptation of two major approaches to electroacoustic music analysis: Dennis
Smalley’s spectromorphology and Stéphane Roy’s functional analysis. Our work
starts from the analysis of Jour, contre jour by Jérôme Baillet, exposed in his book
Gérard Grisey – Fondement d’une écriture (2000), which we will try to validate by
our approach. A graphical listening score has been written, according to the original
score and to a recording of Jour, contre jour by Ensemble Itinéraire, conducted by
Pascal Rophé (1993), and then combined to sonograms corresponding to each page
of the original score. When comparing this data to Baillet’s analysis, it seems that the
sections and subsections of the piece are aurally recognizable, thank to the strategic
presence of distinctive morphological elements. It is also possible to demonstrate that
Gérard Grisey have found various strategies to amplify the perception of temporality
through the piece, especially in the case of accelerations and decelerations.

Julie Delisle is musicologist, flutist and sound artist from Montréal, Canada. She completed
an artist diploma at the Hochschule für Musik Freiburg (Germany) in modern and baroque
flute performance, and received a Prix with Great Distinction from the Conservatoire de
musique de Montréal. She is a Ph.D. candidate in musicology and lecturer at the Université
de Montréal, where she also studied computer music and science. Her research focuses on
flute acoustics, timbre and extended playing techniques, and on the use of live electronics in
contemporary music. She is also interested in perceptual approaches of musical analysis, and
in the way instrumentalists, composers and engineers perceive and describe instrumental,
electroacoustic and digital sounds. Julie Delisle currently lives in Vienna.

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11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
29-06

5.D. Session – Partimento and Schemata

5. Paolo Teodori
Conservatorio “S. Cecilia” - Roma, Italia
paoloteodori@gmail.com

Dall’arte del partimento al basso d’armonia: le tracce di un


percorso nell’evoluzione del gusto, dello stile e della prassi
compositiva

L’armonizzazione del basso, realizzata in una qualche forma, costituisce da quattro


secoli parte rilevante dell’apprendistato musicale di esecutori e compositori. Gli studi
più recenti di analisi musicale hanno dimostrato che l’indagine sull’evoluzione di
questa prassi è di fondamentale importanza nella ricostruzione dei cambiamenti che
parallelamente si sono avuti nella relazione tra didattica ed esecuzione musicale da un
lato e nel metodo di approccio alla composizione dall’altro. Infatti, se l’addestramento
nella realizzazione del continuo si legava direttamente a un aspetto comune dello
stile e della pratica musicale del barocco, con l’arte del partimento si è assistito a
un graduale spostamento di attenzione verso l’ambito specifico della didattica:
il partimento, che era ancora “arte di ben accompagnare”, diventò sempre più
chiaramente metodo di assimilazione di pratiche e procedimenti diffusi e condivisi,
via via cristallizzati in forma di “schemi” che investivano l’ambito della condotta
delle parti, della successione delle armonie e della disposizione della forma musicale;
tali schemi, rinforzati dalla capacità di controllo che si costruiva parallelamente
attraverso lo studio del contrappunto, erano subito disponibili alla composizione, per
una declinazione specifica, caratterizzata e originale. L’obiettivo di questo intervento
è di far luce sui modi e le ragioni del passaggio graduale che vi fu lungo il corso
del XIX secolo dall’arte del partimento alla prassi didattica del basso di armonia,
nella convinzione che in tale passaggio si riveli un profondo mutamento del modo di
considerare la composizione musicale e di procedere a essa.
Diplomato in composizione e pianoforte presso il Conservatorio S. Cecilia di Roma; laureato
in storia della musica presso l’Università “La sapienza” di Roma. Ha trascritto molta
musica del Rinascimento e del Barocco romano conservata in fonti manoscritte o a stampa
negli archivi musicali della città; ha quindi pubblicato studi e edizioni critiche di musiche
di Ruggero Giovannelli, di Felice Anerio, di Antonio Barrè, di Arcangelo Corelli e Gasparo
Fiorino. Più recentemente si è occupato di musica moderna, pubblicando un saggio di analisi
suna una musica del film The Galdiator, di Hans Zimmer. Dirige il coro di S. Agnese in piazza
Navona. Ha composto e compone musica per coro e per tv. Insegna Teoria dell’armonia e
analisi presso il Conservatorio S. Cecilia di Roma.

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11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.0-0
Salle 3201 Room 3201 Sala 3201 Raum 3201

5.E. Session – Teaching and Pedagogy (I)

29-06
5. Jean-Michel Bardez
Conservatoire Paris, France
jmbardez@orange.fr

Processus d’analyse dans le contexte d’un Cours d’Ecriture/


Composition

Un tel cours suppose des actes appliqués à des structures extraites de corpus divers,
analysés dans toutes les dimensions envisageables et à l’aide de théories cumulées,
croisées, au service d’une appropriation individuelle approfondie. On y considère,
selon les étapes d’un cursus sans cesse repensé, un ensemble de répertoires,
les contextes historiques, les dimensions instrumentales, vocales, esthétiques,
philosophiques… Il constitue une observation statistique des phénomènes les plus
fréquents dans une situation définie, caractéristiques d’un « style » circonscrit autant
qu’il est possible, ainsi que des plus rares, repérés aux marges de l’ensemble, aux
intersections avec d’autres ensembles. La méthodologie est dégagée d’une didactique
en évolution continue, irriguée de pratiques multiples, vers une compréhension des
cohérences à tous niveaux. On y considère les espaces tonaux et modaux, la relation
aux textes, le rôle des silences, des objets exogènes, de l’entropie, des emprunts,
des relations d’ordre, des cryptages, des types pulsatoires, d’un territoire mémoriel
souvent inconscient qui regroupe des « formants », des unités discrètes, des processus
généraux, génériques, trans-générationnels, trans-culturels, des bourdons, quintes-
mères, invariants analysés par l’ethno-musicologie, les UST, des « marqueurs » formels
tels que les biphonies, polyphonies, types d’économies de mouvement, imitations,
boucles, répétitions, symétries, retours, obstinations, obsessions, points-crises,
transes, émergences, lanceurs, attracteurs, distractions, duplications, mimétismes,
labyrinthes, fusions, illusions, précurseurs, « gestes », relations au corps (danses)
transversalités, densités, tentatives de hors-temps, actes limites (aux frontières des
possibles humains ou techniques-technologiques : toutes transformations du son).
Les processus de transmissions (théorie mémétique, entre autres) énergétiques, les
mises en réserve, les attentes, les types de rhétorique, la part calculée, les « fins
d’œuvre », les moments improvisés, la musique de création en tous temps et lieux…
A travers les diverses couches analytiques, il importe de dégager des déterminants
stylistiques, des structures fondamentales, voire, des archétypes, afin de réaliser une
approche de plus en plus dense et un parcours d’invention.

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9th European Music Analysis Conference

Compositeur. Prix d’Ecriture, Analyse, Composition du Cnsmd de Paris. Doctorat. Conseiller


aux Etudes - Professeur d’Ecriture/Composition (Paris). Président de la S.F.A.M. (1990-
2014) Vice-Président depuis 2014. Membre des Comités des revues Analyse Musicale puis
Musurgia et de la revue Internet musimediane. Président-fondateur de l’Adem-Art. Fondateur
de la Collection d’œuvres de création Carrousel. Co-fondateur du site de la collection:
29-06

bleu /musiquedecreation. Œuvres musicales, improvisations et CD, ouvrages et collections


pédagogiques, livres, ré-éditions, articles, préfaces : collaborations avec une trentaine
d’éditeurs (France, Europe, Canada…). Directeur et co-directeur de collections (collaboration
avec l’Ircam). Membre des Comités scientifiques des Congrès Européens, de colloques, de
journées de rencontres et de recherche. Emissions. Peintures dessins. Couvertures pour des
livres et pour des partitions. Editeur du compositeur Nicolas Obouhow.

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11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3203 Room 3203 Sala 3203 Raum 3203

5.F. Session – Leaving – and Regaining – the Shores of Tonality

29-06
5. José Oliveira Martins
Universidade Católica Portuguesa. Research Center for Science and
Technology of the Arts, Portugal
jomartins@porto.ucp.pt
Reframing Music Theorizing and Analytical Acts on Twentieth-Century
Multi-Layered Harmony
For about a century, polytonality has been an illusive and contested term that fuelled
an intense music-theoretical debate, re-emerging in recent years. The contested
status of its historical, analytical and perceptual significance led to the reception of
a paradoxical concept, ascribed to both the consolidation and destruction of tonality,
the expression of conservatism and the avant-garde, the act of mere imagination and
actual perceivable phenomena. The paper approaches polytonality by revisiting the
theorizing activity by Koechlin, Milhaud, Casella, Bartók, and others, in the early
20th c., subsequently dismissed or appropriated by the post-Schenkerian and set-
theoretical approaches developed in the second part of the century. Aspects of the
debate are examined along two sets of theoretical tensions: (1) constructionist vs.
interpretative claims about the term’s ontological implications, and (2) exclusive
vs. inclusive views about the nature of the layered materials. The paper argues
that early notions of polytonality draw from inclusive views, exploring various
compositional arrangements and listening strategies, whereas detractors of
polytonality—the dominant position throughout the century—often devalued and
dismissed constructionist and inclusive aspects, and adopted mostly exclusive and
interpretative views given the potential of polytonality to challenge notions of tonal
unity and the work’s coherence. The paper proposes the analytical apparatus of scalar
dissonance (measuring the mismatch or friction between scalar layers), which is
briefly exemplified in “contrapuntal polytonality” of Milhaud, Bartók, and Casella,
and expanded to some harmonic practice of Lutoslawski, arguing that polytonal
principles cast a much wider net on compositional practice than traditionally granted.
José Oliveira Martins (Ph.D. University of Chicago, Music History and Theory) is currently
FCT-Principal Researcher at CITAR, Universidade Católica Portuguesa; previous faculty
at the Eastman School of Music of the University of Rochester. His research explores the
conceptualization of musical systems and the analytical modeling of multi-layered pitch
organizations in music of Bartók, Stravinsky, Milhaud, Falla, Lutoslawski, Kurtág, and
others. A co-organizer of the 2016 Porto International Conference on Musical Gesture as
Creative Interface (PT), his publications appear in the Journal of Music Theory, Perspectives
of New Music, Theory and Practice, Portuguese Journal of Musicology and others; currently
writing two books: on multi-layered harmony in twentieth-century music, and on the music of
Carlos Paredes, a Portuguese-guitar virtuoso.

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11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3208 Room 3208 Sala 3208 Raum 3208
29-06

5.G. Session – Stylistic Features of Jazz

5. Walther Stuhlmacher
Conservatorium van Amsterdam, Netherlands
w.stuhlmacher@ahk.nl

The Sighing Motif (Seufzermotiv) and Related Stylistic Features in the


Jazz Compositions of Brad Mehldau

It is the aim of this paper to shed some light on compositional strategies by


describing stylistic ideosyncrasies and uncovering the use of archetypal ‘models’ (in
the sense of ‘schemata’ or ‘Satzmodelle’) in a number of lyrical jazz compositions
by Brad Mehldau like “Lament for Linus” and “Unrequited”. Among the stylistic
features noted are appoggiaturas and suspensions in the form of sighing motifs
(Seufzermotive) of various kinds, chord progressions derived from archetypal bass-
line figures like the lament bass, and modulations to third-related tonalities. These
features are reminiscent of the romantic piano compositions of Chopin, Schumann
and Brahms. On the assumption that many of these compositions can be understood
as the result of improvisational adventures, the role of the adopted models can be
described as that of playing rules on various levels, structuring the compositional
process. The research extends ‘traditional’ schema and Satzmodell analysis to the
jazz repertoire. As a consequence, the results of the research endorse the relevance of
the ‘rediscovered’ partimento tradition for the teaching of jazz theory.

Born in Tübingen (D) in 1961, he studied jazz piano and music theory (jazz and classical)
at the Royal Conservatory in The Hague (NL). He is living in Amsterdam teaching music
theory at the Conservatorium van Amsterdam and at HKU University of the Arts (until 2016),
primarily to jazz musicians and media composers. In addition to his teaching activities he
works as an arranger and composer. As a music theorist, his research interests lie in the field
of cross-stylistic schema and Satzmodell of classical, jazz, pop and film music.

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11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3209 Room 3209 Sala 3209 Raum 3209

5.H. Session – Music of the Non-Western World: The Mediterranean and

29-06
Beyond

5. Nidaa Abou Mrad


Université Antonine, Liban
nidaa.abou.mrad12@gmail.com

Réécriture grammaticale modale générative-transformationnelle de


l’improvisation taqsīm violonistique selon la tradition du Mašriq

La tradition musicale lettrée du Mašriq comporte une forme d’improvisation


instrumentale en solo, dénommée taqsīm, dont l’analyse pose le double problème
de sa grande complexité grammatologique et de la création instantanée. A cette
problématique répond l’hypothèse sémiotique modale, établie par l’auteur en tant
que procès de réécriture grammaticale générative des monodies traditionnelles. Ainsi
cette communication identifie-t-elle le taqsīm à la cantillation instrumentale d’un
texte arabe virtuel et implicite, dont la métrique prosodique se combine avec les
formules modales pour donner lieu à la morphophonologie rythmico-mélodique de
l’énonciation musicale. L’analyse repère dans ce flux des unités métriques minimales
axées sur des notes focales réductibles à des indicateurs nucléaires, les noyaux
modaux étant des chaînes concurrentes et hiérarchisées de tierces. L’objectif est
de montrer que la morphologie d’un taqsīm est descriptible en tant que produit de
matrices lignes mélodiques réduites par des matrices colonnes rythmiques, lesquelles
donnent prise à des transformations et des élaborations syntaxiques vectorielles
(épousant les modalités sémantiques intonatives) que régule une grammaire que cette
communication propose de mettre en exergue. L’hypothèse est validée par le biais
de l’analyse d’un fragment de taqsīm, enregistré sur disque 78 tours par le violoniste
syro-égyptien Sami Chawa (1885-1965).

Nidaa Abou Mrad, professeur de musicologie (docteur en musique et musicologie et docteur


en médecine), vice-recteur à la Recherche à l’Université Antonine (UA, Liban), doyen de la
Faculté de Musique et Musicologie de cette université et rédacteur en chef de la Revue des
traditions musicales (publiée en collaboration avec l’IReMus), est en même temps violoniste
et compositeur, spécialiste de la tradition musicale artistique arabe du Mašriq. Il a à son
actif un ouvrage (Éléments de sémiotique modale. 2016, Geuthner et EUA), une trentaine
d’articles musicologiques publiés dans des encyclopédies et des périodiques scientifiques et
une vingtaine de CD audio musicaux.

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11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3202 Room 3202 Sala 3202 Raum 3202
29-06

5.I. Session – Anthropology, Sociology, and Cultural Studies

5. Hugues Seress
IReMus, UMR 8223, université de Paris-Sorbonne, France
contact@seress-hugues.hu

Thème et rhème comme éléments structurels du discours musical :


quelques exemples « hongrois » chez Dohnányi, Weiner et
Lajtha entre 1890 et 1930
L’élargissement des corpus analysés à de nombreuses cultures géographiques,
historiques et sociales pose des défis épistémologiques à l’analyse musicale, tiraillée
entre le besoin de singularité et la nécessité de transversalités (hybridation des corpus
et des méthodes). Parmi les collaborations possibles, celle des analyses musicale et
linguistique est, particulièrement productive : elle peut définir une analyse sémantique
structurale, fondée sur une isomorphie des unités découpées dans la structure
musicale. Parce que l’intégration d’une unité syntaxique à un niveau sémantique
résulte d’une compétence intertextuelle, on peut déduire que les sèmes s’exprimant
dans une culture donnée, apparaissent en amont, dans un niveau anthropologique
sous-jacent comme isotopies desquelles émergeraient les formes musicales. Ainsi,
cet exposé proposera d’évaluer des énoncés musicaux particuliers au regard des
situations anthropologiques qui en constituent la trame culturelle. Il ne s’agira pas
de remettre en cause l’irréductibilité des formes symboliques à la réalité du monde,
mais d’observer leur articulation isomorphique à travers un répertoire dont l’héritage
est double, européen et romantique d’une part, national et moderne d’autre part : la
musique de chambre composée en Hongrie au tournant des XIXe et XXe siècles. Grâce
à une mise en regard des sèmes culturels avec les schémas discursifs, nous définirons
des isotopies structurelles qui permettront de relier les structures musicales décrites
avec leurs formes génériques, et d’en mesurer les écarts. Au-delà de la déclinaison
des variantes formelles et tonales d’un même modèle générique, ce travail propose
de mettre en lumière l’articulation du culturel et du symbolique via la relation entre
topique et commentaire.
Diplômé de musique, musicologie et linguistique, et titulaire d’un doctorat de musique et
musicologie (Université de Paris-Sorbonne, la musique « folklorique » pour piano (1903-1920)
de Béla Bartók : emprunt symbolique, matériau combinatoire), Hugues Seress est Professeur
d’Enseignement Artistique de culture et d’analyse musicale au Centre d’Études Supérieures
de Musique de Poitiers et en CRD (Châtellerault,Vitré). En qualité de chercheur à L’IReMus
(Institut de Recherche en Musicologie, Université de Paris-Sorbonne) et membre de MLADA
(Musique et Art dans les aires culturelles slaves et hongroises, Université de Bordeaux), il se
consacre à l’étude de la tonalité élargie en Europe centre-orientale (1890-1914), et développe
des outils de description théorique et d’analyse d’inspiration néo-riemannienne.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


11 h 30-12 h 00 11:30–12:00 11.30 – 12.00 11.30–12.00
Salle 3206 Room 3206 Sala 3206 Raum 3206

5.J. Session – Schenkerian, Riemannian, and Neo-Riemannian Theories

29-06
5. Thomas Jul Kirkegaard-Larsen
Aarhus University, Denmark
thomasjkl@cc.au.dk

Analyzing Analyses: Towards a Reconciliation of Schenkerism and


Riemannism

The conceptual schism between the theories of Schenker and Riemann has a long
and turbulent history. As is well known, their theories gave rise to two traditions of
harmonic and tonal analysis on either side of the Atlantic. Within these traditions,
several modifications have been made to Schenker’s and Riemann’s models: For
example, the Funktionstheorie dominating in Continental Europe today is not based
on harmonic dualism, but is a post-Riemannian monistic version. Comparative
studies, however, tend to focus predominantly on the theoretical writings of Schenker
and Riemann, thus leaving many questions on the analytical practices in the currently
established traditions unanswered. In regard to these issues, the aim of this paper is
to examine a corpus of Schenkerian as well as post-Riemannian functional analyses
of Brahms’ late piano pieces, Op. 116-119, with special attention to Op. 119/1.
Often analyzed, this piece constitutes a point of intersection between the above-
mentioned traditions: Schenkerian analyses in particular emphasize motivic features,
while functional analyses tend to reveal a convergence between smaller harmonic
events and large-scale tonal structure. In attempting an ‘analysis of analyses’, this
presentation discusses to what extent theoretical assumptions and analytical practices
influence interpretations of the music. Despite the apparent differences between the
Schenkerian and functional analyses, the paper suggests a synthetic reading of Op.
119/1 in an overall argument for the need for – as well as the potentials of – an
improved mediation between the analytical traditions.

Thomas Jul Kirkegaard-Larsen is currently a second-year PhD Fellow at Musicology, Aarhus


University, Denmark. He holds undergraduate degrees from Aarhus University in Musicology
as well as Scandinavian Languages and Literature. Thomas has presented at local and
international conferences. In his four-year PhD project, Thomas seeks to mediate between
the two theoretical and analytical traditions dominating Western music theory: The Anglo-
American Schenkerism on the one hand, and the Continental-European Funktionstheorie on
the other. Additional research interests include word and music relationships, harmony in late
19th-century music, and contemporary Danish music.

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12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6
29-06

5.C. Session – The Second Twentieth Century: Between Italy and France

6. Pierluca Lanzilotta
Claudio-Monteverdi-Konservatorium, Bozen, Italien
pierluca.lanzilotta@cons.bz.it

“Intertextuelle Improvisation” in Romitellis Werk am Beispiel der


Querverweise zwischen Trash TV Trance und der Cadenza von An Index
of Metals

Der Begriff der Intertextualität gehört in den Rahmen der verschriftlichten


westlichen Musiktradition und spätestens seit Hermann Danusers Keynote am
GfM-Kongress Freiburg 1993 auch zum musikwissenschaftlichen Diskurs. Seit
Anbruch der Postmoderne wird das Zitatverfahren als Verweis auf andere Korpora
wie auch innerhalb des eigenen Schaffens verstanden und verwendet. Wenn aber
(Selbst)zitate nicht auf notierte Stellen sondern auf zu improvisierende Abschnitte
hinweisen, ändert sich für den Analysten der Forschungsgegenstand selbst: An die
Stelle des Notats tritt eine Aufzeichnung, die die jeweilige Improvisation festhält.
Ziel des vorliegenden Beitrags ist es, am Beispiel der Beziehungen innerhalb
von Fausto Romitellis Schaffen zwischen Trash TV Trance für E-Gitarre solo
(2002) und der improvisierten Cadenza von An Index of Metals (2003) zu zeigen,
wie intertextuelle Verweise in einem improvisatorischen Zusammenhang wirken
können. Es wird der Versuch unternommen, den besagtem Werk und der Cadenza
von Index gemeinsamen improvisatorischen Einschlag zu ermitteln. Damit wird die
Möglichkeit einer unkonventionellen Annäherung an nicht notierte autoriale Produkte
ins Visier genommen, die sich ebenso auf die jüngsten musikpsychologischen und
neurowissenschaftlichen Erkenntnisse zur Musikwahrnehmung stützt wie auf das
Verständnis des klanglichen Phänomens als eines acte performatif. Die Aussicht,
Improvisationszitate mit zu berücksichtigen, eröffnet damit bislang unerforschte
Perspektiven in Bezug auf den mittlerweile als vollzogen gegebenen Wechsel
im statut ontologique des musikalischen Werkes - weg vom analog (mit Stift)
Aufgeschriebenen, hin zum digital Aufgezeichneten.
Pierluca Lanzilotta, 1965 in Genua geboren, hat unter anderem Klavier, Musikwissenschaft
(bei Giovanni Carli Ballola) und Komposition (bei Georg Friedrich Haas) studiert. Seit
2007 ist er Professor für Musikgeschichte am Konservatorium Bozen. Zu seinen aufgeführten
Werken zählen partiales für Blechbläserquintett (Eisenstadt und Parma 2005, Graz 2007,
Mainz 2008) und zwei Opern: La rosa di Consuelo (Parma 2002), Un giorno d’estate (Parma
2006). Veröffentlichungen (Auswahl): Non oro, non gemme: Giacomo Insanguine detto
Monopoli, Fasano 1995; Aufsätze über John Dunstaple und Fausto Romitelli.

