Abstracts by EuroMAC

Edited by Pieter BergĂŠ, Klaas Coulembier Kristof Boucquet, Jan Christiaens

Leuven

2014

Euro MAC

Eighth European Music Analysis Conference 17-20 September 2014

Abstracts

EuroMAC2014 Eighth European Music Analysis Conference Leuven, 17-20 September 2014 www.euromac2014.eu EuroMAC2014 Abstracts Edited by Pieter Bergé, Klaas Coulembier, Kristof Boucquet, Jan Christiaens Graphic Design & Layout: Klaas Coulembier Photo front cover: © KU Leuven - Rob Stevens ISBN 978-90-822-61501-6

Stefanie Acevedo Yale University stefanie.acevedo@yale.edu

 Session 2A

Stefanie Acevedo is PhD student in music theory at Yale University. She received a BM in music composition from the University of Florida, an MM in music theory from Bowling Green State University, and an MA in psychology from the University at Buffalo. Her music theory thesis focused on atonal segmentation. At Buffalo, she worked in the Auditory Perception and Action Lab under Peter Pfordresher, and completed a thesis investigating metrical and motivic interaction in the perception of tonal patterns. Her research interests include musical segmentation and categorization, form, schema theory, and pedagogical applications of cognitive models.

A Romantic Turn of Phrase: Listening Beyond 18th-Century Schemata (with Andrew Aziz) The analytical application of schemata to 18th-century music has been widely codified (Meyer, Gjerdingen, Byros), and it has recently been argued by Byros (2009) that a schema-based listening approach is actually a top-down one, as the listener is armed with a script-based toolbox of listening strategies prior to experiencing a composition (gained through previous style exposure). This is in contrast to a plan-based strategy, a bottom-up approach which assumes no a priori schemata toolbox. The latter is further characterized by Gestalt operations and ‘structural’ decisions that are based solely on one’s real-time perception of a piece. The primary purpose of this paper is to investigate listening strategies for pieces in which the schema toolbox is not yet “well-defined” (as in Gjerdingen and Byros). Thus, the current proposal establishes a strategy that would uncover such a toolbox for 19th-century repertory, employing the 18th-century categories as an initial lens for this discovery. Ultimately, listening must not only follow a script-based approach, in which a schema will be activated during online listening, but also a transformational approach, in which learned schemas will be altered and adapted to fit a new model. The transformations may include, but are not limited to: contour alterations, reharmonizations, expansions, and truncations. The transformational mechanism relies on a network of learned schemata through an ‘idealized’ galant listener; each schema has a well-defined identity but is related to others through equivalence classes (favoring melodic, harmony, etc.). Once the listener forms these classes, he will then use transformations to accommodate the change in style by expanding the lexicon, thereby establishing a new context for interpretation of Romantic works. In summary, the listening strategy is inverted—rather than starting with a schemata toolbox (top-down), one has to build one from scratch (bottom-up) in order to generate new categories. 5

Teppo Ahonen University of Helsinki teppo.ahonen@helsinki.fi

ď ľ Session 9A

Teppo E. Ahonen received his MSc degree in computer science from University of Helsinki in 2008. Currently, he is writing his PhD thesis on measuring similarity between tonal features of audio signals using metrics based on estimating the mutual information shared by the objects. His research interests include music feature representations, string processing techniques, version identification, graphical models, information theory, data compression, and computational musicology.

Intelligent Digital Music Score Book: CATNIP (with Janne Lahti, Kjell LemstrĂśm & Simo Linkola) We have developed a digital, intelligent music score book on tablet computers, called CATNIP, to fulfil the need for advanced applications for music professionals. CATNIP has a built-in access to the open and huge Petrucci sheet music library with an intuitive search functionality. The selected scores can be locally saved together with optional personal remarks to the score. CATNIP allows the musicians to synchronize several devices so that one device masters the others to always show an associated view on their device; this view may differ from the masterâ&#x20AC;&#x2122;s one. To enhance the user experience, we have a built-in Spotify interface for related audio playback. Moreover, we are working on including automatic synchronization in the application. 6

Duilio D’ Alfonso Conservatorio “O. Respighi” Latina dalfonso@conslatina.it

 Session K

Duilio D’Alfonso took his degree in Piano and in Composition at the Conservatory of L’Aquila. Then he graduated in Philosophy at Rome University “La Sapienza” and he obtained his PhD in Philosophy of Language at the University of Palermo. Now he teaches Harmony and Analysis at the Conservatory of Latina.

Unifying Schenker and Riemann In the Schenkerian framework, harmonic progressions, at different hierarchical levels, are essentially interpreted according to the principles of functional monotonality: excluding prolongational events, each harmonic progression completing a fundamental I-V-I structure gives raise to a structural cadence. Namely, Schenkerian theory gives an account for the cadential, functional relations between chords at different structural levels of a tonal piece. Differently, in the neoriemannian perspective, inspired by Hugo Riemann’s theory of harmony and developed in the last decades by scholars such as David Levin, Richard Cohn and others, the so-called transformations are intended to explain harmonic progressions, mainly at the large-scale tonal plan of a piece, not reducible in terms of functional relations, but inspired by a principle of ‘parsimony’ in the voice-leading. In this paper, I intend to argue for an analytic approach unifying these two traditions. Actually, the possibility of integrating them in a unique theoretic and analytic perspective is somewhat latent, and my purpose is to make this potentiality explicit. I will show some graphical examples, derived from scores by Mozart (Concert K. 622), Beethoven (Sonatas Op. 53, 57, 106 and Symphony Nos. 7 and 9) and Brahms (Quintet Op. 34 and Symphony No. 4), in which large-scale key progressions seem to be governed by the logic of transformations, encoded by neo-riemannian theory. These key progressions are in some sense nested in the skeleton of Schenkerian deep structural patterns, showing how, in structurally relevant positions, the logic of functional relations is prevailing. Summarizing, the aim of my talk is to suggest that Schenkerian and neo-riemannian theories can be thought of as complementary analytic methods, formally capturing two different structural aspects of tonal harmony and its formal function, aspects playing a crucial role in the syntactic cohesion of tonal music. 7

Imina Aliyeva Baku U. Hajibayli Academy of Music imina.alieva@gmail.com

 Session 6C

Dr. Imina Aliyeva (Baku U. Hajibayli Academy of Music) is a piano teacher and a member of the Union of Azerbaijan Composers (section: Musical Theory). She graduated from the Department of Automation of Industrial Processes of the Azerbaijan Oil and Chemistry Institute and simultaneously the Azerbaijan State Conservatory in Piano. Aliyeva is the author of A Practical Guide for Studying Azerbaijani Modes and Developing Modal Hearing as well as of a large number of publications in which issues of zone theory, theory of modes, cognitive musicology, problems of ear training, IT application in musical education, methodology of piano teaching are examined.

Azerbaijani Modes: Their Evolution and Manifestation in Traditional and European Genres (Cognitive Approach) The topic of this report is the evolution of Azerbaijani modes and their contemporary existence. Azerbaijani modes are considered as schemata that function in the genres of traditional music and composer’s works. The author compares intervals of Azerbaijani modes with Nikolai Garbuzov’s pitch zones and finds that all the intervals of Azerbaijani modes, including specific mugham intervals, are covered by the zones. This led the author to the conclusion that the 12-tone equal temperament and European notation play the role of an abstraction for Azerbaijani modes just as they do for the other pitch systems and musical phenomena. In fact, the 12-tone equal temperament does not preclude the top-level frames of the Azerbaijani modes. The author proposes to classify the Azerbaijani modes on the basis of their intonational recognition, namely as a phenomenon of auditory perception, when the mode is viewed as the acoustic absolute, which can easily be intonationally distinguished, and differentiated from other modes. To date, the main Azerbaijani modes (rast, shur, segah, shushter, chahargah, bayati-shiraz, humayun) show themselves in two categories: in mughams as modal structures that keep 17-step scale inherent to Azerbaijani traditional music (‘microintonational schemata’) and in the composers’ works with the scales corresponding to 12-tone equal temperament (‘macro-intonational schemata’). The spectrum of their existence and manifestation in all common European genres, embracing different states, includes the full modal structures (the most approximated to traditional music – mugham). These structures can be related to the harmonic system, and even the fragments (‘splinters’) of Azerbaijani modes in serialism, forming situation that can also contribute to the field of studying the problems of European harmony, cognitive musicology, and theory of ear training. 8

João Pedro d’Alvarenga Universidade Nova de Lisboa jp.alvarenga1@gmail.com

 Session 3A

João Pedro d’Alvarenga is a FCT Investigator and Senior Research Fellow of the CESEM (Centre for the Study of Sociology and Aesthetics of Music) at the Universidade Nova, Lisbon. He was an Assistant Professor (1997-2011) and Coordinator of the Research Unit in Music and Musicology (2007-09) at the University of Évora, and Head of the Music Section at the National Library of Portugal (1991-97).

Portuguese Polyphonic Settings of the Mass for the Dead from the Late 16th and Early 17th Century: Convention and Innovation in Style and Structure Portuguese polyphonic settings of the Requiem mass in the 16th and early-17th centuries parallel Spanish trends for the genre, which are characterized by an intimate relation to chant and its performance practices. These determine for each movement which segments are to be set polyphonically, which are to be varied in texture, and which are to be performed monophonically. Use of the chant melody as a structural ‘cantus firmus’ with little elaboration, typically in the upper voice, for most of the movements—notably the Introit, Kyrie, Sanctus, and Agnus Dei—favours non-imitative, pseudo-imitative or free-imitative textures, given that chant is presented in full as a distinct element; chant paraphrase favouring full-imitative polyphony and motet-like segmented structure is usually restricted to the Gradual, Offertory, and Communion. Close connection to chant gives Spanish and Portuguese settings the appearance of a uniform repertory with a common style and structuring, which accordingly is often labelled as ‘Iberian’. But Portuguese polyphonic Requiem masses do not compare with the Spanish for instance, in the array of movements and texts set. There is a pattern for polyphonic movements in 16th- and early-17th-century Portuguese Requiem masses, which avoid setting variable texts, most notably for the Tract. Successive generations of composers working in Portugal, while preserving convention in the handling of chant and overall structuring of their polyphonic Requiem masses, increasingly expanded tonal space, use of motivic counterpoint and redundancy between text and musical gesture. This kind of innovation within tradition will be tentatively shown by comparing selected movements from different settings, especially the four-voice Requiem masses by Manuel Mendes, Lourenço Ribeiro, and Estêvão Lopes Morago. 9

Emmanuel Amiot CPGE manu.amiot@free.fr

 Session 9B

Emmanuel Amiot is a Mathematics professor at Lycée Arago, Perpignan, France. He is an active member of the Society for Mathematics and Computation in Music since its creation in 2007 and also a member of the editorial board of the Journal of Mathematics and Music. He collaborates with researches at the IRCAM (Paris). His research interests center on applications of mathematics in music theory and music analysis. Papers that he authored or co-authored appeared in Revue Analyse Musicale, Gazette des Mathématiciens, Journal of Mathematics and Music, Music Theory Online, and Perspectives of New Music.

Panel 1: Exploring Further the Torii of Phases for the Study of Chord Progressions

Christina Anagnostopoulou University of Athens chrisa@music.uoa.gr

 Session 9A

Christina Anagnostopoulou is an Assistant Professor in Music Informatics at the Department of Music Studies, University of Athens. She studied Music (BMus Hons) and Artificial Intelligence (MSc) at Edinburgh University. Her PhD, also from Edinburgh, was on computational and cognitive modelling of music analysis. She has taught at the Universities of Edinburgh, Glasgow, and Queen’s Belfast, where she became a permanent lecturer in 2005, and led the Music Informatics and Cognition research group. She joined the Department of Music Studies in Athens in 2006.

Computational Music Analysis of Children’s Keyboard Improvisations Improvisation is a common form of musical practice in all cultures and ages. When populations with no musical background such as young children engage in musical improvisation, the analysis of the musical aspects can become particularly challenging: the possible lack of common learned musical schemata and related technical skills requires the introduction of representations and methods of analysis which can deal with the characteristics of this musical style. This paper argues that computational methods of music analysis seem to be particularly suitable for such types of music. We propose a pattern discovery method for analysing improvisations which is based on the principles of paradigmatic analysis, where repetition, variation and transformation are brought forward. Due to the nature of the music, very abstract representations need to be used. The method is applied to the improvisations of a group of four and eight year old children. For their improvisations they use the machine-learning based system MIROR-IMPRO, developed within the FP7 European Project MIROR (www.mirorproject.eu), which can respond interactively, by using and rephrasing the user’s own material. The results point towards the usefulness of more abstract types of representations and bring forward several general common features across the children’s improvisations, which can be related to gestures. The paper concludes with a discussion on the suitability of computational methods of music analysis for such types of music where traditional analytical criteria might not be as effective. 11

Elizabeth Anderson Conservatoire Royal de Mons e.anderson@skynet.be

ď ľ Session 5D

Elizabeth Andersonâ&#x20AC;&#x2122;s music comprises acousmatic, multimedia, mixed, and radiophonic works as well as sound installations. Her works have been performed in international venues for over twenty years and they received prizes in numerous international competitions. In 2003, Elizabeth Anderson joined the department of electroacoustic composition at the Conservatoire royal de Mons (Belgium). She earned a doctorate in electroacoustic composition with Denis Smalley at City University London (England, UK) in 2011. Underlying her creative and pedagogical approach is her research on the perception of electroacoustic music from a poietic and esthesic perspective, to which end she conceived models to explore the meaning of electroacoustic music as constructed by the composer and the listener.

Round Table: Listening Behaviours in Music Theory and Analysis

Maria Teresa Arfini Università della Valle d’Aosta arfinimt@alice.it

 Session F

Maria Teresa Arfini has studied piano and composition (Turin Conservatory) and graduated in History of Music (University of Turin). She have got a PhD in Musicology at Bologna University, where she won also a post-doctoral fellowship. She teaches History of Music at Istituto Europeo di Desing of Milan and Music Pedagogy at Valle d’Aosta University. Her research interests are 19th-century instrumental music, music theory and music iconography. Among her publications are a monograph about counterpoint in Schumann’s piano music and a general monograph on Felix Mendelssohn. At the moment she is working on a monograph about Mendelssohn’s Midsummer Night’s Dream overture and incidental music.

The Musikalisches Kunstbuch of Johann Theile. A Contribution to the Reversible Counterpoint and Canon Theory Theile’s Musikalisches Kunstbuch consists of miscellaneous compositions dating from the last decades of the 17th century. It is made up of fifteen works of varying lengths and styles, unified by their use of double counterpoint. It survives in five manuscript copies conserved in the Staatsbibliothek Berlin. Although it has been compared with Bach’s late speculative works it is not a thematically unified set of pieces but it seems to be a pedagogical compilation finalized to improve compositional skills and counterpoint knowledge. Two of the surviving copies of the Musikalisches Kunstbuch open with a ten-part canon entitled Harmonischer Baum: the canon is presented in the form of a tree with ten branches. Each of this pieces is presented as a puzzle to resolve, often provided with poetic riddles, with parts to complete as in a very particular kind of ‘partimento’. Very similar to the Musikalisches Kunstbuch are the Artifici musicali op. XIII (1689) of Giovan Battista Vitali, a published compilation of counterpoint Paradigmata ordered by increasing level of difficulty and not resolved. The two books share a pedagogical aim and don’t have a specific instrumental destination, unlike some others collections of musical pieces presenting a quite similar structure, such as the Vincenzo Ruffo’s Capricci in musica (1564) or the Samuel Scheidt’s Tabulatura nova (1624). Although modern editions of Theile’s and Vitali’s collections (Dahlhaus, 1965; Rood Smith, 1959) are available, there are few contributions on this topic and no analytical approach to the reversible counterpoint technique and the canon-devices displayed in the two sets. The paper aims to present some examples of counterpoint technique devices from the Theile’s Kunstbuch and to compare it with the Vitali’s book, in the context of the compositional theory of the late 17th century. 13

Matthew Arndt The University of Iowa matthew-arndt@uiowa.edu

 Session C

Matthew Arndt is an Assistant Professor of Music Theory at the University of Iowa School of Music. He holds a PhD from the University of Wisconsin–Madison. Professor Arndt’s research lies mainly in the history of music theory, music theory pedagogy, and their intersection. The primary focus of his research at present is the musical thought of Heinrich Schenker and Arnold Schoenberg, which is the topic of four articles and a book in progress. His articles appear in Theoria, Theory and Practice, the Journal of Schenkerian Studies, and the Journal of Music Theory.

A Non-Tonal Problem in a Piece by Schoenberg (op. 19/2) Starting with Carl Dahlhaus, music scholars have often put forward the notion that coherence in common-practice music is primarily tonal, whereas coherence in post-common-practice music is primarily motivic, and they have used the post-common-practice music of Arnold Schoenberg as an exemplar of motivic coherence. But in fact tonal (tone-based) and motivic coherence are two sides of the same coin for Schoenberg, who writes: “Everything emanates from the tone”; and “Everything within a closed composition can be accounted for as originating, derived, and developed from a basic motive”. To a certain extent, theorists have recognized Schoenberg’s understanding of a connection between tonal and motivic coherence by analyzing so-called ‘tonal problems’: tones brought about through motives that have harmonic consequences. But for Schoenberg, “every succession of tones produces unrest, conflict, problems,” not just successions in tonal music (music with tonality). Until recently, however, we have lacked the ability to analyze problems in Schoenberg’s non-tonal music properly, on account of a faulty understanding of the harmony, motivic development, and formal functions. Building on William Caplin’s theory of formal functions, John Covach’s and Olli Väisälä’s insights into the harmony, and Christian Raff’s insights into the motivic development, I will analyze a problem and its solution in Schoenberg’s Little Piano Piece, Op. 19 No. 2. In a nutshell, F sharp in m. 2 is problematic, unrestful, in that it riles up the tonic C when it implicitly resolves to the dominant G in m. 3. Through the development of the melody and accompaniment motives into one another, F sharp is clarified and stabilized as the dominant of B, which counterbalances C at the cadence in m. 9. This finding suggests a greater degree of continuity between tonal and post-tonal music than has been recognized. 14

Andrew Aziz Florida State University Andrew_Aziz@brown.edu

 Session 2A

Andrew Isaac Aziz is currently a Visiting Assistant Professor at Florida State University, having previously served on the faculties of Brown University and Rhode Island College. He received his B.A. from Brown University (2007) in music and applied mathematics (magna cum laude, with honors), having recently completed his PhD in music theory from the Eastman School of Music (2013). His dissertation considers aspects of form and genre in fin-de-siècle French sonatas, though he has additional interests in music cognition, mathematical applications, and transformational theory. He has previously presented at FICSSM (2008), SMPC (2011), MTSNYS (2012, 2013), and SMT (2012, 2013); his review of William Caplin’s Analyzing Classical Form was published in the latest issue of Music Theory Online.

A Romantic Turn of Phrase: Listening Beyond 18th-Century Schemata (with Stefanie Acevedo) The analytical application of schemata to 18th-century music has been widely codified (Meyer, Gjerdingen, Byros), and it has recently been argued by Byros (2009a) that a schema-based listening approach is actually a topdown one, as the listener is armed with a script-based toolbox of listening strategies prior to experiencing a composition (gained through previous style exposure). This is in contrast to a plan-based strategy, a bottomup approach which assumes no a priori schemata toolbox. The latter is further characterized by Gestalt operations and ‘structural’ decisions that are based solely on one’s real-time perception of a piece. The primary purpose of this paper is to investigate listening strategies for pieces in which the schema toolbox is not yet “well-defined” (as in Gjerdingen and Byros). Thus, the current proposal establishes a strategy that would uncover such a toolbox for 19th-century repertory, employing the 18thcentury categories as an initial lens for this discovery. Ultimately, listening must not only follow a script-based approach, in which a schema will be activated during online listening, but also a transformational approach, in which learned schemas will be altered and adapted to fit a new model. The transformations may include, but are not limited to: contour alterations, reharmonizations, expansions, and truncations. The transformational mechanism relies on a network of learned schemata through an ‘idealized’ galant listener; each schema has a well-defined identity but is related to others through equivalence classes (favoring melodic, harmony, etc.). Once the listener forms these classes, he will then use transformations to accommodate the change in style by expanding the lexicon, thereby establishing a new context for interpretation of Romantic works. In summary, the listening strategy is inverted—rather than starting with a schemata toolbox (top-down), one has to build one from scratch (bottomup) in order to generate new categories. 15

Michael Baker University of Kentucky bakercor@aol.com

 Session D

Michael Baker is associate professor of music theory at the University of Kentucky. His research and teaching focuses on song analysis, especially textmusic relationships in romantic German Lieder. His articles appear in journals such as Theory and Practice, College Music Symposium, Indiana Theory Review, the Dutch Journal of Music Theory, The Musical Times, and TEMPO. Michael is also an accomplished horn player, having minored in horn during his doctoral coursework at Indiana University, and plays in several local and civic ensembles in and around Lexington, KY.

Some Instances of Dominantized Tonics in Romantic German Song Tonicization is a familiar concept to most musicians, formed by the presence of applied (‘secondary dominant’) chords. A common type of tonicization involves altering the overall tonic harmony to sound like the V7/IV. However, in several examples of Romantic German song, an altered tonic harmony occurs immediately at the beginning of the composition, obscuring the decisive tonality of the piece. Furthermore, composers frequently end important sections of songs in such a manner, with the ‘dominantized tonic’ standing in place of the expected tonic harmony. The apparent tonicization of IV is only of passing interest when compared to the destabilizing chromatic alteration of the overall tonic harmony at important structural moments in the song. The ‘dominantization’ of the global tonic can depict any number of musical-poetic sentiments, especially when occurring at the immediate outset of a song, and can relate to a broader sense of tonal and harmonic mis-direction for the overall structure of the song as a whole. This paper examines the treatment of dominantized tonics in songs by Felix Mendelssohn, Clara Schumann, Robert Franz, among others, focusing on four important compositional uses for the songs in question: 1) beginning an entire song immediately on the dominantized tonic, 2) setting the first entrance of the vocal melody with the dominantized tonic following a piano introduction, 3) ending the vocal melody on the dominantized tonic prior to the final bar of the song, and 4) ending an entire song on an altered tonic sonority, usually accompanied by a dominantized tonic. Using a Schenkerian approach, I will show how dominantized tonics at important structural moments relate to a sense of mis-direction in the musical structure of the song as a whole, frequently leading to an idiosyncratic middleground transformation of the ‘Urlinie’ and fundamental structure. 19

Ellen Bakulina City University of New York, Graduate Center obakulina@gc.cuny.edu

 Session D

Ellen Bakulina is a PhD candidate at the CUNY Graduate Center. She has degrees in music theory from the College of the Moscow Conservatory (Russia), and McGill University (Canada). Her interests include Russian choral music, the music of Sergei Rachmaninoff, and Schenkerian analysis, as well as Classical form and meter. Miss Bakulina is currently working on her dissertation that explores Rachmaninoff’s choral work All-Night Vigil under the guidance of William Rothstein. Miss Bakulina’s article on the Russian concept of mutability is forthcoming in the journal Music Theory Online.

Tonal Duality and the New Russian Choral School The question of tonal duality and tonal pairing has been explored with regard to several 19th-century composers, including Schubert, Schumann, Wagner, and Brahms (in the writings of Robert Bailey, Harald Krebs, William Kinderman, Peter Smith, and others). Some of these studies explore tonal pairing within monotonal contexts, others investigate the less normal cases where two keys acquire equal hierarchical status. None of the existing studies, however, have so far addressed the question in relation to Russian music. In this paper, I introduce one layer of Russian music into the discussion: liturgical repertoire. Using Schenkerian analytical technique, I show that pairing of relative keys is highly typical for Russian church music at different structural levels, including the background level (directional tonality). The principle of fluctuation between relative keys, which Robert Bailey termed tonal pairing, is called in Russian ‘parallel’no-peremenny lad’’, or ‘relative mutability’. I focus on a specific type of mutability, which originated in the anonymous body of Russian liturgical repertoire that formed in the second half of the 19th century. Later in the century, a compositional trend appeared that the modern scholar Vladimir Morosan calls the New Russian Choral School. Some of its representatives, such as A. Kastal’sky, A. Sheremetev, S. Rachmaninoff, and others, fused together harmonic techniques of the anonymous church repertoire and those of Western tonal music. The resulting style offers intricate harmonic structures where relative keys often closely interpenetrate each other. Such interpenetration gives us grounds to interpret some pieces as displaying two tonics of equal hierarchical status, i.e., as directionally tonal. Though this principle has been shown in Western music, Russian church pieces often include specific harmonic techniques uncommon in Western repertoire. Thus, Russian church musical practice can be considered another alternative to monotonality, alongside many works by Western romantics. 20

Nicholas Baragwanath University of Nottingham nicholas.baragwanath@nottingham.ac.uk

 Session 2B

Nicholas Baragwanath is Associate Professor in Music at the University of Nottingham. He was formerly Dean of Research and Enterprise at the Royal Northern College of Music. His research covers a wide range of topics from the 18th to 20th centuries, especially in terms of the history of music theory, analysis, and critical approaches. He recently published The Italian Traditions and Puccini: Compositional Theory and Practice in Nineteenth-Century Opera (Indiana, 2011) and is currently working on a major AHRC-funded project entitled Haydn, Solfeggio, and the Art of Melody: A New Approach to the Classical Style.