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12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

5.D. Session – Partimento and Schemata

29-06
6. Gilad Rabinovitch
Georgia State University, United States of America
grabinovitch@gsu.edu

Gjerdingen’s Schemata Re-Examined

Gjerdingen (2007) offers prototypes for the galant style (1720-1780) based on
extensive and impressive research in music theory, history, and cognition. However,
his claim that these prototypes were historical schemata or mental representations is
audacious, and it requires validation or evaluation from multiple perspectives. The
problem of circularity (Narmour 1977, Brown 2005, Holtmeier 2011) also applies to
Gjerdingen’s work, since the ability to explain complete galant pieces as a succession
of schema-by-schema may represent circular logic or “reductionist abstraction”
(Holtmeier 2011, 321). I assume that the Rule of the Octave (Christensen 1992,
Gjerdingen 2007, Holtmeier 2007, Byros 2009, Sanguinetti 2012), which is ubiquitous
in partimenti and figured-bass treatises, represents part of the internalized knowledge
of eighteenth-century musicians. The Rule of the Octave associates bass scale-
degrees and figured-bass sonorities; the schemata are primarily defined by bass and
soprano scale-degree associations. I show that given the input of Rule of the Octave
segments, the behaviour of Gjerdingen’s skeletal soprano lines is tightly constrained
by style-specific grammatical principles, as well as by contrapuntal relations between
the galant “Gerüstsatz” of core voices. Potential grammatical soprano strings are
absent from the schemata and the style, suggesting the possibility that they are pre-
empted in the generative process by top-down form-functional factors (Cf. Caplin
1998, 2015, Byros 2015). Reconstructing galant schemata as responses to input from
the Rule of the Octave thus sheds novel light on other branches of music theory,
including counterpoint and formal function.
Gilad Rabinovitch is Assistant Professor of Music Theory at Georgia State University. He
holds PhD degrees in music theory (2015) and composition (2013) from the Eastman School
of Music, University of Rochester, as well as degrees in musicology and composition from
the Hebrew University of Jerusalem and the Jerusalem Academy of Music. His research
interests include galant schemata, historical pedagogies, and improvisation. Current articles
in progress are at the intersection of schemata, counterpoint, and form. He has presented at
major conferences, including annual meetings of the Society for Music Theory, at institutions
including Cornell University and the University of Michigan, and has published in Music
Theory Online.

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12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Salle 3201 Room 3201 Sala 3201 Raum 3201
29-06

5.E. Session – Teaching and Pedagogy (I)

6. Edward Venn
University of Leeds, United-Kingdom
e.j.venn@leeds.ac.uk

Watch this Space: On Blended Learning and Music Analysis in the


Classroom

In an increasingly crowded music educational landscape, music analysis faces


numerous challenges. For instance, within UK Higher Education, music analysis
jostles with other areas of study for space on the curriculum; growth in student numbers
(particularly in the 1990s) render problematic traditional pedagogical methods; and
changes to pre-HE education have lead to an increase in undergraduates who possess
skill sets and knowledge bases that often map obliquely, if at all, onto those required
for theory and analysis. This paper focuses on the opportunities that the twenty-first
century provides for blended learning as a tool for delivering music analysis to a
generation of students who, broadly speaking, arrive in HE with greater technological
than analytical competence. These opportunities include the use of podcasts, on-line
tests, flipped classrooms, lecture capture, and collaborative learning spaces, all of
which can be used to complement traditional modes of teaching music analysis and
lead to a rethinking and recontextualisation of music analysis pedagogy. The paper
will present a reflective analysis of the author’s ongoing implementation of blended
learning strategies to enhance the student experience in the delivery of analysis of
common-practice music (including Schenkerian analysis and Formenlehre) and
popular music. It will situate this work against the background of pedagogical
developments within the author’s host institution, the most important of which in the
recent installation of collaborative lecture spaces that allow students to present their
work immediately for scrutiny by their peers and tutors.

Edward Venn is Associate Professor in Music at the University of Leeds and Associate Editor
for the journal Music Analysis. His research focuses on twentieth-century and contemporary
music. He has written two monographs, the most recent of which, Thomas Adès: Asyla, was
published in late 2016 by Routledge. Recent and forthcoming articles and book chapters have
explored the music of Adès, Birtwistle, Simon Holt and Arctic Monkeys. He has an interest
in the pedagogy of music analysis, and in particular the use of blended learning as a tool to
facilitate learning.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Salle 3203 Room 3203 Sala 3203 Raum 3203

5.F. Session – Leaving – and Regaining – the Shores of Tonality

29-06
6. Zane Gillespie
A New Contemporary Endeavour, United States of America
rzgllspe@memphis.edu

A Model of Triadic Post-tonality for a Neoconservative Postmodern


String Quartet by Sky Macklay
Around the turn of the century, neo-Riemannian theory underwent considerable
expansion. Emerging composer Sky Macklay has written a string quartet entitled
Many Many Cadences (2015) which seemingly demands a renovation of neo-
Riemannian theories concerning triadic transformations and voice leading (e.g.,
Parallel (P), Leading-tone (L), Relative (R), SLIDE, etc.). Predominant- dominant-
tonic, dominant-tonic, deceptive, and plagal progressions, and expected resolutions
of active scale degrees (e.g., the leading tone) in the standard cadential formulae of
Many Many Cadences are overwhelming. Macklay’s parsimonious voice leading is
a systematic consequence of her transformational operations. As an expansion of
Lewinian triadic transformation, Macklay’s harmonic use of ic1/2 voice-leading
parsimony may often implicate a contextually fluid voice-mapping involving a dual-
process of inversion. However, the single tonal/post-tonal identity this suggests is,
unlike Lewin’s, a straightforward model of tonality: a relatively simple model of
local, event-to-event harmonic phenomena, as they exist as part of the quartet’s
superstructure, and systematized into ordinary language, quantitative measures, and/
or diagrams. Drawing from Iannis Xenakis’ Markovian stochastic music theory, this
study proposes a kinematic diagram indicating that Macklay’s return to pre-modern
tonal expectations is both a literal return to common-practice tonality as well as a
triadic post-tonality. Detailed analysis explores the premises of Macklay’s atypical
neo- Riemannianism and its relevance to understanding the relationship between
statistical empiricism and twenty-first-century musical discourse.
Zane Gillespie’s paper “Art as Hypnosis” was published in 2015 by Humanities. His music
theoretical research has been accepted for presentation by the 2016 meeting of the New
Zealand Musicological Society, Mississippi University for Women’s 2017 Music by Women
Festival, and by the Sixtieth College Music Society (CMS) National Conference. The 2016
CMS South-Central Conference selected Zane’s Two Noumenist Poems for performance.
His Quartet for Alto Saxophone and Strings was performed at The Eighth Annual Belvedere
Chamber Music Festival. Zane’s music earned him the Nancy Van de Vate Composition Award
three times from The University of Mississippi (Ole Miss). He holds degrees from Ole Miss
(BM; MM), and The University of Memphis (DMA) where he received the Smit Composition
Award.

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12 h 00-12 h 30 12:00–12:30 12.00 – 12.30 12.00–12.30
Salle 3206 Room 3206 Sala 3206 Raum 3206
29-06

5.J. Session – Schenkerian, Riemannian, and Neo-Riemannian Theories

6. Walter Nery
University of São Paulo, Brazil
waltinhonery@gmail.com

Exploring the Limits of Neo-Riemannian Theory

This paper aims to review and to present improvements for the triadic networks
explored in 2003 Steven Scott Baker’s thesis called Neo Riemannian Transformations
and Prolongational Structures in Wagner’s Parsifal. The improvements appear
as a possibility to include the four common-practice triad types – major, minor,
diminished and augmented – into a single transformation network. The well-known
Interval Invariance concept is one of the main assumptions of a more orthodox
Neo-Riemannian theory that indexes the P, L and R transformations in Brian Hyer’s
Tonnetz. On the other hand, the Interval Invariance and Displacement Class concepts
allowed Baker to create the “*R” (Fuzzy R) and the “–L” functions that transcends the
Hyer’s Tonnetz functions as well as the P1, P2, L1 and L2 functions from Douthett and
Steinbach’s Tower Torus. The “*R” function transforms the C into a C+ or a Cm into a
B+. The “-L” transforms a C into a C#dim or a Cm into a Cdim. By including the “-L”
function into his innovative Octatonic Propeller Graph, a model that combines three
of Douthett and Steinbach’s Octacycles with one of their Hexacycles, Baker enabled
the insertion of one diminished triad between each propeller branch. Notwithstanding,
the inclusion of the “*R” function generated nothing but a plain graphic version of
the Douthett and Steinbach’s Cube Dance. Based on the combination of “P”, “R”,
“-L”, and “*R” functions, we generated two improved graph-models that describe
the interaction between the four common-practice triads which we call Generalized
Transformation Graphs.

Walter Nery is a Brazilian composer, guitar player and PHD student at University of São
Paulo. The scope of his research refers to the analysis of a cycle of nine solo piano pieces
called Baby’s Family No. 2 (A Prole do Bebe No. 2) by Heitor Villa-Lobos. As composer and
bandleader, released three CD’s with the group RdT, which contains mainly contemporary
instrumental music that aims a balance between composition and improvisation. Is teacher
for more than thirty years and responsible for teaching acoustic and electric guitar, musical
analysis, ear training, arranging and harmony at the Conservatório Musical Souza Lima and
Faculdade Mozarteum de São Paulo where is faculty member.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

6.A. Pre-organised session – Modulation as Perceived by the Listener

29-06
1. Ildar Khannanov
Peabody Institute, Johns Hopkins University, United States of America
drkhannanov@gmail.com

A Long Path to Closely Related Key: Modulation in Bach’s


Allemande BWV 816

Modulation is viewed today mostly as either the aspect of pedagogy of part-writing


or as a part of Schenkerian graphic analysis, which seems to ignore the psychological
aspect of modulation as an event of live music. Following one of the themes of
EUROMAC9, it makes sense to shift the focus of study of modulation from the score
to the act of musical perception. In his Allemande from the French Suite No. 5, Bach
presents nine events in order to modulate from tonic to dominant in the first half.
He first establishes the key by passing through the full functional cycle TSDT three
times. Then, instead of modulating into the dominant, he swerves from the path and
lands in a key of submediant that has nothing to do with both tonic and dominant.
Then Bach takes the listener through the sequence; he touches briefly the new key, but
immediately returns to the tonic, which makes the listener change the opinion about
what tonic is. When the key of the dominant arrives by the end of the first half of the
Allemande, the listener perceives the dominant as a completely, phenomenally new
key. Modulation back from dominant to tonic in the second half of the Allemande
looks even more complicated. It is a paradox that modulation to a closely related key
is more difficult for a composer to accomplish than an abrupt modulation to a remote
key.

Professor of Music Theory at Peabody Conservatory, Johns Hopkins University. Has earned
Ph.D. in music theory from University of California, Santa Barbara (2003); the dissertation
“Russian Methodology of Music Theory and Analysis.” Supervisor: Pieter C. Van den Toorn.
Studied music theory at Moscow Conservatory (1982-1988) and its aspirantura (1990-1993)
with Yuri Kholopov and Valentina Kholopova and philosophy with Jacques Derrida. Published
chapters in Sounding the Virtual (Ashgate, 2011) and in L’Analyse musicale aujourd’hui
(Delatour, 2015) and a book Music of Sergei Rachmaninoff: Seven Musical-Theoretic Etudes
(Kompozitor, 2011). Presented in a number of conferences in the United States, Europe and
Russia. The Vice Chair of Scientific Committee of Russian Society for Music Theory, the
Editor of Russian journal Problemy Muzykal’noi Nauki.

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Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5
29-06

6.B. Pre-organised session – Analyzing Models and Creativity in the Long


Eighteenth Century

1. Peter van Tour


Uppsala University, Sverige
vantour@telia.com

The Do-Re-Mi Revisited: Historical Underpinnings of a Schema

In this paper I attempt to historically ground one of the formulas presented in Robert
Gjerdingen’s Music in the Galant Style (Oxford, 2007): specifically, the daily practice
of sung improvised canons is here highlighted as an assumed commonplace for the
Do-Re-Mi schema. Our current understanding of the curriculum in counterpoint and
composition in the Neapolitan Conservatories is centered on partimento playing and
written studies in counterpoint. But Neapolitan musicians were commonly described
as singers, rather than as keyboard players. I compare the canon solfeggi of Nicola
Sala (1713–1801) from a variety of sources (scholastic canons from printed sources,
or solfeggio canons from manuscript sources), highlighting Sala’s instruction of
improvised canon and his own solfeggio canons as models for this instruction. The
Do-Re-Mi schema is contextualized through the identification of some of its historical
roots. The wide range of examples from counterpoint notebooks and educational
exercises of Sala show that the Do-Re-Mi was used systematically not only in the
realization of partimenti, but also in the writing and improvisation of fugues and
singing of solfeggio canons, particularly of the final stretto of the fugue (the stretto
maestrale).

Peter van Tour is post-doctoral research fellow at the University of Leuven, Belgium. As
a scholar in musicology, Peter has specialized in Ear Training Pedagogy, Counterpoint
Pedagogy, and Historic Improvisation. He studied Music Pedagogy at the Conservatory of
Brabant in Tilburg, Musicology at the University of Utrecht, and Master in Music Theory (MA)
at the Royal College of Music in Stockholm. His PhD thesis “Counterpoint and Partimento:
Methods of Teaching Composition in Late Eighteenth-Century Naples” highlights the
practical teaching strategies at the Neapolitan conservatories during the late eighteenth
century. He recently presented an edition of Nicola Sala’s (1713–1801) partimenti: “The 189
Partimenti of Nicola Sala: Complete Edition with Critical Commentary” in three volumes
(Acta Universitatis Upsaliensis, Uppsala, 2017).

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

6.C. Pre-organised session – Interpreting and Listening to the Music of

29-06
Debussy

1. Benedikt Leßmann
Universität Wien, Austria
benedikt.lessmann@univie.ac.at

Describing Prosody in Debussy’s songs

Studies on 19th- and early 20th-century French song, the mélodie, have always
emphasized the importance of prosody: It seems that many composers were aware
of the difficulties of setting French poetry with its often irregular metrical structure
to music. Moreover, a certain focus existed on the literary nuances of the poetic
texts, especially in the settings of symbolist poetry. However, prosody is an aspect
that is difficult to examine with conventional methods even though it is essential
to the perception. Analyses of prosody must take into account different aspects,
especially musical rhythm in its relation to speech, but also the range of the vocal
part (in a complete song as well as in separate phrases) and the melodic movement
inside this range. An analysis of selected songs by Claude Debussy might confirm
the general assumption that his vocal music tends to a declamatory vocal style that
is close to spoken language. By concentrating on the melodic line and its relation
to the text, we may obtain analytical results that seem to be of immediate relevance
to the listener’s perception. Performance analysis as well as studies of sound have
increased our sensibility to the overall appearance of musical works, e.g. by giving
visual depictions of spectra or tempo curves. Here, a similar method will be used
when scores of selected mélodies are partly transferred into visualisations of their
global vocal contours, which might help us obtain a deeper understanding of their
prosodic design.

Benedikt Leßmann studied Musicology, Romance Studies, Comparative Literature and


Church Music in Leipzig, Paris and Halle. He obtained the “Magister” degree with a
thesis on Debussy’s songs in 2010. In 2015, he completed his doctorate with a dissertation
on the reception of Gregorian chant in France in the 19th and early 20th centuries. From
2010 to 2016, he worked at the University of Leipzig. In 2016, he was appointed assistant
(Universitätsassistent) for Historical Musicology at the University of Vienna. He has
taught musicology and music history at several schools. Additionally, he has worked as
music journalist and writer. His work has been awarded with the “Reinhard-Schulz-Preis”
(Darmstadt) in 2014 and the “Förderpreis für junge Komponisten und Musikwissenschaftler”
(Saxony) in 2015.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3203 Room 3203 Sala 3203 Raum 3203
29-06

6.D. Pre-organised session – Aspects of Music Theory & Analysis Practices in


the Mediterranean Region: Italy, Cyprus, and Israel

1. Liran Gurkiewicz
Independent researcher, Israel
lgurkiewicz1@gmail.com

Paul Ben-Haim: Between East and West

By many, Ben-Haim is considered to be the father of Israeli music. Following the Nazi
rise to power in 1933, the then 36 year old Composer/Conductor emigrated from Nazi
Germany to Mandatory Palestine (Israel), where he championed the consolidation of
the Idiosyncratic Mediterranean (Israeli) musical style. Ben-Haim’s work, much in
accordance with the Mediterranean style as a whole, is a unique composite between
the local Mediterranean topography which reflects his Jewish identity and between
compositional techniques echoing and revealing his more formal German – Western
heritage. As such, his work is constructed from the welding of Middle – Eastern
elements alongside Western and German post – romantic techniques of writing. My
paper will take a linear approach and chronologically examine several of Ben-Haim’s
major orchestral works: the Joram Oratorio; Symphony no.1; Symphony no.2; The
Sweet Psalmist of Israel and The Eternal theme. I will describe how the later works
show an ever growing level of sophistication in their imbedding of East and West.
As such, I will discuss Ben-Haim’s specific choice of motifs, orchestration, harmonic
as well as rhythmic procedures as they come to the forefront on both limited and
wider musical perspectives, This lecture will shed light on the unique melting pot
of cultures that formed in Israel (Palestine) during the 1930’s. It will explain the
way that both Middle Eastern and Western techniques of writing were coalesced and
imbedded in Ben-Haim’s work.

Liran Gurkiewicz holds a PhD from Bar – Ilan University (2016), he has acquired both his BA
and MA at Tel Aviv University. His research interests are the variation genre in the Spanish
renaissance and Israeli art music - in specific Paul Ben – Haim. His dissertation focuses on
Ben – Haim’s orchestral music: exploring the stylistical devices that the composer relies on.
He has published in the Conference Proceedings of Art Musics of Israel, Ed. Malcolm Miller,
(Brepols Publishers [2011, in print]), Min – Ad (2013, 2016), The Music of Israel (Ben –
Gurion press, 2014, Hebrew), Proceedings of Jewish music days, (Haifa University, 2017,
Hebrew). He is also a freelance journalist.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

6.E. Pre-organised session – Modal and Tonal Organization in Polyphonic

29-06
Compositions from the Late Middle Ages to the Early Baroque

1. Nicolas Meeùs
SBAM - IReMus, Belgique
nicolas.meeus@paris-sorbonne.fr

Theoretical Aspects of the Modal and Tonal Organization of Renais-


sance Polyphony

The problem of the modal/tonal organization of Renaissance polyphonic remains


complex. My communication will discuss modern theories, among others those of
the tonal types (Powers 1981), of hexachordal functions (e.g. Judd 1992), of chord
progressions, of polyphonic notation, etc., and confront them with Renaissance
theories. The tension between properties of the diatonic system as such and of the
individual diatonic modal scales, or the opposition between diatonic functions on the
one hand and modal functions on the other, survived at least until the Renaissance and
may justify considering that many Renaissance polyphonic compositions are truly
modal. These problems will be discussed among others with respect to the double
diatonic system (naturale / transpositum) and its consequences for the notation
(including cleffing); the tonal centricity and the means used to assert it; melodic
hierarchies; chromaticism causa pulchritudinis or for transposition; directional
tendencies in chord progressions and voice leading; etc.

Nicolas Meeùs est professeur émérite à l’Université Paris-Sorbonne, où il a dirigé l’UFR


de Musique et Musicologie de 1999 à 2004 et a été directeur adjoint de l’École doctorale «
Concepts et langages » de 2004 à 2013. Il y a enseigné la théorie médiévale, l’analyse de la
musique ancienne et de la musique classique, l’analyse schenkérienne et l’organologie. Il a
été professeur d’histoire de la musique aux Conservatoires royaux de Liège et de Bruxelles
et Directeur du Musée des instruments de musique à Bruxelles. Il est Président de la Société
Belge d’Analyse Musicale et membre du Conseil d’Administration de la Société Française
d’Analyse Musicale. Il est rédacteur en chef de la revue Musurgia (Paris) depuis 2001. Il est
l’auteur d’une centaine d’articles et d’ouvrages.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
29-06

6.F. Pre-organised session – Quel futur pour la Formenlehre? Challenging


Recapitulatory Paradigms

1. L. Poundie Burstein
City University of New York, United States of America
poundie@aol.com

Striking Approaches to Galant Recapitulations

From the late-eighteenth century on, recapitulations commonly were preceded by a V


that powerfully prepares for the ensuing double return at the start of the recapitulation,
forming part of a large I-V-I structure that frames the entire movement. However,
during the mid-1700s, composers took advantage of a far wider net of harmonic
possibilities for approaching the recapitulation. In music of this era, one often finds
recapitulations immediately preceded not only by V and V/vi, vi, and iii, but also I, i,
ii, V/ii (!), V/iii, IV, V/IV (!), V/V (!), and v. Sometimes these harmonies appear at a
cadence followed directly by the recapitulation; other times the harmony in question
is the final chord of the retransition; sometimes with a brief melodic link, other times
without one. Though explicitly referenced in writings of the time, these possibilities
have been insufficiently acknowledged in more recent discussions, and yet they deep
implications for understanding large-scale tonal structure not only for these specific
pieces, but for Galant era sonata-form movements in general.

L. Poundie Burstein is Professor of Music Theory at Hunter College and Graduate Center
of CUNY, and has also taught at Mannes College, Columbia, and held an endowed chair at
University of Alabama. In 2013–2015 he served as President of the Society for Music Theory.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

6.G. Pre-organised session – Spectralism on the Margins: Spectral Ideas and

29-06
Intercultural Influence

1. Alexandra Monchick
California State University, Northridge, United States of America
alexandra.monchick@csun.edu

Paul Hindemith and the Spectralists

One can draw broad comparisons between Hindemith’s aesthetics, theory, and
practice with the Spectralists, even though he did not appear to have a direct influence
on them. In his theoretical treatise, Unterweisung im Tonsatz (1937), Hindemith
demonstrated that harmonic tension is grounded on perceived dissonance resulting
from a natural phenomenon: the overtone series. While Hindemith’s harmonic theory
largely derived from the experiments of Helmholtz and Stumpf, he put this theory
into practice with three heretofore understudied electronic compositions that he wrote
during the early 1930s. With the trautonium, he was able to produce subharmonics,
combination tones, and formant regions from electronic sounds to create various new
timbres, somewhat akin to the later processes of ring modulation and subtractive
synthesis. While it initially appears that Hindemith’s concept of timbre was primarily
rooted in register and instrumentation, his music from the 1930s shows that he
was also thinking about the internal properties of sound. Only after experimenting
with the electronic manipulation of sound did Hindemith developed his influential
music theory. His works from the 1930s on emphasized a kind of Spectral approach,
but went beyond his inspiration from the overtone series. Like the Spectralists,
Hindemith exploited human aural perception from both natural and technological
perspectives. He reproduced both technological counterfeits of acoustic instruments
with the trautonium and composed (and recomposed) music in the 1940s and 1950s
based on perceptual acoustics put forth in his technique of “harmonic fluctuation.” In
sum, Hindemith’s late music was inspired by a technologically-mediated concept of
sound.

Alexandra Monchick is Assistant Professor and Area Coordinator of Musicology at California


State University, Northridge. A specialist in music of the Weimar Republic, she has published
articles and reviews in The Musical Quarterly, German Life and Letters, and German Studies
Review. In addition, Dr. Monchick has recently published an article in The Journal of Music
History Pedagogy. Her chapter on Paul Hindemith and the Spectralists is forthcoming in
The Oxford Handbook of Spectral Music. She currently serves as the president of the Pacific-
Southwest Chapter of the American Musicological Society.

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14 h 00-14 h 30 14:00–14:30 14.00 – 14.30 14.00–14.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

6.H. Pre-organised session – Epistemologies of Music Theory and Analysis:


29-06

Sound and Timbre between Structure and Epistemic Construct

1. Mark Reybrouck
KU Leuven – University of Leuven, Belgium
mark.reybrouck@kuleuven.be

Sound as Epistemic Construct and Music as Experience: New Perspec-


tives on Musical Sense-making

Music, as a temporal and sounding art, is characterised most typically by its articulation
over time, balancing between actual sensation and representation. Music analysis, on
the other hand, has a nominalist tradition of sense-making by abstracting from mere
sensory experience to verbal and abstract categories. The aim of this contribution is to
bring together music, analysis and experience. It starts by questioning whether music
is an ontological or an epistemological category, to be conceived as a structure or
artefact, or as something that must be heard or listened to in order to be meaningful.
Music analysis, in this view, should rely not only on a static and symbolic description
of the music, but also on a dynamic-vectorial approach that keeps step with the
sonorous unfolding over time. Such an approach to musical sense-making stresses
the importance of the moment-to-moment history of epistemic interactions with
the music as it sounds. Starting from some older philosophical writings, from the
enactive and embodied claims of cognitive linguistics and from empirical findings
from neurobiology and psychobiology, it elaborates on the experiential approach to
music in an attempt to bring together analysis and experience. Rather than conceiving
of them as opposed to each other, they are brought in relation to the dynamics of
representation that spans a continuum between step-by-step processing and synoptic
overview in an attempt to go beyond traditional dichotomies which revolve around
the discrete/continuous, the in time/outside of time and the deictic vs. symbolic
approach to musical knowledge.
Mark Reybrouck studied physical education, physical therapy and musicology. He is
currently professor of music at the University of Leuven (Belgium) where he teaches music
education and music psychology. His major research is interdisciplinary with an attempt
to bring together insights from the fields of psychology, biology, semiotics and music. His
actual research agenda concerns listening strategies and musical sense-making with a
major focus on musical semantics and biosemiotics as applied to music. At a theoretical
level, he is involved in foundational work about music cognition and perception, especially
the biological roots of musical epistemology and the embodied and enactive approach to
dealing with music. Besides, he is also involved in empirical research on representational and
metarepresentational strategies in music-listening tasks.

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3201 Room 3201 Sala 3201 Raum 3201

6.A. Pre-organised session – Modulation as Perceived by the Listener

29-06
2. Dimitar Ninov
Texas State University, United States of America
dn16@txstate.edu

Cognitive Aspects of Gradual Modulation

Different approaches to modulation embody compositional techniques which generate


different types of emotional and logical reaction. Some modulations trigger one type
of perception related to the feeling of an immediate arrival, while others create the
feeling of prolonging a space by steering through different phases. I will review two
established methods of gradual modulation which create a different impact on the
listener. The first method is related to the use of a common chord as a link between
the initial key and the target key, while the second method is indirect and will use
one or more intermediate key areas as a link between two outer keys. The common
chord modulation offers a variety of possibilities, including the use of a diatonic triad
or a borrowed chord to connect the two intended keys. In addition, the practice of
reinterpreting a common chord enharmonically creates the effect of surprise caused
by the conversion of a diatonic chord into a chromatic chord or vice versa. The
modulation via transitional key is also very diverse, ranging from the possibility of
reaching a common chord via secondary dominant, to tangible outline of one or more
intermediate keys via harmonic sequence or otherwise. The dynamic ways of tonal
interaction open the door to regarding the process of modulation as a living organism
through which musical texture breathes. This notion breaks the wall between theory
and practice and stimulates creativity in the study of harmony.

Dr. Dimitar Ninov is a published composer and theorist as well as an invited lecturer at
international, national, and regional music conferences. He teaches music theory at Texas
State University. His original research spreads in the fields of tonal harmony, musical form,
and meter. His music has been performed in North America, South America, Europe, and
Asia. Dimitar Ninov holds a DMA in composition from The University of Texas at Austin and
Master’s degrees in theory and composition from the National Academy of Music in Sofia,
Bulgaria. Web site: dimitarninov.com

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5
29-06

6.B. Pre-organised session – Analyzing Models and Creativity in the Long


Eighteenth Century

2. Robert Gjerdingen
Northwestern Unversity, United States of America
r-gjerdingen@northwestern.edu

Teaching Partimento Analysis and Realization in 19th-Century Paris

For a young student, a musical tradition only exists as it is conveyed to him or her
by a teacher. The aim of this study is to report on how Parisian master teachers at the
Conservatoire passed on the traditions of partimento analysis and realization. Auguste
Panseron, for example, showed how to realize a partimento by Fenaroli. Hippolyte
Colet published collections of Scarlatti sonatas and Bach two-part inventions to
show students how to create authentic realizations of eighteenth-century partimenti.
And Édourad Deldevez provided a multi-level hierarchical analysis of a Fenaroli
partimento to guide a student’s process of realization. The discovery of multi-level
partimento analysis has significant implications for understanding how earlier
musicians conceived of musical syntax. Perhaps the most surprizing finding for a
modern scholar is the ubiquity of partimento playing and written realization at the
Paris Conservatory. Though the curriculum went through many changes during the
nineteenth century, partimento playing remained a core activity in the foundational
course known as Harmonie et accompagnement. Claude Debussy, for instance, was
remembered as a gifted partimento player in the class of Auguste Bazille.

Robert Gjerdingen was trained at the University of Pennsylvania under Eugene Narmour,
Leonard B. Meyer, and Eugene Wolf. He has written extensively on the subjects of music
psychology and eighteenth-century musical style. His book Music in the Galant Style (Oxford:
2007) was awarded the Wallace Berry Award by the Society for Music Theory. He is a
former editor of Music Perception and the recipient of six years of support from the National
Endowment for the Humanities (USA). His websites Monuments of Partimenti, Monuments
of Solfeggi, and The Academic Fugue contain dozens of primary sources used by scholars
all over the world.

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

6.C. Pre-organised session – Interpreting and Listening to the Music of

29-06
Debussy

2. Benjamin Lassauzet
Groupe de Recherche Expérimentale sur l’Acte Musical (GREAM), France
benjamin.lassauzet@hotmail.fr

L’influence des mimiques de l’interprète dans la perception de l’humour


debussyste
La musique de Debussy est souvent associée aux courants impressionniste et
symboliste – tous deux laissant peu de place à l’humour. Pourtant, Debussy est l’auteur
d’un corpus aussi conséquent que sous-estimé d’œuvres comiques, comprenant
une soixantaine de pièces écrites tout au long de sa vie créatrice et destinées à tous
types d’effectifs. Si la recherche concernant cet aspect de l’esthétique debussyste
fait cruellement défaut, les interprètes sont, eux, nombreux à souligner la présence
d’humour dans sa musique. Cette conscience est le signe d’une préoccupation touchant
à une transmission efficace du contenu comique. Le rôle de l’interprète en la matière
est en effet fondamental ; de manière analogue, une blague mal racontée a bien peu
de chances de faire mouche. Ainsi, le musicien peut être tenté, dans une situation
de concert, de faire intervenir son corps non seulement en vue de mobiliser des
facultés techniques instrumentales mais aussi pour signaler voire souligner des effets
comiques présents dans la musique. Nous avons conduit une étude expérimentale
sur une centaine de participants à partir d’enregistrements vidéo d’une interprétation
de Minstrels. Quatre versions différentes du même extrait ont été réalisées, laissant
plus ou moins apparaître visuellement le contexte humoristique de l’œuvre. Suite au
visionnage, les auditeurs sont invités à sélectionner des adjectifs qu’ils associent à
l’œuvre dans une liste. Le résultat est éloquent : si tous les auditeurs sont capables
de percevoir l’humour de l’œuvre, leur jugement s’affine nettement lorsqu’ils sont
guidés par les mimiques de l’interprète.
Professeur agrégé, enseignant-chercheur à l’Université Blaise-Pascal de Clermont-Ferrand
et membre du Groupe de Recherches Expérimentales sur l’Acte Musical (GREAM), Benjamin
Lassauzet prépare actuellement une thèse de doctorat consacrée à Claude Debussy et l’humour,
sous la direction de François de Médicis et Alessandro Arbo. Il a également travaillé sur
l’analyse des enregistrements sur instruments reproducteurs (dans Quand l’enregistrement
change la musique, dir. Alessandro Arbo et Pierre-Emmanuel Lephay, à paraître en 2017),
les interactions entre le timbre et la forme chez Debussy (La fonction structurante du timbre
dans les “Préludes pour piano” de Debussy, Cahiers Recherche 25, Strasbourg, 2015) et
sur la question du mystère chez Scriabine (« Faute de Mystère, il reste l’Extase...», in La
Renaissance du Mystère en Europe, fin XIXe – début XXe siècles, dir. Tatiana Victoroff &
Anne Ducrey, Strasbourg: Presses Universitaires de Strasbourg, 2015).

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3203 Room 3203 Sala 3203 Raum 3203
29-06

6.D. Pre-organised session – Aspects of Music Theory & Analysis Practices in


the Mediterranean Region: Italy, Cyprus, and Israel

2. Stefano Lombardi Vallauri


Libera Università di Lingue e Comunicazione IULM - Milano, Italy
stefano.vallauri@iulm.it

Interaction between Noisy Instrumental Timbre and Traditional Inter-


vallic Systems in Composers from Sicily, 1960-1985

Since the seminal festival “Settimane Internazionali Nuova Musica” (Palermo, 1960-
1968), contemporary Sicilian composers have strived to combine the musical traditions
of their cultural area (both popular and academic) with other trends emerging from
the rest of the world (namely the continental-Italian, German, French, and American
areas). Despite paramount differences, the styles of two major Sicilian post-tonal
composers, Salvatore Sciarrino (1947) and Federico Incardona (1958-2006), share
some important elements. Both derive from Franco Evangelisti and Sylvano Bussotti
the preferential use of noisy, marginal, impure instrumental timbres, integrating them
with intervallic choices that refuse the neutralization typical of multi-dimensional
serialism. Choosing some representative works by Evangelisti, Bussotti, Sciarrino,
and Incardona, my aim is to compare them from the main standpoint of timbral
analysis, as timbre is the dimension in which these composers mostly manifest their
adhesion to the dominant trends of contemporary composition. However, I will also
consider the intervallic systems on which they found their techniques, because in
this field they show significant affinities with pre-existing styles. The musical figures
constructed in the analysed pieces are inextricably timbral-intervallic figures. Despite
the modernity of style, the way in which timbre and intervals are elaborated is still
connected to the Italian and Mediterranean tradition.

Stefano Lombardi Vallauri is tenure-track Assistant Professor at the IULM University of


Milan. Besides studies on particular authors (Cage Evangelisti Bussotti Guaccero Sciarrino
Cappelli Galás Caprioli La Licata Incardona Di Scipio Romitelli Buccino), his research
covers the aesthetics and analysis of contemporary music, treating it as both a repertory of
works and a system of experience. He is author of the monograph Dodecafonia postseriale.
Gilberto Cappelli e Federico Incardona (2013), co-editor of the book Federico Incardona.
Bagliori del melos estremo (2012), editor of the theme issue Vectoriality/Protension in Post-
Tonal Music (2016), and editor of the scientific journal «Nuove Musiche».

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3208 Room 3208 Sala 3208 Raum 3208

6.E. Pre-organised session – Modal and Tonal Organization in Polyphonic

29-06
Compositions from the Late Middle Ages to the Early Baroque

2. Christophe Guillotel-Nothmann
Centre national de la recherche scientifique – Institut de Recherche en musicologie
(UMR 8223), France
christophe.guillotel@gmail.com

Tonal Coherence in Pre-Modal Polyphony. The Secular Repertoires of


the Ars Subtilior

Edward Lowinsky’s Tonality and Atonality in 16th century music (1962) brought new
insights into repertoires that, although anterior to harmonic tonality, do not seem to
refer to the octoechos modes. Lowinsky’s teleological approach is open to criticism
because it focuses on isolated tonal features without concern for their role in a larger
system and without considering the intrinsic characteristics of these works. Thus,
although the pretonal corpora, and especially the secular repertoire of the late Middle
Ages, have continued to attract attention, they still raise unanswered questions about
their tonal organization and relationships to modality. This paper studies the tonal
organization in a corpus of about 80 secular polyphonic works of the ars subtilior.
It aims at identifying the musical features by which tonal coherence is reached and
how these features evolve within the corpus with respect to musico-poetic forms,
stylistic tendencies and composers’ habits. A reading grid that takes into account the
exploitation of the diatonic system, vocal ambitus, melodic formulas, contrapuntal
writing and cadential points will help to examine the evolution of each parameter. It
will also bring to light properties of the underlying system established in synchrony
through the interaction of these various criteria. My talk will examine what these
features tell us about the work’s internal structures. The study will also show how
these criteria relate to what we think to know about modality and tonality of that
time.
Christophe Guillotel-Nothmann studied organ, improvisation, linguistics and musicology at
the Conservatoire National de Rueil-Malmaison, at the Université de Paris-Sorbonne and
at the Humboldt University, Berlin. He received his doctorate with a dissertation on the role
of the dissonance in the crystallization of tonal syntax. Between 2007 and 2014 he was a
lecturer at the Université Paris-Sorbonne. His research interests include computer-assisted
analysis, semiology, and the history of music theory of the 16th and 17th centuries. He has
received fellowships from the Herzog August Bibliothek Wolfenbüttel, the Max-Planck-Institut
für empirische Ästhetik and the Royal Society of Edinburgh. Since 2017 he holds a post-
doc position at the Centre national de la recherche scientifique – Institut de Recherche en
musicologie (UMR 8223).

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
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6.F. Pre-organised session – Quel futur pour la Formenlehre? Challenging


Recapitulatory Paradigms

2. Anne Hyland
University of Manchester, United Kingdom
anne.hyland@manchester.ac.uk

Processual Strategies in Schubert’s Earliest String Quartets: A Genera-


tive Response to Recapitulation

The string quartets Schubert composed before the end of 1815 display remarkable
consistency in their articulation of the moment of recapitulation. Of the nine quartets
attributed to this period, six first-movement sonatas can be described as being either
off tonic or engaging with Sonata Theory’s Type 2 strategies. In these movements,
Schubert’s deferral of the tonic until later in the recapitulation is a relatively stable
feature, and raises questions as to the role of tonal resolution, and our ability to
perceive this via the lens of existing Formenlehre. Employing Caplin’s theory of
formal functions, this paper analyzes the first movement of Schubert’s Quartet in D
major, D. 94, a movement which J.A. Westrup dismissed as being ‘so diffuse that it
is no longer possible to discern any form’. Like the first movements of the Quartets
D. 18 in G minor and D. 46 in C, this movement’s exposition ends in the tonic, and
the recapitulation commences in a key other than the tonic, in this case, bVII. Thus,
in these three movements, Schubert reverses the usual tonal principle of the sonata
such that a tonally static exposition is answered by a tonally mobile recapitulation:
the tonic requires a tonal counterbalance or resolution in the recapitulation. This
paper realizes the structural implications of this strategy. In particular, it focuses on
small-scale phrase structures and localized syntax via an analysis of the inter- and
intrathematic elements of the form. Ultimately, it demonstrates the ways in which
Schubert’s generative response to a tonic-orientated exposition represents a decidedly
processual approach to form, resonating with Janet Schmalfeldt’s philosophical
theory of early-nineteenth-century form.
Anne M. Hyland is Lecturer in Music Analysis at the University of Manchester and Critical
Forum Editor for Music Analysis. Her research has appeared in Music Analysis (2009 –
awarded the 25th Anniversary Prize of the journal), Music Theory Spectrum (2016), Rethinking
Schubert (OUP, 2016), Schubert’s Late Music: History, Theory Style (CUP, 2016), and The
String Quartet: from the Private to the Public Sphere (Brepols, 2016). She is the recipient of a
British Academy/Leverhulme Trust Research Grant for a project investigating an alternative
history of the String Quartet in Schubert’s Vienna. Her monograph on Schubert’s String
Quartets is forthcoming from Cambridge University Press.

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3206 Room 3206 Sala 3206 Raum 3206

6.G. Pre-organised session – Spectralism on the Margins: Spectral Ideas and

29-06
Intercultural Influence

2. Robert Sholl
Royal Academy of Music and The University of West London, United Kingdom
robertsholl@hotmail.com

Jean-Louis Florentz: Hospitality and Spectralism

Jean Louis Florentz (1947-2004) was in Messiaen’s class of 1971-72 (with Grisey,
Murail and Levinas). After Messiaen’s class, he forged a different path from his
fellows, recording musical sources in Africa and the Middle East. But it was from
Ethiopian liturgical music that Florentz created his own unique style of spectral
thought. This paper first shows how Florentz derives his system of 31 pentaphonic
modes from Ethiopian music with reference to the natural resonance of the harmonic
spectrum. In his unpublished treatise Hospitalité des mémoires (1995), Florentz
describes his modes as forms of “musical hospitality”, a “mask, through which I can
envisage a first “contact” with the other mode … and of which the transcription in our
occidental notation [solfège] gives the sensibility of the same face”. Florentz, I argue,
makes a “contact” with spectralism through sonographic representations and analysis
of sound spectra (in his Magniciat op. 3) and through his use of harmonics. I reveal
how he used the organ as a machine to inculcate fantasy harmonics in Laudes Op. 5
(1985), and analyze Chant des Fleurs (Laudes IV) to ask how these hold “the depth,
diversity and even the disparity” of the ‘globalized’ sources of Florentz’s conception
together.

Robert Sholl teaches at The Royal Academy of Music and The University of West London. He
has published on a wide range of twentieth-century music. He is the editor of Messiaen Studies
(Cambridge University Press, 2007), and Contemporary Music and Spirituality with Sander
van Maas (Routledge/Ashgate, 2016). He is currently translating the writings of Jean-Louis
Florentz. Robert studied with Olivier Latry, and has given recitals at the Madeleine, Notre-
Dame de Paris, Westminster Abbey, and at St Paul’s Cathedral. He is currently performing
all of Olivier Messiaen’s organ works at Arundel Cathedral, and he will be playing at Notre-
Dame again in Summer 2017.