The Solfeggio Tradition in 18th-Century Europe: Preliminary Findings ‘Solfeggi’, or studies in melody, were central to the training of musicians in many Catholic parts of Europe c. 1670-1850. The presence of large manuscript collections in European archives (almost 300 in Italy alone) testifies to their historical importance. Yet they have received very little scholarly attention. In this paper I focus on the most common type of galant Neapolitan solfeggio, as opposed to the archaic contrapuntal style of the Bologna school. I address the following questions:(1) What are solfeggi? How were they used? Solfeggi were melodies to be sung by one or more voices, usually in association with a bass-line. They were used to teach the rudiments of notation and sight-singing; solmisation, keys, and modulation; and advanced vocal performance and composition. Their origins can be traced through centuries-old traditions of sung counterpoint. Because the church provided most income for Italian musicians, the study of plainchant (canto fermo) remained essential. I demonstrate how it formed the basis of a forgotten system for solmising fully notated melody in one or more parts (canto figurato), adapted to deal with major-minor tonality and chromaticism. (2) Can solfeggi provide new insights into how 18th-century composers learned to structure a melody? Singing solfeggi provided the trainee musician with a storehouse of conventional melodic material, together with strategies for its extended treatment. The syllables were no mere labels. They were integral to understanding schemata, keys, and modulation. (3) Can Porpora’s solfeggi be understood to relate to Haydn’s compositions? Analyses indicate that they can. (4) What implications does the solfeggio tradition have for the history of music theory? Solfeggio inverts modern approaches to tonal music by identifying the main compositional determinant not just in the bass, as bearer of harmony and modulation, but also in the melody, as bearer of discourse and cadence. Solfeggio was the essential counterpart to partimento. Together they comprised two mutual aspects of the art of ‘contrappunto’. 21

Mario Baroni Università di Bologna mario.baroni@unibo.it

 Session 5A  Round Table

Mario Baroni was professor, and then director, in the Department of Musicology of the University of Bologna. In the 1990s he founded the Italian Association for the analysis and theory of music (Gruppo Analisi e Teoria Musicale) and the Rivista di Analisi e Teoria Musicale. He was one of the promoters of the foundation of ESCOM (European Society for the Cognitive Sciences of Music), and ESCOM President from 2003 to 2006. His research interests include music analysis, systematic musicology, music education and 20th-century music.

An Example of Sound Analysis: Perceptual Responses to Different Instrumental Mixtures (with Roberto Caterina & Fabio Regazzi) The present paper is not an analysis of music ‘without score’. Its score does exist. Our analysis, however, is not referred to the actual structure of the written notes, but to their global perceptual effect, which is not contained in the score, but only in the minds of the composer and the listeners: we analyse an object that is beyond the score. The research is based on Laborintus II by Luciano Berio, in a short episode of the work he calls ‘canzonetta’: in that moment the speaker reads a fragment taken from La Vita Nova by Dante Alighieri: “… dolcissima morte, io porto già lo tuo colore” (my sweet death, I already bring your colour). The ‘colour’ of death is reproduced by the singing voices and the instruments. We recorded separately 8 small groups of homogeneous instruments and voices in a performance of this chamber piece in order to obtain a global result that we could mechanically modify by subtracting one or more of such groups. We prepared four different excerpts: one with the original version and three with modified versions. The project involved an empirical phase: we asked questions to two groups of 25 subjects: non musicians and musicians. We asked them to listen to 12 pairs of opposite emotional and sensorial adjectives graded from 1 to 7 and to choose among one or the other of the two opposite words. The verbal results have been interpreted in order to evaluate the contribution of the different instrumental groups on the global effect. In the first phase of the paper we will describe the responses of the subjects, in the second we will discuss differences between a number of selected spectrograms. 22

Jean-Pierre Bartoli Université de Paris-Sorbonne jean-pierre.bartoli@paris-sorbonne.fr

 Session 13

Professor at Paris-Sorbonne University, Jean-Pierre Bartoli focuses his researches and publications on musical exoticism, musical theory in the 18th and 19th centuries, and musical semiotics. He was one of the founders of the journals Analyse musicale and Musurgia. He authored L’Harmonie classique et romantique (Minerve, 2000) and he co-edited the Dictionnaire Berlioz (Fayard, 2003). He wrote with Jeanne Roudet L’Essor du romantisme: la fantaisie pour clavier de CPE Bach à F. Liszt (Vrin, 2013).

Analyse d’un genre négligé et réévaluation des modèles en cours: l’exemple de la fantaisie pour clavier/ Analysis of a Neglected Genre and Revaluation of Current Models: The Example of Keyboard Fantasies (with Jeanne Roudet) A thorough analysis of a neglected genre by theoretical tradition may lead to a revaluation of current models. The ‘free fantasy’ repertoire for keyboard from the 18th and 19th centuries is most exemplary. Our book, The Rise of Romanticism: The Fantasy for Keyboard from C.P.E. Bach to F. Liszt (L’Essor du romantisme: la fantaisie pour clavier de Carl Philipp Emanuel Bach à Franz Liszt) (Paris, 2013), invites to reconsider the role of this genre in the musical production during this time. With the exception of certain works carefully selected (Mozart’s Fantasie K. 475, Chopin’s Op. 49 for instance), the major theorists have deliberately or not chosen not to take their models in this set of works despite its coherence, or not to draw examples to present or to defend their theories. The exclusion of these works, despite the great impact in their time (like Hummel’s Fantasy Op. 18, or those of C.P.E. Bach), is very meaningful. The history of fantasy calls into question the ‘discourse’ about classical style – monument erected to the glory of the Viennese School, reinforced at the beginning of the 20th century, taken up by Charles Rosen during the full development of the structuralism thought, while focusing on sonata form dialectic and other genres deriving from it. Likewise the study of the fantasy threatens the very foundations of the romantic generation expression used to refer to the most prominent composers born in the 1810s. The analysis of fantasies, either harmonic or formal, not only allows questioning the chronological segmentation currently used to represent the music history at the turn of the 18th to the 19th centuries, but also invites to a new way of analysing. So rhetorical analysis (using the general semiotics tools), topical analysis and paradigmatic analysis can combine forces to give a full account of these works’ plots. 23

Amy Bauer University of California, Irvine abauer@uci.edu

 Session H

Amy Bauer is Associate Professor of Music Theory at the University of California, Irvine. She received her PhD in music theory from Yale University, and has published articles and book chapters on the music of Ligeti, Messiaen, the television musical, and issues in the philosophy and reception of modernist music. Other research interests include jazz, contemporary opera, spectral music and cross-cultural issues in contemporary music. Her monograph Ligeti’s Laments: Nostalgia, Exoticism and the Absolute (Ashgate, 2011) provides a critical analysis of the composer’s works, considering the compositions themselves and the larger cultural implications of their reception.

Ideology, Compositional process, Optics and Form in Georg Friedrich Haas’s in vain The music of the Austrian composer Georg Friedrich Haas features sound color as a central element of musical discourse. As with works by the spectralist school, most Haas compositions produce a sonic resonance Joshua Fineberg termed ‘acoustic glow’. The orchestral works in vain (2000) and Hyperion (2006) transcend this ‘acoustic glow’ to incorporate optics as a metaphoric and literal aspect of the composition in a way that recalls works by Grisey or Murail. Yet Haas self-identifies as a microtonal composer whose compositional concerns are focused on harmonic alternatives to—rather than extensions of—the equaltempered system. Hence his writings focus on ad hoc constructions that feed his creative process, such as microtonal harmonic structures and non-octave scales championed by the French-Russian theorist and composer Ivan Wyschnegradsky. Written for 24 instruments and a ‘spotlight’, in vain puts unique demands on performer, listener and conductor, while serving as a case study of Haas’ compositional methods. This paper focuses on in vain’s strategic juxtapositions of tempered and non-tempered intonation, and their interaction with the literal and metaphoric use of light over the course of its 70-minute duration. I analyze how the use of heterogeneous harmonic resources and extra-musical associations force a dramatic convergence of nature and artifice that directs the work’s form. This convergence exposes paradoxes inherent in musical notions of the natural and the artificial, and challenges accepted connections between musical structure and human perception. 24

Luciane Beduschi Skidmore College luciane.beduschi@gmail.com

 Session F

Luciane Beduschi obtained her PhD at the Sorbonne University, with a dissertation on Sigismund Neukomm (Salzburg, 1778 – Paris, 1858). His Life, His Works, His Enigmatic Canons crowned by the Prix Richelieu of Chancellery of the Paris Universities as one of the five best thesis in Humanities defended in the entire Paris Academy in 2008. From 2007 to 2012, she taught at the Paris-Sorbonne University and at Paul-Valéry University as Temporary Assistant and as Adjunct Professor. She is now Assistant Professor in Music Theory and Music History at Skidmore College, NY.

Composer’s opinions about the multiple solutions for their puzzle canons The first canon composed by Joseph Haydn on the Ten Commandments is a puzzle canon with multiple solutions: all the more numerous because the sources differ with respect to the use of clefs and number of voices. The enigma is two semi-circles that can be read turned up and down, clockwise and anticlockwise. These readings give four different realizations. Changing the order of the realizations, one changes the harmonic progression. Changing from three to four voices, one changes the chords. Changing clefs, one changes the pitches. Luigi Cherubini solved the 72 enigmatic canons from Padre Martini’s Storia della Musica, with comments like this: “I have no additional comment to make about this canon, unless that its composition is carelessly treated and, if I dare say, faulty even in the last measures, either in the arrangement of the parts, or in the way in which the chords are reverted.” In 1814 Sigismund Neukomm composed a canon for the gravestone of Joseph Haydn. The solution was sought for 30 years. Neukomm derided one of them: “Your MD appears to have studied counterpoint under Alexander the Great; at least, his so-called resolution is realized in this great art. […] The dissonances in this resolution are absolutely faulty […], true contrapuntic impieties.” J. G. Albrechtsberger writes: “It happens that a melody able to produce a canon yields several hidden answers.” The number of possible solutions is still higher in the case of puzzle canons because the enigma can be read in different manners. Nevertheless, composers appear to have had their preferred solution, carrying their particular harmonic conception. This paper proposes to raise and discuss these issues through the analysis of different solutions for enigmatic canons composed by J. Haydn, Padre Martini, and S. Neukomm. 25

Maarten Beirens University of Leuven | University of Amsterdam maarten.beirens@kuleuven.be

 Session 5B

Maarten Beirens is lecturer in musicology at the University of Amsterdam and a Research Fellow at the University of Leuven. He studied musicology at the University of Leuven, where he also received his PhD with a thesis on European minimal music and held a postdoctoral fellowship of the FWO Flanders, conducting research on the recent music of Steve Reich. His publications include articles on the music of Michael Finnissy, Karel Goeyvaerts, Louis Andriessen, Michael Nyman, Steve Reich, sampling and European minimal music.

Elusive Redundancy: Minimal Music’s Analytical Challenges Between Pattern, Process and Texture Minimal music generally confronts the music analyst with a considerable challenge, or better: an apparent lack of challenge. In the overwhelming presence of copious repetition, harmonic stasis, extremely gradual variation and clearly perceptible compositional processes, minimalism may appear to focus on the musical surface. Any traditional view of music analysis as probing for structural and formal devices ‘hidden’ beneath that surface would then seem bound to find very little of interest there. Reclaiming minimal music as a valuable object for music analysis (Bernard 1995, Quinn 2006) thus has to take into account the particular ways in which minimalism’s redundancy operates and how it still may harbor elements which otherwise would remain elusive. Some recent efforts to apply analytic rigour to the deceptively simple minimalist material stem either from formalist music analysis (Epstein 1986, Cohn 1992, Roeder 2003) which tends to focus on the inherent properties of the material – the patterns, or from theorising minimalism’s particular approach to diatonic pitch content (Tymoczko 2011, Johnson 2011). While those examples tend to focus on the systematic evaluation of the properties of the basic material, I propose to focus on the largerscale form instead, evaluating how these basic characteristics of the minimalist material operate within a musical work. Taking examples from such early works as Philip Glass’ Music in Similar Motion and Steve Reich’s Phase Patterns, this paper will present an approach based on the mapping of textural density as a way of mediating between the theoretical concepts of the properties of the patterns on the one hand and the systems of the process on the other hand. The idiosyncratic use of texture in these and similar pieces reveals a particular approach to large-scale dynamic structure encompassing contrast, expansion, transformation and teleological evolution within an otherwise radically reductive and apparently static musical language. 26

Margaret Bent All Souls College, Oxford margaret.bent@all-souls.ox.ac.uk

 Session 3A

Margaret Bent is an emeritus Fellow of All Souls College, Oxford and has published widely on music of the 14th to 16th centuries, especially on manuscripts, repertories, and issues arising from notation and its interpretation. Her recent books include Bologna Q15: The Making and Remaking of a Musical Manuscript. (Lucca, 2008) and (with Robert Klugseder) Ein Liber cantus aus dem Veneto: Fragmente in der Bayerischen Staatsbibliothek München und der Österreichischen Nationalbibliothek Wien (Wiesbaden, 2012).

Ockeghem’s Requiem, and Du Fay The first surviving polyphonic Requiem is that attributed to Ockeghem in the Chigi manuscript (Vatican Library, Ms. Chigiana C. VIII. 234). Various claims, not always compatible, have been made about its degree of completeness and its degree of compositional unity. Parts of it are undoubtedly by Ockeghem, but a few portions show internal signs of having been adapted from an older composition, possibly the lost Requiem of Du Fay. The paper will outline the support for this claim and explore its implications. 27

Pieter Bergé University of Leuven pieter.berge@kuleuven.be Pieter Bergé is a professor of music history and analysis at the University of Leuven. He is the author of two monographs on operas by Arnold Schoenberg (2002, 2006), and the (co-)editor of four volumes on musical analysis (Beethoven’s Tempest Sonata. Perspectives on Analysis and Performance (2009); Beethoven’s Tempest Sonata (First Movement). Five Annotated Analyses for Performers and Scholars (2012); Musical Form, Forms and “Formenlehre”(2009); and What is a Cadence. Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire (2014)). Together with Steven Vande Moortele and Nathan J. Martin, he is the chief editor of the new journal “Music Theory and Analysis” (mtajournal. be). He has been the president of the Dutch-Flemish Society for Music Theory from 2006 till 2014.

Louise Bernard de Raymond Université François-Rabelais de Tours louisederaymond@yahoo.fr

 Session 13

Senior Lecturer in Tours François-Rabelais University, Louise Bernard de Raymond completed a PhD in Musicology at the University Paris-Sorbonne, entitled: Antoine Reicha’s ‘Vienna’ and ‘Paris’ String Quartets: Critical Edition and Stylistic Study. She is also a graduate of the Paris Conservatoire (in music analysis and music aesthetics). Her interests in research are 18th- through 19th-century music theory and analysis, music history of the 19th century, particularly the string quartet in France and Germany and Anton Reicha. Louise Bernard de Raymond has published articles on Reicha’s string quartets and fugues.

Les écrits théoriques d’Antoine Reicha à l’épreuve de l’analyse de ses quatuors: l’exemple de la ‘grande coupe binaire’/ The Theoretical Writings of Antoine Reicha to the Test of the Analysis of his Quartets In the frame of an interrogation of the relevance of analytical practices founded on theoretical treatises themselves founded on a canonical repertory of works and composers, we have found Antoine Reicha’s case of particular interest: he is both one of the greatest theorists of his time (whose writings on instrumental music rely on analysis of Haydn’s and Mozart’s works) and a composer generally considered as a Kleinmeister. This paper intends to compare the sonata form movements of Reicha’s 20 string quartets with his concept of ‘Grande coupe binaire’ (‘large binary form’) developed in the Traité de mélodie (1814) and the Traité de haute composition musicale (1826). The purpose of this confrontation is not so much to shed light on the quartets by a close look at the theoretical treatises, but to reinterpret the writings thanks to the works’ analysis. Indeed, a systematic and quantitative analysis of the string quartets reveals a significant proportion of stylistic features that are not theorized in the treatises. Reicha’s works seem to claim for a renewed interpretation of his theoretical concepts. One might wonder whether the theorist did not take an active part in marginalizing his own work in his writings and whether the musical works themselves can be considered as a theoretical guideline. 29

Zachary Bernstein City University of New York, Graduate Center zachbernst@aol.com

 Session K

Zachary Bernstein is a doctoral candidate at the Graduate Center of the City University of New York. His dissertation, advised by Joseph Straus, is entitled Reconsidering Organicism in Milton Babbtit’s Music and Thought. Articles of his have appeared in Music Theory Online, Theory and Practice, and the Proceedings of the 2013 National Element in Music Conference. In addition to his work on Babbitt, he has written on spectralism and 18th century speculative theory.

Some Reflections on Milton Babbitt, Schenkerian Milton Babbitt was never shy about his enthusiasm for Heinrich Schenker, listing him, along with Arnold Schoenberg and Rudolf Carnap, as one of the vertices of his ‘Vienna Triangle’ of inspirations. Nonetheless, in many ways the influence of Schoenberg and Carnap is more overt in Babbitt’s music and theoretical writings than that of Schenker, and a great deal of scholarship on Babbitt has focused on his extensions of Schoenberg’s twelve-tone system or his Carnapian concern with a verificationist—for Babbitt, ‘scientific’—understanding of meaning and discourse. This paper will look more closely at Babbitt’s conception of Schenker, for three reasons. The first is the central importance Schenker had for Babbitt. It will be shown that a great deal of Babbitt’s thinking was affected by the influence of Schenker, including his conception of the tonal and twelve-tone systems and his analyses of a wide range of tonal, atonal, and twelve-tone compositions. Perhaps most importantly, his understanding of Schenker profoundly shaped his compositional technique. The second is to re-evaluate Babbitt’s idiosyncratic view of Schenkerian thought. Babbitt recast Schenker in terms of analytic philosophy, cognitive psychology, and compositional theory, three fields of inquiry largely missing from either Schenker’s writings or most modern Schenkerian discourse, but each with fascinating consequences. The third is to understand the disciplinary consequences of this recasting. Babbitt’s understanding of Schenker shaped the ‘Americanization of Heinrich Schenker’, to borrow William Rothstein’s apt phrase, and had further consequences for the many composers inspired by Babbitt. 30

Damian Blättler Rice University damian.blattler@rice.edu

 Session D

Damian Blättler’s research focuses on expanded tonal practice and the music of Maurice Ravel. Other research interests include the history of harmonic theory, the use of popular materials in art-music contexts, and the music of Louis Andriessen. Damian earned an AB in Music from Harvard University (2006) and a PhD in Music Theory from Yale University (2013), and is currently Assistant Professor of Music Theory at Rice University’s Shepherd School of Music.

A Voicing‐Centered Approach to Additive Harmony in Music of ‘la Belle Époque’ This paper presents a voicing-centered model of chord structure and function for additive harmonic structures in the music of the French Belle Époque. In giving voicing a foundational role, the model corrects the widely acknowledged but as-of-yet-unaddressed inability of the conventional extended-triad model to (a) explain how chords are constructed and (b) describe how those pitch combinations function in context. This project also enriches the narrative of the development of Western tonal language in the late 19th and early 20th centuries. Most research on this process details how innovation within certain horizontal-domain constraints allowed for the incorporation into tonal contexts of new harmonic successions; this paper demonstrates that a similar process can be read in the vertical domain, wherein adherence to certain vertical-domain constraints (e.g. skeletal chord voicings derived from common-practice chords, and generalized principles of consonant, ‘chordable’ pitch combination) allowed for the incorporation into tonal contexts of new chords. This model consists of two parts. The first part concerns chord construction, and draws on music cognition research and several settheoretical mechanisms to formulate a list of constraints on voicing; this list pares down the entire set of possible pitch-space chords into a set congruent with the range of verticalities found in the repertoire. The second part describes the ‘tonal plausibilities’ of that set of verticalities—the ways in which skeletal portions of chords allow novel pitch formations to access common-practice listening habits. Analytic examples are taken from the music of Chabrier, Debussy, Koechlin, Ravel, and Satie. 31

Barbara Bleij Conservatory of Amsterdam b.bleij@ahk.nl

 Session 7B

Barbara Bleij is a music theorist and pianist. She is senior teacher of music theory at the Classical and Jazz Departments of the Conservatory of Amsterdam. She is founding Editor of the Dutch Journal for Music Theory and member of the Board of the Dutch-Flemish Society for Music Theory. Her research interests are Wayne Shorter, Clare Fischer, Lennie Tristano, and jazz theory pedagogy. She is currently working on a research project which contextualises jazz harmony theory and pedagogy.

Notions of ‘Mode’ and ‘Modality’ in Jazz Harmony Over time, in jazz what we may call a ‘canon’ of harmonic know-how began to emerge. The first and foremost purpose of this know-how was to provide players with a musical vocabulary. The focus lay in particular on those elements that were seen as specific to jazz, as compared to traditional Western harmony. Seen from a distance, there seems to be a fair amount of consensus on the basic concepts of jazz harmony, especially as one finds them in jazz pedagogical materials. But on closer investigation, central notions like ‘diatonicism’, ‘mode’ and ‘modality’, and even ‘tonality’ are hazy, and not always understood in the same way. Among the most important but at the same time most problematic notions are those of ‘mode’ and ‘modality’. Although appropriated from Western art music, these terms took on other meanings in the context of jazz. This paper investigates the different ways in which these concepts function in jazz practice, focusing on pedagogical materials, and explores and evaluates the different, often implicit, definitions, and their performative implications for the music. It traces possible historical sources, both in the music itself (discussing examples of music by Gil Evans, Miles Davis, Lennie Tristano) and in theoretical writings (George Russell, Joseph Schillinger). Given the embeddedness of these terms in jazz harmony, rather than proposing radical new terminology, the aim of the paper is to bring some conceptual and theoretical clarity, in the hope that this will be of benefit for our analytical understanding of jazz and for jazz theory pedagogy. 32

Bruno Bossis Université de Rennes 2 bruno.bossis@uhb.fr

 Session 5D

Bruno Bossis is an associate professor in musicology, analysis and computer music, and researcher at Rennes 2 University (EA 3208). He is also a lecturer and associated researcher at Paris-Sorbonne University. Bruno Bossis collaborated or collaborates with institutions such as INRIA, UNESCO, CCMIX GRM and IRCAM. He is a board member of the French Society for Musical Analysis (SFAM). Bruno Bossis also participated in the founding of the online journal Musimédiane. Editor of several books, he is the author of numerous articles on electroacoustic music, and of the book titled La voix et la machine, la vocalité artificielle dans la musique contemporaine.

The Ambiguous Listening or the Research for Universals: The Example of Electroacoustic Vocality In the art of music, especially in contemporary music, spoken or sung voice produces a significant object according to three aspects. First, it reveals the speaker’s or singer’s personality and emotional state. Thus, the listening of the voice is partly empathetic (Delalande). Besides, it conveys an articulate language. Therefore, the perception requires at least a segmentation. These first two aspects correspond to the double encoding as defined by Iván Fónagy. However, vocality is also an artistic texture. So I add a third dimension: the artistic expression. All these preliminary observations will constitute the first point of my lecture. In a second part, I will introduce a listening parameter rather unusual in the past, but willingly explored by contemporary composers: the ambiguity concept theorized by Jonathan Harvey in The Mirror of Ambiguity. Speakings, his piece for ‘formantized’ orchestra (formants are added to its sounds thanks to IRCAM technology) is a particularly interesting example of vocality as a metaphor of ambiguity. From different elements drawn from my own study of this piece, I will show how the composer relied on an ambiguous listening as a model of perception. The third part of my talk will focus on the analytical approach of ambiguity. I will show how the quality of ambiguity assumes a part of the transmission of both the meaning and the musical poetry. Analyzing the parameter of ambiguity opens new perspectives if one considers this notion as an expressive function in itself. In Berio’s Omaggio a Joyce, the destruction of the voice paradoxically amplifies the meaning. Other examples will be described (e.g. Mikrophonie II by Stockhausen). In Speakings, Harvey invites the listener to deal with the universals which are crisscrossing ages of life and different civilizations. The ambiguity of the transformed voice and the quasi-humanity included in the formantized orchestra sounds combine in a new listening model involving the duality of ambiguity/meaning. 33

Kristof Boucquet University of Leuven kristof.boucquet@kuleuven.be

 Session 5B

Kristof Boucquet studied history and musicology at the University of Leuven. He obtained a PhD in musicology in 2007 with a historical and analytical study of the tonal songs of Arnold Schoenberg. His main research topics include the history and analysis of 20th-century music, music historiography and music aesthetics. As a postdoctoral research fellow in the Musicology Department of the University of Leuven, he is currently working on a project (supervised by Mark Delaere) concerning the interdependency of music historiography and analysis, through methodological reflection and selected case studies from 20th-century music.