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14 h 30-15 h 00 14:30–15:00 14.30 – 15.00 14.30–15.00
Salle 3202 Room 3202 Sala 3202 Raum 3202
29-06

6.H. Pre-organised session – Epistemologies of Music Theory and Analysis:


Sound and Timbre between Structure and Epistemic Construct

2. Nora Engebretsen
Bowling Green State University, United States of America
norae@bgsu.edu

Conceptualizing the “Perceptualization” of Timbre: Epistemic and


Analytic Reflections

Difficulties with music-analytical discussions of timbre are well known: timbre is


readily perceptible yet inherently ineffable; its aspects (spectral spread, envelope, etc.)
can be quantified, but its multi-dimensionality confounds; sounds’ physical properties
do not always conform to our experience them. Recent works by Rebecca Leydon
(2012) and David Blake (2012) forego objective approaches to timbre as physical
phenomenon, instead drawing upon phenomenological theory and ethnomusicologist
Cornelia Fales’ (2002) notion of the “perceptualization” of timbre—in Leydon’s words,
“the notion of timbre as a thing largely forged in the listener’s head”— to propose
discursive frameworks for timbral analysis based in Blake’s case on “contextually
meaningful, complementarily perceived adjectives” and in Leydon’s on a mapping
of spectral purity and noise onto concepts of spirituality and corporeality in works of
20th-century Western art music. This paper explores the epistemological assumptions
underlying characterizations of timbre 1) as subjectively constructed and experienced,
rather than objectively determined, and 2) as a bearer of musical meaning. Specific
questions center on negotiations of timbre’s perceptual and physical ontologies: What
concepts guide our perceptualizations of timbre and metaphoric mappings? To what
extent do these vary by context and experience? Do the same concepts apply in both
acoustic and electroacoustic contexts for all listeners, for example? Can meaning be
understood as fixed in relation to specific physical phenomena, and is this a necessary
condition for the development of a theory of timbral semiotics? Discussion will be
grounded through reference to analytical examples drawn from recent spectral and
electroacoustic compositions.
Nora Engebretsen is an Associate Professor of Music Theory and Chair of the Department
of Musicology, Composition and Theory at Bowling Green State University (Ohio, USA).
Her work has appeared in Music Theory Spectrum, Theoria, The Journal of Music Theory
Pedagogy, and collections published by Oxford University Press, Stockholm University Press,
and the University of Rochester Press. Her current teaching and research interests include
transformational theory, the history of theory in the 19th- and 20th-centuries, and the analysis
of time and timbre in post-1945 music.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

6.A. Pre-organised session – Modulation as Perceived by the Listener

29-06
3. Ivan Moshchuk
Academia Santa Cecilia (Rome, Italy), United States of America
ivan.moshchuk@gmail.com

1917: Modulating the World into a Different Key

Modulation longs for security - as listeners, musicologists, and performers we long for
the security of the TSDT functional cycle. At its core, modulation can be simplified
to a single event in three chords. However, there also exists the law of reverse effort,
which calls to mind the ancient and much-overlooked saying “whosoever would
save his soul shall lose it.” This paper is an exploration of this law in relation to
the psychological aspect of modulation, attempting to bridge the divide between the
insecurity of disrupted TSDT cycles and the listener’s quest for spiritual and intellectual
certainty. This paper examines two compositions completed during the key year of
1917 - Nikolai Medtner’s Forgotten Melodies Op. 38, and Sergei Rachmaninoff’s
Études-Tableaux Op. 39. Both opuses present challenges from a technical standpoint,
however, the true difficulty lies in understanding their ability to disrupt the functional
cycle TSDT and the subsequent effects this implies on the listener. In 1917, humanity
reached an incredibly high degree of insecurity and uncertainty. By examining the
insecurity of complex modulatory processes in the music of 1917 through the work of
Medtner and Rachmaninoff, we conceptualize a perspective of not only this turning
point in world history, but also the notion that this insecurity is the result of trying
to be secure. This music paves an example of a harmonic world where the normal
order is completely reversed, and attempts to articulate the paradox of how out of this
phenomenon arises a distinct sense of salvation and sanity.

Pianist Ivan Moshchuk has quickly become one of classical music’s most unconventional
emerging artists. A recipient of the 2010 Gilmore Young Artist Award, he has appeared
in concert on stages such as the Concertgebouw in Amsterdam and Merkin Hall in New
York. A tireless researcher, Moshchuk was invited to present his paper “Episodic aspects
of form in the music of Chopin and Rachmaninoff” at the 8th International Rachmaninoff
Festival-Symposium in Kharkiv, Ukraine. His article was published in the proceedings of
the conference in 2012. A graduate of the Peabody Institute in Baltimore and an alumnus of
the Cité Internationale des Arts in Paris, Ivan is currently pursuing an Artist diploma at the
Accademia Santa Cecilia in Rome, Italy.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5
29-06

6.B. Pre-organised session – Analyzing Models and Creativity in the Long


Eighteenth Century

3. Giorgio Sanguinetti
University of Rome – Tor Vergata, Italy
giorgio_sanguinetti@fastwebnet.it

Verdi and the Eighteenth Century Neapolitan Tradition

Methods and compositional models devised as teaching tools in the Neapolitan


conservatories shaped the minds of composers well beyond the long eighteenth
century. A composer such as Verdi, generally considered as the epitome of Romantic
opera, build his craftsmanship on the doctrines of his teacher, Vincenzo Lavigna
(1776 - 1836), who was a student of Fedele Fenaroli (1730 – 1818), who was a
student of Francesco Durante (1684 – 1755). Verdi was proud of his artistic ancestry,
as witnessed by many of his letters, and followed strictly the Neapolitan syllabus
in his teaching to his only student, Emanuele Muzio. Neapolitan techniques and
models also appear in his music throughout his career, first as basic tonal paradigms,
then consciously bent to express a dramatic content. Sometimes partimento models,
for dramatic purposes, appear stretched beyond their standard dimensions (as the
ascending 5-6 in La Traviata, Introduzione, act I). This paper aims to show that a
remarkable continuity existed beyond the borders we generally acknowledge, both
in music history and theory/analysis, and in particula, between continuo and classic-
romantic eras, and between absolute and dramatic music. I hope this continuity will
lead to a less schematic, more articulated perspective.

Giorgio Sanguinetti is associate professor for music theory at the University of Rome-Tor
Vergata. He published extensively on the history of Italian theory, Schenkerian analysis, form,
and opera analysis. In 2011 he organized the seventh Euromac conference in Rome. His book
The Art of Partimento. History, Theory and Practice (New York, Oxford University Press
2012) received in 2013 the Wallace Berry Award of the Society for Music Theory.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

6.C. Pre-organised session – Interpreting and Listening to the Music of

29-06
Debussy

3. Lukas Haselböck
University of Music and Performing Arts Vienna, Austria
haselboeck@mdw.ac.at

Expectancy Situations, Sound and Form in Debussy’s Nocturnes

The opening section of this paper probes the role of expectancy situations and sound
constellations within the framework of a perception-oriented analytical method. In
a further step, this is exemplified by an analysis of Debussy’s Nocturnes (1897–99):
In this work, Debussy refers to expectancy situations in many ways. Sometimes a
kind of ‘emptiness’ is dominating – motives, themes or even musical shapes are
missing. In other moments, rhythms, movements, motivic or sound constellations
‘grow’ – however, they often do not reach a final state. In situations like these, the
listener is confronted with the psychological state of ‘not yet’ – (s)he is waiting for
the completion of movement, melody or sound. Observations like these suggest a
critical questioning of the notion of ‘form’. Due to different reports and writings,
Debussy was indifferent to form as an abstract criterion. By keeping ‘horizons of
expectancy’ alife over a long time-span, he awakes a specific continuity of interest
which is fundamental for his psychological conception of form. In this context, one
of the crucial factors is the ambivalence of sound which is at the core of his music.
This specific sound quality and its relationship to form and listening is investigated
by using the software MIRtoolbox. By opening the analytical framework towards
aspects of expectancy and sound, the term ‘impressionism’ in its misinterpretation as
a kind of ‘static pointillism’ is re-evaluated.

Lukas Haselboeck studied musicology, composing and singing in Vienna. 1997 he completed
his dissertation about Max Reger. Since 2001 he is assistent professor for music analysis
at the university of music and performing arts in Vienna. He organized several symposia
and congresses, f.e. Friedrich Cerha-Symposion and Klangperspektiven (with Tristan Murail
and others). In 2009, his book Gérard Grisey: Unhörbares hörbar machen was published at
Rombach (Freiburg i.Br./Wien/Berlin). Additionally, Haselboeck composed music for voice,
chamber and orchestral music and two operas, he received several commissions (f.e. by the
Ensemble die reihe, Hugo Wolf String Quartet and sirene operntheater), and he is working as
a singer in vocal ensembles. See www.lukashaselboeck.com

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3203 Room 3203 Sala 3203 Raum 3203
29-06

6.D. Pre-organised session – Aspects of Music Theory & Analysis Practices in


the Mediterranean Region: Italy, Cyprus, and Israel

3. Massimiliano Locanto
Università degli studi di Salerno, Italy
mlocanto@unisa.it

Post-Tonal Harmonic Theories in Italy from the Beginning of the


Twentieth Century to Present Day. In Search of a Tradition

Italian theoretical writings on post-tonal harmony have so far been rarely (if ever)
taken into account as a whole in musicological literature. Most of them are little, if
at all, known outside of Italy. Only a few cases have been occasionally discussed
in some Italian articles and books. This is probably due to the seeming lack of a
distinctively Italian tradition in this area of music theory, and to the relative scarcity
of this type of studies in Italy, if compared to other national traditions. In this paper,
however, I will deal with a number of Italian authors – from the beginning of the
twentieth century to very recent times – whose nontraditional approaches to harmony,
albeit very different with regard to historical context, purposes and methods, seem
to share some distinctive traits. They also seem, to some extent, to be aware of each
other’s thought, as their quotations sometimes show. Several aspects of their theories
address, implicitly or explicitly, specific Italian repertoires of modernist and avant-
garde music. My paper will address these questions: can we speak of an “Italian
tradition” of harmonic post-tonal theory, and if yes, what are the common elements
and the distinctive traits of this tradition, also as opposed to other, more consolidated
and formalised music-theoretical traditions? What types of music and repertoires are
they intended for?

Massimiliano Locanto is associate professor in History of Music at the University of Salerno.


In 2003 he earned a PhD. in Musical Philology, with a dissertation on Igor Stravinsky’s
serial compositions. Since 2014 he taughts several courses in the 1st level Master in Music
Theory and Analysis of the Università degli Studi della Calabria. His research interests and
publications are in two distinct areas: the history of medieval monody — Gregorian chant,
liturgical tropes – and twentieth-century music, with a particular focus on the music of Igor
Stravinsky and on the relationship between music theories, compositional techniques, and
scientific thought.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

6.E. Pre-organised session – Modal and Tonal Organization in Polyphonic

29-06
Compositions from the Late Middle Ages to the Early Baroque

3. Anne-Emmanuelle Ceulemans
Université catholique de Louvain (Louvain-la-Neuve), Belgium
anne-emmanuelle.ceulemans@uclouvain.be

Lasso, Meier, Powers. The Reality of the Modes under Scrutiny

Since Bernhard Meier’s publication of Die Tonarten der klassischen Vokalpolyphonie


(1974), the role played by the modes in 16th-century music has been highly debated.
Do they constitute an a priori compositional system comparable to harmonic tonality,
as Meier believed? Are they an a posteriori classification system, as has been sustained
by Harold Powers? This contribution attempts to answer these questions through the
analysis of two cycles by Orlando di Lasso: the Psalmi Davidis poenitentiales (1584)
and the Lagrime di San Pietro (1595). In order to assess Lasso’s vision of the modes,
both cycles are subjected to a detailed analysis of tessituras and cadential turns. In
this corpus, Lasso’s view of modes turns out to be shared by many contemporary
theorists. Nevertheless, Lasso felt free enough to compose an a-modal work too. The
motet Vide Homo, which finishes the Lagrime cycle, cannot be linked with any mode.
It clearly shows how independent modes and counterpoint can be from each other.
Counterpoint is self-sufficient and does not need modes. Through these analyses, I
will try to show that Meier and Powers both developed an incomplete and somehow
one-sided view on 16th-century modes. Meier ascribed them a key role they did not
necessarily fulfill, whereas Powers underestimated their possibly structural impact in
compositional practice.

Anne-Emmanuelle Ceulemans is a professor at the Université catholique de Louvain at


Louvain-la-Neuve and at the Institut de musique et de pédagogie at Namur. She also serves
as curator of string instruments at the Brussels Musical Instruments Museum. Her research
focuses on music theory and analysis, especially as these relate to early music, as well as the
organology of string instruments and musical iconography.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
29-06

6.F. Pre-organised session – Quel futur pour la Formenlehre? Challenging


Recapitulatory Paradigms

3. Jonathan Guez
The College of Wooster, United States of America
jguez@wooster.edu

A Theory of Tonal Alterations in Sonata Recapitulations

Despite differences in critical alignment, studies of sonata-like structures tend to


share one feature in common: they devote the least amount of time to recapitulations.
Two theoretical presuppositions may explain this neglect: (1) that the thematic layout
of the recapitulation mirrors that of the exposition, and (2) that one obligatory tonal
alteration is all that is needed to make a tonic-recapitulating sonata conclude in the
key in which it began. This paper uses examples from Schubert’s recapitulations
to problematize the second of these presuppositions in hopes of painting a more
complete, and analytically adequate, picture of the ways tonal alterations are made in
practice. I use Schubert’s recapitulations as a lens through which to view the range
of strategies employed by common-practice composers to enact a sonata’s obligatory
tonal adjustment. My approach to the analysis of musical form is informed by the
taxonomic and narrative style of Hepokoski and Darcy. I identify six possible strategies
for making tonal alterations and describe their effects on the recapitulation in musico-
dramatic terms. The strategies are: alterations in silence, immediate alterations, thick
alterations, multiple alterations, impotent alterations, and self-effacing alterations.
Tonal alterations may be obligatory in sonatas with on-tonic recapitulations, but they
are not for that reason deployed by composers pro forma. Indeed, Schubert and others
composed them in sophisticated and dramatically appropriate ways. If we have been
tempted to gloss over them, this is because the range of strategies for making them
has not yet been sufficiently excavated.

Jonathan Guez is Assistant Professor at the College of Wooster in Wooster, Ohio. He earned
the PhD at Yale University, where his dissertation, “Schubert’s Recapitulation Scripts,”
was co-advised by Patrick McCreless and James Hepokoski. His research interests include
recapitulations, the New Formenlehre, Schubert, and text-music relations. His articles and
reviews have appeared in the Journal of Schenkerian Studies and Music Analysis, and will
soon appear in Music Theory Spectrum, Music Theory Online, and a collected volume entitled
Drama in the Music of Franz Schubert, published by the University of Rochester Press.

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15 h 00-15 h 30 15:00–15:30 15.00 – 15.30 15.00–15.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

6.G. Pre-organised session – Spectralism on the Margins: Spectral Ideas and

29-06
Intercultural Influence

3. Amy Bauer
University of California, Irvine, United States of America
abauer@uci.edu

Spectral Aesthetics and Ecological Listening in the Music of Helena


Tulve

The Estonian composer Helena Tulve’s (b. 1972) compositions are informed by
natural patterns and processes, as expressed in music of surpassing timbral richness
and textural complexity. Orchestral works such as Sula (1999) record a crystalline,
organic world in constant change, while her vocal works weave influences from non-
Western oral traditions with contemporary, early music and folk traditions. These
influences meld in a music that prioritizes “slowness”: a sustained focus on sonic
detail as an ethical and aesthetic choice, one that echoes spectral aesthetics as well
as the composer’s ecological concerns. This paper analyzes Tulve’s unique timbral
process—and reconcile it with her use of indigenous instruments—in Sula and
L’Équinoxe de l’âme for soprano, triple harp or kannel, and string quartet (2008).
The title Sula—to thaw or melt—has both literal and allegorical resonance. As it
expresses the gradual erosion of an iceberg by global warming it does so through
the subtle transformation of musical ideas, sound colors, articulations and dynamics,
L’Équinoxe de l’âme (The Equinox of the Soul), by contrast, evoke sparks bursting
into flame, emblematic of an aesthetic in which “Everything has its color, as well as
sound.” My analysis shows how melodic layers and the registral placement of tones
are determined by the qualities of the “sound material” and its natural expression
in space. Tulve’s sonic transformations are shown to resist simple representational
narratives of form in favor of sustained, ecological listening that attends to music as
a natural process and sonic event.
Amy Bauer is Associate Professor of Music at the University of California, Irvine. She received
her PhD in music theory from Yale University, and has published articles in Music Analysis,
The Journal of Music Theory, Contemporary Music Review, Indiana Theory Review, and Ars
Lyrica, and book chap­ters on the music of György Ligeti, Olivier Messiaen, Carlos Chávez,
David Lang, the television and issues in the philosophy and reception of modernist music.
Her monographs include Ligeti’s Laments: Nostalgia, Exoticism and the Absolute (Ashgate,
2011) and the collections György Ligeti’s Cultural Identities (Routledge: forthcoming), co-
edited with Márton Kerékfy and The Oxford Handbook of Spectral and Post-Spectral Music
(Oxford, forthcoming), co-edited with Bryan Christian.

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6.H. Pre-organised session – Epistemologies of Music Theory and Analysis:


Sound and Timbre between Structure and Epistemic Construct

3. Alessandro Bratus
Università di Pavia, Italy
alessandro.bratus@gmail.com

Form as Timbral Mapping: Process Ontologies for Recorded Popular


Music

In the fifth chapter of her recent book Reconceiving Structure in Contemporary


Music, Judy Lochhead analyses Kaja Saariaho’s piece Lohn using timbral mapping
to conceptualize its structure. She identifies moments of salience in the temporal
unfolding of music as the result of “a confluence of elements of events in interacting
planes” that produces specific timbral phenomena (Lochhead 2015: 119). The
inseparability of form and sound in recorded popular music could be a relevant case
in point to address such a topic. This is particularly clear in the collaboration between
the producer and the performer, where they work to establish sets of recognizable
sonic signatures affecting both the aural dimension of the listeners and the structural
development of the tracks. As a case study, I will focus on the partnership between
Rick Rubin and Johnny Cash for the American Recordings series (1994-2010). The
analysis of the songs will take into considerations a number of parameters, and a
number of analytical approaches will be applied in order to define salient moments
as the result of convergence between different musical dimensions. This paper will
represent a contribution to two areas of theoretical reflection: a closer integration
between traditional and software-based analytical tools in order to supplement
questions regarding sound, performance and mediatisation in the agenda of music
analysis, as well as the evaluation of timbral phenomena as crucial for the perceptual
aspects of musical form.

Alessandro Bratus received his PhD in Musicology in 2009 from the University of Pavia,
where he is currently is Senior Lecturer in popular music. His teaching and research
activities are focused on analytical approaches to music and aundiovisual media in Anglo-
American and Italian popular culture since the 1960s. He has published on musical and
media experimentation in popular music, on the structural relationship between musical form
and meaning, and on the trope of authenticity in contemporary media. He currently serves
as a member of the Advisory Board of the GATM (Italian Study Group for Music Theory and
Analysis) and is the editor of Analitica: Online Journal of Music Studies.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

6.A. Pre-organised session – Modulation as Perceived by the Listener

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4. Miloš Zatkalik
University of Arts in Belgrade, Serbia
mzatkali@eunet.rs

Psychoanalytic Reflections on Modulation

Psychoanalytic explorations in music, from Ernst Kris, Heinz Kohut, to Stuart


Feder, to Gilbert Rose and my own research, point to isomorphism between musical
structures and processes on the one hand, and unconscious primary processes on
the other, and demonstrate the role of primary process mechanisms (condensation,
displacement, fragmentation) in various aspects of music (thematic procedures, large-
scale formal processes, elaborations of fundamental structures etc.). Little research,
however, has focused specifically on modulations from that vantage. The present
paper aims to shed light on the ways in which different modulation strategies relate
to the unconscious mind. The psychoanalytic perspective on modulation is itself
multifaceted. As examples from Mozart, Franck and Bartok will show, modulation
can be viewed as an interplay between id, ego and superego, or between primary
and secondary processes; its effects can be experienced as traumatic splitting and
integration, loss and its denial; recurring tonalities are akin to the return of the
repressed content, and so on. Of special interests are moments of modulation, as they
involve condensation as a basic primary mechanism. Insofar as we accept – as some
psychoanalysts argue – that all art invites a degree of fusion of subject and object, we
can better understand the powerful effects of music, and modulation in particular, on
the listener. Moreover, the very process of psychotherapy/psychoanalysis can involve
moments comparable to modulations. The paper also feeds back into psychoanalytic
theories, providing support for the claim that both the creation and reception of music
invoke the most archaic strata of human psyche, and more generally points to the
capability of human mind to fluctuate between primary and secondary processes.

Miloš Zatkalik, composer and music theorist, professor at the University of Arts in Belgrade.
For several years visiting professor at universities in Novi Sad, Kragujevac and Banjaluka
(Bosnia and Herzegovina). Lectured by invitation at universities and music academies in
Canada, Norway, Germany, the USA, Slovenia and Australia. Research interests include
analysis of 20th-century music; relationships between music and literature; psychoanalytic
aspects of music analysis. Recent publications include a book on post-tonal prolongation, and
is currently writing a book on goal-oriented processes in post-tonal music.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

6.B. Pre-organised session – Analyzing Models and Creativity in the Long


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Eighteenth Century

4. Vasili Byros
Northwestern University, United States of America
v-byros@northwestern.edu

(Re)Creating Bach’s Weimar Organ Fugues: Model-Learning,


Externalization, and Conceptual Combination in Musical Creativity

Though never explicitly presented as studies in musical creativity, schema and


partimento research have tacitly advanced a theory of the creative process in the
long eighteenth century, one centered on the close imitation of models or schemata.
Because every composer of the period presumably worked with the same models, a
lacuna remains in our understanding of musical creativity—namely, how composers
as aesthetically and stylistically diverse as Bach, Mozart, and Beethoven were cut
from the same schematic cloth as a Leo, Locatelli, and Galuppi. This paper closely
examines the problem by theorizing the relationship of models to creativity, following
research in creative cognition. Bach’s Weimar organ fugues in D, G, and A minor
(BWV 538, 542–543) serve as case studies, whereby music analysis becomes a
means of (re)enacting the creative compositional act. The investigation pivots on two
key themes in creativity studies: 1) models/schemata are not internalized in the same
way by all members of a culture (Vygotsky 1978), but rather are already learned in a
creative manner, which subsequently leads to their original use and appropriation; 2)
original contributions in a given domain rely not on the mere imitation of models, but
rather on deep-level analogies among them, which allows for conceptual combination/
blending. I combine creative cognition research with historically contextualized
analysis of musical scores and pedagogical documents.