Possibilities and Limits of the Open Work. Analysing Pierre Boulez’s Third Piano Sonata The emergence of the ‘open’ or ‘mobile’ work in European serial music from 1956 onwards confronts us with new and interesting questions about the methods and goals of music analysis, which have not always been handled adequately in the last few decades. On the one hand, many analysts have been content with the description of the material and with the reproduction of the performance instructions offered by the composer, suggesting that, with the inventory of the material and the explication of its use, the analysis of the work had been given. The interpretation of the resulting compositional structures was often eschewed, as if the open work no longer possesses a form that can be analysed meaningfully (but why then the instructions?). On the other hand, the open work was associated with theories about improvisation and the emancipation of the interpreter and the listener, ideas that have little to do with the specific Boulezian understanding of this concept. Starting from the analytical traditions surrounding Boulez’s Third Piano Sonata, I will search for an alternative approach to the open work by closely interweaving its analytical and historical dimensions. Firstly, I will develop analytical criteria that allow us to recognize the variability of the compositional structures but that at the same time will make it possible to determine its limits. Secondly, I will discuss the aesthetic of the open work in the context of the larger epistemological shifts of that time, especially the emergence of reception theory in literature (Jauss) and concomitant developments in semiotics (Eco). Finally, this will lead to the formulation of some well-founded analytical conclusions which should enable us to do justice to the formal implications of the open work and which take their roots in the original context in which this concept was developed. 34

Muriel Boulan Université de Paris-Sorbonne muriel.boulan@paris-sorbonne.fr

 Session 13

Muriel Boulan is an ‘agrégée’ teacher in harmony, history and music analysis at Paris-Sorbonne University where she achieved a PhD in Musicology. She is also graduated from the Paris Conservatoire (harmony, counterpoint, fugue, musical culture, analysis). Her historical and stylistic research concerns 19th-century instrumental music, more specifically the symphonic repertoire in Berlioz’s time. She wrote some articles for the Dictionnaire Berlioz, a study of George Onslow’s symphonies, and some others on French symphonic language, from Reicha to Poulenc. She is in charge of the ‘French Symphony Repertoire’, an online database focusing on French symphonies composed between 1830 and 1870.

Analyser les petits maîtres avec les outils de Jan LaRue: ajustement d’un système de symboles à des configurations hors norme/ Analysing Kleinmeister with Jan LaRue’s Tools: Adjustments of a System of Symbols to Non-Standard Configurations Focused on sonata form and related forms, this paper intends to confront the use of Jan LaRue’s tools with peculiarities of works by some Minor Masters. My purpose is to take examples from the instrumental repertoire from Haydn’s contemporaries to the French composers of Berlioz’s time and to show how the system of symbols, essential for a stylistic and comparative analysis, needs to be adapted to pieces outside the usual models. More specifically, while stressing the usefulness of these symbols for a formal analysis, I will try to emphasize how important it is to adjust the system, originally based on a very limited span of music history, into a rich and supple set of symbols allowing a more flexible discussion of the stylistic differences among the Minor Masters themselves and between Great and Minor composers. Finally, I will discuss the idea that the analysis of Minor Masters may modify our vision of the norm based upon Great Masters. 35

Matthew Boyle Indiana University mlboyle@indiana.edu

 Session A

Matthew Boyle is a PhD student of Music Theory at Indiana University’s Jacobs School of Music, where he completed a Master’s degree in 2011. He also received a Bachelor’s degree in Music Theory from the University of Georgia. Matthew has presented papers on opera to the Society for Music Theory and regional conferences. In addition to critical and analytical approaches to Italian language opera, Matthew is interested in issues of musical convention and in Viennese music from the age of Metastasio through the Second World War.

Textual Rotations and the Two-Tempo Rondò Studies of musical form in 18th-century arias have recently emphasized aspects of text-setting conventions. This paper proposes that a common text-setting procedure from the 18th century — one where multiple settings of the same text appear within a single number — plays a key role in defining the generic shape, meaning, and expressive goals of the two-tempo rondò. I call this procedure textual-rotational form. It strongly parallels a musical principle that Hepokoski and Darcy call rotational form, which is a structuring device “that extend[s] through musical space by recycling one or more times [...] a referential thematic pattern established as an ordered succession at the piece’s outset” Textual-rotational form consequently refers to the ordered, cyclic presentation of poetic lines during the course of an aria or ensemble. In 18th-century opera, textual and musical rotations were conventionally aligned. Unmarked, ‘sonata-like’ arias present their entire poetic text within the exposition before repeating musical and poetic material in roughly the same order. Expositions thus present the referential rotation for both musical and poetic parameters of a number. The stylistically marked rondò — an aria type with three stanzas and associated with serious characters — relies upon similar conventions. The rondò generally consists of a slow ternary section, setting the first eight lines of poetry, followed by a faster section that has a more flexible formal design, usually setting the final four lines. This paper will describe several textsetting and formal strategies of the rondò. It will also describe how these strategies interact with those of more common aria types and with near-contemporary accounts of attending to line endings in recited poetry. These strategies are closely tied to formal closure and ultimately correspond to a series of miniature generic and textual breakthroughs that lead to an aria’s final expressive state. 36

Alessandro Bratus Università di Pavia alessandro.bratus@gmail.com Scholar funded by a 2014 GATM-grant

 Session 5A  Round Table

Alessandro Bratus gained his PhD in Musicology in 2009 (Università di Pavia), where he is currently Research Fellow. His teaching and research experiences in Italy and abroad have focused on analytical approaches to musical and multimedia products in Anglo-American and Italian popular culture from the 1960s onwards. His publications include books and articles on topics related to composition and multimedia experimentation in popular music, structural relationship between form and meaning, and the trope of authenticity in contemporary media. He is currently serving as a member of the Scientific Committee for the Italian study group on music theory and analysis (GATM).

Kaleidoscoping the Simple. The Formal Definition of Popular Song between Analysis and Representation Formal definition of songs in popular music is often thought of as a simple operation of detecting the juxtaposition of sections such as verse, chorus, bridge, special and so on. However, this only tells us something we already know from listening, i.e. that a popular song as a compositional genre implies different levels of syntactic repetition from the macro- or micro-formal point of view (Middleton, Moore, Everett). In the first part of my paper I propose a different theoretical look at the problem of form, showing how it can be fruitfully approached if considered as a system of four underlying principles in a dynamic equilibrium: repetition, superimposition, modularity and stratification. In the second part of the paper a quick survey on specific case studies shows these different forces at work, in order to develop a constant interplay between the expectations of the listeners and the necessity to gain their attention for the entire length of the song. I will then discuss how each of these different formal vectors can be better represented without staff notation, which could sometimes even be misleading in representing musical structures whose performance and composition are more than often not based on writing. Furthermore, the relationships between the different formal principles can be best understood through different sorts of graphic representational strategies, gaining different perspectives on the same object. The multiplication of viable vantage points presents a twofold analytical relevance: it opens the interpretation of the structural traits of cultural objects as part of a complex semiotic system, at the same time helping in the reconstruction of a network of meanings which represents their own unique feature. 37

Paolo Bravi Conservatorio G. P. da Palestrina di Cagliari pa.bravi@tiscali.it

 Session 5A

Currently an adjunct professor of Anthropology of music and Mediterranean musical cultures at the School of Ethnomusicology of the Conservatorio di Musica Palestrina in Cagliari (IT), Paolo Bravi has two PhDs in Methodologies of Anthropological Research (University of Siena, 2008) and in Theories and History of Languages (University of Sassari, 2013). His research focuses on the formal features and cultural values of singing and spoken voices in oral traditions and adopts models, techniques and research methods from both ethnomusicology and phonetics. In this field he has published more than thirty contributions (parts of collective volumes, conference proceedings, journals etc.) and the monograph A sa moda campidanesa. Pratiche, poetiche e voci degli improvvisatori nella Sardegna meridionale (Nuoro: ISRE, 2010).

What you hear and what you get. Manual transcription and melodic analysis through ‘Praat’ In the field of ethnomusicology, musical transcription has been for a long time a central and problematic issue (see for example, among many others, Bartók, 1977 ed. it.; Carpitella, 1973; Stockmann, 1989; Macchiarella, 2000; Nettl, 2005; Baumann & Stock, 2005). Problems regarding scales, intervals, rhythms, timbric ‘anomalies’ etc. make the usual Western way of writing music not completely suitable, effective and affordable in the case of music based on different codes. For this reason, musical transcriptions on the score must sometimes be considered with suspicion and caution. The digital era offers analytical instruments which may serve to solve at least some of the problems related to the use of the score as a method for visualizing music melodies. Furthermore, these instruments allow analyses which were virtually impossible for most ethnomusicologists until a few decades ago. ‘Praat’, a well-known software developed by Paul Boersma and David Weenink and designed for phonetic studies (Boersma & Weenink, 2014), may also be helpful in analyses concerning the singing voice. In particular, I will discuss and show in a practical way how melodic lines can be interpreted by a (human) transcriber and analysed through F0 profiles and how the two representations may interact and may be compared for further and more thorough analytic investigations. In conclusion, I will show that software analysis of sung lines allows not only a particular visual representation of the melodic line, but provides means to different analytical steps which may result in a more comprehensive view of the specific qualities of the singing voices. 38

Christopher Brody Indiana University brodyc@indiana.edu

 Session 4A

Christopher Brody is post-doctoral visiting assistant professor of music theory at the Indiana University Jacobs School of Music. His research interests include tonal music of the 18th and 19th centuries, Schenkerian theory, and approaches to musical form. His PhD dissertation studied thematic design and tonal structure in Bach’s binary dances for keyboard. He has presented several papers at meetings of the Society for Music Theory and Music Theory Midwest. His paper The V–I Paradigm in Bach’s Binary Dances and a New Subject Category for Fugal Gigues won the Arthur J. Komar Award for outstanding student paper at MTMW.

The Independence of Structural Parameters in Schenkerian Accounts of Tonal Form Any approach to large-scale structure in tonal music must theorize the relationship between two different kinds of musical phenomena: tonal structure and thematic design, or what Rothstein (1989) termed “inner form” and “outer form”. This paper argues that the Schenkerian theory of form is a specific case of this general question, and develops a framework in which Schenkerian and other approaches can be meaningfully compared to one another. In any tonal repertoire, we can pose two questions about tonal structure and thematic design. First, which is more important to determining structure within the repertoire? Schenkerian theory, while not discounting the importance of thematic design, has tended to take tonal structure as the more important parameter. Second, to what extent do the two parameters agree with one another? While Schenker’s original formulations of his ideas usually emphasized the ways in which tonal structure and thematic design do not agree, a rich tradition of Schenkerian scholarship has sought out ways to understand the two parameters as mutually complementary. At the extremes of the question, P. Smith (2005) has seen the two parameters as, in principle, totally independent of one another, in what he terms “dimensional counterpoint,” while C. Smith (1996) is sufficiently committed to parametric agreement that he revises a number of Schenker’s tonal analyses in order to reconcile them with more traditional ‘outer-form’ readings. Out of these questions and controversies, this paper develops a general construct and represents it graphically with a geometrical device known as the ‘ternary plot’. It shows that the ‘importance’ and ‘agreement’ questions are not logically independent of each other: the more closely the two parameters are in agreement, the less it is possible for either tonal structure or thematic design to take precedence as more important than the other. 39

Matthew Brown University of Rochester mbrown.esm@gmail.com

 Session F

The Contrapuntal Legacy of the French Fin-de-siècle: A Look at Dukas’ Piano Sonata in E-flat minor (with John Koslovsky) “For [Dukas], music is an inexhaustible treasure-trove of forms, of possibilities that enable him to mold his ideas into a musical kingdom drawn from his own imagination. He is master of his own emotions and knows how to avoid unnecessary outbursts; consequently he never lets himself be led into unnecessary developments that often spoil otherwise very beautiful pieces.” Debussy’s comments about Paul Dukas’s Piano Sonata in E-flat minor from La Revue blanche (15 April 1901) seem at first sight like wishful thinking, the sort of praise one might expect from an old friend and classmate from the Paris Conservatoire. From a bird’seye perspective, the work seems conventional enough: three of the four movements are cast in sonata form and the other includes a long fugal interlude. On closer inspection, however, Debussy’s remarks seem right on target. This paper takes a close look at Dukas’s sonata, a piece exhibiting a rich array of formal and contrapuntal details. In contrast to other analytical studies of French fin-de-siècle music, which mostly deal with its chordal or scalar features, this paper focuses on the contrapuntal dimension, thereby bridging the gap between the sort of training Debussy and Dukas received at the Conservatoire and the pieces they produced as a result of that training. Besides employing stylistically-oriented contrapuntal passages (e.g., the fugal and toccata-like sections of the third movement), Dukas’s sonata also makes extensive use of chromatic voice-leading, motivic transformations, invertible counterpoint, and hidden repetitions in each of its movements. In the end, the paper draws a connection to the wider practice of French composers at the turn of the century while showing the unique attributes of Dukas’s compositional style. 40

Bill Brunson Royal College of Music bill.brunson@kmh.se

 Session 5D

William Brunson (1953, USA) is best known for his electroacoustic music, which has been widely performed. Awards include the Bourges competition, Luigi Russolo Foundation, and NEA. Among recordings is CD portrait Movies for Your Ears. Brunson lives in Sweden since 1980. He acted as artistic director at Fylkingen (1982-87) and as freelance producer for Swedish Radio, Sveriges Television and Royal Swedish Opera. He studied at Dartmouth College (BA) and Columbia University (MA) and is currently researching intermedial approaches to narrativity in electroacoustic music at De Montfort University. Brunson is professor of electroacoustic music at The Royal College of Music in Stockholm.

Triangulating Narrativity in Electroacoustic Music Electroacoustic music, given its sound-based nature, is particularly adaptable to both narrative compositional intent and narrative listening strategies. This paper proposes to examine the presence of narrativity in selected works of acousmatic music as a complement to structural musical analysis and as an extension of literary narrative theory. Previously, I have described this viewpoint as ’a narrative stance’. A threefold approach to the identification and evaluation of narrative traits is advanced as follows: - Image-schemata as recurring cognitive constructs; - Referentiality including the use of recognizable sounds as well as language or speech; - ’Embedded’ intermediality including the reference to and incorporation of subjects, methods and systems from other media. In this light, an understanding of a specific work necessitates the intersection of musical analysis, narrative theory and the narrative stance. For example, morphological structures may be ’mapped’ onto image-schemata to build a metaphorical meaning of the states and events which comprise the confluence of musical and narrative discourse. Or, recognizable sounds may activate a script-like mechanism that denotes presumed actions extrinsic to the actual music. Or, the utilization of methods from another media can frame musical events such that an additional layer of interpretation can arise. Examples will be taken from the Swedish repertoire of electroacoustic music. 41

David J. Burn University of Leuven david.burn@kuleuven.be

ď ľ Session 3A

David J. Burn studied musicology at the University of Oxford, completing a doctoral thesis there in 2002 under the supervision of Reinhard Strohm on the mass propers of Heinrich Isaac. From 2002-2003 he was a Guest Researcher at Kyoto City University of Arts. From 2003-2007 he was a Junior Research Fellow at St. Johnâ&#x20AC;&#x2122;s College Oxford. In 2007 he was appointed as lecturer at the University of Leuven. He specializes in late-15th- and 16th-century sacred music, especially in Germanspeaking lands. Together with Katelijne Schiltz, he co-edits the Journal of the Alamire Foundation.

David Byrne University of Manitoba david.byrne@umanitoba.ca

 Session E

In 2013, David Byrne was appointed as Assistant Professor of Music Theory at the University of Manitoba, in Winnipeg (Canada). His doctoral work at the University of Cincinnati focuses on the harmonic theories of Sigfrid Karg-Elert. His research interests include the history of theory, chromatic harmony, and transformational theories. David has also worked on late-Romantic symphonic form, especially in British and Scandinavian music. He has presented his research at numerous national and regional conferences of the Society for Music Theory, and for the North American British Music Studies Association. He is also an active clarinet player, conductor and arranger.

From Function to Transformation: Sigfrid Karg-Elert as Proto-NeoRiemannian In two treatises published in 1930 and 1931, German composer-theorist Sigfrid Karg-Elert (1877-1933) greatly extended the system of harmonic function presented in Hugo Riemann’s Harmony Simplified of 1893. While Riemann’s published functional analyses are mostly limited to Bach and Beethoven, Karg-Elert’s writings apply the concept of function to chromatic music from Schubert to Debussy. His transformations of the three basic functions encompass the gamut of chromatic relations, including mediant relationships often modelled today using neoRiemannian transformations. Karg-Elert’s theories remain conceptually rooted in tonality; in contrast, neo-Riemannian transformations operate freely from tonal context, without regard for function. In this paper, I discuss how Karg-Elert often employs functional transformations in distinctly neo-Riemannian ways. He highlights common-tone retention when explaining his transformations, prefiguring the neo-Riemannian focus on voice-leading parsimony (especially in the work of Richard Cohn). He combines multiple transformations in order to model specific harmonic relationships, analogous to the use of composite neoRiemannian operations such as PR or LPR. Finally, in Karg-Elert’s analyses the gravitational force of tonality is frequently trumped by the paths defined by the surface-level transformations. Nonetheless, function as a model of harmonic identity and order does remains effective in his work. To help elucidate the relationship between function and transformation in Karg-Elert, I distinguish between ‘function-retaining transformations’ (which retain certain pitch connections with a function’s principal triad) and ‘function-changing transformations’ (in which such pitch connections are negated). In turn, I propose that neo-Riemannian transformations, which are normally defined without reference to function, can also be classified in a similar manner. I examine Karg-Elert’s analyses of passages by Brahms, Elgar and Strauss, in order to test the boundaries of function retention, and to highlight how Karg-Elert’s work presents significant connections with neo-Riemannian theory and practice. 43

Vasili Byros Northwestern University vasili.byros@aya.yale.edu

 Session 4C

Vasili Byros (PhD, Music Theory, Yale 2009) is Assistant Professor of Music Theory and Cognition at Northwestern University. He researches the compositional and listening practices of the long 18th century as an ethnographic pursuit, drawing on frameworks in music theory, history, cognitive and social psychology, and anthropology in order to reconstruct ‘native’ perspectives on music of the period. This research has appeared in Music Analysis, Eighteenth-Century Music, Musica Humana, and is forthcoming in the Oxford Handbook of Topic Theory (ed. Danuta Mirka), and a co-authored volume on the classical cadence published by Leuven University Press (ed. Neuwirth and Bergé).

Sonata Quasi Uno Schema: A Case from Beethoven Recent advances in schema theory have brought an unexpectedly negative appraisal of ‘Formenlehre’ for the apprehension of late18th-century music. Robert Gjerdingen (2007) has explicitly distanced issues of musical form from the ‘schema’ concept that drives his conceptualization of the phrase level, and even deemed sonata form an anachronistic Romantic ideology that was imposed on the 18th century. I return to an earlier conception of a schema in Leonard Meyer (1989), who viewed sonata form as one among several different kinds of hierarchically varied “script-like schemata”. Meyer’s concept implicitly revisits Heinrich Christoph Koch’s (1782–93) contemporary description of “die Form der Sonate” as a hierarchical ‘punctuation form’: certain lower-level types of syntax called ‘punctuation formulas’ communicate higher-level points of closure, which Koch termed “Hauptruhepuncte des Geistes.” Through a case study on Beethoven’s Second Symphony, I advance both positive and negative analytic evidence for such a sonata schema. First, phrase-level patterns and William Caplin’s (1998) formfunctional categories operate as foreground and middleground types of “subschemata” (Rumelhart 1980) oriented to structurally weighted cadences—including what James Hepokoski and Warren Darcy (2006) call the “medial caesura” and cadence of “essential expositional/ structural closure”. Negative evidence comes via a marked deviation in Beethoven’s use of a ‘punctuation formula’ that I have styled the Le–Sol–Fi–Sol schema (Byros 2012), which is powerfully targeted at the exposition’s medial caesura. The case study suggests that sonata form was a culturally shared cognitive context by which composers and listeners communicated in the 18th century. 44

Vasili Byros Northwestern University vasili.byros@aya.yale.edu

 Session 11

Mozart’s Ironic Mask: Topics and Harmonic Schemata in the ‘Haffner’ Symphony Topics and harmonic schemata powerfully interact in the late-18thcentury communicative channel. My contribution in the forthcoming Oxford Handbook of Topic Theory illustrates a categorial and pragmatic interfacing of the two domains in Beethoven’s ‘Eroica’ Symphony, where a particular schema, the le–sol–fi–sol (Byros 2012, 2009), enables the communication of a powerful philosophical message involving the spiritual consequences of suffering, self-sacrifice, and death. The le– sol–fi–sol, as an instance of harmonic grammar, is closely related to an ‘ombra’ topic with mortal, funereal, and sacrificial connotations. As a hybrid symbolic structure, the schema–topic amalgam is the basis for establishing a number of correlations of oppositions in the structural and expressive domains of the symphony, which communicate a ‘tragicto-transcendent’ expressive genre and the cultural unit of ‘abnegation’ (Hatten 1994). In this talk, I explore the broader communicative implications of the ‘Eroica’ case study with a complementary case study that dwells on Mozart’s ‘Haffner’ Symphony, K. 385. The symphony, as is well known, was commissioned by the Haffners in Salzburg for the ennoblement of Wolfgang’s childhood friend Sigmund in 1782. An interfacing of topics and harmonic schemata suggests a subversive and ironic narrative in its first movement, with Mozart mocking the Salzburg nobility with which he was discontent for not acknowledging his musical abilities. Just a few years earlier the Prince of Salzburg “declare[d] that [Mozart] knew nothing and . . . ought to betake himself to some conservatorio of music at Naples”. A syntactic and form-functional climax in both the exposition and recapitulation of the ‘Haffner’ is accompanied by a “marked” (Hatten 1994) change of topos — an ‘ombra’ topic carrying morbid and funereal connotations. I read this gesture as a metaphor for Mozart’s views of the musical world run by the aristocracy: artistically lifeless and fossilized. 45

Enrique Cámara de Landa Universidad de Valladolid engcamara@gmail.com

 Session 5A

Enrique Cámara de Landa is full professor in the Music Department in the Universidad de Valladolid, where he received his Ph.D in ethnomusicology with a dissertation on La música de la baguala (vocal music of the Andean region in Argentina). He published texts on traditional music of Latin America (calypso, baguala, charanda, chamamé), Spain and India, process of hybridization, Italian tango, musical improvisation, history and methodology in ethnomusicology.

Beyond the Staff: ‘Alternative’ Systems in the Graphical Representation of Organized Sound In my paper I will propose a reflection on the limits of the staff in the representation of organized sound and the proposals that some ethnomusicologists have developed to highlight particular aspects of music. Some background will be considered, such as the melograph (Charles Seeger) and the graphical representation of the musical structure (Lortat-Jacob, Zemp). Other proposals will be commented, such as using spectrograms (Mireille Hellfer, Bernard Lortat-Jacob, Grazia Tuzi), graphic devices (Charles Adams), sonograms (Enrique Cámara), fingering notation (Cámara, Gerhard Kubik, John Blacking), local systems of notation (Baily and the sargam notation), analysis of the communicative mechanisms of musical knowledge (Frank ÁlvarezPereyre), and the multimedia and interactive analysis (Philippe Donnier). According to these proposals, the graphical representation of music beyond the staff maintains its efficiency in current ethnomusicology (with different objectives and even different targets). Moreover, I will argue that it is necessary to take into consideration the place occupied by the use of these tools in the tensions and interactions between ‘etic’ and ‘emic’ perspectives, and the need to reconcile the internal consistency required for any system of visual representation of sound, with the need to make permanently flexible proposals based on intercultural dialogue (which is at the basis of all ethnomusicological study). 49

Emilios Cambouropoulos Aristotle University of Thessaloniki emilios@mus.auth.gr

 Session 9A

Emilios Cambouropoulos studied Physics, Music and Music Technology, and obtained his PhD in 1998 on Artificial Intelligence and Music at the University of Edinburgh. He worked as a research associate at King’s College London and at the Austrian Research Institute for Artificial Intelligence in Vienna. He is an associate/consulting editor for international journals such as Music Perception, Journal of New Music Research, Musicae Scientiae, Journal of Interdisciplinary Musicology Studies, and member of the boards of ESCOM and ICMPC. He is a member of the Cognitive and Computational Modeling Group and participates with his research team in the EU project COINVENT focusing on concept invention via conceptual blending in the domain of music harmony.