Vasili Byros (PhD, Yale University, 2009) is Associate Professor of Music Theory and Cognition
and Chair of the Music Studies Department at Northwestern University. He researches the
compositional and listening practices of the long 18th century, drawing on music theory,
history, and cognitive and social psychology, in order to reconstruct “insider” perspectives
on music of the period. His work combines viewpoints from schema theory, Formenlehre,
topic theory, and historical pedagogies. He has published in Music Analysis, Music Theory
Online, Eighteenth-Century Music, The Oxford Handbook of Topic Theory (ed. Danuta
Mirka), Musica Humana, Theory and Practice, and What is a Cadence? (ed. Markus Neuwirth
and Pieter Bergé). Byros is currently working on a book that examines musical creativity in
the long 18th century from his perspective as a period composer.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

6.C. Pre-organised session – Interpreting and Listening to the Music of

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Debussy

4. Simon Trezise
Trinity College Dublin, Ireland
strezise@tcd.ie

Desperately Seeking a “Debussy style” in the Performance of the


Orchestral Music

In a period when particularity in performance rapidly dwindles into generality, this


paper casts a critical eye over Debussy performance in recent decades. The precept
is that close attention to detailed readings of contemporary sources, such as exist for
music of the Classical period, leads performers to modify their performances so as
to create a style that they consider suitable for music of the period. As these readings
become reflexive the performances take on general, non-specific characteristics;
they merge back into the broad stream of performance. For the most part Debussy’s
music has not been subject to close reading by theorists or practitioners of historically
informed performance. Nevertheless, there existed in the years following his death
performers informed of his preferences in performance, such as his preoccupation
with nuance. Their knowledge might be broadly construed as the basis of a ‘Debussy
style’ of performance. This paper asks where the rivers and tributaries of Debussy
performance have taken us in the last few years. Has the tendency been towards
generalised music making with little attention to specific qualities suited to the
composer and his period? Focusing on the orchestral music, I ask if there is still (and,
inevitably, if there has ever been) a Debussy performance style for the orchestral
music.

Simon Trezise is an Associate Professor of Music at Trinity College Dublin. He wrote his
doctorate for Oxford University on the subject of Schoenberg’s Gurrelieder. Since then he has
often specialised in French music, especially on Debussy. He is the author of a monograph on
La mer and editor of Cambridge University Press’s Debussy Companion. He also edited the
recently published companion to French Music, also for Cambridge University Press. Other
writings include work on performance practice studied through recordings. With a colleague
at Trinity College he is currently editing a volume on silent-film music for Routledge. Other
interests include Wagner, Elgar, the Hollywood musical, and performance practice in general.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
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6.D. Pre-organised session – Aspects of Music Theory & Analysis Practices in


the Mediterranean Region: Italy, Cyprus, and Israel

4. Vasilis Kallis
University of Nicosia, Cyprus
kallis.v@unic.ac.cy

The Role of Cultural Constraints in the Development of Music Theory


and Analysis in Modern Cyprus
As of today, the praxis of music theory and analysis in Cyprus (Greek speaking side)
exists as three parallel, yet not interrelated modus operandi:
• Applied theory for students who attend private music schools
• Theory and analysis as offered in the state musical high-schools
• Theory and analysis as scholarly discipline practiced by scholars at tertiary
institutions or independently.
These parallel universes simply coexist. They do not interact with each other,
and they remain partially independent of each other in terms of their objectives and
operations. The primary aim of this paper is to address these universes and examine
the causes that gave rise to, and the conditions that sustain their existence. Inevitably,
the focus will be on scholarly music theory and analysis and its interaction with
relevant music institutions and practices within and outside Cyprus. More specifically,
I consider the objectives and practices of the aforementioned three universes, address
their interrelationship or its lack thereof, and project them onto the historical and
cultural background of modern Cyprus. To maintain the perspective on scholarly
music theory and analysis, I will offer a reflection on questions such as
• What kind of scholarly music theory and analysis is practiced in Cyprus?
• Is there a relationship between art composition and music theory/analysis?
• Has modern Cyprus had any interaction with European musical ‘schools’ in the
20th century?, and
• Does scholarly music theory and analysis have a role in the music education
system of Cyprus.
Holder of a Ph.D. in Music Theory from the University of Nottingham and an MA in Music
Theory from Queens College (CUNY). Between 1999 and 2007 he taught at the University of
Nottingham and the University of Macedonia, Greece. Currently, he is an Associate Professor
of Music Theory at the University of Nicosia. His research interests include pitch organization
in twentieth-century music, non-diatonic scales, popular music, form and formenlehre,
Scriabin and Debussy. He has published in internationally renowned journals such as Music
Analysis, MTO, and Rivista di analisi e teoria musicale. Kallis has also contributed four
articles to the entry ‘Cyprus’ in the Grove Music Online, and a chapter on art composition in
Music in Cyprus (Ashgate Publishing).

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

6.E. Pre-organised session – Modal and Tonal Organization in Polyphonic

29-06
Compositions from the Late Middle Ages to the Early Baroque

4. Daniele Sabaino 4. Marco Mangani


Università di Pavia, Italy Università di Ferrara, Italy
daniele.sabaino@unipv.it marco.mangani@unife.it

Is Modality still a Compositional Tool in Monteverdi’s 1610 Mass?

The Mass for six voices that opens Monteverdi’s Vespro della Beata Vergine (1610)
is, already in its author’s intention, an expert essay in prima pratica compositional
style. This intention was well understood by p. Martini, who wrote that a comparison
of the Agnus Dei from this Mass with the madrigals by the same author clearly
reveals how in the former counterpoint stands out much more than expression of
words («Vedrassi chiaramente che in esso più tosto che l’espressione delle parole
risalta l’arte del contrappunto»: Esemplare, 1774).The Mass is a parody of Nicolas
Gombert’s motet In illo tempore loquente Iesu (1539). As far as tonal organization is
concerned, Gombert’s motet and Monteverdi’s Mass are both written in the tonal type
g2 [natural] C, whose modal representation, in an emic perspective, is anything but
straightforward. In fact, if there are no reasons to suppose that Gombert could have
adhered to the 12-mode system (which had not yet been theorised when he composed
the motet), such an adherence is sure and well documented in the case of Monteverdi.
Facing this discrepancy between the modal points of reference of the two composers,
the paper aims therefore to investigate:
• whether the different modal attributions of Gombert’s motet and Monteverdi’s
Mass has consequences on the tonal organisation of the former;
• whether and to what extent, for Monteverdi, modality is (still) a compositional
tool at work in the interpretation of the intoned text as well as of the parodied
piece.
Daniele Sabaino is professor of Modality and Medieval Notation at the Department of
Musicology and Cultural Heritage of the University of Pavia/Cremona. He has published
historical, philological and analytical essays on music from the Middle Ages to the 17th
century, on Juan Caramuel Lobkowitz and on past and present relationships between music
and liturgy.
Marco Mangani, formerly researcher at the Faculty of Musicology of the University of Pavia/
Cremona, is now associate professor at the Department for Humanities of the University of
Ferrara. He has written essays on Renaissance polyphony and on Italian instrumental music
of the 18th and 19th centuries, and a book on Boccherini.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
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6.F. Pre-organised session – Quel futur pour la Formenlehre? Challenging


Recapitulatory Paradigms

4. Andrew Aziz
San Diego State University, United States of America
aaziz@sdsu.edu

Et Tu, Debussy and Ravel: fin-de-siècle Recapitulations, 1890-1925

Following the Franco-Prussian War of 1870-71, French composers—particularly


Saint-Saëns, Franck, Fauré, and d’Indy—began to compose works in a musical
form that had to that point been associated almost exclusively with Teutonic
composers: the sonata. The next generation of French composers experimented
with the form’s thematic and harmonic dimensions, highlighting the recapitulation
in particular as a potential source of dramatic meaning. Among them, Debussy and
Ravel experimented with sonata forms in “abstract” and “programmatic” genres.
I approach these pieces through the lens of listener expectation: because the titles
of programmatic works do not imply sonata forms, such works paint their sonata
pictures, as it were, on a blank canvas. In the programmatic works (Debussy’s “Par
les rues et par les chemins,” “Fêtes,” L’isle Joyeuse; Ravel’s Jeux d’eau, “Ondine,”
“Scarbo”) coherent expositional rotations are formed by well-defined thematic areas
and clear modulations to secondary keys. The recapitulations of these programmatic
pieces, however, are atypical: they are often truncated, or the rotation is subjected to a
neutral formal function called “resetting of the formal compass”—marked by a wash
of sound, often containing a symmetrical scale—that swaps thematic order. In the
abstract works (Debussy’s String Quartet, Cello Sonata, and Violin Sonata; Ravel’s
String Quartet, Piano Trio, and Violin Sonata), expositions often do not modulate as
prescribed by the external sonata template (“generic clash”), while recapitulations do
provide this large-scale tonal contrast (“generic restoration”), previously unfulfilled
by the exposition. These new concepts are essential to the fin-de-siecle formal toolbox.
Andrew Aziz (b. 1985) is currently serving as Assistant Professor of Music Theory at San
Diego State University, having previously served on the faculties of Brown University, Rhode
Island College, and Florida State University. He completed his Ph.D. at the Eastman School
of Music in 2013, he earned his B.A. from Brown University (2007). After completing his
dissertation on form and genre in Debussy and Ravel, his interests veered in several directions,
including Classical and Romantic form, mathematical applications, theory pedagogy, and the
discography of Billy Joel--presenting on these and other topics at SMT, MTSNYS, MTSMA,
NECMT, and EuroMAC, among others. He has published articles and reviews in Music
Theory Online, Journal of Music Theory Pedagogy, and Sonus.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

6.G. Pre-organised session – Spectralism on the Margins: Spectral Ideas and

29-06
Intercultural Influence

4. Nicole Grimes
University of California, Irvine, United States of America
ngrimes@uci.edu

Giving Voice to Spectralism: Donnacha Dennehy and the Embodiment


of Sound

This paper analyses a new approach to spectral composition in Donnacha Dennehy’s


Grá agus Bás and Aisling Gheal. Dennehy uses spectral techniques to analyse overtone-
derived material of sean-nós songs based on anonymous eighteenth-century poetry.
The juxtaposition of microtonal variation of sean-nós song and new timbres resulting
from spectral analysis of the human voice determines the timbre of these works.
Dennehy cites Vivier as exerting the strongest influence on his spectral thought. Yet
he also acknowledges the impact of French spectralists. Beyond the use of transitory
and electronic phenomena, there is an affinity in the approach to ethnicity of Grisey
and Dennehy who discuss issues of imperialization and decolonisation of ethnic
musics. For Dennehy, ethnicity is manifest in the ancient art of sean-nós singing:
the spectral analysis of the grain of Iarla Ó’Lionáird’s voice distils the irreducible
vocal trace that serves as the compositional basis of something more potent. This
bears the emotional complexity and the dark undertones of fraught sexuality in these
poems and allows the composer to amplify the affective essence of the originals. I
interrogate the cultural diversity of these works and explore the physicality of the
human voice that gives rise to these compositions.

Nicole Grimes is Assistant Professor of Music at the University of California, Irvine. Her
research is focused at the intersection between nineteenth- and twentieth-century German
music criticism, music analysis and music aesthetics. She is particularly fascinated by the
intertextual relationship between music and philosophy, and music and literature on which
she has published widely. Her books include Mendelssohn Perspectives (2012 ed. with Angela
Mace), and Rethinking Hanslick: Music, Formalism, and Expression (2013, ed. with Siobhán
Donovan and Wolfgang Marx). She is in the final stages of writing a monograph called
Brahms’s Elegies: The Poetics of Loss in German Culture. She serves on the Editorial Board
of Music Analysis and is a member of the Board of Directors of the American Brahms Society.
Her work on spectral music and on the music of Donnacha Dennehy marks the beginning of
a new research project.

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16 h 00-16 h 30 16:00–16:30 16.00 – 16.30 16.00–16.30
Salle 3202 Room 3202 Sala 3202 Raum 3202
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6.H. Pre-organised session – Epistemologies of Music Theory and Analysis:


Sound and Timbre between Structure and Epistemic Construct

4. Alessandro Cecchi
Università di Pisa, Italy
alessandroxcecchi@gmail.com

Music as Sound Process: Kurth’s Bruckner and the Timbral Insider

Historically, the role of timbre and other aspects of music as sound have received
scarce attention in Western art music theory and analysis. It is commonly accepted
that Adorno was perhaps the first, during the late 1950s and 1960s, to consider timbre
as a relevant, even constructive parameter of music in his writings on Wagner and
Mahler. An earlier exception, dating back to the mid 1920s, was Ernst Kurth, having
devoted considerable attention to music as an overall sound process and particularly to
timbre and instrumental density in Bruckner’s symphonies. This idiosyncratic theorist
proposed that the special focus on the interrelation of timbre, density, texture, register
and dynamics is pivotal to grasp the innovative dimension of Bruckner’s symphonies.
Kurth’s position implied an unprecedented epistemological construction of music as
sound that relied on metaphysical assumptions leading to an overemphasis of timbre
and density to the detriment of other parameters. Aim of this paper is to rethink
Kurth’s approach in the light of recent epistemologies of music as sonorous unfolding
in time and a listener’s experience. In this framework, the use of software will help
to visualize, through spectrograms of recorded Bruckner’s symphonies, elements
emerging from Kurth’s analytical insights. In so doing, the paper encourages the
cross-fertilization of sound studies and Western art music studies.

Alessandro Cecchi is lecturer in musicology at the University of Pisa. After his diploma
in piano he graduated in philosophy at the University of Florence and gained his PhD in
musicology at the University of Pavia. Subsequently he has held research fellowships in
the Universities of Siena, Turin and Pavia. His main articles have been published in Studi
musicali, Il Saggiatore musicale, Music Sound and the Moving Image. He is the editor of the
“Schenker’s Formenlehre” special issue of the Rivista di Analisi e Teoria Musicale (XXI/2,
2015). He currently is involved in the scientific committee of the GATM (Gruppo Analisi e
Teoria Musicale), and serves as editorial board member in Analitica (GATM) and Archival
Notes (Fondazione Giorgio Cini, Venice).

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3201 Room 3201 Sala 3201 Raum 3201

6.A. Pre-organised session – Modulation as Perceived by the Listener

29-06
5. Panel discussion

Modulation as Structure and as an Act

Idlar Khannanov
Peabody Institute, Johns Hopkins University, United States of America

Dimitar Ninov
Texas State University, United States of America

Ivan Moshchuk
Academia Santa Cecilia, Italy, United States of America

Milos Zatkalik
University of Arts in Belgrade, Serbia

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5
29-06

6.B. Pre-organised session – Analyzing Models and Creativity in the Long


Eighteenth Century

5. Nicholas Baragwanath
University of Nottingham, United Kingdom
nicholas.baragwanath@nottingham.ac.uk

Bungled Schemata, Accent, and Class Prejudice in Haydn’s ‘Joke’


Quartet

Haydn’s music forms a significant part of the core repertoire for analyses that draw
upon Gjerdingen’s theory of Galant-style schemata (2007). According to this theory,
Haydn’s music can be understood to consist of chains of more or less normative
schemata, which interact with tonal and formal frameworks regarded as conventional
for their time and place. In this paper, I investigate the application of conventional
schemata in Haydn’s Quartet Op. 33/2 (1781), in search of a hermeneutic interpretation
plausibly supported by music analysis. By pairing schemata with topic theory and
sociolinguistics, I explore various levels of meaning. The schemata evident in the
string quartet will be set in dialogic relation to contemporary norms, to establish
degrees of correspondence and variance. Questions will be asked about apparently
incorrect schemata and answers will be sought in topic theory and sociolinguistics.
Haydn’s Op.33/2 appears to indulge in a musical kind of social critique. Identifying
deformations to conventional schemata and considering them in relation to topics,
styles, and accents, may offer a method for supporting hermeneutic interpretations of
eighteenth-century music through analysis.

Nicholas Baragwanath is Head of Music at the University of Nottingham. His research covers
a wide range of topics from the Baroque to the present day. He has published on music theory
and history from 1600, especially Italian; nineteenth-century opera; Haydn; Mozart; Wagner;
Berg; Puccini; music analysis; and critical theory. He received the Westrup Prize in 2006 for
an article on ‘Musicology and Critical Theory’ and the Emerson Prize in 2014 for a chapter
on Mozart’s early sonatas. He is also an experienced broadcaster and regularly writes and
presents material for BBC Radio 3.

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

6.C. Pre-organised session – Interpreting and Listening to the Music of

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Debussy

5. Panel discussion

Interpreting and Listening to the Music of Debussy

Benedikt Leßmann
Universität Wien, Austria

Benjamin Lassauzet
GREAM, France

Lukas Haselboeck
University of Music and Performing Arts Vienna, Austria

Simon Trezise
Trinity College Dublin, Ireland

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3205 Room 3205 Sala 3205 Raum 3205
29-06

6.D. Pre-organised session – Aspects of Music Theory & Analysis Practices in


the Mediterranean Region: Italy, Cyprus, and Israel

5. Panel discussion

Italy, Israel and Cyprus: Identifying Intrinsic Elements, Addressing


Diversity and Continuity

Liran Gurkiewicz
Independent researcher, Israel

Stefano Lombardi Vallauri


Libera Università di Lingue e Comunicazione IULM, Italy

Massimiliano Locanto
Università degli studi di Salerno, Italy

Vasilis Kallis
University of Nicosia, Cyprus

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3208 Room 3208 Sala 3208 Raum 3208

6.E. Pre-organised session – Modal and Tonal Organization in Polyphonic

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Compositions from the Late Middle Ages to the Early Baroque

5. Panel discussion

Modal and Tonal Organization in Polyphonic Compositions

Nicolas Meeùs
SBAM - IReMus, Belgique

Christophe Guillotel-Nothmann
Centre national de la recherche scientifique - IReMus, France

Anne-Emmanuelle Ceulemans
Université catholique de Louvain, Belgium

Daniele Sabaino
Università di Pavia, Italy

Marco Mangani
Università di Ferrara, Italy

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4
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6.F. Pre-organised session – Quel futur pour la Formenlehre? Challenging


Recapitulatory Paradigms

5. Rebecca Perry
Yale University, United States of America
rebecca.perry@yale.edu

Vanishing S Themes: Recapitulatory Truncation in Prokofiev’s Early


Instrumental Concertos

Prokofiev’s sonata expositions often proceed in seemingly formulaic accordance with


eighteenth-century models, leading most commentators to dismiss his formal process
as unimaginative and unfit for close scrutiny. While these views are in step with
the largely exposition-focused nature of the New Formenlehre’s conceptualization
of sonata form, they give short shrift to Prokofiev’s often unpredictable treatments
of post-expositional material, overlooking the manner in which his development and
recapitulation sections often swerve wildly from the expected Anlage. This paper
investigates one of Prokofiev’s strategies for creative recalibration of the development
and recapitulation, namely the post-expositional erasure of all references to the
secondary theme. I probe the structural and hermeneutic effects of this strategy in the
first movement of his Piano Concerto No. 2 (1913) and third movement of his Violin
Concerto No. 1 (1917). While the strategy of truncating the recapitulation through
omission of the secondary theme had a number of precedents in European sonata
practice, Prokofiev at times took this practice to extremes, eliminating the secondary
theme from all-post expositional space and thus obscuring the thematic layout to the
point of structural ambiguity.The analyses featured here will be shown to have larger
theoretical implications, pointing up the need for more contextually and historically
sensitive adaptations of the New Formenlehre that customize Hepokoski and Darcy’s
notion of “norm” and “deformation” for the analysis of early twentieth-century sonata
repertories.

Rebecca Perry recently received her Ph.D. in Music History from Yale University. Her
dissertation, entitled “Thematic Idiosyncrasy in Prokofiev’s Early Sonata Forms,” explores
unorthodoxies of form and thematic process in Prokofiev’s early instrumental music. She has
published in Music Theory & Analysis and presented at annual meetings of the Society for
Music Theory, American Musicological Society, New England Conference of Music Theorists,
and Music Theory Midwest. This fall she will begin as an Assistant Professor of Music Theory
at Lawrence University.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3206 Room 3206 Sala 3206 Raum 3206

6.G. Pre-organised session – Spectralism on the Margins: Spectral Ideas and

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Intercultural Influence

5. Panel discussion

Analysis at the Crossroads of Different Traditions, Methodologies and


Concepts of Sound

Alexandra Monchick
California State University, Northridge, United States of America

Robert Sholl
Royal Academy of Music and The University of West London, United Kingdom

Amy Bauer
University of California, Irvine, United States of America

Nicole Grimes
University of California, Irvine, United States of America

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16 h 30-17 h 00 16:30–17:00 16.30 – 17.00 16.30–17.00
Salle 3202 Room 3202 Sala 3202 Raum 3202
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6.H. Pre-organised session – Epistemologies of Music Theory and Analysis:


Sound and Timbre between Structure and Epistemic Construct

5. Martin Scherzinger
New York University, United States of America
scherzinger@nyu.edu

Against Timbre, Harmony (The Case of African Music)

The valorization of African sonic timbre has a long history. For example, various
ethnomusicologists have associated the timbre of matepe and the mbira dza vadzimu
with the spiritual cosmology of the Shona. Mbirists frequently report that their
instruments issue sounds unplayed by them, as if inhabited by spirits. Performers
such as Forward Kwenda and Dumisani Maraire, for example, report that the mbira
should be played in a way that is directed by the ancestral spirits alone; encouraging
a hands-off approach approach to performance, in order to permit the music, in the
words of Hakurotwi Mude “to sound like a flute”. Ethnomusicologists connect the
rich harmonics of these instruments with accounts by performers about the way mbira
“voices” speaks back to them by soliciting sounds beyond the imagination of a single
human player or voice. This paper argues, in contrast, that the encounter between
the Euro-industrial musical ear and certain kinds of African music tends to valorize
its timbre and rhythm in ways that may bear little relation to empirical realities. As a
result, the audile attentiveness to timbre and rhythm alone tends to hear right through
melodic and harmonic processes attendant to this music, in particular their fractal-
like logic.

Martin Scherzinger works on sound, music, media and politics of the twentieth and twenty-
first centuries, with a particular focus on music of Europe, Africa, and America, as well
as global biographies of sound and other ephemera circulating in geographically-remote
regions. The research includes the examination of links between political economy and
digital sound technologies, poetics of copyright law in diverse sociotechnical environments,
relations between aesthetics and censorship, sensory limits of mass-mediated music,
mathematical geometries of musical time, histories of sound in philosophy, and the politics
of biotechnification. He is associate professor of Media, Culture and Communication at New
York University.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


17 h 00-17 h 45 17:00–17:45 17.00 – 17.45 17.00–17.45
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

7.A. Semi-plenary talk

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Rudolf Rasch
Utrecht University, United States of America
r.a.rasch@uu.nl

A Paradigm for Studying the Transition from Modality to Tonality in the


Seventeenth Century

The system of the twelve modes – the “modal system” -- provides useful schemes for
the analysis of tonal structures of sixteenth-century polyphony, while the conventional
“tonal system” of the 24 keys (tonalities) does so for the music of the eighteenth and
nineteenth centuries. But what about the music of the seventeenth century? Should
we approach this form the point of view from the modal system or from the tonal
system? Both are possible and it is no news to say that seventeenth-century music
operates in a transition area between the modal and the tonal system. But the two
systems have basically different starting points, are how is a transition from the one
to the other system possible? I my lecture I will propose a paradigm to describe this
transition and to illustrate the transition with examples from musical repertoires and
theoretical writings.

Rudolf Rasch is a musicologist and taught for many years theory and history of music at
the Department of Musicology of Utrecht University (Utrecht, Netherlands). Among his
various interests are the musical history of the Netherlands, music theory, the history of music
printing and publishing, and the works of composers such as Corelli, Vivaldi, Geminiani and
Boccherini. He has published books, articles and editions related to these topics. He was
the editor of Music Publishing in Europe: Concepts and Issues, Bibliography (Berlin 2005)
and Understanding Boccherini’s Manuscripts (Newcastle, 2014). He is the General Editor of
Francesco Geminiani: Opera Omnia, published by Ut Orpheus Edizioni (Bologna).

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17 h 00-17 h 45 17:00–17:45 17.00 – 17.45 17.00–17.45
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5
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7.B. Semi-plenary talk

Tania Tsaregradskaya
Gnesins Russian Academy of Music, Russia
Tania-59@mail.ru

Musical Gesture as a Means of Composition in Recent Music: some


Observations

In recent decades musical gesture became a hot object of study, as exemplified by


the 2016 Porto International Conference on “Musical gesture as creative interface”.
My concern in this presentation will be to attempt to outline a classification of
musical gestures in recent classical music. According to Albrecht Schneider (2010),
“motional and gestural qualities of music have been known since antiquity”, but in
the sphere of contemporary classical composition musical gesture has been discussed
by composers since 1963 (Luciano Berio, Del gesto e di Piazza Carità). Further this
concept was employed by P. Boulez, B. Ferneyhough and many other composers,
including Russian authors (Schnittke, Gubaidulina). Today we have a considerable
amount of musical data presenting musical gesture in compositional practice. Using
R. Hatten`s definition of gesture as “energetic shaping through time that may be
interpreted as significant”(2006) and taking into account that such energetic shaping
may be “translated” into music in different forms and through different mediums I
propose a classification of such mediums for musical gestures based on corporeality
factors: tactility, eyesight, muscle tension. Fragments of works by different composers
were observed via which to explain some of the qualities of musical gesture in
the score. Combining composers` statements, their own understanding of musical
gesture in their music with technical analysis makes possible to question the nature
of musical gesture and track its compositional possibilities.

Tatiana Tsaregradskaya lives in Moscow and teaches at the Gnesins Russian Academy of
music. She graduated from the same Academy as a musicologist (studied with prof. Natalia
Goulyanitskaya) and pianist (studied with prof. Valentina Zvereva). Since postgraduate studies
contemporary music has been the main object of her interest. She received her PhD with a
dissertation on music of Boulez, Stockhausen and Babbitt (full title: “Comparative study of
compositional methods of P. Boulez, K. Stockhausen and M. Babbitt”). Recent studies include:
music analysis methods (particularly J. J. Nattiez`s works), contemporary music theory. Her
main publication is “Rhythm and time in the music of Olivier Messiaen” (Moscow, 2002, in
Russian). Next book (“Musical gesture in contemporary music”) is in press.

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17 h 00-17 h 45 17:00–17:45 17.00 – 17.45 17.00–17.45
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

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7.C. Semi-plenary talk

Mario Baroni Anna Maria Bordin


University of Bologna, Italy Conservatory of Genoa, Italy
mario.baroni34@gmail.com annamaria.bordin@conspaganini.it
Antonio Grande Luca Marconi
Conservatorio of Music, “G. Verdi” - Conservatory of Pescara, Italy
Como, Italy lucammarconi@libero.it
antonio.grande@conservatoriocomo.it
Egidio Pozzi
Calabria University, Italy
egidiopozzi53@gmail.com

Performance and Analysis: An Empirical Research on the Interactions


between Analysts and Performers

The analysis of performance can normally take into account two different methods
and aims: an analysis of the score useful for a performance and an analysis of the
performance itself, which is often carried out with the support of technological means.
A form of empirical research with the aim of investigating the possible interactions
between an expert of theory and analysis and a professional performer has not so far
been developed. The nature of this interaction is the focus of the present proposal.
It was conceived by GATM, the Italian society of analysis and theory of music,
which launched a call for participation in Italian Conservatories and Universities.
The project has the intent of deepening the knowledge of such interactions not from
psychological or social points of view but in order to catch the most relevant and
effective modalities of communication between the members of the pair. For this
reason we requested a specific working method based on a recording of the discussions
and of the different productions both of the analyst and the performer in the various
phases of their relationships. The project was accepted by RAMI (an association for
musical and artistic research) and involved 8 pairs of not only single participants:
21 musicologists and musicians from 10 Conservatories (Bologna, Cagliari, Como,
Castelfranco, Ferrara, Genoa, Novara, Pescara, Turin, Trento), 4 Universities (of
Calabria, Venice, Bologna, and Graz in Austria) and 2 other institutions (Teatro
Comunale and Fondazione Liszt in Bologna).

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Mario Baroni was full professor, and former director, in the Department of Music of the
University of Bologna. For many years he guided the section of Systematic Musicology in
the Doctoral School of the same University. He has now retired. In 1990 he founded the
Italian association for the analysis and theory of music (Gruppo Analisi e Teoria Musicale).
He was one of the promoters of the foundation of ESCOM (European Society for the Study of
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Cognitive Aspects of Music), and president for three years of this society. He has published
works on music analysis, emotional aspects of music experience, social impact of music,
methodology of music education and historical topics, particularly of 20th century music.

Anna Maria Bordin has graduated from the “Musik-Akademie” Basel with honors and has
carried out an intense concert activity. Professor of piano and head of the Department of
Research of the Conservatory Paganini of Genoa, she is author of two books and numerous
articles. He has collaborated with the University of Pavia as part of a Master of Psychology of
Music and she has planned and conducted a ten years experimentation on the piano training
of a young autistic. She spent the last ten years researching in the fields of theoretical and
applied methodology of piano teaching.

Antonio Grande teaches analytical subjects at the Conservatory of Music “G. Verdi” in Como
(Italy) and in Postgraduate Courses at the University of Calabria (Italy). He is member of
the scientific committee of GATM (Group for Music Analysis and Theory) and copy-editor
of its journal (RATM). He has published two books: “Il moto e la quiete” on temporal
aspects in music (Aracne, Rome, 2011), and “Lezioni sulla Forma Sonata. Teoria e Analisi”
(Universitalia, Roma) as well as papers on journals as Analisi (Ricordi), Spectrum (Curci),
Ratm (Lim). Recently he has been invited for an Erasmus programme on neo-riemannian
theory to the Yasar University of Izmir (2014) and the Latvijas Muzikas Akademija of Riga
(2016).

Luca Marconi teaches “Music Pedagogy” and “History of Popular Music” in the “Luisa
D’Annunzio” Conservatory of music in Pescara (Italy). He wrote some publications on the
relationships between musical communication and the analysis of music; among them, he
wrote the volume Musica Espressione Emozione (CLUEB, Bologna, 2001) and, with Gino
Stefani, the book La melodia (Bompiani, Milano, 1992). He edited, together with Roberto
Agostini, a monographic issue of the “RATM” (the review of the Italian “Gruppo di Analisi
e Teoria Musicale”) on the analysis of popular music.

Egidio Pozzi. Associate Professor of Musicology and History of Music at the University
of Calabria. Since 2012 he is President of the Group of Analysis and Music Theory and
participates in research sessions, seminars and round tables in various public institutions. He
has written articles on musical hermeneutics and interpretation, on western classical music
and on analytic methodologies, among which Schenkerian analysis. Towards an organic
interpretation of musical structure (LIM), written in 1995 with William Drabkin and Susanna
Pasticci (1999, second edition). In 2007 he published the volume Antonio Vivaldi (L’Epos).
Since 2014 he is Director of Master in Music Theory and Analysis, organized by the University
of Calabria and by other prestigious Italian musical institutions and foundations.

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


18 h 00-19 h 30 18:00–19:30 18.00 – 19.30 18.00–19.30
Hall du Patio – Lobby of Patio – Atrio del Patio – Halle des Patio –
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

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Careers Forum
Forum convenor: Dr Nathalie Hérold, member of the EuroMAC 9 Organising
Committee, secretary of SFAM, member of GRÉAM

The ‘Careers Forum’ is intended for all EuroMAC 9 participants interested in


professional and career development in the field of music analysis and theory. In the
context of an academic research that operates today increasingly across international
borders, the main aim of the forum is to provide support to young researchers (doctoral
researchers, post-doctoral researchers, early-career professionals) in music analysis
and theory to improve their career prospects, including those who are just starting with
an academic (or even non-academic) professional activity. The Forum would like to
offer a platform for dialogue between young and experienced researchers, covering
topics such as the international job market and the different types of recruitment
processes, as well as the organisation of the different national systems in the field of
higher education and research – including conservatoires, music academies, music
colleges, etc.
Entry hall of ‘Le Patio’ building – Stands of the European (and non-European)
societies for music analysis and theory (18:00–19:30)
The stands of the different European (and non-European) societies for music analysis
and theory are intended for informal discussion and free dialogue between the
forum’s participants and representatives of the societies. Senior society members will
be present at each stand to answer questions, but also to offer – if desired – feedback
on the CVs and cover letters brought along by the forum’s participants.
– GATM stand: Dr Alessandro Bratus, Prof. Catello Galotti, Prof. Antonio Grande
– GMTH stand: Prof. Gesine Schröder
– OTM stand: Dr Ildar Khannanov, Prof. Tatiana Tsaregradskaya
– PTAM stand: Prof Sławomira Żerańska-Kominek, Prof Iwona Lindstedt, Prof.
Renata Skupin
– SBAM stand: Prof. Nicolas Meeùs
– SFAM stand: Dr Jean-Michel Bardez, Prof. Jean-Marc Chouvel
– SMA stand: Prof. Julian Horton, Dr Kenneth Smith
– VvM stand: Dr Michiel Schuijer
– CAMT stand: Dr Sanja Kiš Žuvela, Dr Ingrid Pustijanac
– SMT stand: Prof. Maureen Carr, Dr Catherine Losada

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Amphithéatre Cavaillès – Practical workshops


Simultaneously, three senior researchers will conduct methodological sessions in the
form of practical workshops devoted to professional and career issues in a European
and international context. Each workshop will be given twice in order to work in
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smaller groups and to allow participants more flexibility to visit the stands of the
European (and non-European) analysis societies.
– Workshop 1 (18:00–18:15 and 18:15–18:30)
• Topic: Writing an abstract to answer a call for papers
• Speaker: Prof Sigrun Heinzelmann (Universität Mozarteum Salzburg, vice-
president of GMTH)
– Workshop 2 (18:30–18:45 and 18:45–19:00)
• Topic: Drafting a CV and cover letter to apply for a job offer
• Speaker: Prof Massimo Privitera (University of Palermo)
– Workshop 3 (19:00–19:15 and 19:15–19:30)
• Topic: Exploring funding opportunities for research projects
• Speaker: Dr Philip Stoecker (Hofstra University, secretary of SMT)

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Jeudi 29 juin Thursday, 29 June Giovedì 29 giugno Donnerstag, 29. Juni


20 h 30-22 h 30 20:30–22:30 20.30 – 22.30 20.30–22.30
Auditorium de la Auditorium of the Auditorium della Auditorium der
Cité de la musique Cité de la musique Cité de la musique Cité de la musique
et de la danse et de la danse et de la danse et de la danse

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Concert of Les Percussions de Strasbourg

This concert will feature a performance of Hugues Dufourt’s Burning Bright by the
city’s famous ensemble Les Percussions de Strasbourg. It will be introduced by the
composer and followed by an open discussion with the performers.
A pioneer of spectral music, Hugues Dufourt (b. 1943) is a leading figure in the
musical and intellectual milieus in France and internationally. He is also a reputed
musicologist and philosopher who worked until retirement as director of research at
the French National Centre for Scientific Research (CNRS).
For more information, please consult the page on Hugues Dufourt on the IRCAM
website: http://brahms.ircam.fr/hugues-dufourt#bio.
Les Percussions de Strasbourg is a world-renowned contemporary music ensemble
comprising a core of six percussionists. Burning Bright was commissioned by the
ensemble and received its first performance in 2014. A recording of the work was
released on 10 November 2016. The Percussions de Strasbourg are also involved in a
wide range of pedagogical outreach programmes both in France and abroad.
Please visit the website of Les Percussions de Strasbourg:
http://www.percussionsdestrasbourg.com.
Address of the Cité de la musique et de la danse: 1, place Dauphine, 67000 Strasbourg.
To get from Le Patio to the Cité de la musique et de la danse, please see p. 427.

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IXe congrès européen d’Analyse musicale

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 00-09 h 05 09:00–09:05 09.00 – 09.05 09.00–09.05
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

1. Mario Mazzoli
Graduate Center of the City University of New York, United States of America
mario.mazzoli@gmail.com

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Emerging Musical Structures. Techniques for the Transcription and
Analysis of Electroacoustic Music

This presentation illustrates a method for transcribing electroacoustic music, and


subsequently a number of methods for its analysis, utilizing the transcription as main
ground for investigation. The research targets pieces that are particularly resistant to
traditional musical analysis.The piece Audible Ecosystems 3b, by Italian composer
Agostino Di Scipio serves as a case study to demonstrate the efficacy of the developed
techniques. The methods proposed combine objective measurements with perceptual
data, and existing procedures of musical notation and analysis with the author’s
own intuitions. The transcription is the result of the attempt to generalize methods
used by B. Fennelly, S. Roy, and P. Couprie, and consists of a graphical score that
uses only three main symbols and is very close in layout to a traditional score. For
analytical purposes three original concepts are introduced: the “dominance patterns”,
the “density patterns”, and the “instability index”. The first two track the presence
and evolutions of specific sounds throughout the piece in order to provide statistics-
based structural schemes, while the last tracks the transformations in the perceived
tension at any given moment or passage in the piece. The resulting data are illustrated
in graphs that allow to show similarities between small-scale and large-scale patterns.
Assuming that certain perceptual mechanisms are akin to all musical styles, the
ultimate goal of this research is that of showing how and what kind of local and
large-scale organizational patterns can emerge by listening to electroacoustic music.

Mazzoli’s research has focused on Italian Opera, on post-tonal music, and more recently on
the transcription and analysis of Electroacustic Music. During his years as doctoral student
he taught at Queens College, NY, and worked as desktop publisher for many academic
publications. In 2009 he moved to Berlin, where he founded Galerie Mario Mazzoli, an art
gallery focusing on Sound Art. Besides his activity as gallerist, Mazzoli continues his research
on contemporary music, writes music for multimedia and produces short and feature films.
Mazzoli holds a B.M. in piano performance, a B.M in Film Scoring from Berklee College of
Music, a M.A. in composition from the City College of New York, and a Ph.D. in music theory
from the City University of New York.

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Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 05-09 h 10 09:05–09:10 09.05 – 09.10 09.05–09.10
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

2. Zdenek Skoumal
Kwantlen Polytechnic University, Canada
zdenek.skoumal@kpu.ca
30-06

Janáček’s Rhythmic Freedom

Janáček’s approach to rhythm is relatively free; the music displays rhythmic flexibility
that gives his compositions special vitality. It engenders a sense of freshness and
unpredictability in the context of remarkable rhythmic designs. This presentation
looks at excerpts from three late works to demonstrate how Janáček’s rhythmic
freedom generates profound text-music relationships in his vocal music and rhythmic
conflict in his instrumental music. The first song from Diary of One Who Vanished
employs uneven rhythmic groupings and changing rhythmic placement of motives,
both characteristics apparently determined by the text. The third movement of the
wind sextet Mládí utilizes a built-in 2-vs.- 3 conflict which intensifies as the piece
progresses and introduces a somewhat humorous element. The third movement of
the Second String Quartet introduces a rhythmic displacement which allows the
first violin to gain temporary rhythmic independence and express the composer’s
exuberance over his muse Kamila.
The excerpts point to an inherent rhythmic complexity of Janáček’s compositional
thinking, a feature facilitated by his free approach to rhythm. While the characteristic
appears to be innate—appearing in some form even in Janáček’s earliest
compositions—it would have been reinforced by contact with Czech folk music and
the music of his contemporaries. It became an essential component of Janáček’s late
masterpieces.

Zdeněk Skoumal is a Canadian music theorist that specializes in nineteenth-and twentieth-


century music, Schenkerian analysis, and text/music relationships, with particular attention
to the music of Leoš Janáček. He has published articles on the music of Janáček and Liszt
and is currently completing a book on the musical language of Janáček. He studied at the
University of British Columbia and City University of New York and teaches at Kwantlen
Polytechnic University in Langley, British Columbia.

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Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 10-09 h 15 09:10–09:15 09.10 – 09.15 09.10–09.15
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

3. Rodolfo Moreno
Universidad Autónoma de Aguascalientes, Mexico
rrmoreno68@yahoo.com.mx

30-06
Harmonic syntax and vocabulary in tonal music

One of the principles of tonal theory is that of harmonic syntax. This principle
proposes a specific logic order of chords in any harmonic progression; this specific
order is proper to tonal music, which happened in Europe from about the end of the
17th century until the beginning of the 20th century. A common question is about
the origin of such syntax in tonal harmony; the result of harmonic analysis applied
to the appropriate repertoire provides sufficient information to build and develop an
adequate concept of tonal harmonic syntax, from which the functional syntax tonic-
predominant-dominant-tonic has been established. This presentation has as a goal the
exposing of the results of a theoretical and analytical work in a critical way, with the
aim to obtain direct information on which to build an accurate concept of harmonic
syntax of chords (stufen).
The repertoire chosen for this purpose is the four-part chorales by J. S. Bach, due
to its importance in the teaching of harmony. To efficiently organise the syntactic
information provided by the harmonic analysis, the Markov Chain was used. This
mathematical model organises the information in such a way that allows making
predictions based on the analysis’ results; the product is a list of events ordered in pairs
that include the ‘present event’ and the ‘possible future event,’ with its corresponding
number of occurrences along the entire harmonic progression.

Rodolfo R. Moreno is Associated Professor at the Department of Music of the Universidad


Autónoma de Aguascalientes (UAA), having received his B.F.A. (Music) from Concordia
University and his M.A. (Music Theory) from McGill University, in Montreal, Canada.
He is preparing a book on harmonic syntax and harmonic vocabulary. He is the author of
El Concepto de Cadencia en el Siglo XIX: La Cadencia en el Sistema Teórico de Moritz
Hauptmann (2013) and John Dowland’s Seaven Teares: A Thorough Theoretical Analysis
(2017). Professor Moreno is co-editor of the book Educación Musical Universitaria. Filosofía
y Estrategias (2016). At the UAA, he coordinates the Music Theory and Analysis Area and
co-organises the International Seminar on Tertiary Music Education.

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Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 15-09 h 20 09:15–09:20 09.15 – 09.20 09.15–09.20
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

4. Hannah Pell
University of Graz, Austria
hannah.pell@fulbrightmail.org

Applications of Systematic Musicology in Music Theory and Analysis


30-06

Music theory is a “systematic” discipline in that music theorists systematically


apply analytical methods to uncover structural patterns within musical works and
understand listener subjectivity. Systematic Musicology is a collection of sub-
disciplines concerned with the how and the why of music -how it works from
different perspectives, and why. Within this field, scholars utilize empirical methods
to further comprehend the musical experience. Although the specific methods vary
between music theorists and systematic musicologists, the future of the music-
theoretical discourse will be shaped by implication of scientific methodologies and
interdisciplinary epistemological inclusion. Recognizing the values and benefits of
interdisciplinary approaches to modern questions in musicology is key for the future
development of music theory.
Systematic musicology has always been relevant for music theory and analysis,
and productive interactions are frequent. For example, music psychologists may
employ empirical methods to understand the experience of physically realized
musical structures, whereas music theorists may apply their music experience to the
systematic investigation of musical structures based on musical scores. Additionally,
a substantial amount of literature from which music-theoretical ideas have emerged is
rooted in “systematic” disciplines, such as physics, computer science, or neuroscience.
For this poster, we survey the subdisciplines of systematic musicology, focusing
on their music-theoretical relevance and consider recent specific applications of each
subdiscipline to music theory as well as possible future applications. On this basis,
we ask how a potential shift towards a more “systematic” or “scientific” approach
could influence the development of music theory as a discipline.
Hannah Pell is an American Fulbright Scholar studying Systematic Musicology at the
University of Graz and working as an English Teaching Assistant. In 2016, Pell graduated
from Lebanon Valley College in Annville, Pennsylvania with Bachelors’ degrees in Music
and Physics. In music, she focused on music theory and oboe performance. As a Fulbright
grantee, Pell aims to further understand how we can incorporate scientific methodologies
and ideologies into the music theory domain. Pell has given talks on topics in both physics
and music at various conferences in the U.S., including locations within Pennsylvania,
Washington, D.C., New York, and Louisiana. She has been admitted to the Master’s program
in Music Theory at the University of Oregon starting in Fall 2017.

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Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 20-09 h 25 09:20–09:25 09.20 – 09.25 09.20–09.25
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

5. Elena Zhurova
Department оf culture, Moscov Children’s School of art Named after N.G.
Rubinstein Head of Theoretical Department, Russia
pianoplay@mail.ru

30-06
An Approach to Analysis in the Context of Theory of Musical Content:
Holistic Analysis-Interpretation

The paper addresses the issue of lacking of comprehensive scope in analysis of a


musical work, which is the result of the flaws of traditional structural-grammatical
approach. The repertoire under consideration is not limited to any style or period.
Moreover, this method, an interdisciplinary project par excellence, presupposes the
connections between music, literature, visual arts and historic narrative.
The suggested solution presupposes the integration of structural-grammatical
with the new so-called “content-meaning analysis” [Russ. soderzhatel’no-smyslovoi
analiz]. This method belong to a new paradigm of Russian musicology—the theory of
musical content (described in a chapter “A Watershed in Analytical Tradition: Valentina
Kholopova’s Theory of Musical Content” in L’Analyse musicale aujourd’hui.).
This paper presents the features of a new course “Musical Content” and clarifies
its interaction with other courses and disciplines of music theory and performance.
The author provides the algorithm of its realization in various institutions and the
evaluation of its pedagogic effectiveness.