The General Chord Type Representation: An Algorithm for Root Finding and Chord Labelling in Diverse Harmonic Idioms In this study we focus on issues of harmonic representation and computational analysis. Encodings such as guitar style chord labels or roman numeral analysis notation that are meaningful for representing tonal music, are inadequate for non-tonal musics; conversely, pc-set theoretic encodings that are employed for atonal and other non-tonal musics are inadequate for tonal music. Is it possible to devise a ‘universal’ chord representation that adapts to different harmonic idioms? In this paper, a new idiom-independent representation of chord types is proposed that is appropriate for encoding tone simultaneities in any harmonic context (such as tonal, modal, jazz, octatonic, atonal). The General Chord Type (GCT) representation, allows the re-arrangement of the notes of a harmonic simultaneity such that abstract idiom-specific types of chords may be derived; this encoding is inspired by the standard roman numeral chord type labeling, but is more general and flexible. Given a consonance-dissonance classification of intervals (that reflects culturally-dependent notions of consonance/dissonance), and a scale/ key, the GCT algorithm computes, for a given multi-tone simultaneity, the ‘optimal’ ordering of pitches such that a maximal subset of consonant intervals appears at the ‘base’ of the ordering in the most compact form. The lowest tone in the base is the ‘root’ of the chord. If a tonal centre (key) is given, the position within the given scale is automatically calculated. The proposed representation is ideal for hierarchic harmonic systems such as the tonal system and its many variations, but adjusts to any other harmonic system such as post-tonal, atonal music, or traditional polyphonic systems (in the case of atonal music, the GCT amounts to the ‘normal order’ typology of pc-set theory). The proposed GCT algorithm is applied to and tested qualitatively against a set of examples from diverse musical idioms (medieval, baroque, classical, romantic, octatonic, atonal, traditional), showing its potential, especially, for computational music analysis & music information retrieval. 50

Rémy Campos Haute Ecole de Musique de Genève remy.campos@hesge.ch

 Session 1A

Rémy Campos teaches music history at the Conservatoire National Supérieur in Paris and is research coordinator at the Haute École de Musique in Geneva. He has written about the rediscovery of ancient music (La Renaissance introuvable? Entre curiosité et militantisme, 2000), the history of the Geneva conservatory (Instituer la musique. Les débuts du Conservatoire de Genève, 2003), and questions of historiography (avec Nicolas Donin, dir., L’Analyse musicale, une pratique et son histoire, 2009 ; François-Joseph Fétis musicographe, 2013). His current work concerns the history of musical practices in the 19th and 20th centuries (avec Aurélien Poidevin, La Scène lyrique autour de 1900, 2012).

Propositions pour une Histoire des Pratiques Théoriques: le Cas de François-Joseph Fétis Historians of music have long adopted a definition of ‘theory’ that tacitly recapitulates its traditional conception as “knowledge that remains pure speculation and does not pass over into practice” (Dictionnaire de l’Académie française, 1835). Throughout the 20th century, the historiography of music theory has generally taken notions, concepts, or successions of ideas as its object. Long ignored, the practical dimension to theoretical exertion is a field of study that remains almost blank. Thanks to the considerable collection of publications and archival materials that Fétis left behind, the study of his theoretical activities allows us not only to raise the principal questions that a pragmatic approach to music theory poses but also to bring supporting evidence to bear on answering them. This paper juxtaposes documents of differing kinds (treatises, articles, letters, library catalogues, etc.) in order to imagine theoretical production as thought constituted by activity. 51

Norman Carey City University of New York, Graduate Center ncarey@gc.cuny.edu

 Session 9B

Norman Carey is Acting Executive Officer for the PhD/D.M.A. Programs in Music at the CUNY Graduate Center in New York. As a pianist, he appears on record with violist Emanuel Vardi performing the Brahms Sonatas, and drummer Elvin Jones in works of Fred Tompkins. His theoretical work has involved both Schenkerian analysis and a number of articles in scale theory, some of these, notably, with co-author David Clampitt.

Descending Diminished Seventh Chords: Integrating Perspectives of Chordal Structure, Fundament Progression, Diatonic and Chromatic Voice Leading (with Thomas Noll) Our analysis of the diminished seventh chord sequence (such as in the Coda of Bach’s Chromatic Fantasy, in Mozart’s Piano Sonata K533/i mm. 213-218, or in Chopin’s E-minor Prelude Op. 28 No. 4) involves at least three levels of the scalar hierarchy: structural, diatonic and chromatic. Most puzzling is the ambivalence of the minor third along these levels. At the structural level it embodies the ‘augmented prime’, i.e. the difference between the large step (P4) and the small step (M2). This circumstance is relevant for investigation of fundament progressions. At the diatonic level, the minor third embodies the dual concept of that of the diazeuxis (sum of M2 and m2 as the dual construct to the difference between P5 and P4). The circumstance is closely related to the fact that the difference between the tonics of major and relative minor modes, is a minor third. At the chromatic level the minor third is a generator of the diminished seventh chord, and thereby it exemplifies a violation of the CV-property for chords (cardinality equals variety). In our paper we explore the relevance of these distinguished properties in analytical situations. 52

Roberto Caterina Università di Bologna roberto.caterina@alice.it

 Session 5A

Roberto Caterina, Ph.D, is a psychologist and a psychotherapist. He is an associate professor of Psychology of Music, Psychology of Perception and Psychology of Communication at the University of Bologna. He is member of the ESCOM (European Society for the Cognitive Sciences of Music) and AIP (Italian Association of Psychology). His interests in music perception concern non written analyses following Deliege’s cue model and Imberty’s macroform hypothesis. He studied art and music therapy models within the frame of emotional regulation induced by music hearing or improvising.

An Example of Sound Analysis: Perceptual Responses to Different Instrumental Mixtures (with Mario Baroni & Fabio Regazzi) The present paper is not an analysis of music ‘without score’. Its score does exist. Our analysis, however, is not referred to the actual structure of the written notes, but to their global perceptual effect, which is not contained in the score, but only in the minds of the composer and the listeners: we analyse an object that is beyond the score. The research is based on Laborintus II by Luciano Berio, in a short episode of the work he calls ‘canzonetta’: in that moment the speaker reads a fragment taken from La Vita Nova by Dante Alighieri: “… dolcissima morte, io porto già lo tuo colore” (my sweet death, I already bring your colour). The ‘colour’ of death is reproduced by the singing voices and the instruments. We recorded separately 8 small groups of homogeneous instruments and voices in a performance of this chamber piece in order to obtain a global result that we could mechanically modify by subtracting one or more of such groups. We prepared four different excerpts: one with the original version and three with modified versions. The project involved an empirical phase: we asked questions to two groups of 25 subjects: non musicians and musicians. We asked them to listen to 12 pairs of opposite emotional and sensorial adjectives graded from 1 to 7 and to choose among one or the other of the two opposite words. The verbal results have been interpreted in order to evaluate the contribution of the different instrumental groups on the global effect. In the first phase of the paper we will describe the responses of the subjects, in the second we will discuss differences between a number of selected spectrograms. 53

Alessandro Cecchi Università di Pavia alessandroxcecchi@gmail.com

 Session 4A

After a diploma in piano, Alessandro Cecchi graduated in Philosophy at the University of Florence, going on to take a PhD in Musicology at the University of Pavia. He has held research grants at various Italian universities (Pavia, Siena, Trento) and has been research fellow at the universities of Siena and Turin. He has been a scientific collaborator of the Institute for Music at the Giorgio Cini Foundation in Venice and is currently a research fellow at the Dipartimento di Musicologia e Beni Culturali, Università di Pavia. His main papers have been published in musicological journals (Studi musicali, Il Saggiatore musicale). He has recently contributed a chapter to the forthcoming volume Rethinking Mahler (Oxford University Press).

Looking Beyond the Surface: Form, Structure and Force in Ernst Kurth and Heinrich Schenker During the interwar period in German-speaking countries music theory was profoundly influenced by the vitalistic and energetic philosophies which emerged in reaction to positivism. Several authors similarly reacted against the 19th-century ‘Formenlehre’ tradition, refusing the typological approach to syntax and form still predominant in the teaching of composition, which they considered merely superficial. A true and more complete understanding of form could be achieved only by looking beyond the surface of the notated score in order to identify deep structures or latent forces intended as metaphysical foundations of the musical phenomena. Relying on partly common philosophical premises, Ernst Kurth and Heinrich Schenker were among the few theoreticians who went as far as to propose completely new concepts of form, trying to sketch a new ‘Formenlehre’. Their radical diversity notwithstanding, their theoretical and analytical approaches share the problem of the relationship between deep and surface musical processes, which this paper will directly deal with. In the first section I will draw on Kurth’s explicit definition of form as a tension between a metaphysical force and its coercion in outlines (i.e. the score) in order to explain some philosophical aspects of Schenker’s theory of form that remain implicit and can be only deduced by some of his apparent digressions. In the second section I will investigate from a meta-theoretical perspective the relationship between structure and form in Schenker’s Der freie Satz in order to clearly distinguish the realization of the structure in terms of its diminution (vertical axis) from its truly formal realization in terms of its progression through time (horizontal axis). 54

Anne-Emmanuelle Ceulemans Université Catholique de Louvain anne-emmanuelle.ceulemans@uclouvain.be

 Session 1A

Anne-Emmanuelle Ceulemans teaches at the Université Catholique de Louvain and the Institut de Musique et de Pédagogie in Namur and is curator of string instruments at the Musée des Instruments de Musique in Brussels.

François-Joseph Fétis et la notion de progrès en musique In various writings dotting his musicological career, François-Joseph Fétis affirms that art does not progress but is transformed. Music, in particular, has as its goal “to express those sentiments whose inexhaustible modifications escape analysis.” From a philosophical point of view, this objective is irreconcilable with the idea of progress. Nonetheless, a detailed reading of Fétis’ texts shows that despite the convictions just enunciated, the theorist and professor in him could not help experiencing a certain progress in the evolution of musical language. For instance, parallel organum constituted, in his view, a “barbarous system,” in whose harmony he could recognize only “faulty progressions”. With respect to polyphonic writing, Fétis certainly sees progress in the abilities of composers across the Middle Ages and up to Palestrina. At the beginning of the 17th century, the appearance of tonal music enriched, according to him, the art of music by introducing an expressivity it was devoid of up till then. This last example suggests that Fétis considered tonal music to be musical language’s culminating point and that he struggled to grasp other musics in their full richness. The present paper undertakes to analyze the contradictions that surround the idea of progress in Fétis’ writings and to explain them in terms of the philosophical and musical ideas of his time. 55

Kostas Chardas Aristotle University of Thessaloniki kchardas@mus.auth.gr

 Session 5C

Kostas Chardas is Lecturer in Music at the Aristotle University of Thessaloniki, Greece. His academic qualifications include: a BMus in Musicology (Aristotle University of Thessaloniki); an MMus (University of London); a PhD (University of Surrey). His research areas include music theory and analysis and Greek art music. His book The Music for Solo Piano of Yannis A. Papaioannou up to 1960: An Analytical, Biographical and Contextual Approach was published in 2010. He is editing Papaioannou’s piano music for Nakas Editions. He is an active pianist and his recording of Papaioannou’s music was released by Naxos in 2013.

Struggling for the ‘New’: Tonal/Atonal/Twelve-Note Interactions and the Ambivalence between Formal Coherence and Fragmentation in Y. A. Papaioannou’s ‘Paradigmatic’ post-1950 Greek Modernism Yannis A. Papaioannou’s (1910–1989) educational journey in central Europe in 1949–50 (during which he attended classes with Arthur Honegger, among others) proved significant for the course of art music in post-1950 Greece. Papaioannou’s experimentation with modernist organizational principles gradually acquired a ‘paradigmatic’ status for young Greek composers via not only the frequent performances of his music, but also through his commitment to teach these principles privately to numerous students and his involvement with the institutionalization of modernist idioms in Greece. Thus, Papaioannou contributed to the post-1950 emergence of musical modernism as cultural imperative. The idea of mélange, that is, of the mixing of musical elements carrying disparate historic connotations, appears frequently as an aesthetic proposal in various exercises of Papaioannou’s educational corpus. This mixing is also one of the main characteristics of his modernist compositional adventure (starting with the coexistence of tonal, atonal and twelvenote elements in major works of the early 1950s, such as the Symphony No. 3 and the Concerto for Orchestra). Through the analytical exploration of representative works, this paper investigates the interaction of disparate musical elements and their function within the unfolding of the form. Taking also into account Papaioannou’s belief in the organicist nature of the musical work, the analytical discussion focuses on the oscillation between desired formal teleology and the actual formal fragmentation in Papaioannou’s modernist music. Finally, the analytical outcomes are aesthetically contextualized within Papaioannou’s perception of Greek and Western historic time, which echo wider aesthetic beliefs such as those of early Western modernism and those of modernist attitudes among other arts in Greece. 56

Antonio Chemotti Ludwig Maximilian University of Munich antoniochemotti@hotmail.it

 Session 3A

Antonio Chemotti was born in Trento (Italy) in 1987. He studied at the faculty of Musicology of Pavia University (in Cremona). He graduated cum laude in February 2013, with a critical edition of the Kyries of the manuscript Trento 93. His master’s thesis, soon to be published by the Istituto Italiano di Storia della Musica, was awarded a prize by the “Soprintendenza per i beni librari della Provincia di Trento” in October 2013. He is currently writing his PhD dissertation as a member of the International Doctoral Program Mimesis (Munich), holding a position as wissenschaftlicher Mitarbeiter at LMU Munich, funded by the Elite Network of Bavaria.

Analyzing Polyphonic Settings for the Absolution Using polyphonic settings of the Absolution responsory Libera me domine de morte aeterna as a case study, this paper will examine selected liturgical and chant sources, identifying specific traditions regarding this text and its melody. I will show how these peculiarities have traceable consequences on the polyphonic repertoire. My paper will also stress the relevance of liturgical and philological approaches for musical analysis of the sacred repertoire, even after the publication of the official Tridentine liturgical books. Furthermore, I will assess the extent to which analytical concepts such as musical grammar, style, intertextuality, tradition, and innovation are useful in analyzing polyphonic music for the liturgy for the dead. I will examine whether the polyphonic responsory shows compositional trends analogous to contemporary Requiem masses, whether it is possible and fruitful to distinguish strictly liturgical settings from motet-like ones, and whether the context of performance (for example, matins vs. Absolution) leaves detectable traces in the polyphonic setting. 57

Wai-Ling Cheong The Chinese University of Hong Kong cheongwl@cuhk.edu.hk

 Session G

Cheong, Wai-Ling is Professor at the Music Department, The Chinese University of Hong Kong. She received the PhD from Cambridge University, where she studied with Derrick Puffett. Her scholarly works on music composed in the 20th century and, more specifically, those on the music and theoretical writings of Olivier Messiaen have been published by Acta Musicologica, Journal of the Royal Musical Association, Music Analysis, Perspectives of New Music, Revue de Musicologie, and Tempo.

Reading Kurth, Hindemith and Schoenberg through Sang Tong – Modernist Theoretical Approaches in China It is commonly known that the teaching of Wolfgang Fraenkel (1897– 1983) was pivotal in spreading the theory and practice of the Second Viennese School to China. Without the Third Reich, Fraenkel would not have fled for the ‘exotic’ land of China, bringing with him what was then understood by many as the pinnacle of Austro-Germanic musical modernism. What Fraenkel achieved in his decade-long exile in China was, however, not limited to the dissemination of dodecaphony. The use of Schoenberg’s Harmonielehre (1911) and Kurth’s Grundlagen des linearen Kontrapunkts (1917) in Fraenkel’s teaching had deeply influenced Sang Tong (1923–2011), his student at the Shanghai Conservatory in the 1940s, and retrospectively one of the most esteemed and long-standing presidents of the Conservatory. This paper investigates how Sang Tong, who openly refuted Schoenbergian dodecaphony, sought to theorize the debatable notion of Chinese pentatonicism with recourse to notable central European theories. These include, significantly, Schoenberg’s delineation of quartal harmonies in Harmonielehre, Kurth’s speculation on the “absolute harmonic effect” in Romantische Harmonik und ihre Krise in Wagners Tristan (1920), and Hindemith’s discussion of “harmonic fluctuation” in Unterweisung im Tonsatz (1937), a text promoted by Tan Xiaolin (1911–48), a student of Hindemith’s at Yale, and also a key figure at the Shanghai Conservatory around Sang’s time. I shall work through seminal texts published by Sang over two decades in the post-Cultural Revolution era, and throw light on his influential attempt to inject modernism to the cherished haven of Chinese pentatonicism. 58

Marina Chernaya Herzen State Pedagogical University of Russia marina-chernaya@yandex.ru

ď ľ Session 6D

Dr. Marina R. Chernaya is pianist and musicologist. Doctor of Arts (Dr. habil.), professor at St. Petersburg Herzen State Pedagogical University, Department of musical upbringing and education. She is a member of the Composersâ&#x20AC;&#x2122; Union of Russia. The title of her doctoral dissertation is Figurative Writing in the Western European and Russian Keyboard (Piano) Music (Beginning with the Sources Ending in the Middle of the 20th Century), conferred in Moscow, 2005.

Structural Principles of Harmony According to Yuri Kholopov Music theory of the 20th century has had a hard time catching up with the accelerated innovations in compositional techniques. It often failed to provide convincing concepts, let alone to mark the new directions of development. Musical pedagogy has, subsequently, suffered since the old methods ceased to work properly. One problem stood out among the rest: the problem of the structural principles of harmony. The millennial concept required constant renovation throughout the 20th century. Yuri Nikolayevich Kholopov (1937-2003), the leading professor of music theory of the Moscow Conservatory, suggested a viable new concept of harmony that connected the classical ideas of functionality with the concepts appropriate for the music of the 20th and 21st centuries. From his early publications on the harmonic language of Prokofiev until his latest books Harmony: Theoretical course: Text-book (2003) and Harmony: Practical Course (2005) Kholopov designed a formidable comprehensive system based on the so-called central element (a rough equivalent of dissonant tonic) that explains new harmony and connects it with the past three centuries in concept and practice. 59

Jean-Marc Chouvel Université de Reims jeanmarc.chouvel@free.fr

 Session 4D

Jean-Marc Chouvel is a professor at the University of Reims and researcher at the UMR 8223 (Music Research Institute IReMus). He is a member of the Board of Directors of the SFAM and has published numerous articles and books on musical analysis, especially in its relationship with cognitive sciences.

Form – Structure – Cognition: The Contribution of Cognitive Analysis to the Conceptual Clarification of the Notions of Form and Structure The form/structure dialectic is central to cognitive analysis’s concepts. There is not form on one side and structure on the other, but a strong conceptual nesting about different cognitive functions. This point is crucial to understand the fundamental issues of music, without any theoretical prejudice on style or corpus. It is to be noted that the idea of this analytical tool is born from the usual confusion, at the end of the 20th century, in the field of contemporary music, which made almost synonymous, sometimes, the two terms. The purpose of this communication is to reassess the ideas I developed in my book Analyse musicale. Sémiologie et cognition des formes temporelles (L’Harmattan, 2006, esp. pages 35 to 100). This will raise awareness on the theoretical precision of the concepts, and thereby, allow to address the question about the parallel dialectic of continuity and discontinuity. The algorithm of cognitive analysis performs a complete and comprehensive description of form and structure in a musical piece. But this meticulous description may encounter difficulties, revealing generally very specific musical issues. I will give some examples of these difficulties and how they can be overcome, emphasizing on what they reveal. I will also try to show how a rigorous method such as that proposed by the cognitive algorithm leads to consider the idea that the form and structure of a piece are not unambiguous characteristics, but also depend on a number of competitive or simultaneous criteria which may involve, for instance, several interpretations and listenings of the same work. 60

Thomas Christensen University of Chicago tchriste@uchicago.edu

 Session 1A

Thomas Christensen is the Avalon Foundation Professor of Music and the Humanities at the University of Chicago. He has published on a wide variety of topics, including the history of music theory, four-hand piano arrangements, and on 18th-century musical aesthetics. His books include Aesthetics and the Art of Musical Composition in the German Enlightenment: Selected Writings of Johann Georg Sulzer and Heinrich Koch (co-authored and translated with Nancy Baker; Cambridge, 1995), Rameau and Musical Thought in the Enlightenment (Cambridge, 1993), and (as editor), The Cambridge History of Western Music Theory (Cambridge, 2002). He is currently finishing a book concerning discourses of tonality in 19th-century France.

Fétis and the Origins of Tonality It is well known that Fétis dated the origins of modern tonality with the appearance of Monteverdi’s Fifth Book of Madrigals in 1605, specifically in the opening measures of Cruda Amarilli, where an unprepared dominant-seventh chord is heard. Fétis’ confident dating of modern tonality did not go unchallenged in his own day, however. A number of critics responded to our Belgian music critic, usually citing pieces long predating Monteverdi’s as evidence of earlier apparitions of tonality. Among his critics were the chant editor, Louis Lambillotte, the German historian, Rafeal Kiesewetter, and two fellow Flemish musicologists: Charles Coussemaker and Francois Auguste Gevaert. But the stakes in these arguments were not simply games of one-upmanship. The arguments were ones that brought into question Fétis’ entire historical and theoretical project. Both Kiesewetter and Coussemaker, for example, saw the origins of modern tonality already sprouting in certain vernacular practices of the early Middle Ages. For both of them, there were two kinds of tonality developing side by side: ancient and modern. Gevaert, on the other hand, thought the true blooming of modern tonality did not occur until much later, specifically in the music of Johann Sebastian Bach. The implications of these polemics were manifold. They ranged from questions over the application of musica ficta in early music (would the imposition of un-notated sharps impose an anachronistic leading tone in the music?) to question of non-Western modes (might the micro-tonal inflections of Arabic and Indian music be heard as generating the same kinds of “appellative” tendencies that are according to Fétis the unique province of the tritone in modern tonality?). And then there is the metaphysical question as to whether tonality is indeed an ideal concept as Fétis claimed, or can be defined— nd evoked—by specific empirical markers. 61

Jan Christiaens University of Leuven jan.christiaens@kuleuven.be

 Session 5B

Jan Christiaens studied philosophy and musicology, as well as piano and lied accompaniment. He completed his PhD in musicology at the University of Leuven (Belgium) with a dissertation on the aesthetics of early serialism (O. Messiaen, K. Goeyvaerts, K. Stockhausen). Currently, he is a lecturer at the University of Leuven. His research is focused on new music (Olivier Messiaen in particular) and music aesthetics, with a special interest in Theodor W. Adorno and critical theory. He published on these topics in Music Analysis, Dutch Journal for Music Theory, and Perspectives of New Music.

Analysis after Adorno. Towards an Epistemology for the Analysis of Recent Art Music In his text ‘On the Problem of Musical Analysis’ (1969), Theodor W. Adorno states that analysis is primarily about the complex dialectical relationship of formal schemata and deviations at play in a musical work. In the same text, Adorno realizes, though, that this view of analysis most directly bears on “that traditional music in which such allencompassing general schematic relationships exist at all”. However, in a significant portion of recent art music this dialectical relationship of generality and singularity seems to be distorted by the complexity and idiosyncrasy of the music. For in this music, one pole of the dialectical interplay – i.e. the existence of formal schemata, general types or compositional archetypes – has shrinked so much, that the dialectic itself is at risk of becoming meaningless, and analysis of becoming sheer composition in reverse. In this paper, I will try to go beyond Adorno and show how analysis of recent music might cope with the dialectical dead end which is predicated upon it. For that purpose, I will elaborate upon two recent suggestions. Firstly, building on Julian Johnson’s idea of “une analyse informelle” (‘Vers une analyse informelle’, in : A. Nowak (ed.), Musikalische Analyse und Kritische Theorie, 2007), I will show how the very analysis of complex, idiosyncratic music, with its emphasis on particularity, offers a new and stimulating model for analysis that is no less dialectical than traditional analysis, and that is even better able to account for the process-character of composition. Secondly, I will assess the suggestion of some composers and music theorists that an all-encompassing theory of atonality could relieve the distress of analysis of recent music, in that it supplies it with an epistemological foundation, in the same way as the theory of tonality did for the analysis of tonal music. 62

David Clampitt The Ohio State University clampitt.4@osu.edu

 Session 9B

David Clampitt is Professor of Theory & Composition in the School of Music of Ohio State University. He previously taught at Yale University and University of Chicago, and is a former editor of Journal of Music Theory. His research interests include aspects of mathematical music theory, as well as history of theory and analytical approaches to 19th- and 20th-century music. He won, together with Norman Carey, the 1999 Emerging Scholar Award of the Society for Music Theory, and, together with Thomas Noll, the 2013 Outstanding Publication Award of the Society for Music Theory.