Candidate of Pedagogical Sciences, Head of the Music Theory Department of the Moscow
N.G. Rubinstein School for the Arts, Board member of the Society for Music Theory of Russia,
Coordinator of the project of the Moscow State P.I. Tchaikovsky Conservatory of implementing
the theory of musical content into musical education in Russia. Sphere of scientific interests:
introduction of musicological innovations in tutorial and educational process of Children’s Art
School by means of modern pedagogical technologies; new directions of musical pedagogic,
psychology and art pedagogic and information and communication technologies. The author
of 35 research articles and publications.

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 25-09 h 30 09:25–09:30 09.25 – 09.30 09.25–09.30
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

6. Grace McNab
Capilano University, Canada
gmcnab@capilanou.ca

Organic Transcription as an Embodied Artistic-Analytic Process


30-06

Organic transcription is a live process of drawing music as it unfolds in time,


producing expressive, analytical art. Embodying rhetorical and organic metaphors
for musical structure, the analyst sets constraints that code drawing elements to
musical behaviours within chosen parameters. “Organic transcription” was named
for the lively engagement of the music by the analyst, who mimes what is heard with
physical gestures, at once spontaneous and regulated, to capture specific types of
musical information on paper, canvas, computer screen or other surface.
As well, “organic” evokes the animated, recursive, branched or limbed appearances
transcriptions can take on in response to music with polarities, compromised
symmetries, and recursive sub-division. (For example, in 18 th or 19 th -century,
western tonal music, classical sonata-form narratives spawn vibrant, loosely fractal
forests of sentential trees, hair-splitting liquidation trailers, and looping cadential
vines.)
For music theorists, organic transcription can offer concise and flexible ways of
representing non-linear musical processes. Multiple musical paths can run straight,
or loop, spiral, wrinkle, splice, nest, and converge in response to progressive, cyclic,
reminiscent, elided, interpolated, parenthetical and climactic, musical events. If a
nostalgic memory or a grand apotheosis is musically imaginable, it may be image-able
through organic transcription. Performers can gain fresh, improvisatory, compositional
perspectives from the act of organic transcription. The process of drawing out unique,
synoptic, conceptual scores may support internalization of repertoire, leading to the
delight of regenerating (rather than reciting) music in performance.
Grace McNab (M. Mus., U.B.C., 1982) is theorist and pianist with a background in other arts,
including architecture, drawing, painting, and the Brazilian martial art, Capoeira. Since
1989, she has taught music theory in the jazz and classical music programs at Capilano
University, serving as Coordinator of Jazz Studies from 1997 to 2012; her teaching,
compositions and improvisations reflect this dual influence. In recent years, Grace has been
exploring a synthesis of music analysis with physical movement and visual design - a project
called “Musical Nature: Making Art of Music Analysis”. In the classroom, she is working
with colour, font and score layout to convey theoretical information to students in visually
concise and musically evocative ways.

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Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 30-09 h 35 09:30–09:35 09.30 – 09.35 09.30–09.35
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

7. Julian Bennett Holmes


Mannes College, Manhattan School of Music, United States of America
jb7845@msmnyc.edu

30-06
In Defense of Augmented Intervals

Certain intervals have a bad reputation. Augmented seconds and fourths, most often,
are targeted by theory teachers and textbooks as something students should avoid in
their writing. But as I will show, not all augmented seconds and fourths deserve this
bad reputation. Many scholars have examined other musical “no-nos,” — Heinrich
Schenker, Carl Schachter, and even Johannes Brahms himself, for example, have
studied parallel fifths in tonal music — but none has yet looked at augmented
intervals specifically. Augmented seconds in particular are noted for the “foreign” or
“exotic” effect they may lend to a passage of music. But not all augmented seconds
have this effect, and I will use examples from Bach, Beethoven, Schumann, and
more to show what causes one augmented second to sound “exotic,” and what causes
another to blend right into the composer’s usual, “Western” harmony, often as merely
a byproduct of an ordinary harmonic or melodic event. After I describe what causes
an augmented second to fall into one category or the other, I will define a number of
different classes of “hidden” or “integrated” augmented seconds.
I use structural, Schenkerian analysis, as well as formal and functional-tonal
analysis to examine the passages in question and to make these determinations.

Julian Bennett Holmes is a composer and theorist from New York City. As an undergraduate,
he studied composition at Mannes College with Lowell Liebermann, and theory with Robert
Cuckson. As a graduate student at the Manhattan School of Music, he studies with Richard
Danielpour. His work as a theorist focuses on interval theory, chant and organum, and modal
theory. He has received awards including the second prize at the Seventh International
Antonín Dvořák Composition Competition, the Bohuslav Martinů Orchestral Composition
Prize (presented by Mannes College), and others.

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 35-09 h 40 09:35–09:40 09.35 – 09.40 09.35–09.40
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

8. Abril Padilla
GREAM, France
abril.padilla@labexgream.com
30-06

Une analyse pluridisciplinaire de Guero de Helmut Lachemann

Si Guero (1969) fait partie des œuvres emblématiques de la période où Helmut


Lachenmann conçoit sa « musique concrète instrumentale », aucune analyse
approfondie ne lui a été consacrée. Le fait que Lachenmann continua à se produire en
tant qu’interprète de cette étude jusqu’en 2011, donnant lieu à des enregistrements,
souligne l’intérêt porté par le compositeur à cette œuvre. Lorsque le compositeur
demande à l’interprète de considérer le piano comme un meuble, nous avons à faire
à un objet musical complexe, défini par son auteur non pas comme une « pièce
musicale » mais comme une « situation ». Cette analyse de Guero cherche à montrer
l’impact des pratiques d’expérimentation en musique contemporaine (techniques
d’écriture, interprétation musicale), ainsi que la place de l’écoute (du compositeur et
de l’auditeur) à travers l’analyse de ses performances.
L’aspect pluridisciplinaire de ce travail concerne aussi bien l’analyse acoustique
des principes mis en jeu dans l’œuvre, que l’analyse des conduites de l’écoute
(Delalande, 2013), l’analyse des interprétations (Lalitte, 2015) et d’un point de vue
anthropologique, le recours au concept énoncé par le sociologue Bruno Latour sur
l’acteur-réseau. Ce dernier nous fait prendre conscience d’une écologie existante, qui
inclut l’objet d’étude et le sujet au même temps. Il s’agira plutôt du questionnement
de la méthode que de la recherche d’un résultat univoque.

Abril Padilla est compositrice et doctorante en musicologie et anthropologie à l’Université de


Strasbourg, sous la direction de Pierre Michel et Patrick Ténoudji. Actuellement doctorante
contractuelle au Labex GREAM. A la suite d’un prix d’acoustique musicale au CNSMDP
et d’un prix de composition électroacoustique à l’Ecole Nationale de Musique de Pantin,
elle poursuit ses études de composition à la Haute Ecole de Musique de Bâle avec Erik
Oña. Lauréate de plusieurs concours de composition, ses oeuvres ont été jouées en France,
Allemagne, Suisse, Espagne, Italie, Amérique du Sud.

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IXe congrès européen d’Analyse musicale

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 40-09 h 45 09:40–09:45 09.40 – 09.45 09.40–09.45
Amphithéâtre Cavaillès Anfiteatro Cavaillès Hörsaal Cavaillès
Cavaillès Lecture Hall

8. Poster

9. Sanja Kiš Žuvela


University of Zagreb, Music Academy, Croatia
sanja.kiszuvela@yahoo.com

30-06
The Language(s) of Contemporary Music Analysis

The 20th century left behind an astonishing number of music theory treatises, analytical
theories and compositional practices that use a large set of newly-coined special terms.
They often migrated together with their smiths introducing new concepts to different
language communities. The terms and their respective concepts developed and
changed in new contexts, gradually diverging from their initial contents, influenced
by local analytical traditions, terminologies as well as compositional practices.
Migrating composers and analysts were often compelled to express their ideas in a
non-native language, which not only challenged their expressive potential, but also
modified their conceptualization of music. A contemporary music scholar has to deal
with a diversity of semantic variation within his field. The aim of the research is to
show variation in terminology usage based upon a specialized corpus of 20th century
music analysis literature in various European languages. The main frameworks
of the research are the prevailing standards used in contemporary terminological
databases to determine evaluation and translation criteria for musical terms under
consideration. The terms are extracted from the specialized 20th century corpora
consisting of various musicological referential publications, music analysis treatises,
textbooks and compositional theories. The epistemological fields to be considered are
music theory and analysis, as well as contrastive linguistics and sociolinguistics. The
research is a part of a larger terminology standardization project (www.conmusterm.
eu) aimed to developing a multilingual terminological database.

Sanja Kiš Žuvela is an associate professor of systematic musicology at the University of


Zagreb, Music Academy, Department of Musicology. Born in Zagreb, she graduated from her
hometown university with an MA Degree in Music Theory and an MSc Degree in Musicology.
She received her PhD in Interdisciplinary Humanities from the University of Split. Her principal
research interests include 20th century music, relationship between music and visual arts and
problems of contemporary musical terminology. She is the author of various analytical texts
which include a book, The Golden Section and the Fibonacci Sequence in 20th Century Music
(Zagreb 2011).

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 45-09 h 50 09:45–09:50 09.45 – 09.50 09.45–09.50
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

10. Emmanuel Leguy 10. Richard Groult


Centre de Recherche en Informatique, Laboratoire Modélisation, Information,
Signal et Automatique de Lille – Systèmes – Université de Picardie Jules
Université de Lille, France Verne, Amiens, France
30-06

emmanuel@algomus.fr richard@algomus.fr
10. Mathieu Giraud
Centre de Recherche en Informatique,
Signal et Automatique de Lille –
Université de Lille, France
mathieu@algomus.fr

Une application web interactive pour l’analyse musicale

Le patrimoine musical peut se valoriser et s’étudier grâce à des outils numériques, que
ce soit à destination des spécialistes (musicologie systématique ou algorithmique),
mais aussi pour les apprenants et le grand public. L’analyse musicale, aujourd’hui
pratique musicale autonome, a une longue histoire d’interaction avec la pédagogie,
notamment en matière de composition, et peut aujourd’hui se pratiquer dans une
démarche d’humanités numériques. Nous présentons une application permettant
d’annoter des partitions et de comparer des analyses avec un simple navigateur web.
Fruit d’une collaboration entre informaticiens de l’équipe Algomus (Lille, Amiens)
et musicologues, l’application représente des éléments rentrant en jeu dans l’analyse
de partitions tonales, tels que motifs, structures, fonctions harmoniques et cadences.
Nous proposons en exemple des éléments d’analyse des 24 fugues du premier livre du
Clavier bien tempéré ainsi que de quelques quatuors à cordes des périodes classique
et romantique. L’application web est disponible en licence libre pour faciliter sa
diffusion, sa réutilisation et sa réappropriation par d’autres, chercheurs, pédagogues,
musiciens ou mélomanes. Nous espérons qu’elle facilitera une pratique démocratisée
et collaborative de l’analyse musicale.

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IXe congrès européen d’Analyse musicale

Emmanuel Leguy est ingénieur d’études au centre de recherche en informatique, signal


et automatique (CRIStAL, UMR 9189) de l’Université de Lille. Il a plus de quinze ans
d’expérience en conception et en développement d’applications informatiques au service de
la recherche. Au sein de l’équipe d’informatique musicale Algomus, en collaboration avec le
laboratoire MIS de l’UPJV, il travaille sur la modélisation, la visualisation et l’interaction
avec des partitions annotées. Il est le principal développeur de la plateforme web d’Algomus
pour l’analyse musicale.

Richard Groult est maître de conférences en informatique dans le laboratoire MIS à


l’Université Picardie Jules Verne (Amiens) depuis 2006. Ses recherches actuelles portent
notamment sur l’informatique musicale, au sein de l’équipe Algomus, en collaboration avec
le laboratoire CRIStAL de l’Université de Lille. Il travaille en particulier sur des algorithmes
d’analyse de forme et de structure (fugue, forme sonate) et sur la modélisation d’analyses

30-06
musicales. Richard Groult travaille également sur des thématiques d’algorithmique du texte.

Mathieu Giraud, chargé de recherche CNRS, anime l’équipe d’informatique musicale


Algomus (CRIStAL, UMR 9189, Lille et MIS, UPJV, Amiens). Ses recherches portent sur
des algorithmes d’analyse de musique tonale, que ce soit sur des analyses motiviques,
harmoniques ou de texture, ou, à plus grande échelle, sur des analyses de structures et de
forme. En collaboration avec des théoriciens de la musique, des enseignants et des artistes,
il mène des projets liant science et arts. Mathieu travaille également en bioinformatique,
menant depuis plus de dix ans des recherches sur l’analyse de séquences d’ADN, dont des
méthodes pour mieux connaître les populations de globules blancs.

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 50-09 h 55 09:50–09:55 09.50 – 09.55 09.50–09.55
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

11. Simonetta Sargenti


Conservatorio ‘Guido Cantelli’ Novara, Italy
simonetta.sargenti@consno.it
30-06

Analysis of the Score and Performance Analysis: Two Different


Approaches to the Music of Karlheinz Stockhausen

Until 1970, Karlheinz Stockhausen uses often techniques where the performance is
crucial for the comprehension of his music. Works as Mikrophonie I, Mixtur, Solo,
are characterized not only by composer’s indications, but also largely by performer’s
decisions and not least by sound processing technologies as live electronics. Starting
from 1970 Stockhausen debugs a new method of composition that determines the
characters of the work. The performance is in the foreground in the works until
1970, onwards the structure and the method of composition is becoming increasingly
importance. This poster shows the evolution in the method of Stockhausen’s music
composition, starting from performance analysis and arriving to a most important
role of the score’s analysis. The repertoire under consideration covers works from
1960 until 1980.
The analysis of the score is based mainly on the indications of the composer.
Performance analysis is conducted by listening different versions, analysing the audio
signal with the CQT method and comparing the results. By the results of both our
approaches, we can deduce an evolution in the method of Stockhausen’s composition.
Performance analysis shows a coherence between the characters deducted from the
score, and the results of the audio signal analysis.

Simonetta Sargenti was born in Milan. She completed a M.A. Degree in Violin , in
Composition and in Electroacoustic Music at the Conservatory “G. Verdi” in Milan, and
holds a M.A.Degree in Philosophy and Musicology at the Università Statale di Milano. As a
professional performer, her interests mainly lie in the application of technology to the musical
domain, with a special focus on the 20th-century repertoire. Her compositions involve several
instrumentations, including live electronics and magnetic tape. She is active as a musicologist
and researcher in electroacoustic music and music theory and analysis. She teaches History
of Music and Music Analysis at the Conservatory of Novara and Analysis of Electroacoustic
Music at the Conservatory of Pesaro.

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IXe congrès européen d’Analyse musicale

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


09 h 55-10 h 00 09:55–10:00 09.55 – 10.00 09.55–10.00
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

12. Joel Hunt


Pennsylvania State University, United States of America
joelhuntmusic@gmail.com

30-06
From Process to Performance: Text-Based Improvisation in Henry
Brant’s “Instant Music”

Henry Brant (1913-2008) was an internationally acclaimed composer, Pulitzer


Prize winner, two-time Guggenheim Fellow, and the first American to receive
the Prix Italia. Existing analytical studies on his music contribute mightily to our
understanding of his post-1950 spatial compositions, but they are limited in their
exclusive reliance on score analysis. This study examines Brant’s original manuscript
documents and recorded performances to illustrate how his text-based compositional
process transformed into a text-based improvisational performance practice known as
“instant composition.” I will explore Brant’s compositional process through analyses
of his sketches for Voyage Four (1965), and show how his subsequent “instant
compositions,” including Fracas II (1965), Town Meeting (1969), Machinations
(1970), and Rosewood (1989) employ similar text-based compositional instructions
to facilitate group improvisation. I argue that characteristics of Brant’s spatial
technique—the non-coordination of simultaneous layers, and subsequently, the
flexibility of musical content within each layer—enabled him first to compose each
layer in a fast and spontaneous improvisational style, and later to completely remove
the final compositional act from the process, replacing it with a text-based framework
for improvisation.

Joel Hunt is a Lecturer in Music at Pennsylvania State University. His research interests
include American modernism, the music of Henry Brant, and sketch studies. His dissertation
focuses on the evolution of compositional process in the music of Henry Brant, incorporating
analyses of Brant’s original sketches, text manuscripts, and correspondence. He has presented
his research at national and international conferences such as the Society for Music Theory,
EuroMAC, Tracking the Creative Process in Music, and the Society for American Music.
Joel’s research has received generous support from the Paul Sacher Stiftung, Albert and
Elaine Borchard Foundation, University of California at Santa Barbara, and Pennsylvania
State University.

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


10 h 00-10 h 05 10:00–10:05 10.00 – 10.05 10.00–10.05
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

13. Tom Sora


Deutschland
tom@tomsora.de
30-06

Der Begriff „Klangfläche“ dargestellt an Atmosphères von Ligeti

Mit der Systematik und Theorie der Klangflächen und der Analyse von Györgi Ligetis
Orchesterstück Atmosphères, einem Schlüsselwerk der postseriellen Musik, möchte
ich dazu beitragen, das kompositorische Phänomen der Klangflächen, das um 1960 in
die Kompositionspraxis eingezogen ist, genauer zu verstehen. Dieses Phänomen ist
bis heute - auch nach seinem Abklingen in den späten 1980-er Jahren noch punktuell
und in abgewandelter Form als Konstruktionsmethode oder Strukturtypus in der
Musik anzutreffen.
Als erstes werde ich die Struktur von Klangflächen beschrieben und die Gründe
dargelegt, die zur Kohärenz und Einheitlichkeit einer jeden Klangfläche führen.
Auf den Punkt gebracht sind diese Gründe die Homogenität der Bausteine und die
einheitliche Zusammenfügung derselben zum globalen Niveau einer jeden Fläche.
Diese Theorie erhebt den Anspruch, weit über eine einzelne Komposition wie
Atmosphères hinaus gültig und anwendbar zu sein.
Bei der anschliessenden Analyse von Atmosphères werde ich mich auf meine
Theorie stützten und sie gleichzeitig verifizieren und veranschaulichen. Das Werk
besteht aus Klangflächen, die konsequent nach klaren, rationalen und allgemein
anwendbaren - also übertragbaren - strukturellen Prinzipien aufgebaut sind.
Dieser Beitrag ist im Januar 2017 als Buch im Wolke Verlag, Hofheim, erschienen.

Tom Sora, 1956 in Bukarest geboren, hat Musiktheorie, Orgel und Klavierpädagogik an den
Musikhochschulen in Stuttgart, München und Bukarest studiert. 1990 bis 2002 war er, neben
seinen Tätigkeiten als Komponist und Musiktheoretiker auch als bildender Künstler tätig. 2004
Promotion an der Universität Paris-1/Sorbonne im Fach Ästhetik. Nach seiner Promotion hat
er weiter an seiner wissenschaftlichen Forschung gearbeitet. Seine Schwerpunkte waren die
Musiktheorie der Musik des 20. Jahrhunderts, die politische Philosophie und die Ästhetik.
Sora komponiert für Solo-, Ensemble- und Orchesterbesetzungen. Er setzte in seinen
Kompositionen auch das Medium Elektronik, sowie mechanische Instrumente ein.

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IXe congrès européen d’Analyse musicale

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


10 h 05-10 h 10 10:05–10:10 10.05 – 10.10 10.05–10.10
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

14. Alessandro Milia


université Paris 8/Ca’Foscari Venise, France/Italia
milia.aless@gmail.com

30-06
Trouver des chemins jamais parcourus : alliage entre recherche musico-
logique et compositionnelle, transmission, introspection, auto-analyse,
et d’autres outils pour l’émancipation

J’ai propose d’aborder l’étude de quelque application spécifique de l’analyse


musicale et de méthodologies musico-logiques orientées à la transmission du
savoir compositionnel, un domaine mal connu de la vie du musicien qui n’a pas été
suffisamment observé de manière scientifique. L’analyse systématique et approfondie
des partitions et des enregistrements sont très peu pratiquées par les jeunes selon une
approche scientifique, épistémologique, sensorielle et objective. Le passage du savoir
entre individus est souvent ancré sur des comportements archaïques et ésotériques
par lesquels les compositeurs ne révèlent pas leurs stratégies artistiques les plus
importantes. La musique de notre temps inspirée par la découverte scientifique et par
l’idée de laboratoire et connaissance partagée, n’a pas encore la même organisation
des disciplines scientifiques. La musique contemporaine, fondée sur le principe
d’ouverture culturelle par rapport à la tradition, se trouve encore paralysée par des lois
de transmission du savoir fermées et arbitraires. Le compositeur-chercheur est appelé
à prendre conscience du phénomène sonore et à faire acte de responsabilité dans la
phase d’apprentissage des techniques compositionnelles tout au long de sa recherche.
J’ai essayé d’élaborer des méthodes spécifiques d’auto-analyse afin de créer une
porosité entre le travail de recherche musicologique, théorique, épistémologique
et la recherche-création. L’analyse musicale peut être un outil non conventionnel
de transmission du savoir compositionnel ? Peut-elle favoriser l’émancipation
intellectuelle ?
Alessandro Milia (Cagliari, 1981) : je suis un musicologue et compositeur. J’ai terminé,
en 2016, un doctorat à l’Université Paris 8/Ca’ Foscari de Venise sous la direction de I.
Stoianova et A. Lai. Ma recherche, axée sur l’interaction entre tradition et expérimentation,
s’intitule Variations et variantes dans l’oralité et dans la création musicale expérimentale ; le
langage musical de Franco Oppo, Horatiu Radulescu et Alessandro Milia. J’aborde l’analyse
et l’auto-analyse comme stratégies de transmission du savoir compositionnel. J’ai étudié
composition avec F. Oppo, J.M. Lopez Lopez, A. Bon, S. Sciarrino, S. Gervasoni, F. Filidei et
P. Billone. Site-web : www.alessandromilia.com.