Analytical Applications of Singular Pairwise Well-formed Scale Structures Pairwise well-formed (PWWF) scales are certain scales with an odd number of notes and three distinct step-interval sizes. Examples are found in world music generally as well as in Western music. Well-formed scales generalize diatonic scales; in the case of the usual diatonic, there are, of course, two step-interval sizes, with multiplicities 5 and 2. Almost all PWWF scales may be shown to have two distinct step-interval sizes with the same multiplicity, and a third step-interval size with a different (odd-number) multiplicity. The class of singular pairwise wellformed scales are set apart, with 7 notes, and step-interval sizes in three distinct multiplicities: 1, 2, and 4. Such scales have a symmetrical form <abacaba> (for example, C D-flat E F G A-flat B (C)), a structure that is reproduced for each of its generic interval cycles (cycles of 3rds/6ths, 4ths/5ths, as well as of 2nds/7ths). Such scales have a reciprocal relation to the usual diatonic: the defining equivalences, in turn, interval sizes a with b, b with c, and a with c, project to the three diatonic generic interval cycles. The most abundant musical examples of the singular PWWF class are modes of the so-called Hungarian or gypsy minor (or otherwise identified scales in world music with this structure). One mode is the example above, a ‘major’ mode example, which admits a ‘minor’ mode dual. This scale is used in western art music, including explicitly in Brahms’s Violin Concerto and String Quintet, Op. 111, ii, and implicitly in Schubert’s Der Doppelgänger and Beethoven’s String Quartet, Op. 131, i. This paper will relate structural properties of singular PWWF scales to analytical insights into the Beethoven and Schubert examples (and suggest a historical relation between them), and to the slow movement of Brahms’s Op. 111. 63

Suzannah Clark Harvard University sclark@fas.harvard.edu

 Session 1A

Suzannah Clark is Professor of Music at Harvard University. Before joining Harvard in 2008, she spent twelve years at Oxford University, first as a Junior Research Fellow and British Academy Postdoctoral Fellow at Merton College, then as a faculty member from 2000-2008. She specializes in the history of theory, the music of Schubert, and medieval music. Her book Analyzing Schubert was published by Cambridge University Press in 2011. She is currently working on a book on the history of 19th-century tonal theories and is currently a member of Council for the AMS, and the Review Editor for JAMS.

Fétis’ History of First Principles In his Curiosités historiques de la musique: complément nécessaire de la musique à la portée de tout le monde (1830), François-Joseph Fétis pointed out that, when Jérôme-Joseph de Momigny was attempting to present a new theory of music in his Cours complet d’harmonie et de composition (1803), he spent a considerable portion of his book satirizing his predecessors—a tactic that Fétis considered “almost always time poorly spent”. Yet a few years later, in 1840, Fétis himself completed his Esquisse de l’histoire de l’harmonie, considérée comme art et comme science systématique, an essay entirely devoted to an extended critique—and often satire—of his predecessors and contemporaries. Fétis shared the same motivation in this study that he ascribed to Momigny, namely to assert the novelty of his own theory. As this paper will show, Fétis’ version of the history of theory owes its particular slant to what Fétis thought was his novel contribution, namely his answer to what he saw as music theory’s most burning question: “Quelle est la base certaine de l’harmonie?” (“What is the true foundation of harmony?”). Once the question was answered, Fétis was confident that the true theoretical design of first principles would fall into place. I shall focus this paper on Fétis’ reception of the French theoretical tradition by examining in particular how he characterized and discredited the theories of Momigny, Ballière, Levens, M. Jelensperger, and M. le baron Blein. With the exception of Momigny, who survived Fétis’ onslaught, albeit for his analyses rather than his theory of harmony, the others remain largely unknown. My paper will take a fresh look at the treatises of the five theorists listed above in order to highlight some of the more intriguing features of their first principles that were eclipsed in Fétis’ historical vision for French theory. 64

David Clarke Newcastle University d.i.clarke@ncl.ac.uk

 Session 5B

David Clarke is Professor of Music at Newcastle University. He is a music theorist with wide a range of research interests, encompassing analytical, philosophical, cultural and critical approaches to music. With Eric Clarke he is co-editor of and contributor to Music and Consciousness: Philosophical, Psychological, and Cultural Perspectives (OUP, 2011); and he has published widely on the composer Michael Tippett, including a monograph, The Music and Thought of Michael Tippett: Modern Times and Metaphysics (CUP, 2001). He has also investigated issues around cultural pluralism, one aspect of which is his more recent turn to the study of North Indian classical music, in both theory and practice.

Ambiguity and Beyond: Theories of Musical Meaning and Their (Non-) Application to Music post-1950 That meaning is inherently unstable or ambiguous is not only a wellrehearsed tenet of post-structuralism, but also a facet of Nattiez’s tripartitional model for music semiology. Nattiez showed how configurations of meaning may manifest differently across the spheres of musical creation (poietic level) and perception (esthesic level), and that these again may not be coterminous with meanings inferable from the musical work considered in its (neutral level) material manifestation or trace (typically accessed through its notated score). One diagnosis of what is going on with ‘difficult-to-analyse’ works of the post-war avant garde is that this situation of semiotic ambiguity is pushed to an unprecedented extreme. On the one hand rationalised or arcane processes at the poietic level (e.g. the multiple-serialist techniques of Boulez, or Maxwell Davies’s use of magic squares) find no counterpart at the esthesic level: as Lerdahl has (contentiously) claimed, such music pushes beyond a listener’s cognitive constraints; hence the parameters for analysis may become correspondingly attenuated. On the other hand, in works that embrace indeterminacy the question of what – in Nattiez’s terms – constitutes the material trace (and hence neutral level) that gives the work a stable identity – is itself under question. Under such conditions, what are we meant to be analysing? And in such cases, ‘ambiguity’ may be too understated a term. After all, ambiguity is a value ascribed to many classic works in the Western canon, and may positively indicate pathways for, rather than be an obstacle to, analysis. However, in the semiotic dislocations of much modernist music the very point may be to push beyond what can be symbolised (cognitively or analytically) – which begs the question of what kind of analytical metalanguage we can use. Perhaps schemes such as Nattiez’s need to be overwritten in psychoanalytic terms that express the schisms in the composing and listening subject, and the movements of desire. 65

Michael Clarke University of Huddersfield j.m.clarke@hud.ac.uk

 Session H

Michael Clarke is a Professor at the University of Huddersfield. He is a composer and programmer for music and has initiated a new approach to the analysis of electroacoustic music, Interactive Aural Analysis.

Towards an Analysis of Trevor Wishart’s Imago: Form, Structure and Technology (with Frédéric Dufeu & Peter Manning) Imago is an electroacoustic work written in 2002 by Trevor Wishart, one of Britain’s leading composers in this field. Typically, Wishart realized the work using software he himself produced. The software package Sound Loom provides a suite of processing algorithms that can be applied to recorded sound files. All the sounds in Imago derive from the transformation of one brief recording. A wide variety of material results from the processing, ranging from short events lasting less than one second to long sustained textures. Often the sounds are the result of many stages of processing applied in sequence. The work itself is formed by the juxtaposition and superposition of the many sound files resulting from such processing. Usefully, both for the composer and the analyst, the software enables users to keep a record of the sounds and processes used so it is possible to trace the creative development of the work and relate this to the final composition. This paper describes the approach taken to analyzing Imago. It is an approach that combines top-down analysis, interrogating the finished work, with ground up analysis – study of the creative process and tracking the development of the musical materials toward the completed piece. Only through this dual approach can a rounded account of such works can be produced. Since the work is a ‘fixed media’ piece, existing only as a sound recording (there is a descriptive score by the composer for sound diffusion purposes, but this is only in summary form), our analysis has largely been conducted within the sound domain. Innovative analytical software we have devised to assist with this will be presented. This work is part of TaCEM, a 30-month project funded by the UK’s Arts and Humanities Research Council. 66

Kevin Clifton Sam Houston State University kmc053@shsu.edu

 Session L

Dr. Kevin Clifton is an Assistant Professor of music theory and Associate Director of the School of Music at Sam Houston State University in Huntsville, TX. His current research focuses on the use of music in suspense films. A version of his conference lecture will be published in Partners in Suspense: Critical Essays on Alfred Hitchcock and Bernard Herrmann, (editors) K.J. Donnelly and Steven Rawle, Manchester University Press, forthcoming.

The Anatomy of Aural Suspense in Rope and Vertigo My presentation explores the dramatic employment of music in two classic Hitchcock films, Rope (1948) and Vertigo (1958), both of which effectively sustain suspense throughout the filmic narrative. In Rope, Phillip Morgan, one of the killers, gives an on-screen performance of the first movement of Francis Poulenc’s Mouvement Perpétuels (1918) during a macabre dinner party, where one of the guests lies dead in a trunk. While Hitchcock never spoke about his use of music in Rope, he undoubtedly understood that Poulenc’s pre-existing music—music not composed for the film, but rather chosen by Hitchcock himself—added value to the image track. The music in Rope can be interpreted on different analytical levels: discrete levels of purely musical forces as well as possible extra-musical meanings. Working outwards from this interpretive framework, the filmic viewer will be able to appreciate the employment of Bernard Herrmann’s music composed especially for Vertigo with a fresh set of new ears so to speak. In particular, both films feature dramatic moments of aural suspense in which music actively yearns for closure yet concomitantly resists this closure at the same time. As we will see and hear, these moments of musical ambivalances— or suspenseful ‘open endings’—brilliantly counterpoint the narrative complexities of both films. 67

Denis Collins University of Queensland denis.collins@uq.edu.au

 Session F

Denis Collins studied music at University College Dublin and at Stanford University where he received his PhD degree in musicology. His research interests are in the history of music theory and in counterpoint and canon from ca. 1500 to ca. 1800. He has published widely in journals such as Bach-Jahrbuch, Bach: the Journal of the Riemenschneider Bach Institute, Music & Letters, and Music Perception. He has contributed to several edited volumes of essays, and his article on Counterpoint was published in Oxford Bibliographies Online in 2013. He is a Senior Lecturer in Musicology at the University of Queensland.

Pierre Moulu’s Missa Alma Redemptoris Mater and S. I. Taneyev’s Theories of Horizontal‐Shifting Counterpoint Pierre Moulu’s Missa Alma Redemptoris Mater can be performed in two ways: with or without rests greater than a minim (half-note). Notwithstanding that Moulu’s mass was cited in 16th-century sources, little is known to modern scholars about the structural mechanisms whereby two different versions of a musical work can be generated by the presence or absence of rests of certain values in contrapuntal combinations for two or more parts. Yet there is one treatise on counterpoint, hitherto generally neglected by Western scholars, where Moulu’s mass is singled out for attention. Sergei Ivanovic Taneyev’s monumental Podvizhnoi kontrapunkt strogogo pis’ma, published in Moscow in 1909, is well known to generations of Russian music students and scholars for its lengthy exposition of an overall theory of certain kinds of contrapuntal processes known collectively as ‘moveable counterpoint’. Towards the end of the book, Taneyev turned his attention to Moulu’s mass as a special case of what he termed ‘horizontal-shifting counterpoint’, which is a subtype of ‘moveable counterpoint’ whereby the numbers of rests separating voice entries are adjusted so that a second contrapuntally correct version of the same musical materials is obtained. It is worthwhile to investigate Moulu’s mass as a work that demonstrates many of the core features of Taneyev’s theory of horizontal-shifting counterpoint. This enables not only identification of an analytical approach to the specific compositional problem posed by Moulu’s mass but also assessment of the utility of Taneyev’s methodology in further study of Renaissance repertoire, most especially in works employing fuga, a compositional technique that includes horizontalshifting counterpoint amongst its range of procedural devices. A key question of this study, therefore, is how Taneyev’s approach to a specific work such as Moulu’s mass can yield analytical insights of use to presentday scholars engaged in analytical studies of Renaissance counterpoint. 68

Tom Collins De Montfort University Leicester tom.collins@dmu.ac.uk

ď ľ Session 9A

Tom Collins is a postdoctoral researcher at the Department of Computational Perception, headed by Gerhard Widmer at Johnannes Kepler University Linz, Austria. He received the BA degree in Music from Robinson College, Cambridge in 2005, the BA degree in Mathematics and Statistics from Keble College, Oxford in 2008, and the PhD in Computing from The Open University, UK, in 2011. After the PhD he had a one-year postdoctoral position with Petr Janata at the Center for Mind and Brain, UC Davis, researching cognitive models of musical expectancy.

Inter-Opus Analyses of Beethovenâ&#x20AC;&#x2122;s Piano Sonatas This paper will consist of a tour of the results of a pattern discovery algorithm called SIARCT-CFP applied to movements from the piano sonatas of Ludwig van Beethoven. Due to concerns of computational complexity, the discovery of motifs, themes, and repeated sections in polyphonic music has tended to focus on individual movements (intraopus analysis), but this paper will discuss the challenges and results of applying discovery methods to several movements simultaneously (inter-opus analysis). The aim of the paper is to discover and present previously unknown patterns in the work of Beethoven, and to interpret these patterns in order to enrich our understanding of his music. 69

Klaas Coulembier University of Leuven klaas.coulembier@kuleuven.be

 Session 5B

Klaas Coulembier studied musicology at the University of Leuven. His main research interests are the analysis of complexist contemporary music, including methodological issues. He contributed articles to journals such as Belgisch Tijdschrift voor Muziekwetenschap, Tempo and Musiktheorie, and wrote a chapter in the first collection of essays on the music of Claus-Steffen Mahnkopf (Die Musik von Claus-Steffen Mahnkopf, 2012). The title of his doctoral dissertation (defended in May 2013) was Multi-Temporality. Analyzing Simultaneous Time Layers in Selected Compositions by Elliott Carter and Claus-Steffen Mahnkopf. Klaas Coulembier is currently a post-doc research fellow at the University of Leuven with a grant from the Research Foundation Flanders.

Overload or Generosity? Analysing Brian Ferneyhough’s Time and Motion Study II It is commonly known that any musical score by Brian Ferneyhough is rather hermetic, if not to say impenetrable, even after many readings. The overload of notational details and textual information – a result of complex pre-compositional procedures – leads to music sounding very different than it looks. Sketch studies or reconstructions of the composition process hardly render these compositions more accessible; the analyst is faced with a lack of clear reference points upon which to base the analysis. On the other hand, the abundance of information offers the analyst with a great variety of potential ‘entrance gates’ to try and get a grasp on these works. Depending on the focus on specific parameters, different analytical approaches can contribute to a deeper understanding of this repertoire. Previous analytical studies (often relying on metaphors) have convincingly demonstrated that the music of Ferneyhough is not just an abstract jumble of black spots and lines on paper, but very strongly appeals to musical imagination and analytical creativity. In this paper, I will focus on the challenges this music poses to music analysts. I will consider a number of important choices that have to be made when dealing with this repertoire and propose some workable strategies. Including sketches, texts and commentaries on the composition can be helpful, but it is questionable that the analyst should merely confirm the intentions of the composer. I will use Ferneyhough’s well-known Time and Motion Study II as an example to investigate to what extent the musical score, in combination with the auditory result, can be an adequate source of information for music analysis, approaching the overload of information as a token of generosity from the part of the composer, and not as a scarecrow towards the performer/analyst. 70

Pierre Couprie Université de Paris-Sorbonne pierre.couprie@paris-sorbonne.fr

 Session 5D

PhD in musicology, Pierre Couprie is an associate professor and researcher at Paris-Sorbonne University. His research fields are the musical analysis/ representation of electroacoustic music and the development of tools for research (iAnalyse Studio, EAnalysis) or musical production. He is also a member of steering committee of Musical Analysis French Society (SFAM) and Musimédiane online journal. As an improviser, he is a member of Les Phonogénistes and The Electroacoustic National Orchestra.

New Forms of Representation to Listen, Analyze, and Create Electroacoustic Music Analysis uses representation to detect and demonstrate paradigmatic or syntagmatic links in musical material. For several years, the particular case of electroacoustic music adds new digital technics to create complex and interactive representations. These representations show potential links between analyzing, modeling, and creating electroacoustic music. Indeed, EAnalysis and TIAALS software explore interactive representations through charts of typology, paradigmatic links, or any other organizations of sound and music that break traditional time/ frequency graphic representations. They also show the possibility to associate various types of files like audio, video, or data from other software. Features of these software allow the listener to navigate inside the work in different ways and are closely related to creative processes. On the other hand, software developed for musical creation can be used in analysis. Last versions of Audiosculpt software gives the possibility to use audio descriptor or similarity matrix. Audio descriptors are used for several years to analyze large bank of sounds (MIR) and detect regularities or extract various acoustical characteristics. Audio descriptors can be used in musical analysis to discover and analyze global morphologies, breaks of spectrum, regularities, transitions, or articulations of sound material. Similarity matrix is perfect to visualize musical form from sonogram and links between different levels of structures. The piece of software CataRT uses audio descriptors to create playing map of sounds for musical improvisation. This map can focus on audio descriptors without time representation to create a sort of genetic map of any audio file. These examples of software from both sides demonstrate how links between analysis and musical creation are strong in recent electroacoustic music researches. This paper will present these technologies based on musical representations through different examples of creative processes and analysis of electroacoustic music. 71

Jonathan Cross University of Oxford jonathan.cross@music.ox.ac.uk

Guest Lecture SMA

Jonathan Cross is Professor of Musicology at the University of Oxford, and Tutor in Music at Christ Church, Oxford. He is author of numerous texts on aspects of musical modernism, including three books on Stravinsky and two on Birtwistle. For five years he served as Editor of Music Analysis, and is now an Associate Editor of Grove Music Online. In 2015–16 he will be a Research Associate investigating spectral music as a member of the “Analyse des pratiques musicales” research team at IRCAM, Paris. He was Director of the Fifth European Music Analysis Conference in Bristol in 2002.

From the Technical to the Aesthetic: Analysing Modernism Anxious debates surrounding the definition of musical modernism have proliferated over recent years, as exemplified by the 2014 round table on “Modernism and its others” published in the Journal of the Royal Musical Association. After interrogation of some of the contradictory positions, my concern in this presentation will be to attempt to evaluate the ongoing relevance (or otherwise) of the idea of modernism as a framing concept for understanding recent music. I shall take a work for ensemble and electronics by Tristan Murail, Winter Fragments (2000), as a case study via which to explore some of the ways in which a technical analysis can contribute to a wider aesthetic interpretation. That so-called spectral music emerged, at least according to its principal early protagonists, as a reaction both to the serialism that had dominated mid-century debates about musical modernism and to what the composers involved termed ‘musical postmodernism’, and yet was at the same time so closely associated with IRCAM, one of the iconic post-war institutions of modernism, provokes important questions about the value of a monolithic idea of modernism in the late 20th and early 21st centuries, about the usefulness of received approaches to the analysis of such music, and how such readings might play into a wider understanding of the social and cultural changes of which the music was a part. 72

Laurent Cugny Université de Paris-Sorbonne Laurent.Cugny@paris-sorbonne.fr

 Session 7B

Laurent Cugny is a musician and musicologist. He has performed and recorded with Gil Evans (1987), and was director of the Orchestre National de Jazz (19941997), and professor at University Paris-Sorbonne since 2006. He authored Las Vegas Tango – Une vie de Gil Evans (1989), Électrique – Miles Davis 1968-1975 (1993), Analyser le jazz (2009), Histoire du jazz en France – 1. Du milieu du XIXe siècle à 1929 (2014) and Analyzing Jazz (2014), and is editor of Eurojazzland – Jazz & European Sources, Dynamics & Contexts (2012) and La Catastrophe apprivoisée – regards sur le jazz en France (2013).

Verticality-Horizontality; Harmony-Counterpoint; Heinrich SchenkerBrad Mehldau The introduction of the idea of mode and modality in jazz practice and theory around the end of the 1950s comes a short time before the generalization of chord-scale theory. The latter systematized a tendency to verticality initiated by bebop, in the sense of a more and more sophisticated account of each chord, isolated out of their harmonic suite, to the detriment of the horizontality of an approach privileging the melodic process actually relegating chords in the background. The paradox is that the introduction of modality – for example in the mind of one of its main actors, Miles Davis – intended to rehabilitate a horizontality altered by the post-bop multiplication of chords among tune changes (So What vs. Giant Steps), since chord-scale theory has used the notion of mode in a quite opposite way. The operation consisting of the application of a principle such as “to each chord fit one or mode modes” leads to the consequence of a greater atomizing of chords, even when they are regulated by the tonal logic that proceeds from a basic horizontality (directionality toward the final tonic step). Schenkerian analysis, or preferably the Schenkerian idea upstream from the method itself, can help us to reconsider this question within a different perspective. Actually, concepts of Ursatz and Urlinie can be of great help to formalize horizontalities present either in compositions used by jazz musicians or in their improvisations. They offer an opportunity to consider the notion of counterpoint in jazz, largely ignored compared to purely harmonic arguments. I will illustrate this through examples taken from a few standards and from Brad Mehldau’s Lament for Linus. 73

John Cunningham Bangor University j.cunningham@bangor.ac.uk

 Session 3B

John Cunningham is a lecturer in Music at Bangor University, UK. His main research area is music in the British Isles, c.1600–1800, with particular emphasis on secular music, compositional process, music and cultural history, music and literature, source studies and editing. He has published on various aspects of 17th-century instrumental music and its sources in England, and is the author of The Consort Music of William Lawes, 1602–45 (2010). His forthcoming publications include a complete critical edition of music associated with Ben Jonson, part of The Cambridge Edition of the Works of Ben Jonson (CUP).

The Roots of English Restoration Opera in Masque English Restoration opera emerged in the 1670s largely through Thomas Betterton’s efforts to produce entertainments on a par with Lully’s ‘comédies-ballets’ and early ‘tragédies lyriques’. In doing so he was pandering to the tastes of Charles II. However, Betterton also understood that the tastes of English audiences were rooted in spoken drama: allsung entertainments would not be easily accepted. His solution was effectively to expand upon two related genres: the play with musical interludes, and the court masque. After 1660 music became increasingly important in the English theatre, and plays with masque-like musical interludes became increasingly common. At least some of the reason for this stems from the Interregnum music-drama experiments in which masque conventions were used to circumvent the interdiction on spoken drama. The court masque may have died with Charles I, but (in addition to Royalist nostalgia) it offered a formal model accommodating spoken dialogue with music, song and dance, in an elaborately staged context; the relationship between the drama and music was, however, essentially superficial. Restoration plays with masques were often similarly extravagant but dramatically neutral. In the more lavish semioperas, masques continued to be largely detached from the plot but significantly they were at the heart of the entertainment and often highly ‘operatic’ in conception. Matthew Locke’s settings of Cupid and Death (1659) and the ‘Masque of Orpheus’ (The Empress of Morocco, 1673) represent vital stages in this transition. Analysing the origins of English opera helps us to better understand the criteria by which its creators and contemporary audiences gauged the success of these entertainments. This paper will thus present select analytical case studies elucidating the relationship between Restoration opera and the theatre tradition whence it emerged; the primary focus will centre on analysis of the relationship between text and music, and between dramatic and musical forms. 74

John Dack Middlesex University j.dack@mdx.ac.uk

 Session 5D

Born: Kings Cross, London 1950. Studied music as a mature student at Middlesex Polytechnic (BA Hons, 1980). Subsequent studies: PhD with Denis Smalley (1989); City University (post-graduate Diploma in Music Information Technology) (1992) and MSc (1994); Goldsmiths College (MMus, Theory and Analysis, 1998); Middlesex University (MA Aesthetics and Art Theory, 2004). From 1988 to 2011 employed as Senior Research Fellow at the Lansdown Centre for Electronic Arts. Currently employed as a Senior Lecturer at Middlesex University. Research interests: history, theory and analysis of electroacoustic music, the music and works of the Groupe de Recherches Musicales, serial thought, the ‘open’ form.

Listening to ‘Plastic’ and ‘Musical’ Languages in Pierre Henry’s Variations pour une porte et un soupir Do we use entirely different listening strategies for instrumental and electroacoustic music? Many contemporary composers have acknowledged the influence of studio experiences on their instrumental and vocal works suggesting that there are areas of mutual concern. Nevertheless, the musical materials and processes of many electroacoustic compositions inevitably challenge established modes of listening and thus require special attention from analysts. It is likely that there is an interplay between modes as they corroborate or subvert each other while the listener actively seeks meaning in the work. My paper will explore how different listening strategies can be applied to an analysis of Pierre Henry’s Variations pour une porte et un soupir (1963). Henry’s episodic structure (25 clearly demarcated sections) contrasts two musical languages - ‘plastic’ and ‘musical’ - which are described briefly by Pierre Schaeffer in his Traité des objets musicaux (p. 636). Each uses different types of material and, as a result, each demands a different listening strategy. For example, sections with varying sounds of indeterminate pitch and extended duration will evoke the ‘plastic’ discourse. Such sounds are inevitably problematic for a traditional analysis due to their continuous movement through pitchspace. In other sections, where a ‘musical’ discourse dominates, the listener can identify clear rhythms which are developed in a motivic manner. In such cases a subtle relationship emerges between the intrinsic sound qualities and a recognition of their real-world source. My methodology will be based on my own listening experiences as a musicologist/analyst of electroacoustic music. In addition to Schaeffer’s ‘four listening modes’ I will also draw on analytical studies by Marty (2012) with particular reference to the directional structures clarified by ‘narrativity’ and Delalande (1998) regarding ‘reception behaviours’ of electroacoustic music. 77

Rossana Dalmonte Istituto Liszt Bologna dalmonterossana@gmail.com

Guest Lecture GATM

Rossana Dalmonte’s academic career began at Bologna University in 1972, as an assistant to the chair of “History of Music”, then as professor in charge of the discipline “Forms of music and poetry”. From 1987 to 2008, she was a full professor of “Musicology” at Trento University. Her principal fields of interest are: 1) Philology (two volumes in the Neue Schubert Ausgabe; one volume in the Rossini Critical Edition; two volumes in the Maderna Edition, of which she was a co-founder); 2) Theory and analysis; 3) History of music (see volumes on the madrigal, Bruno Maderna, Luciano Berio and Franz Liszt).

Music Analysis for Musical Grammars The presentation’s main point is: all good pieces of analysis are preliminary to the recognition of a grammar. The first part (“Analysis in the forest of musical studies”) – pinpoints the location of analytical studies in the broader field of various musical disciplines. Part 2 deals with the different meanings of the concept ‘musical rule’, and reaches the following statement: every kind of music – more or less provided with explicit compositional directions – is based on a system of rules which belongs to a grammar, common to different pieces by different composers acting in the same epoch and genre. That is: every piece of music belongs to a grammar of a particular style, because even in the most revolutionary piece of art, rules do exist. In part 3 the concept of ‘grammar’ is discussed. This concept is strictly related to the concept of rule because rules are the material of the grammar. The two concepts are not equivalent, however: single rules have to be ordered and systematized in order to become part of a grammar. Moreover, the nature of the rules emerging from analysis (and the grammar to which they belong) must not be confused with the kind of procedures which act when the rules are concretely applied. In fact, a rule describes the functioning of a single phenomenon (that is the facet of ‘knowledge’), but also sets limits on the use of the phenomenon itself (the ‘operative’ facet). The central idea of grammar finds its realisation in a conceptual tool able to ‘describe’ and to ‘utilise’ the rules governing the coherent connections among all the elements constituting a musical unit of a higher level. So, we can say that a grammar is in itself an ordered system of rules. A grammar as a cognitive tool is an explicit and conceptual description of grammatical competence. 78

Anne Danielsen University of Oslo anne.danielsen@imv.uio.no

 Session 7A

Prof Anne Danielsen is Professor of Popular Music Studies in the Department of Musicology, University of Oslo. She has published widely on rhythm, groove, and music production in postwar African American popular music and is the author of Presence and Pleasure: The Funk Grooves of James Brown and Parliament (Wesleyan University Press, 2006), for which she received the Lowens Book Award from the Society for American Music. She is also the editor of Musical Rhythm in the Age of Digital Reproduction (Ashgate, 2010).

Structure and Flexibility: Microrhythm in Groove-based Music In groove-based music, a repetitive rhythmic pattern of one or two bars is typically repeated almost verbatim across significant stretches of a given song. The term groove therefore refers to both the basic pattern that is repeated (sometimes specified as a swing groove, funk groove, etc.) and the movement-inducing feel that is produced by the actual sounds when such a pattern is performed (either by instruments or by computers). Given the obvious significance of the groove, how can we theorize and analyze rhythm in groove-based music in order to shed light on the relevance of microrhythmic aspects to the experience of dancing and listening to it? In this paper, I will present a framework for understanding microrhythm in groove-based music that engages with rhythm specifically as an interaction between two analytically separable levels — virtual reference structures and actual sounds. It is an approach that evokes, in turn, the much-theorized interaction between syntax and actual speech or writing in linguistics. I will then apply this framework to a selection of funk grooves from the 1960s and 1970s. A core theme in the paper is how rhythm often represents a play with structural expectations, and how new structures may in fact emerge as part of the musical process. Musical structure, in turn, is perhaps best thought of not as a given but as a dynamic aspect that can change over time, both in a phenomenological and a historical sense. 79

Herman Danuser Humboldt-Universität danuser@musik.hu-berlin.de

Keynote Lecture

Hermann Danuser has taught at Humboldt University of Berlin from 1993 to 2014 as a professor of historical musicology. In addition, he coordinates the research of the Paul Sacher Foundation in Basel. He has been a guest professor at several universities in Europe, the United States, and China. From 1985 to 1995 he coedited the journal Musiktheorie. His research interests include music history and historiography, aesthetics, music theory, analysis, as well as interpretative practices. In 2009 his book Weltanschauungsmusik was published by Edition Argus. The same publisher recently launched a selection of his writings in four volumes. Currently, he is preparing a book on “Metamusik”.

Horizons of Metamusic: The Case of Richard Strauss In a year of worldwide celebration of Richard Strauss’ 150th anniversary it appears necessary to question whether the interests of music analysis and music theory do justice to the artist’s reputation, or whether one should rather speak of an explicit lack of exposure and enquire as to its reasons. Without any doubt this year’s symposia and congresses dedicated to Strauss’s music, together with the recently undertaken critical edition of his works in Munich represent important stimuli to the theoretical apprehension of his oeuvre, the results of which will be revealed in future. Undeniably, political and aesthetic reservations concerning Strauss’ character and his work – which include on one hand his national anchoring in German culture and his cooperation with national socialism, and on the other hand his connecting of symphonic music to programmatic ideas as well as the multi-mediality of the operatic genre – have proven to be impediments to both analysis and theory. Meanwhile, I recognize another obstacle in the concept of modernity, which one-sidedly focuses on issues of musical material and compositional structure, thus neglecting the meta-musical problem of a self-referential understanding of modernity. My keynote talk will address this issue. I would like to demonstrate how the inclusion of meta-musical ideas alters the analytical perspective on musical structures, in order to show the considerable potential of such an approach for future musictheoretical research. For this I would like to take examples of Strauss’s two main genres into consideration – first, a symphonic poem, then, an opera. In Also sprach Zarathustra the focus will be on Nietzsche’s “Mitternachtslied,” since the examination of this self-referential poetry reveals analoguous musical structure in Strauss’ work. Furthermore, the significance of Strauss’ last opera Capriccio lies in its affiliation with the genre of meta-opera, which reverts back to Casti’s/Salieri’s 18thcentury Prima la musica poi le parole and centres around a reflection on music by the means of music. 80

Paulo de Assis Orpheus Institute Ghent paulo.deassis@orpheusinstituut.be

 Session 8A

Paulo de Assis is the Principal Investigator of the European Research Council funded project “musicExperiment21” at the Orpheus Institute Ghent. He was formerly professorial research fellow at the University Nova Lisbon (2008-2012). A trained concert pianist and artistic researcher, Paulo de Assis studied Piano with Vitaly Margulis, Michel Béroff and Alexis Weissenberg, in Freiburg (Germany) and Engelberg (Switzerland), having been distinguished by the Fondation des Prix Européens (1994) and at the International Competition Maria Canals, Barcelona (1997). Active as a performer, musicologist and music philosopher, he published two books as author, and seven as editor.

Response to the presentations of Bartolo Musil and Lukas Haselböck Response to the presentations of Christian Utz and Ellen Fallowfield

Trevor de Clercq Middle Tennessee State University trevor.declercq@mtsu.edu

 Session 4C

Trevor de Clercq serves as Assistant Professor in the Recording Industry Department at Middle Tennessee State University, where he coordinates the musicianship curriculum and teaches coursework in digital audio technology. His academic background includes degrees in music theory (Cornell, BA; Eastman, MA/PhD), music technology (MM, NYU), and electronics engineering technology (AAS, CIE). His research centers on the theory and analysis of popular music, empirical studies of music, recording technology, and music cognition.

Typical Chords in Typical Song Sections: How Harmony and Form Interact in Pop/Rock Music In modern analyses of pop/rock music, a song is parsed into a succession of section categories drawn from a limited set of standard labels, e.g., verse, chorus, and bridge. Despite the common currency of these labels, scholars to date have provided only very general, if not conflicting, theories as to what sort of musical parameters engender or correlate with our perception of these categories. For example, Everett (2001) states that verse and chorus sections nearly always prolong the tonic, while Endrinal (2008) and Stephan-Robinson (2009) associate an emphasis on tonic more strongly with chorus than verse sections. Furthermore the supporting evidence for such statements has been limited mostly to a few exemplars rather than any large body of data. One notable exception is Summach (2012), who provides statistics on tonal closure in various section types. This paper continues the investigation of how harmonic traits align with typical section categories using an empirical approach. In this study, I examine the interaction of form and harmony in rock music within a corpus of 200 rock songs, drawn from Rolling Stone magazine’s list of the “greatest songs of all time”. Each song was encoded by two separate musicians, so first I appraise the extent of subjectivity for this type of formal analysis in general. I then present statistics on chord quality, chord inversion, and root distribution for individual song sections, which I compare to the global data as reported in my corpus study of rock harmony with Temperley (2011). Other results include information on chord durations and chord transitions, both for the corpus as a whole and for individual section types. It is shown that individual section types display significant harmonic differences from rock harmony overall, and these differences may help us understand our perception of form in this style. 82

Karst de Jong Royal Conservatory of The Hague karstdj@gmail.com

 Session 6A

Karst de Jong studied classical Piano and Music Theory at the Royal Conservatory of The Hague. Shortly after completing his studies, he was appointed as a professor of music theoretical subjects at the Conservatory of Amsterdam and the Royal Conservatory of The Hague. Since 2003 he has been appointed professor of improvisation and composition-techniques at the ESMUC in Barcelona. He regularly gives concerts with classical and jazz improvisations, both as a soloist and with different instrumental combinations. He published articles on improvisation and music theory and is a cofounder and board member of the VvM.

Fundamental Bass and Real Bass in Dialogue: Tonal Aspects of the Structural Modes (with Thomas Noll) We intend to contribute to the theoretical and analytical discussion on a wider concept of tonality by studying its manifestations on a particular level of description: the fundamental bass, or to be more precise, the interpretation of the fundamental bass in terms of structural modes. On the one hand, fundament progressions are not directly given with the score, but are produced as results of analytical interpretation. On the other hand, further theoretical work and analytical activity is necessary in order to interpret them as manifestations of tonality. We anchor our approach in the broader Ramist tradition, namely to consider the fundamental bass as an autonomous level of analysis. We depart, however, from Rameau’s original idea, that the determination of the fundamental bass, both in vertical and horizontal dimensions, would be governed by the structure of the consonant triads. Instead we provide arguments in favor of an alternative contiguity principle, which is governed by the modes of the musical tetractys, the so-called structural modes. These modes consist of three scale degrees (not seven!). Our decision to call the three scale degrees in each of these modes tonic, subdominant and dominant highlights a conceptual bridge between scale theory and functional harmony. Although our approach is reminiscent of Carl Dahlhaus’ attempt to mediate between the Sechterian and the Riemannian approaches to harmony, it nevertheless differs from recent concepts of scale degree function (such as investigated by Daniel Harrison or Ian Quinn). The dialogue between the Fundamental Bass and the Real Bass is meant to be an analytical dialogue between our approach to the fundamental bass and elements from the Thoroughbass and Partimento Traditions. Furthermore we connect to ideas from William Caplin’s article ‘Schoenberg’s “Second Melody”, or, “Meyered-ed” in the Bass’. In many regards this dialogue highlights a pair of complementarity perspectives on the two sides of the same coin. At some points we see also challenging aspects of conflict, which we tend to relate to the two paths of hierarchically refining the bass arpeggiation I - V - I, namely the triadic, on the one hand, and the tetractic, on the other. 83

Pascal Decroupet Université Nice Sophia Antipolis pascal_decroupet@hotmail.com

 Session I

Pascal Decroupet. Professor at Université Nice Sophia Antipolis, research laboratory CTEL EA 6307. Studies at Liège, PhD at Tours (Ramifications of serial thought: Boulez, Pousseur and Stockhausen). Publications concerning the music of the 20th century. Editor of writings of Pousseur (Mardaga, 2004 and 2009) and of the sketches and manuscrits of Boulez’ Le Marteau sans maître (Schott, 2005).

Fundamentals for a theory of sonal music It is common practice to study 20th-century music by means of ‘posttonal’ analytical tools. But since these concern mainly the domain of pitch organisation, thus prolonging the inherited parametric hierarchy, they are inadequate to study an important number of major compositions since Webern and Varèse. Since years I call this ‘really new’ music ‘sonal’, a music that integrates into musical thought an emergent interest for sound as well as a variable multiparametric hierarchy reflecting the basic conditions of ‘timbre’ on higher structural levels. The term ‘sonal’ addresses shared conceptions constituting the real foundations of a ‘language’ of new music. ‘Sonal’ is more comprehensive than ‘sonic’ (Cogan, Escot and Wishard) and Wicke’s ‘sonisch’ is restricted to the sound morphology in studio produced pop music. In new music, the adequacy between ‘material’ and ‘form’ has remained dominant throughout the 20th century in numerous tendencies even if they diverge aesthetically. The generalisation of spectro-morphological description tools elaborated for electroacoustic music to instrumental music has been delayed since electroacoustic music is largely ignored in current musicology and music theory curricula, and since the pioneering work by Schaeffer has been formulated in French (constituting a strong language barrier that has only recently broken down due to the translations by North/Dack and the publications of Thoresen). Examples illustrating the presentation: Varèse’s Hyperprism, Cage’s Amores (prepared piano), Penderecki’s Anaklasis, Lachenmann’s Pression, Ferneyhough’s Cassandra’s Dream Song and Levinas’ Appels. In these works, musical time is shaped through specific sonic morphologies as well as their connections to generate larger musical units (equivalent to phraseological and formal levels). The present theory of sonal music is a major contribution to music theory as well as to history and aesthetics of new music since the 20th century, and thus concerns also the performance of this repertoire from an ‘informed’ perspective. 84

Mark Delaere University of Leuven mark.delaere@kuleuven.be

 Session 5B  Keynote Lecture Danuser (Chair)

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. He has published articles and books on the music of, amongst others, Schoenberg, Goeyvaerts, Messiaen, Hindemith, Birtwistle, Bach and Brahms. His edition of the complete theoretical writings of Karel Goeyvaerts – including the extensive correspondence with Stockhausen – was published by MusikTexte in 2010. In 2011 he edited the book Rewriting Recent Music History. The Development of Early Serialism 19471957.

François Delalande INA/GRM delalande.fr@wanadoo.fr

Guest Lecture SFAM

François Delalande is a leading figure of the Musical Research Group (INA-GRM Paris), of which he has been, from 1970 to 2006, the director of the Science of Music Program. His main activities and intellectual interests include: electroacoustic music analysis and its theoretical extensions; musical theory in general; musical semiotics; hearing analysis; birth and development of the child musical behavior, musical pedagogy, emergence of musicality, and its anthropological implications.

Au-delà des notes: prémisses d’une théorie de l’analyse Le schéma production/objet/réception proposé par Jean Molino et Jean-Jacques Nattiez a ouvert plusieurs voies à l’analyse. On peut aller de l’interne à l’externe, c’est-à-dire dégager des configurations remarquables dans l’objet (partition, objet sonore résultant d’une exécution ou d’une improvisation) et rechercher ensuite de quelles conduites de production elles peuvent être la trace et quelles conduites de réception elles permettent de prévoir. C’est le trajet qu’a le plus souvent suivi l’analyse de la musique écrite. Mais le trajet inverse, de l’externe vers l’interne, se développe, et pour une part s’impose. 1. La première tâche est de délimiter l’objet que l’on entend analyser. C’est en général l’étude des pratiques sociales qui permet de définir les contours de l’objet que l’on souhaite analyser (ce qui en fait partie, ce qu’on exclut). C’est souvent considéré comme évident s’il s’agit d’une partition, ça l’est moins pour les manuscrits anciens, encore moins pour les musiques non-écrites, de tradition orale ou électroacoustiques, ou populaires, qu’on doit d’abord transcrire. Que transcrire? On ne peut passer sous silence, cependant, que même une partition est “informée” par une “enquête externe” implicite. On sait par exemple que la simple lecture d’une partition baroque doit tenir compte d’informations qu’on trouve dans les traités d’époque, ce qui est une forme d’enquête externe. Quant à l’analyse d’une exécution sonore, que doit-elle inclure (que veut-on qu’elle inclue)? Les choix des interprètes, mais aussi de ceux qui produisent le “son” final : facteur d’instruments, preneur de son éventuellement? 2. Une fois les contours de l’objet établis, il reste à trouver quelles formes prend l’objet et quel sens il acquiert dans les conduites humaines qui le “construisent” - généralement, inventer, jouer, écouter- donc ce qui est pertinent dans l’objet pour décrire ou expliquer le rapport objet/sujet. On peut dégager de ces réflexions les prémisses d’une théorie de l’analyse, dans laquelle l’analyse des configurations de notes, quand il y en a, n’est qu’un moment. L’analyse de l’externe, ce qu’on projette sur l’objet pour établir les pertinences, se développe actuellement dans de nombreuses réunions scientifiques: analyse des processus de création, de l’interprétation, des gestes de l’interprète, du rapport au corps, bien sûr de la psychologie de l’écoute musicale. Ces recherches élargissent le champ de la musicologie et de l’analyse. 86

François Delalande INA/GRM delalande.fr@wanadoo.fr

 Session 5D

François Delalande has been, from 1970 to 2006, one of the most important names of the Musical Research Group (INA-GRM Paris), in which he was the director of the Science of Music Program. Among his activities and intellectual interests, we should stress: electroacoustic music analysis and its theoretical extensions; musical theory in general; musical semiotics; hearing analysis; birth and development of the child musical behavior; musical pedagogy; emergence of musicality; its anthropological implications.

Round Table: Listening Behaviours in Music Theory and Analysis

Joseph Delaplace Université de Rennes 2 joseph.delaplace@wanadoo.fr

 Session 4D

Joseph Delaplace is a lecturer and researcher at Rennes II University. He teaches the analysis and aesthetics of music of the 20th century. Author of a book on the composer György Ligeti (György Ligeti. Un essai d’analyse et d’esthétique musicales, PUR, 2007), he also published some twenty articles in various peer reviewed journals. Founder of transdisciplinary research Kairos (EA 3208 and EA 4050, Rennes II University), he has edited the collective L’écriture musicale de Bernard de Vienne (L’Harmattan, collection “Arts8”) and L’art de répéter. Rencontres entre la psychanalyse et les arts (PUR Collection « Psychoanalytic Clinic and psychopathology») and co-directed La pensée esthétique de Gérard Genette (PUR , collection, “Aesthetica”) and the number 6 of Filigrane (Musique et inconscient, editions Delatour).

Dialectic Continuity/Discontinuity: An Instrument for the Analysis of 20th-Century Music? In the 20th century, musical composition has frequently put into question certain formal balances which had previously endured. In the most progressive part of the written compositions, it is now impossible to subsume the dialectic of continuity/discontinuity under the tonal logic. The tension, if not rupture, between the process and its elements is thereby brought into question. Correspondingly, since this issue between continuous and discontinuous relationship acquires a leading role in writing, it can perhaps explain and connect the concepts of structure and form, which are too often apprehended either as a single entity (the ‘formal structure’), or as appertaining respectively to the bottom and the surface, or the background and foreground, without highlighting the relationships that develop from one to the other. This paper aims to clarify the dialectical works which pertain to the continuity / discontinuity opposition in non- tonal forms and to forge analytical tools for such an approach. It does so with recourse to music of Schoenberg, Varèse and Ligeti, and to spectral music and repetitive music. 88

Ruth Dockwray University of Chester r.dockwray@chester.ac.uk

 Session 7A

Dr Ruth Dockwray is a Senior Lecturer in Popular Music at the University of Chester. Her research interests include the spatial representations of music and sound, rock anthems, approaches to creative studio practice and surround sound in racing games. She is a member of the editorial board for the journal Popular Music: In Practice. She has also acted as a consultant and presented for the Guild of Motoring Journalists on car audio and sound spatialisation in cars, hosted by Soundcraft/Studer and Harman Audio.

Signifying Space: The Sound-Box Stereophony has significantly impacted the way songs are produced and experienced, enabling the creation of a virtual performance that exists exclusively on the record. This virtual performance can be conceptualised in terms of Allan Moore’s ‘sound-box’, a four-dimensional virtual space, within which, sounds can be located according to: laterality within the stereofield; perceived proximity to a listener; perceived pitch-height of sound-sources; and time. The spatial location of sounds in recordings and the use of space within the ‘sound-box’ can have a significant impact on the potential meanings of a track. In certain tracks for example, lead vocalists may appear to be positioned in a different space to that of the accompaniment and seem to be located close to the listener. The type of space and vocal staging experienced by the listener is an important factor in the interpretation of popular music tracks and can also suggest possible interpersonal distances between the listener and lead vocal, drawing from Edward Hall’s theory of proxemics. This paper will demonstrate the usefulness of the sound-box as an analytical tool and outline some of the various sound-box mixes including the ‘normative’ mix, which was gradually established during the period from the mid-60s to the early 70s. It will also illustrate how the combination of sonic placement within the sound-box and aural descriptors can be used as a basis for proxemic analysis. 89

Florence Doé de Maindreville Université Reims Champagne-Ardenne florence.doe-de-maindreville@univ-reims.fr

 Session 13

Senior Lecturer in Reims Champagne-Ardenne University, Florence Doé de Maindreville focuses on chamber music during the French Third Republic, and particularly on string quartets (history, analysis, and scientific editions of these works). She devotes a second research theme to the study of musical life and concert societies at this time.

Pistes d’analyse autour du Premier quatuor à cordes de Saint-Saëns/ Paths of Analysis: Saint-Saëns’ First String Quartet “Solid classical construction”, as d’Indy wrote, Saint-Saëns’ first string quartet Op. 112, composed in 1899 and dedicated to the violinist Ysaÿe, nevertheless liberates itself from the ‘classical models’ in many ways. With regard to both the form of the various movements and the writing for string instruments, this work seems to diverge from the classical string quartet tradition. As a kind of ‘negative picture’, traditional analysis tools allow to find what deviates from the models, but cannot show all the particularities of the work, for which the context and the tradition of string quartet in France play an important role. In addition to the usual methods of analysis, this paper intends to propose other tools for the purpose of characterizing this singular work more precisely. Beyond this example, the problem of the analysis of French string quartets composed at the turn of the 19th and 20th centuries arises: how should we consider these quartets, claiming to belong to the Austro-German tradition (particularly Beethoven), while turning out to be very specific? 90

André Doehring University of Gießen andre.doehring@musik.uni-giessen.de

 Session 7A

Dr André Doehring is working as a research and teaching assistant at the Institute for Musicology and Music Pedagogy at the University of Gießen (Germany). He also taught at the Universities of Paderborn and Vienna. Since 2005, he has been member of the scientific board of the German ASPM (Arbeitskreis Studium populärer Musik). His work concentrates on the history, theory and analysis of popular music, jazz, and electronic dance music as well as on the sociology of music. He published a book on popular music journalism (Transcript 2011) and is co-editor of Song Interpretation in 21st-Century Pop Music (Ashgate 2014).

Meaning and Alternating Form and Groove in Four Tet’s Electronic Dance Music The rather vague term electronic dance music (EDM) includes tracks that do not employ electronic devices for the creation or manipulation of sound. It also incorporates tracks that are not made for the purpose of dancing. It is therefore an appropriate description for the musical approach of British musician Four Tet (Kieran Hebden) with influences from house music, but also free jazz, post-rock and experimental music. Yet, his music is widely credited as EDM. In my paper I want to show how musical practices like the build-up of groove (Danielsen), its maintenance and constant variation in Four Tet’s tracks support such a reading. By these means, form is being developed as a continuous process of change that structures the reception of the music. If (at all) popular music researchers turn to the analysis of EDM there is a widespread belief that you will have to leave behind the comparatively safe ground of termini technici that were developed for the analysis of popular songs: common instruments and instrumentation; aesthetic ideas; formal design; harmony and voice leading aspects or the prevalent interpretation of lyrics. Most of what guides our analyses seems of little use for the analysis of electronic dance tracks. But pursuing the idea of meaningfulness (Moore – see below) as well as the inevitable subjectivity of an analysis, Four Tet’s tracks are meaningful – at least to me as analyst. Hence, I will describe the specifically realised possibilities of meaning triggered by the tracks’ sounding structure using and thereby adjusting the specialist terms of musicological discourse simply because these are part of our technical jargon. Their reflexive usage is unavoidable if we want to communicate with each other and thereby prepare the ground for further knowledge – and terms. 91

Mine Dogantan-Dack Middlesex University dogantanm@yahoo.com

ď ľ Session 6A

Mine Dogantan-Dack is Departmental Lecturer at the Faculty of Music, University of Oxford. She is a concert pianist and a music theorist and has published articles on the history of music theory, affective responses to music, solo and chamber music performance practice, and the phenomenology of modern pianism. She is the recipient of the AHRC award for her work in classical chamber music. Her books include Mathis Lussy: A Pioneer in Studies of Expressive Performance (2002), Recorded music: Philosophical and Critical Reflections (2008), Artistic Practice as Research in Music (in press).