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10 h 10-10 h 15 10:10–10:15 10.10 – 10.15 10.10–10.15
Amphithéâtre Cavaillès Anfiteatro Hörsaal
Cavaillès Lecture Hall Cavaillès Cavaillès

8. Poster

15. Eric Maestri


GREAM, France
eric.maestri@gmail.com

Unseulmotnesuffitpas : une analyse de terrain, spectromorphologique et


génétique d’une œuvre de « musique mixte »
30-06

Dans cette communication nous proposons d’analyser Unseulmotnesuffitpas III


(2015), œuvre de musique mixte pour violoncelle et électronique de Pierre Alexandre
Tremblay (1975), compositeur, réalisateur en informatique musicale et interprète de
musique électroacoustique. Elle s’insère dans le débat autour de l’analyse de la musique
mixte, qui pose au musicologue les problématiques issues à la fois de la musique
instrumentale et de la musique électronique. L’étude d’une telle musique nécessite
d’une approche holistique capable de rendre compte de sa complexité inhérente.
L’objectif de cette communication : saisir la relation entre les dispositifs utilisés et la
morphologie sonore. Le corpus : en général, la musique mixte tout-court, musique «
trans-générique » qui englobe la pratique de la musique savante et populaire ainsi que
les pratiques de l’improvisation ; plus particulièrement, dans cette communication
nous aborderons l’analyse détaillée d’une seule œuvre qui servira comme modèle.
La démarche analytique s’articule en trois phases: 1) une première d’observation de
terrain dans laquelle nous avons participé à la performance de l’œuvre : a) constatation
des outils techniques ; b) documentation des dispositifs et repérage des mouvements et
des gestes des interprètes sur instruments traditionnels et du compositeur ; 2) analyse
« aurale » de type spectromorphologique de l’enregistrement (une telle méthodologie
est une grille d’interprétation qui permet de saisir les composantes sonores en relation
à leur « liaison à la source ») ; 3) comparaison entre l’analyse perceptive et génétique
des dispositifs et de leur utilisation.
Eric Maestri est compositeur et chercheur au Laboratoire d’Excellence GREAM. Il a obtenu
une Licence en Philosophie à l’Université de Turin et un Master Recherche en Musicologie à
l’Université de Strasbourg. En tant que compositeur il s’est formé à Brescia, à Stuttgart, avec
Marco Stroppa, à Turin où il a obtenu le diplôme de composition sous la direction de Gilberto
Bosco, et Strasbourg - avec Ivan Fedele. Il a poursuivi sa formation à l’IRCAM, où il a été
sélectionné en 2009 pour le cursus 1 et en 2010 pour le cursus 2, où il a bénéficié des conseils
de Yan Maresz, Philippe Manoury, Emmanuel Nunes et Brian Ferneyhough. Il a également
étudié à l’Université de Huddersfield avec Aaron Cassidy (CERENEM). Depuis 2011, ses
œuvres sont publiées chez l’éditeur Suvini Zerboni. En tant que musicologue, il a soutenu une
thèse de doctorat intitulée : « Geste et texture / homme et machine: une étude comparative
sur la production et la réception de la musique mixte», à l’université de Strasbourg sous
la co-direction d’Alessandro Arbo et de Laurent Pottier (CIEREC, Université Jean-Monnet,
Saint-Etienne).

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Amphithéâtre 5 Lecture Hall 5 Anfiteatro 5 Hörsaal 5

9.A. Session – Circumscribing the Open: Cage and Pousseur

1.André Douw
Amsterdam Conservatory, Netherlands
adouw@xs4all.nl

Silence Reconstructed: John Cage’s 4’33

30-06
In the summer of 1952, David Tudor premiered John Cage’s famously silent
composition, 4’33’’. The original score was lost by Cage immediately after the
premiere and remains lost to this day. In Cage’s account of the compositional process
for 4’33”, he said, “All the work was done with chance operations. I built it up
very gradually, and it came out to be 4’33’’.” Tudor remembers: “As part of the
compositional process he had asked the I Ching about the relationship between even
and uneven numbers. By way of coin tosses he received the answer that exclusively
even numbers should appear. Since the composition process was identical to that in
Music of Changes, even numbers meant: no tones.”
In 1982 Tudor made a reconstruction of the original score from which he played
the premiere. The score published by Henmar Press in 2014 is based on it. It forms the
basis of a reconstruction of the piece and, by implication, of Cage’s creative process
as offered in this talk. A timeblock of 8 quarters, divided into two 4/4 measures and
written on one staff, was multiplied by 7; the seven staffs were divided into 3 that
were then multiplied by 5. The implications are that a different role was given to even
and odd numbers (as it is in the I Ching), that the exact notation is crucial for our
understanding of the time construction of this essentially serial composition, and that
Cage took measures to obscure the very source of the piece.

André Douw (b.1951) studied piano, music theory and composition at the Royal Conservatory
in the Hague where Louis Andriessen was his primary composition teacher. In 1979-80 he
worked in Tokyo with Toru Takemitsu on a government grant. Throughout the eighties and
nineties he received various composition commissions and taught Composition and Music
Theory at the Music Academy in Hilversum. In 1995 Douw recieved his Ph.D from the
University of Utrecht with the dissertation “The Construction of Order and Direction in Igor
Stravinsky’s In Memoriam Dylan Thomas, Canticum Sacrum and Threni”. After 1995 he was
teacher of Music Theory with a specialisation in New Music at the Amsterdam Conservatory,
as well as chair of the Composition Department from 1998 to 2005. He retired in the summer
of 2016.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3201 Room 3201 Sala 3201 Raum 3201

9.B. Session – French Music (III): Satie in Theory and Practice

1. Alexander Amato
Stephen F. Austin State University, United States of America
amato0106@gmail.com

Confident Chromaticism in Satie’s Nocturnes as Determined by Hin-


30-06

demith’s Harmonic Fluctuation

To accommodate the elaborations of harmony and tonality that characterized many


twentieth-century musical styles, Paul Hindemith (1895-1963) stated that it is not
the scalar context of chord roots that initiate tonality, but rather the juxtaposition of
the chords’ constituent intervals. As part of his compositional practice, he devised
a system of measuring dissonance and tonal force in harmonies, classifying them
by intervallic content into six groups of graduating dissonance while discounting
the scalar context of the chords’ roots. He coined the term harmonic fluctuation
for varying levels of dissonance between adjacent harmonies. Recent analyses
employing harmonic fluctuation show that it can be an important component, if not
the main component in the analysis of many post-tonal styles, being applicable to
many musical contexts.
Intervals also played a key role in Erik Satie’s composition of his Nocturnes
(1919) for solo piano. Satie departed from his practice of parodying earlier styles and
shifted to a more serious compositional style in the Nocturnes by largely abandoning
functional harmony and systematically using intervals as the basis for his harmonic
language, and this is evident in the works’ sketches. Taking into account the emphasis
on intervals in both Hindemith’s and Satie’s construction methods, this study will trace
the evolution of Satie’s use of chromaticism and obscured tonality in his Nocturnes
by utilizing harmonic fluctuation.

Alexander Amato is Lecturer of Music Theory at Stephen F. Austin State University in


Nacogdoches, Texas, USA. He joined the SFASU faculty in 2014 and teaches Theory, Aural
skills and Music History courses. He has presented at conferences across the United States.
His research interests include Schenkerian theory and analysis, Hindemith’s analytical
technique, musical narrative, pedagogy, and the history of music theory from 1600 to 1900,
along with analysis of the music of Ottorino Respighi. Dr. Amato earned his Ph.D. in Music
Theory from the University of North Texas. He is a member of the Society for Music Theory
and the College Music
Society.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Amphithéâtre 6 Lecture Hall 6 Anfiteatro 6 Hörsaal 6

9.C. Session – The Bel-Canto Era: Rossini, Donizetti, and Bellini

1. Matthew Boyle
Indiana University, United States of America
mlboyle@indiana.edu

Harmonic Materialities: Syntactic and Statistical

30-06
Discussions of primo ottocento opera have long understated its harmonic qualities. I
contend that this persistent attitude is the residue of a historic shift in the meanings
of harmony. In the decades surrounding 1800, and largely fuelled by the theories
of Rameau, harmony began to describe only the rules governing chordal objects.
It subsequently shed its prior usage as a descriptor of texture. Before discarding its
textural meanings, harmony did not stand solely as a prime exemplar of what Leonard
Meyer called syntactic parameters in music. Harmony instead encompassed both
syntactic and statistical parameters equally, uniting the spiritual and the material. The
writings of Sulzer, Burney, Rousseau, Stendhal, Fétis, and the Italian pedagogical
tradition preserve these antiquated meanings of harmony. Harmony, in short, once
was used to describe musical syntaxes and musical textures, usually in one of five
ways: as chordal, as instrumental, as contrapuntal, as timbral, and as a measure of
euphony. The conservative tradition of ottocento opera demands re-expanding the
semantic scope of harmony to its pre-Ramellian borders. Instead of emphasizing
metaphysical chromaticism, Italian operas placed aesthetic attention of the material
qualities of harmony. I examine the harmonic materiality of two sets of conventions:
a timbrally luxurious messa di voce gesture and the haptic sensualism of pizzicato
accompaniments. Such an attitude suggests paths of dialogue between music theory
and recent trends in operatic criticism which prize the material, bodily, and drastic
components of musical experiences over the compositional, technical, and the
hermeneutic.
Matthew Boyle is a Ph.D. candidate in music theory at Indiana University. His research focuses
on the analysis and history of eighteenth- and nineteenth-century opera. His dissertation
examines the reception of Rossini’s compositional style and considers it as a template for
analytical narratives. Other research projects include developing a theoretical framework for
simple (secco) recitative and exploring the cultural uses of recitative in eighteenth-century
Northern Germany. His research has been presented at conferences in North America and
Europe and has been published in the Journal of Music Theory and Music Theory Online. In
2016 his article “Galant Recitative Schemas” was recognized with the David Kraehenbuehl
Prize.

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Amphithéâtre 4 Lecture Hall 4 Anfiteatro 4 Hörsaal 4

9.D. Session – Leading Figures of Modernity (II): Xenakis and Ligeti

1. Mark Delaere
University of Leuven, Belgium
mark.delaere@arts.kuleuven.be

The Function of Rhythm in the Pitch / Sound Continuum: The Case of I.


30-06

Xenakis’ Thallein

Together with composers such as Varèse, Messiaen, Ligeti, or Penderecki, Xenakis


represents the music historical situation in which scores are still used but no longer
an adequate representation of the musical events. It is for instance hard to imagine
the pile of 46 superimposed glissandi in Pithoprakta (from bb. 52 onwards) just from
reading the score. And yet the score does present information which can be combined
with our listening experience. I am particularly interested in these early forms of
notated sound complexes, since they represent the transition from pitch to sound and
create a dialogue between these components. The choice for Xenakis’ ensemble work
Thallein (1984) as analytical object is inspired by the desire to analyse the function of
rhythm in the pitch-sound continuum. I will especially focus on the opening section
(bb. 1-15) and on the rhythmical process in bb. 134-152.
In this paper ‘traditional’ score analysis is combined with methods derived from
spectromorphology as initiated by P. Schaeffer (1966) and developed by authors such
as M. Chion (1983), J. Dack (2012), or L. Thoresen (2015).
The opening section of Thallein shows just how pitch and harmony merge into
sound complexes, and vice versa. The function of rhythmical articulation is already
obvious from this excerpt, but becomes the main focus of attention in section bb. 134-
152 and their preparation (bb. 92-97 and 116-122). Also, a possible connection with
(Messiaen’s analysis of) Stravinsky’s Le sacre du printemps will be established.
Mark Delaere is Professor of Musicology at the University of Leuven. His research covers
music from the 20th and 21st centuries, with a special focus on the interaction between
analysis, history, theory and aesthetics. Book publications include Funktionelle Atonalität
(1993), New Music, Aesthetics and Ideology (1995), and Pierrot lunaire (with J. Herman,
2004). He has published articles on the music of, amongst others, Schoenberg, Goeyvaerts,
Messiaen, Hindemith, Birtwistle, Bach and Brahms. In 2011 he edited the book Rewriting
Recent Music History. The Development of Early Serialism 1947-1957 for the series Analysis
in Context. Leuven Studies in Musicology. Together with Imke Misch, he is currently
completing the bilingual edition (German, English) of the complete correspondence between
Karlheinz Stockhausen and Karel Goeyvaerts.

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Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3203 Room 3203 Sala 3203 Raum 3203

9.E. Session – New Technologies and Analysis (II)

1. Reiner Krämer
McGill University, Canada
reiner.kramer@mcgill.ca

The Supplementum in Motets: Evolution, Style, and Structure

30-06
According to Burmeister (Musica poetica), the supplementum is a passage two or
more measures long, expanding on a “primary” (finalis) or “secondary” pitch (perfect
fifth above finalis) after the final cadence to emphasize its finality. Burmeister clarifies
that the supplementum is an “elaboration of a final pitch in a stationary voice,” and
that added pitches in other voices should create “consonances.” The supplementa of
Renaissance motets, however, are quite varied. I examined a corpus of 4,000 motets
written by numerous Renaissance composers (c. 1470 to 1600). The pieces are encoded
as symbolic music notation files, readable by computer software, and the extracted
catalogue of supplementa was placed into a database, from which the corpus could
be queried with questions such as: What are the most common contrapuntal patterns
found in supplementa? Are the pitches of the cadential arrival and the final sonority
the same? To what extent are these issues coordinated with mode? The process of
teaching the computer to identify and compare supplementa provides a large-scale,
rigorous understanding of this important element of Renaissance polyphony. The
paper shows: there are at least three different types of supplementa; supplementa can
occur at the end of any section of a motet; supplementa vary in length; the pitch of
the cadence leading into a supplementum is not necessarily the pitch of the lowest
note in the final sonority, and that the interval between these two pitches varies with
the mode of a composition.

Reiner Krämer is a music theorist, composer, and programmer originally from Cologne,
Germany. He earned a Ph.D. in Music Theory with a related field in Computer Music at the
University of North Texas. Reiner works at the Single Interface for Music Score Searching
and Analysis (SIMSSA) as Postdoctoral Researcher within the music technology department
at McGill University’s Schulich School of music, and is an active member of the Centre
for Interdisciplinary Research in Music Media and Technology (CIRMMT) in Montréal,
Québec, Canada. Reiner also teaches the History of Rock Music online at Metropolitan State
University of Denver. Reiner’s main research interests include counterpoint, computational
music analysis, computer music, and compositional theory.

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11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3204 Room 3204 Sala 3204 Raum 3204

9.F. Session – Music of the Renaissance

1. Alexander Morgan
L’université libre de Bruxelles, Belgium
alexanderpmorgan@gmail.com

Suspension Theory: Codifying Late-15th-Century Ternary Suspensions


30-06

and How their Use Changed in Later Repertoire

In this paper I analyse the works of late-15th-century composers to deduce a common


practice with respect to suspensions in triple meter. I then demonstrate how later
stylistic trends departed from these conventions in important ways. Almost all accounts
of idiomatic dissonance treatment in period treatises as well as in modern textbooks
discuss dissonance treatment exclusively in duple meter. Triple-meter contexts are
therefore an under-examined facet of musical practice and must be theorized if we
are to continue using dissonance treatment as a key identifying component of style-
change analysis such as Jeppesen, and Siegler and Wild have. This study builds on
the metric research of Ruth DeFord by paying particular attention to the metric level
at which counterpoint functions, which she calls the “contrapuntal rhythm.”
One of the main contributions this paper makes is that, in the 15th century, music
with a ternary contrapuntal rhythm almost always places suspensions on beat two.
The various ways later composers depart from this convention will be explored with
examples from composers from Monteverdi to Bach. Another important distinction
is that while in the late-15th century suspensions are almost always included in
the context of a cadence, already by Palestrina this convention begins to change as
suspensions more regularly occur outside of the context of cadences. In addition to its
implications with respect to style-change analysis, this research seeks to redefine our
fundamental understanding of and theoretical approach to suspensions.

Alexander Morgan is currently a post-doctoral fellow at the Université libre of Brussels in


collaboration with the Josquin Research Project, and recently earned his PhD in music theory
from McGill University under Peter Schubert and Julie Cumming. His main research interests
include interval-succession treatises, dissonance treatment, style change, corpus studies, and
also swing music. The common thread in these diverse interests is his focus on counterpoint.
In his spare time, Alexander enjoys performing and arranging music for the classical guitar.

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IXe congrès européen d’Analyse musicale

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3208 Room 3208 Sala 3208 Raum 3208

9.G. Session – Rhythm and Gesture as Approaches to Analysis

1. Cyril Délécraz
Centre Transdisciplinaire d’Épistémologie de la Littérature et des arts vivants, Uni-
versité Côte d’Azur, France
cyril.delecraz@unice.fr

30-06
Analyse historiographique des nouveaux gestes musicaux de la musique
savante occidentale entre 1850 et 1950
À partir de la seconde moitié du XIXe siècle, un nouveau geste musical n’est plus
forcément l’apanage d’une nouvelle lutherie ou d’une évolution organologique,
mais plutôt le fruit d’une épistémè constituée de savoirs et de réflexions
interdisciplinaires. Cette communication permet d’en rendre compte en proposant
une ébauche d’historiographie des nouveaux gestes musicaux sur une période qui
s’arrête à la seconde moitié du XXe siècle. Après avoir constitué une typologie à
partir d’observations empiriques, il s’agit de se référer aux partitions d’œuvres-clefs
du répertoire afin de déterminer les fonctions musicales et le caractère spectaculaire
de ces gestes. Enfin, il convient d’établir d’éventuelles filiations avec les musiques
d’après-guerre. Deux nouveaux paradigmes gestuels traversent notre typologie
: un geste mécanique, qui n’est a priori pas un geste d’expert (réglettes, pédales,
manivelles, boutons) et un geste acousmatique lié à l’essor radiophonique (soupirs,
bruits de pas, jeux de bouche) et qui est indissociable d’un nouveau geste d’écoute.
En outre, il existe des cas où le geste est immédiatement spectaculaire (comme les
clusters d’Henry Cowell) et d’autres où il s’agit d’un geste esthétique – pensons
aux instruments insolites utilisés dans Parade. Cette étude met l’accent sur l’aspect
visuel et le côté spectaculaire du concert à une période où cette tradition commence
à subir de sérieuses mutations. Elle espère mettre en évidence des points de jonctions
avec un répertoire musical d’après-guerre – comme le Théâtre Musical ou le Théâtre
Instrumental – où le geste peut devenir entité musicale.
Après obtention d’un master de mathématiques en 2011, Cyril Délécraz décide de poursuivre
ses études dans la musique. Actuellement en troisième année de doctorat sous la direction de
Jean-François Trubert (CTEL, Université Côte d’Azur), son domaine de recherche concerne
la méthodologie d’analyse des gestes musicaux. Il fait appel à divers outils (théorie de Rudolf
von Laban, typomorphologie schaefferienne, Unités Sémiotiques Temporelles) qu’il applique
principalement à un répertoire musical scénique allant des années 1950 jusqu’à aujourd’hui.
De pratique essentiellement autodidacte, Cyril se produit en tant que musicien électronique
ou disc-jockey. Il est également élève de Michel Pascal dans la classe d’électroacoustique du
conservatoire de Nice.

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9th European Music Analysis Conference

Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3202 Room 3202 Sala 3202 Raum 3202

9.H. Session – Analysing and Interpreting Music with Text

1. Jonathan Stark
University of Music and Performing Arts Vienna, Germany
jonathan.stark95@yahoo.de

Asking the Right Questions: A Draft Method for Analysing Musical


30-06

Transformations

What happens if a composer creates an orchestra song on the basis of a piano song?
Music history is not short on notable examples: Berlioz, Mahler, Wolf, Schönberg,
Dallapiccola, Rihm and many more have composed songs that exist in a piano
version as well as in an orchestra or ensemble version. As to this day, there is no
standardised analytical tool existent that makes it possible to understand this work
process, this paper designs a new method that allows the analyst to compare the
piano version of a song with its orchestra version. The centrepiece of the method is a
question catalogue that serves to build up a detailed material entry which shows the
structural significances of the different layers of the score. This will uncover important
characteristics of the score which will eventually lead to an overall analytical result.
In order to show the method’s functionality, it will be applied to music of different
styles – the working basis is a song repertoire that covers a time period between 100
and 150 years with a main emphasis on Gustav Mahler’s early orchestra songs.

Jonathan Stark, born in 1995, is a German composer, music theorist and conductor. Since
2013 he pursues his diploma studies in music theory at the University of Music and Performing
Arts Vienna, where he studies with Gesine Schröder. Since 2016 he studies conducting with
Andreas Stoehr at the Music and Arts University of Vienna. Jonathan Stark’s compositions are
regularly performed by renowned ensembles throughout the world. In 2015 he observed an
invitation by the Goethe-Institute to Tashkent, Uzbekistan, where he realized a commissionary
work with the Omnibus Ensemble Tashkent. He has hold guest lectures in the Ilkhom-Theatre
Tashkent and in the Tashkent State Conservatory of Uzbekistan. Jonathan Stark is a board
member of the Association of German-speaking Music Theory.

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Vendredi 30 juin Friday, 30 June Venerdì 30 giugno Freitag, 30. Juni


11 h 00-11 h 30 11:00–11:30 11.00 – 11.30 11.00–11.30
Salle 3206 Room 3206 Sala 3206 Raum 3206

9.I. Session – Constructing Meaning, Constructing Identity: Classical Topics


and Schemata, Musorgsky’s ‘Pictures at an Exhibition’, and Brahem’s Film
Music

1. Janet Bourne
Bates College, United States of America
jebourne1@gmail.com

30-06
The Schema-Topic Construction
Scholars tend to analyze topics and schemata separately even though listeners
experience