Tonality: An Evolutionary Perspective This paper proposes an evolutionary account of the origins of tonality taken in its widest sense, i.e. as the hierarchical organization of the pitch material around a single, central pitch, which is often used to evoke stability and closure. While contemporary accounts of tonal movement appear to explain why musical pitches are organized within a functional hierarchy, and around a stable pitch, they fail to explain one of the most important aspects of tonal organization, i.e. the existence of recurring patterns that lead to the stable pitch-patterns technically known as â&#x20AC;&#x2DC;cadencesâ&#x20AC;&#x2122;. In order to explain this phenomenon, I propose to conceive of the evolutionary origins of tonality in terms of a multimodal affective schema acquired early in life through the multimodal movement patterns that are at the heart of the exchanges between infants and caregivers. The purpose of these movement patterns is to provide a stable affective referential state so that all negative psychological states can be steered back to it by enacting, and re-enacting, the various vocal, kinesic, haptic and facial components of the schema as and when required. I argue that the origins of tonality are to be located neither in tones, nor in tonal perception as such, but in certain affective states. I also address the question whether our capacity for recognizing movement patterns that converge towards stable states in diverse phenomena originates in our cognitive understanding of the behaviour of physical objects and events. I further explore the implications of the conceptualization I propose regarding the origins of tonality by considering the human capacity to experience and structure psychological spaces and to create narrative structures. In this connection I draw attention to the significance of end-states or goal-states that appear to determine the trajectory of movement dynamics in locomotion. 92

Hubertus Dreyer Robert-Schumann-Hochschule Düsseldorf hubertus@temporubato.com

 Session H

Born 1963 in Goslar, Germany. Studied composition with Gyorgy Ligeti at the Hochschule für Musik und Theater Hamburg, finished with diploma in composition/music theory (MA). Moved to Japan in 1994 where he studied musicology (traditional Japanese music – Jiuta) at the Tokyo University of Fine Arts (MA 1997, PhD 2005). Many years active as a concert pianist. Lecturer at various Japanese universities. Returned to Germany in 2012. Currently working as lecturer for music theory at the Robert Schumann Hochschule Düsseldorf. Research on Japanese music, semiotics and cognition of music, computer-aided transcription, contemporary music etc.

How Ligeti Once Was Puzzled by Schubert – And a Luhmannian Response A common and quite successful approach in musical semiotics tends to explore semantics locally (for example by means of semantic topoi) and string the semantic units together into an overall narrative. If one looks for a more ‘holistic’ approach, following the notion of ‘organic unity’ which was so important for many music theorists of the 19th and 20th century, one can find that musical works share many characteristic features with complex systems in Luhmann’s sense. Of course it would be naive to describe musical works as autopoetic systems, since one of the most important features – autopoesis – is obviously lacking. However, musical works can reflect properties and principles of real world systems (icons or, more precisely, diagrams in Peircean terminology), thus providing artistic insight into the working of these systems. This approach allows a wealth of ramifications; to illustrate its fecundity, here only one aspect shall be explored. According to Luhmann, the complexity of a system can only be reduced by complexity itself, i.e. surface complexity is transferred to complexity in the relation of the system to itself or to the outer world (for example by stricter criteria for selectivity). This may help to better understand the semantics of musical works with reduced surface complexity – like Schubert’s D.366/3, one of Ligeti’s favorite examples for a deceptively simple work with utmost semantic depth. In a similar vein, one can unveil aspects of certain pop songs and Japanese Jiuta pieces that are otherwise difficult to grasp. 93

Frederic Dufeu University of Huddersfield f.dufeu@hud.ac.uk

 Session H

Dr. Frédéric Dufeu is Research Assistant in Music Technology at the University of Huddersfield, where he is working on the AHRC funded TaCEM project. He previously worked at Université Rennes 2.

Towards an Analysis of Trevor Wishart’s Imago: Form, Structure and Technology (with Michael Clarke & Peter Manning) Imago is an electroacoustic work written in 2002 by Trevor Wishart, one of Britain’s leading composers in this field. Typically, Wishart realized the work using software he himself produced. The software package Sound Loom provides a suite of processing algorithms that can be applied to recorded sound files. All the sounds in Imago derive from the transformation of one brief recording. A wide variety of material results from the processing, ranging from short events lasting less than one second to long sustained textures. Often the sounds are the result of many stages of processing applied in sequence. The work itself is formed by the juxtaposition and superposition of the many sound files resulting from such processing. Usefully, both for the composer and the analyst, the software enables users to keep a record of the sounds and processes used so it is possible to trace the creative development of the work and relate this to the final composition. This paper describes the approach taken to analyzing Imago. It is an approach that combines top-down analysis, interrogating the finished work, with ground up analysis – study of the creative process and tracking the development of the musical materials toward the completed piece. Only through this dual approach can a rounded account of such works can be produced. Since the work is a ‘fixed media’ piece, existing only as a sound recording (there is a descriptive score by the composer for sound diffusion purposes, but this is only in summary form), our analysis has largely been conducted within the sound domain. Innovative analytical software we have devised to assist with this will be presented. This work is part of TaCEM, a 30-month project funded by the UK’s Arts and Humanities Research Council. 94

Christine Dysers University of Leuven christine.dysers@kuleuven.be

 Session C

Christine Dysers studied musicology at the University of Leuven and culture management at the University of Antwerp. She is currently affiliated as a doctoral researcher with the University of Leuven. Her current research focusses on the deliberate integration of sounding and/or conceptual features of older musical traditions in 20th- and 21st-century art music. She has published in Revue Belge de Musicologie, Musik & Ästhetik, Tempo, and is currently preparing a chapter in a collection of essays on protest music (Protest, Jazz and Politics: The Dissent in Music, expected in 2015).

A Cellular Approach to Schoenberg: Bernhard Lang’s Monadologie VII: … for Arnold … (2009) The musical output of Austrian composer Bernhard Lang (°1957) is a curious melting-pot of different influences, such as techno music, visual arts, neo-Marxist philosophy and improvisation. His music is built around the concept of repetition, which not only functions as a Deleuzian attempt to question identity, but also as a means of criticizing the nonrepetition dogma of the Second Viennese School and its heirs. While shifting his philosophical basis from the post-structuralism of Deleuze to the rationalism of Leibniz, Lang continues to push the central idea of repetition to an extreme in his newer Monadologie series. In these pieces, Lang takes samples of pre-existing music from throughout history as a starting point for a wide variety of algorithmically generated looping- and transformation processes. After selecting a melodic, motivic or harmonic cell from a pre-existing score, he lets its texture explode by manipulating and mutating the cell both time- and spectrum-wise. In Monadologie VII … for Arnold … (2009), Lang not only refers to the films of Martin Arnold, which have inspired his looping aesthetic since 1995, but also to Arnold Schoenberg’s Chamber Symphony No. 2, Opus 38 (1906-1939), which symbolizes Schoenberg’s problematic relationship towards tonality. In this paper I will demonstrate the different compositional strategies by which Bernhard Lang decontextualizes Schoenberg’s Opus 38 in his Monadologie VII and interpret the musical implications which arise from that. More specifically, I will analyse and discuss the musical techniques and underlying motives by which Lang reinterprets Schoenberg’s work within a postmodern setting. Through this synthesis between historical source-study and music analysis, I will reach well-founded conclusions which will allow me to interpret the many musical layers of Lang’s score in as rich a context as possible. 95

Lola Dzhumanova Moscow Conservatory lola_dzhumanova@mail.ru

 Session B

Lola Dzhumanova is an associate professor of music theory at the Moscow State Tchaikovsky Conservatoire. She has a degree of Candidate of Arts in Music Theory and specializes in musical education (courses of harmony, form and ear training). She also teaches at the Central Music School, branch of the Moscow Conservatory. Her scholarly interests belong to the methodology of music theory on various levels.

Traditions and Innovations in Music Theory Pedagogy in Russia (To the Question of Interaction of East and West) (with Yelena Zhurova) Success of a system of musical pedagogy is contingent upon the combination of the traditional and the innovative. These proportions vary in different countries. A good examples are the Venezuelan ‘El Sistema’ (a model by Hose Antonio Abreu) and the French pedagogy of revelation (‘Pédagogie de l’éveil’). Russian musical pedagogy also experiences the state of experimentation, although the tradition is not left in oblivion. In this respect the undeniable achievement of Russian musical pedagogy is the thee-step system, comprised of children’s school, pre-conservatory college and the institution of higher education. The Russian system partially overlaps with the Western European and North American. In particular, there is an analogy between the Russian and the German two-step structure. The Russian system has been developed from the materials or the European traditions, such as Italian solfeggio, Dalcrozean rhythm, and Riemannian functional harmony. This paper presents two examples from the system of music theory pedagogy in Russia, the traditional teaching of harmony in pre-conservatory colleges and conservatories (by Lola Dzhumanova) and the innovative methods of teaching aspects of Theory of Musical Content in all three steps (by Yelena Zhurova). Style-based study of harmony at the conservatories and universities is impossible without the solid training in classical harmony, voiceleading, part-writing and modulation, which in Russia is first given at pre-conservatory colleges (7-11th grades in the high school). The most important material—modulation and digression—is learned by writing and keyboard improvisations. An example of highly successful innovation in Russian system is the Theory of Musical Content (introduced in works of Kholopova and Kazantseva), the goal of which is to accumulate all the aspects of knowledge (musical and extra-musical) into a single interpretation of a musical work. 96

Stefan Eckert Eastern Illinois University seckert@eiu.edu

 Session 2B

Dr. Stefan Eckert received a Diploma from the Staatliche Hochschule für Music in Trossingen (Germany) and a MA and PhD in Music Theory from the State University of New York at Stony Brook. His research focuses on the History of Music Theory, especially on compositional theory in the 17th–19th centuries, on Musical Form, and Music Theory Pedagogy. He has presented papers in local, national and international conferences, published an Edition of Joseph Riepel’s Violin Concertos, and articles and reviews in Musiktheorie, Ad Parnassum, Theoria, Music Theory Spectrum, ZGMTh, and MTO. At the moment, he is finishing a book entitled Compositional Theory in an Era of Taste - An interpretative context for Joseph Riepel’s Anfangsgründe zur musicalischen Setzkunst.”

Aspects of Partimento Practice in Joseph Riepel’s Anfangsgründe zur musikalischen Setzkunst Joseph Riepel’s Anfangsgründe zur musikalischen Setzkunst, published mostly between 1752 and 1768, has been acknowledged as one of the central 18‐century sources to teach composition on the basis of combining measure‐units of different lengths. On first glance, the first four chapters of the Anfangsgründe emphasize melodic aspects of composition, chapters five and six focus on counterpoint, the combined chapters seven and eight (the ‘Baßschlüssel’) on harmony, and the final two chapters on fugue. However, a closer reading reveals that contrapuntal and harmonic issues already make up a significant portion of the opening chapters and that later chapters not only regularly refer back to the discussions and examples introduced earlier, but that the chapters on counterpoint, harmony, and fugue also continue to discuss melodic issues and instrumental genres discussed in the earlier chapters. This is significant because scholars have focused mostly on Riepel’s contribution to the conception of musical form articulated in the first four chapters of the Anfangsgründe with little or no attention to his writings on counterpoint or fugue. Moreover, scholars have struggled to make sense of Riepel’s conception of harmony, which is neither systematic nor unified. Building on Oliver Wiener’s research which identified instances where Riepel harmonically misreads counterpoint examples by Fux, Murschhauser, and Spieß, and the partimento research by Gjerdingen and Sanguinetti and others, I demonstrate how harmonic and contrapuntal issues often are intertwined and that the Anfangsgründe contains numerous aspects of partimento practice and even some partimento fugues. Considering Riepel’s harmonic and contrapuntal ideas from the standpoint of the partimento tradition adds significantly to our insight into Riepel’s theoretical thinking and it allows a better understanding of Riepel’s harmonizations and revisions of the counterpoint examples by Fux, Murschhauser, and Spieß. 99

Laura Emmery Emory University laura.emmery@gmail.com

 Session H

Laura Emmery is a visiting assistant professor of Music Theory at Emory University. Her dissertation focuses on Elliott Carter’s string quartets and incorporates sketch study in tracking Carter’s historical evolution and compositional process. Laura received the Paul Sacher Stiftung Scholarship, which allowed her to spend eight months at the archive in Basel to work with the original sources. Laura has presented her research at SMT, MTSNYS, West Coast Conference of Music Theory Analysis, Paul Sacher Stiftung Colloquium, and Cardiff University. Laura’s work on Carter has been published in Tempo, Twentieth Century Music, and Mitteilungen der Paul Sacher Stiftung.

In Disguise: Borrowings in Elliott Carter’s Early String Quartets Elliott Carter’s string quartets feature some of the composer’s most innovative, personalized, and boldest ideas. The first three quartets (1951, 1959, and 1971) were particularly exploratory in nature, leading to the development of techniques that mark Carter’s mature and late periods—harmonic language based on all-interval tetrachords, dense textures containing multiple polyrhythmic strands, complex counterpoint, individualization of characters, spatialization, and novel formal designs. Carter attributes the inception of his rhythmic expression to the techniques of Ives, Stravinsky, and Nancarrow, composers which he quotes, some more explicitly than others, in his First String Quartet. However, a close study of the sketch material, housed at the Paul Sacher Stiftung in Basel and the Library of Congress, reveals that the works of other composers, namely Bartók and Webern, served as an inspiration and even the conceptual point of Carter’s Second Quartet. While Carter did not specifically discuss these composers’ impact on the development of his own expression, the sketches show careful reworking, re-composing and disguising of segments from Bartók’s Third String Quartet and Webern’s Bagatelle No. 6. In this essay, I examine the purpose, function, meaning, and different uses of existing music in Carter’s early quartets, following the typology set forth by J. Peter Burkholder in his studies on musical borrowings. 100

Philip Ewell Hunter College, CUNY pewell@hunter.cuny.edu

 Session 6C

Philip Ewell is an Assistant Professor of Music Theory at Hunter College, CUNY. In the spring of 2010 he began a joint appointment with the CUNY Graduate Center. His specialties include Russian music and music theory, 20th-century music, 20thcentury modal theory, and rap and hiphop music. He has writings published in Music Theory Online, Journal of Schenkerian Studies, and Popular Music, among other journals.

Octatonic or Diminished? Russian Modal Interpretations of Stravinsky’s Pitch Organization Recently, American music theory has tried to show that Stravinsky’s music is primarily octatonic, yet no one mentions how octatonicism is viewed in Russia, the country of Stravinsky’s formative years. There his music is considered modal, based on the modal system of Boleslav Yavorsky. My paper offers Russian views on Stravinsky’s music and, specifically, on pieces often considered octatonic in America. I will suggest new ways of interpreting this music, and delve into the historical bases of Yavorsky’s search for a new music theory. In a letter to his teacher Sergei Taneev from 1906, Yavorsky spelled out the inspiration for his system: “From my studies of folk music I’ve come to the conclusion that the basic cell of musical speech is the tritone and its resolution.” Yavorsky’s system was universal. The universality of Yavorsky’s system makes it applicable to Azerbaijani modes and Polish music, for example. Further, Hugo Riemann had a large impact on Yavorsky — for instance, when he was only 22, Yavorsky translated Riemann’s Systematische Modulationslehre into Russian. Understanding Riemann’s impact on Yavorsky looms large in explaining Riemann’s impact on music theory in China via Soviet theory, the topic of the fourth paper in our session. 101

Ellen Fallowfield Hochschule für Musik Basel ellen_fallowfield@yahoo.co.uk

 Session 8A

Ellen Fallowfield currently holds a research position at the Hochschule für Musik Basel, Switzerland, where she is producing an online resource for cellists and composers: Cello Map. She has a PhD in the performance practice of contemporary music from the University of Birmingham, UK and Musikhochschule Basel. She studied specialised contemporary music performance at the Musikhochschule Basel and with Klangforum Wien and cello with Andreas Lindenbaum at the University of Music and Performing Arts in Graz/Austria and with Martina Schucan at the ZHdK, Zürich, Switzerland.

A Performer’s Analysis as Part of the Interpretation Process Helmut Lachenmann’s Pression (1969, revised 2010) for solo cello is notated mostly prescriptively by indicating the physical actions that the cellist is supposed to make to realise the score. Because they form the basis of the score, I analyse Pression in terms of the performer’s actions, namely plucking, striking and bowing/stroking the cello strings and/or body of the instrument. Further, I consider where these actions lie on a scale from smooth, continuous movement to broken continuity or repeated iterations to isolated events. From this analysis it is possible to chart a process of musical tension and resolution throughout the piece, providing a foundation for a musical interpretation. The analysis is thereby an interpretation of the piece that forms the basis of my performative interpretation. It is not intended as a way of ‘understanding’ the score in terms of coming closer to Lachenmann’s compositional process. Rather, analytical and performative approaches are two ways of enjoying the score and, combined, bringing it to life through a personal interpretation. I will briefly consider two other works by Bernd Alois Zimmermann and Brian Ferneyhough and discuss the role of a performance-based analysis as part of the preparation to perform a score. 105

Manuel Farolfi Università di Bologna manuel.farolfi@yahoo.com Scholar funded by a 2014 GATM-grant

 Session I

Musicologist and Sound Engineer. He holds a degree in Music from the University of Bologna. His research interests focus on European and American musical praxis and musical aesthetics in the 20th century, and particularly in the two decades following the Second World War. As a ‘recording engineer’ and ‘assistant engineer’, his record album credits include many Italian and international artists, among which are Mariah Carey, José Carreras, Pearl Jam, Robert Palmer, Laura Pausini, and Vasco Rossi.

Chance and Indeterminacy in Music: A New Analytical Tool to Classify Aleatoric Music Forms Any accurate research about analytic techniques applicable to music of the 20th century will easily reveal how much aleatoric music represents a desolate territory for this kind of approach. It is well known, after all, that aleatoric music is an extremely peculiar subject. Its atypical nature (a unique musical praxis expression of a unique aesthetic programme) is indeed what makes standard analytic approaches nearly useless. This is a shortcoming which shows up clearly anytime we attempt to go through that inventory of unconventional scores and/or bizarre composition techniques in order to discern common patterns and outline an index of basic aleatoric music forms. Exploring the analytical possibility in aleatoric music therefore presupposes the setting of specific analytical tools. But so far, despite a recent contribution, this type of device seems not available yet. Moving forward from the taxonomy presented by Decroupet in 1997, the intent of this paper is to introduce a new comprehensive analytical tool applicable to aleatoric music. The principle underlying this tool is a rigorous definition of the seven structural basic elements which make a piece of music aleatoric. Its purpose, in essence, is to provide musicologists with a step by step empirical analysing procedure suitable to identify those elements, with regard to music scores and music composition techniques. Furthermore, the tool provides users with a referential classification table (see taxonomy). Once the analysis is completed, this reference table shows how to classify the score and/ or the composition techniques into one of the major aleatoric music forms: chance music and indeterminate music – this last one with its own 63 different forms. Supported by a detailed explicative paper this tool has a compact graphic grid layout (it fits a book page), and is suitable for preparing comparative analysis, with reference to a set of aleatoric music pieces chosen by the user. 106

Fabrice Fitch Royal Northern College of Music, Manchester fabrice.fitch@rncm.ac.uk

 Session 3A

Fabrice Fitch is a composer and a musicologist specializing in the field of late medieval and early renaissance polyphony. His Johannes Ockeghem: Masses and Models appeared in 1997, and he has since written articles on Agricola, Obrecht, the Eton Choirbook, and latterly Josquin. Alongside his compositional work he is currently preparing an Introduction to Renaissance Polyphony for Cambridge University Press, and articles on Antoine Brumel, the Motet-Chanson, and Brian Ferneyhough. He is Head of Graduate School at the Royal Northern College of Music, Manchester.

Ockeghem’s Requiem, and Du Fay: Response Margaret Bent has proposed that Ockeghem’s Requiem incorporates parts of Du Fay’s lost Requiem. This paper will assess the bases and credibility of those claims in the context of Ockeghem’s music, in dialogue with their proposer. 107

Nathan Fleshner Stephen F. Austin State University fleshnern@sfasu.edu

 Session K

Nathan Fleshner (PhD, Eastman) is Assistant Professor and Coordinator of Music Theory at Stephen F. Austin State University in Nacogdoches, TX. He has presented research on Schenker and Freud at the Society for Music Theory and the International Association for Analytical Psychology in Zurich, Switzerland. His research interests include Schenkerian theory and the application of psychoanalysis to the study of music. Other interests include the pedagogical use of iPad apps. His research on iPads and music theory has been published in the Journal of Music Theory Pedagogy and the forthcoming volume, Maestros, Musicians, and Multiplayers.

Schumann’s Ich hab’ im Traum geweinet: A Schenkerian and Freudian Perspective This paper presents an analytical model combining Schenkerian analysis and Freudian dream interpretation. Drawing on the work of Allen Forte, Martin Eybl, and others, it demonstrates parallels between the music theories of Heinrich Schenker and the psychoanalytic theories of Sigmund Freud. Both theorists emphasize instinctual drives that govern the development of music and the psyche, respectively. Indeed, Schenker’s der Tonwille is quite like Freud’s libido. Additionally, both theorists discuss similar paths of drives toward satisfaction and alterations of those paths through various diversions, changes of object, and disappointments on the quest toward satisfaction. These paths toward a drive’s satisfaction create the structure of each analytic object – music and dreams, respectively. Part two of this paper explores Schumann’s Ich hab’ im Traum geweinet from Dichterliebe as a manifestation of his unconscious from the time. A Schenkerian graph demonstrates parallel structures evident in both an analysis of the musical structure and a Freudian analysis of the song’s text. Schumann’s song involves three stanzas, each recalling separate instantiations of related dreams and three separate insufficient attempts to satisfy both musical and textual drives. These divergent paths toward satisfaction are shown to reflect Schumann’s doubts about his relationship with Clara Wieck at the time of his composing of Dichterliebe. Parallels between a Freudian interpretation of the text and a Schenkerian analysis of the music are shown to inform each other’s interpretation of the song. 108

David Forrest Texas Tech University david.forrest@ttu.edu

 Session H

David Forrest serves as Assistant Professor of Music Theory at the Texas Tech University School of Music. He has presented research in England, Wales, and across 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 (forthcoming) and he has earned research awards from the Texas Society for Music Theory and the South Central Society for Music Theory.

The Interplay of Tonal and Symmetrical Elements in Britten Many scholars have shown that Britten’s aesthetic often centers on conflict of musical elements, such as tonal center, textural strata, meter, and performing forces. This paper focuses on the ways in which Britten sets tonal and symmetrical processes in direct dialogue with each other for a variety of expressive purposes. Rather than subsuming synthetic elements into an otherwise tonal language, Britten’s music often shows a deliberate parsing of the two techniques, revealing another dimension of conflict. Drawing on a wide variety of examples, this study reveals a range of techniques and purposes for setting tonal and symmetrical elements in opposition. Furthermore, the sequence of examples suggests a growth in sophistication across Britten’s prolific career. 109

Markus Frei-Hauenschild University of Gießen Markus.Frei-Hauenschild@music.uni-giessen.de

 Session 7A

Dr. Markus Frei-Hauenschild studied historical musicology, ethnomusicology and folklore at the University of Goettingen where he earned his doctorate in 1995 with a dissertation on the string quartets of Friedrich Ernst Fesca. As a bass player, arranger and composer he has been a member of several blues bands and theater groups. He teaches applied music theory, musical analysis and music history at the University of Gießen. His latest publication was a treatise on the development of song forms in popular music co-authored with Ralf von Appen.

Corpus Analysis: Song Form and Harmony in the Repertoire of the Rolling Stones (with Ralf von Appen) While many detailed analyses on the music of the Beatles have been published, almost no research has been conducted focusing on the music of the Rolling Stones who are rather dealt with from a cultural point of view. Evidently, the Beatles’ melodic songs, their harmonic ‘richness’ and colourful instrumentation seemed to offer more to originally classically-trained scholars than the Stones’ approach. Our corpus analysis of c. 300 songs by Mick Jagger and Keith Richards aims to characterise their idiolect and its development over the course of their 50-year career. The first focus is on how song forms like AABA, simple verse, verse/chorus and the uses of non-repeating sections develop towards what fits the Stones’ aesthetic best. The second focus is on harmonic structures. The prevailing verdict of harmonic simplicity wrongly equates a limited range of chords to harmonic paucity. It thereby ignores the variety of shades provided by the famous intervening of guitars making the chords “move within themselves”, the harmonic ambiguity caused by bi-tonicality, and the reinterpretation of chords by means of syntactical rearrangement. More generally, we will talk about the Stones’ aesthetic apparent from our analytic results. Whereas the Beatles’ songs are often discussed as works of art, many listeners interpret the Stones’ music as an expression of a certain lifestyle. Descriptions like hedonistic, passionate, or ‘elegantly wasted’ come to mind. Moore’s recent concept of how a fictitious persona is constructed through the design of a musical environment will be used to tackle the question of whether musicological analysis can actually show correspondences in the music that trigger and support such ascriptions. Ultimately, we present results valid for many kinds of music that refuse to comply with the prevailing aesthetics of artistic sophistication and progress. 110

Folker Froebe Hochschule für Musik München f.froebe@gmx.de

 Session 2A

Folker Froebe is a lecturer in music theory at the Hochschule für Musik und Theater München. He studied music theory, musicology, church music and theology in Hamburg. Froebe published several articles and book chapters on music analysis and the history of music theory, with a particular focus on the pattern-based counterpoint from 16th till 19th century. From 2007 to 2013 he served as co-editor of the Zeitschrift der Gesellschaft für Musiktheorie (ZGMTh).

On Synergies of Schema Theory and Schenkerian Analysis. A Perspective from Riepel’s ‘Fonte’ and ‘Monte’ Instances of the schemata that Joseph Riepel called ‘Fonte’ and ‘Monte’ — taken up recently in Robert Gjerdingen’s work — involve routine contrapuntal and melodic patterns. Riepel, however, identifies the schemata not with these patterns themselves, but with their functional coordination within a tonal ‘Kadenzordnung’. This talk focuses on the relation between ‘Gestalt’ and function of cognitively anchored schemata, which is implicitly addressed by Riepel and more or less unresolved by Gjerdingen. Gjerdingen’s concept of directly perceptible complexes of ‘Gestalts’ and the Schenkerian concept of relations mediated by the diminuation of deeper structural levels are examined for their connectibility and/or complementarity. In fact, Schenkerian middleground reductions of different works frequently result in similar sub-coherences. It therefore seems possible to apprehend typical tonal configurations represented in Schenkerian graphs as hierarchically superordinated schemata that regulate the use, instantiation, and sequence of small-scale schemata, while the reference on small-scale schemata reinforces Schenker’s idea of a quasi improvisational growth of large-scale contexts out of elementary patterns. Conversely, slight variants in the instantiation or contextualisation of a schema may cause significant shifts within a Schenkerian analysis. Signal-like schema events imply a network of expectations that works itself out in the course of further choices. The conjunction of both concepts—schema-identity and hierarchical functionality—thus opens up a processual perspective on functional analysis. Analysis of compositions by Robert Schumann illustrate ways in which the functional implications of galant schemata like ‘Fonte’ remain aesthetically meaningful in atypical and displaced contexts. Certain effects in musical poetics of the 19th century seem due to the fact that the ‘Ursatz-tonality’ begins to lose its self-evidence, allowing for the reemergence of other modes of musical coherence. 111

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

 Session H

Dr Shigeru Fujita is an associate professor at Tokyo College of Music. He received his PhD in musicology from Tokyo University of Arts, and completed graduate studies at Université de Paris 4, Sorbonne. He has published several articles in peer-reviewed journals or books, including Des canyons aux étoiles: Messiaen’s rational thinking in the designing of musical form, in Olivier Messiaen : The Centenary Papers, (Ed.), J. Crispin, Cambridge Scholars Publishing, 2010, and Interlocking-Directional tonality : la conceptualisation d’une nouvelle organisation tonale dans les ballades de Chopin et de Liszt, in Quaderni dell’Istituto Liszt, 12, 2012.

Sur le même accord: Dutilleux’s Systematic Thinking in the Harmonic Dimension This presentation reveals Henri Dutilleux’s systematic thinking in the harmonic dimension, incorporating the neo-Riemannian device of the ‘Tonnetz’ into an analysis of Sur le même accord, composed by him in 2002 for violin and orchestra. It is true that Dutilleux was independent of any modern music movements, notably of the serialism in the 1950s and 1960s. However, this independence was not synonymous with a detachment from contemporary interests. In hindsight, it is evident that Dutilleux was among the composers who have sought in the post-tonal era a new system of writing music both rigorously and freely. In its harmonic dimension, Sur le même accord can be considered as one of the tidemarks of the systematic thinking peculiar to Dutilleux. As suggested by its title, the harmonic design of Sur le même accord depends entirely on the transformation of the pivot chord of the six notes. First, the presenter will examine the pivot chord on the ‘Tonnetz’ to identify it as a hexatonic collection composed of three fifths: E-flat/ B-flat, G/D, and B/F-sharp. Second, the presenter will model, again on the ‘Tonnetz’, the three types of its transformational possibilities: ‘transposition’, by which the pivot chord can take only four positions; ‘inversion’, by which the pivot chord can change its collection from hexatonic to octatonic; and ‘multiplication’, by which the pivot-chord can enlarge its collection from hexatonic to enneatonic as well as from octatonic to dodecatonic. Finally, the presenter will demonstrate that the harmonic dimension of Sur le même accord can be understood as various realizations of different transformational possibilities of the pivot chord. It is worth noting that, in this respect, the solo violin may be a symbol of this freedom. It flies freely on the harmonic background constructed in this systematic way. 112

Tami Gadir University of Edinburgh tamigadir@yahoo.com.au

ď ľ Session 8B

I am an Australian graduate currently based at the University of Edinburgh. I completed a BMusBA (UNSW) in classical piano, composition and sociology with a high distinction in 2009. My recently submitted PhD explores the nature of danceability in contemporary popular dance music contexts, incorporating a combined ethnographic and musicological methodology. Since 2011, I have presented research at, organised and co-organised local and international conferences across a wide range of disciplines. In 2011 I founded the Edinburgh University Dance Music Society, and became a resident DJ in the techno collective Animal Hospital. I have been a piano teacher since 2003.

Analysing Agency: Perspectives from the DJ Booth The emphasis on the agency of musical performers is prevalent across fields of music spanning the philosophical to the scientific. Indeed, it is one of the goals of our panel to represent these varying perspectives on this topic. In my presentation, I wish to use a combined musicological and sociological lens to interrogate the notion of agency, posing a series of related questions about the roots of the idea. Through these questions, I aim to point toward theoretical implications of conceptualising musical performers and listeners as agents. Throughout the presentation I will also attempt to come to terms with my subjectivity as a performer. My role as a DJ (and classical pianist) might be interpreted as a means of agency, and my examination of the above issues will inevitably be coloured by this experience. Specifically, I will begin my examination of agency by tracing the broader meanings of this idea to Max Weber and the subjectivity of individual social actors. I will follow this with an exploration of musical agency that queries whether music (as sound rather than score) can contribute to the agency of listeners and performers. The possible incorporation of autonomy and empowerment into understandings of agency is also worth addressing in the musical contexts that will be discussed. Included in the above questions is also the issue of distinction between a personâ&#x20AC;&#x2122;s sense of their own agency and the projections of others. In order to address such questions I will draw upon analyses of electronicallyproduced dance music and DJ performances to be presented in the form of audio and video excerpts. Ultimately, through the broadening of this discussion, I hope that we might collectively consider the ways in which agency can be both a helpful and problematic framework for the analysis of music and music-making. 115

Joel Galand Florida International University galandj@fiu.edu

 Session 4A

Joel Galand is Associate Director of the School of Music at Florida International University. He is a past editor of The Journal of Music Theory and has contributed articles and reviews pertaining to 18th-century music and Schenkerian theory to The Journal of Music Theory, Music Theory Spectrum, Intégral, Notes, Current Musicology, and the International Schenker Symposium book series. He also publishes on the music of Kurt Weill. He has been a volume editor for the Kurt Weill Edition and serves on its Editorial Board.

Some Schenkerian Implications for Sonata Theory In their monumental Elements of Sonata Theory (2006) James Hepokoski and Warren Darcy (H&D) devote comparatively little space to the Schenkerian implications of their approach, but what they do write is intriguing, opening up broad avenues for research. This paper contributes to that project. Part one of my presentation confronts Schenkerian theory with the hierarchy of ‘default’ strategies that H&D erect around the “medial caesura” (MC). In their “first-level default” exposition type, an MC on a half-cadential V in the new key effects a two-part division at the juncture between transition and secondary theme. Lower-level defaults include the possibility of an MC being articulated by a perfect authentic cadence in the new key (i.e., no local, halfcadential “interruption” effect). Techniques like the “blocked MC” may attenuate the caesura, or there may be more than one MC (as in the “tri-modular” block), or the MC may be absent altogether, yielding a “continuous”, rather than two-part, exposition. How do these strategies collectively provide a conceptual scheme against which we can map possible middleground approaches to the ^2/V of the underlying interruption form? Conversely, how can Schenkerian voice-leading transformations provide a grid for categorizing and elucidating H&D’s defaults? (For example, the “blocked MC” often arises when the V is first established by what Schenker would call an “auxiliary cadence” [‘Hilfskadenz’]). Part two introduces H&D’s concept of rotational form—“two or more (varied) cyclings … through a modular pattern or succession laid down at the outset of the structure” (2006, 16). Each of their five sonata types is one instantiation of rotational form. I focus on their Type 4 sonata, which embraces the sonata-rondo hybrids, and especially subtype 4.1, which Schenker partially misunderstood. The underlying Schenkerian interruption paradigm usually confirms the rotational aspect of this subtype, although sometimes it cuts across it. 116

Malgorzata Gamrat University of Warsaw malgorzatagamrat@gmail.com

 Session 4D

Malgorzata Gamrat (PhD in humanities) is Assistant Professor at the University of Warsaw (Institute of Musicology). Thanks to the grant Fuga 2 of the National Science Centre, she carries out a research project on Franz Liszt’s Lieder and their piano transcriptions as an example of the 19th-century practice of hybridisation of genres and mutual enlightening of arts. The main fields of her academic interest include Franz Liszt’s music and its interactions with other fields of art (especially with literature) as well as French and German culture of the 19th century.

Liszt’s Conception of the Poetico-Musical Cycle for Piano Solo In my paper I would like to present Liszt’s conception of the poeticomusical piano cycle in its structural complications. The romantic poets composed the series of poems that, read each one after the other, composed a structure similar to the roman (‘Lyrisches Roman’, according to W.A. Schlegel). Often this structure was linked by the leitmotifs (it created a kind of ‘cyclicity”, as Werner Wolf called it). Liszt took over this idea of the poetical cycle and created his own musical macrostructure composed of different pieces preceded by poetical quotations. At the musical level, he made a new musical structure that is a cycle connected by leitmotifs, similar constructions, and a tonal logic. In Liszt’s cycles, each piece has its own function and place (sometime this function is similar to classical sonata’s cycle; e.g., in Album d’un voyageur). What is most important for me is the macro-structure in Liszt’s cycle, linked at the musical and poetical levels. I would like to answer the following questions: which musical means allow the composer to integrate series of independent pieces in a cycle, and what is their function in the cycle? How can we analyse this kind of musical structure? How does poetry quoted before the score influence the musical construction of each piece, and how does the general cycle’s title influence its structure? How does poetical structure determine a musical one (e.g., strophic construction of poetry and similar construction in the piano piece Lorelei)? I would like to present these problems with reference to two of Liszt’s cycles for piano solo: Album d’un voyageur and Buch der Lieder. 117

Philippe Gantchoula Conservatoire d’Orsay France philippe.gantchoula@bbox.fr

 Session B

Philippe Gantchoula is a French composer, musicologist and professor. He is a graduate of the Conservatoire National Supérieur de Musique de Paris (Analysis, Research in Analysis, Harmony, Counterpoint, Orchestration). He obtained the Vocational Aptitude Certificate in Musical Culture. He earned the degree Doctor of Musicology at the Université de Bordeaux (France) with a thesis titled : Tonality and Harmonic Analysis: A New Theoretical Approach. He teaches composition and analysis at Orsay’s Conservatory, near Paris.

Tonal Orientation Units and Polarized Neo-Riemannian Tonnetz: Two Didactic Tools for Extended Tonality (with Hugues Seress) Analysis teaching in French music schools is still today heavily influenced by the theory of fundamental bass and the 19th-century’s classifications of harmony. However this legacy, resulting from successive stacked uses, has been called into question for some two decades, particularly – although not only – in the study of extended tonality. These questionings may concern the concepts of chord and tonality, as well as these of degree and tonal function. They generate new theoretical approaches which are disputing the validity of traditional models based on the only triad and the intervallic distance calculation between this triad and the even more pre-accessed tonic degree. These new visions explore new fields like voice leading, the links between degree and function, the concept of harmonic progression. This way, they may lead to the extension of tonality, as well as the development of advanced procedures and tools appropriate to its description. This lecture is proposing an exploration of two fundamental aspects and an application to the music by Gabriel Fauré. First, we focus on defining the tools of tonal identification, as well as the mechanisms which could allow this identification. Then, the first part aims to reach functional and tonal analysis of the work in small or medium scale. Secondly, we widen the scale of observation to demonstrate that the study of the relationship between tonal distance and tonal direction may shed light on the meaning of tonal structure as a significant discursive component. The second part aims to define and model the path of tonalities of a complete work or movement. 118

Bruno Gingras University of Vienna bruno.gingras@univie.ac.at

 Session 8A

Bruno Gingras completed an undergraduate degree in Biochemistry, a masters degree in Molecular Biology at Université de Montréal, and a PhD in music theory at McGill University in 2008. His doctoral dissertation focused on expressive strategies and performer-listener communication in organ performance. From 2008 to 2010, he was a postdoctoral fellow at Goldsmiths (London) where he continued his work on communication in music performance. Since 2011, he is a postdoctoral researcher in the Department of Cognitive Biology at the University of Vienna. His research interests include biomusicology, music performance, and the perception of musical structure.

Linking analysis and performance in an unmeasured prelude for harpsichord (paper developed together with Meghan Goodchild (McGill University) & Stephen McAdams (McGill University)) Research linking music analysis and performance has recently focused on the performers’ own analytical insights and their influence on interpretive choices in performance. Here, we examine harpsichordists’ performances and analyses of an unmeasured prelude, the Prélude non mesuré No. 7 by Louis Couperin (1626-1661). The unmeasured prelude, a genre cultivated especially in France between 1650 and 1720, is characterized by a lack of metrical structure and notated durations. Thus, in comparison to musical genres which specify meter and rhythmic durations, it affords the performer a greater degree of expressive freedom, making it ideally suited for investigating the link between temporal patterns and formal structure. Our aim is to more clearly define a link between analysis and performance by investigating how performers convey their sense of phrase structure through their expressive use of tempo variations as well as changes in articulation or velocity. Twelve professional harpsichordists from the Montreal area performed the Prélude non mesuré No. 7 in a recital setting and submitted their own analyses of the piece, indicating its main formal subdivisions. The harpsichord was equipped with a MIDI console, allowing a precise measurement of performance parameters. Although there was some agreement on the main structural boundaries, performers used different strategies to convey their structural interpretation of the piece; in addition to “phrase-final lengthening”, harpsichordists tended to slow down before and accelerate through phrase endings. On a more global level, harpsichordists conveyed a sense of large-scale structure through the amount of tempo variability. 119

Mathieu Giraud LIFL, CNRS, Université de Lille 1 giraud@lifl.fr

 Session 9A

Mathieu Giraud works on text algorithms for musicology and bioinformatics. He is a CNRS Researcher in the Laboratoire d’Informatique Fondamentale de Lille (LIFL), the department of Computer Science of the Université Lille 1, in France. He is the head of the Algorithmic Musicology exploratory action and also a member of the joint Bonsai bioinformatics project with the Institut National de Recherche en Informatique et Automatique (INRIA). He serves as member of the INRIA national evaluation board. Mathieu Giraud obtained a MS from the École Normale Supérieure de Lyon in 2002, and a PhD from the University Rennes 1 in 2005.

Can a Computer Understand Musical Forms? Musical forms structure the musical discourse through repetitions and contrasts. The forms of the Western common practice era (binary, ternary, rondo, sonata form, fugue, variations...) were widely studied by music theorists, and often formalized and codified centuries later after their emergence. The musical forms are used for pedagogical purposes, in music analysis as in composition, and some of these forms (like variations or fugues) are also a principle of composition found inside large-scale works. As computer scientists working in music information retrieval (MIR) on symbolic scores, computational analysis of musical forms is challenging. Very constrained forms (like a ‘school fugue’) can have rather consensual analysis and be good benchmarks for MIR algorithms. Can algorithms really make advances in musical form analysis? On elaborated structures, MIR analysis possibly helps systematic musicology studies, but actual musicological or aesthetic considerations are still to be done by human expertise. More generally, symbolic MIR methods on musical forms are in their infancy and are very far from the analysis done by musicians: thinking on codification of musical forms will help the development of better MIR algorithms. I will present our results in computational music analysis on two cases (fugues and sonata forms) using both discrete tools (based on string comparison) and statistical approaches. I will present our benchmark data, and will also discuss the computational gap between the analysis of short simple forms and the analysis of works that deviate from the standard schemas. 120

Robert Gjerdingen Northwestern University r-gjerdingen@northwestern.edu

 Session 2B

Robert Gjerdingen teaches music theory and music cognition at Northwestern University, near Chicago. He was trained at the University of Pennsylvania under Eugene Narmour, Leonard B. Meyer, and Eugene Wolf. His publications have been in the areas of 18th-century musical style, schema theory, and music psychology. His book, Music in the Galant Style (Oxford, 2007), was a recipient of the Wallace Berry Award by the Society for Music Theory (USA). His website (http://faculty-web.at.northwestern.edu/music/gjerdingen/index. htm) contains hundreds of partimenti, solfeggi, and studies in counterpoint, all freely available to students and teachers.

The Institutionalization of Apprenticeship in the Great Conservatories: A Cognitive Interpretation of a Non-Verbal Praxis Music, like all the other crafts of pre-industrial Europe, was learned through apprenticeship. When formalized, an apprenticeship often involved a ten-year indenture of a young boy or girl to a master or mistress. Unpaid labor was exchanged for entry into the ‘mystery’ of the craft. The four ‘conservatori’ or foundling homes of Naples were the first to institutionalize this indenture, ultimately aggregating as many as 600 boys for the intense study of music. Just as the four Inns of Court in London raised clerkship to a higher level in English law, so the conservatories of Naples created a critical mass of young talents such as Europe had never seen. By the end of the 19th century almost every industrializing nation had established its own version of a music conservatory. Perhaps the low social status of foundlings and performing musicians and their hermetic ‘insiders’ praxis (a hold-over from the closed world of craft guilds) led educated writers on music to overlook or to deprecate the ‘mindless’ repetitive exercises of the conservatories. Even when, at the Paris Conservatory, the work of replicating master patterns was raised to a level of finesse comparable to that of the École des BeauxArts, it was still not considered of any theoretical significance. Only from the mid-1990s did a small group of scholars begin to re-examine and rediscover what was being learned in the great conservatories. In modern terms, we can now recognize a systematic praxis aimed at the building up of a huge repertory of schemata or constructions, which collectively operated like what contemporary linguists term a usagebased grammar. The goal of such an undertaking would be to produce ‘native speakers’ of a language, and the many great composers who emerged from this training would seem to support its efficacy. 121

Jon-Tomas Godin Brandon University godinj@brandonu.ca

 Session A

Jon-Tomas Godin is Assistant Professor of Music Theory at Brandon University, while also completing a PhD dissertation at the Université de Montréal under the supervision of François de Médicis and Marie-Hélène Benoit-Otis. His dissertation research focuses on the aesthetics and theory of piano sonatas of the 19th century. He has presented several papers on the subject, as well as on Franck, d’Indy and other topics in Canada, the US, the UK and Europe. He has published book reviews and two chapters in essay collections on the same topics.

Schubert and Sonata Rhetoric One explanation for the decline of sonata form in the 19th century involves the perceived paradigm shift from the rhetorical to the organicist metaphor of musical form. Compounding the problem is the fact that recent theories of sonata form tend to focus on Classical style compositions and implicitly conceive of them from a rhetorical standpoint. Two approaches, the form-functional and the hermeneutic classify and explain features of Classical style, and provide models for explaining the compositional choices underlying this formal design, yet provide little explanation for the evolution of the form in the 19th century. This paper addresses changes in sonata aesthetics and composition through the lens of Schubert’s late quartets and sonatas. While this repertoire, in many ways caught between the two aesthetics, is the focus of much analytical inquiry, key features of Schubert’s formal designs have yet to be explained from the perspective of this aesthetic duality. To begin, the paper problematizes the rhetorical/organicist duality by recasting these aesthetic paradigms as analytical biases. Key features of both aesthetics are in fact identifiable to varying degrees in many repertoires, both earlier and later than Schubert. Changes in aesthetics, while impacting upon compositional styles at some level, therefore seem mainly to affect perception. Consequently, evolutions in design require a different explanation. To this end, the paper identifies several strategies Schubert uses to alter form-defining areas of sonata movements. These strategies are creative reappropriations of Classical gestures, deploying a new rhetoric to suit new aesthetic purposes. Some of Schubert’s strategies, such as cadential deviation, are common even in his predecessors, yet the new context subtly shifts their meaning; other strategies, such as disarticulation and projection of constituent lements of a form-defining process, are newer. In either case, these strategies demonstrate the continuity between Schubert’s style and that of his predecessors. 122

Rolf Inge Godøy University of Oslo r.i.godoy@imv.uio.no

 Session 2A

Rolf Inge Godøy is professor of music theory at the Department of Musicology, University of Oslo. His main interest is in phenomenological approaches to music theory, meaning taking subjective impressions of musical sound as the point of departure for music theory, trying to explore the content of mental images of musical sound and correlate these mental images with the acoustic substrate of the sound. This work has been expanded to that of exploring music-related body motion, using various conceptual and technological tools to explore the relationships between sound and body motion in the experience of music.

Sound and Body Motion Timescales in Musical Experience Musical experience, be that in performance or listening, obviously unfolds in time; however, this may be forgotten when we focus on musical features such as style and historical context. When considering musical schemata, it could be useful to clarify the timescales. Granted that we in music have timescales extending from the very short of audible vibrations to the very long of whole works, we also have different schemata at different timescales. This has become particularly evident in our research on music and body motion, which leads us to suggest three main timescales at work in musical experience: 1) the micro timescale of continuous sound and body motion with features such as pitch, stationary dynamics and timbre, as well as fast fluctuations of these features; 2) the meso timescale, approximately at the 0.5 to 5 seconds timescale, of what we call chunks or sonic objects. This is the timescale of many salient musical sound features such as rhythm, texture, melodic fragments, modality, expressivity, as well as most salient body motion features; 3) the macro timescale is that of several meso timescale chunks in succession, such as in sections and whole works of music; this is the scale on which narrative or dramaturgical musical elements are found. Although historically informed listening may variably involve all these timescales, there can be little doubt that the most important is the meso timescale, and this is also the timescale where music-related body motion elements are most clearly manifest. Clearer notions of timescales along these lines could be useful for discussions of schemata in musical experience, and should encourage us to be more critical of various inherited notions of form in Western musical thought. 123

Rolf Inge Godøy University of Oslo r.i.godoy@imv.uio.no

 Session 8B

Motor Constraints Shaping Musical Experience We have in recent decades seen a surge in publications on embodied music cognition, and it is now broadly accepted that musical experience is intimately linked with experiences of body motion. Going further into this, it is also clear that music performance is not something abstract and without restrictions, but something traditionally (i.e. before the advent of electronic music) also constrained by our possibilities for body motion. There are a number of biomechanical constraints reflected in musical sound, such as maximal speeds of human motion, need for rest, economy of effort, and avoiding strain injury, and there are also constraints of motor control, such as the need for grouping and planning ahead. These constraints often lead to a fusion or contextual smearing of sound producing body motion and in turn also affecting the sound output, thus effectively contributing to shaping musical sound. One such prominent constraint-based phenomenon is so-called phasetransition, designating the fusion of otherwise singular actions into more superordinate actions with increasing speed of body motion, e.g. as happens when we accelerate the performance of any rhythmical pattern from slow to fast. Another constraint-based outcome is so-called coarticulation, meaning the fusion of otherwise distinct body motions into more superordinate body motion, entailing also a contextual smearing of musical sound. In our research on music-related body motion we see evidence of such body motion constraints on the shaping of musical sound. We can even claim that we expect such constraints reflected in segmentation, phase-transition, and coarticulation in music, hence, that we may speak of a mutual attunement of bodily constraints and perception in music. Such constraint-based phenomena in musical performance could then be seen as an alternative to more traditional notation-based paradigms in music research. 124

Philippe Gonin Université de Bourgogne philippe.gonin@u-bourgogne.fr

 Session 4D

A lecturer at the University of Burgundy, Philippe Gonin work focusses on the history and analysis of popular music. as a composer and arranger, he recently received a command from the Regional Orchestra of Basse-Normandie for a concerto for electric guitar (A Floyd Chamber Concerto, premiered in in February, 2014). Philippe Gonin is both a member of the IASPM and of the Georges Chevrier Research Center (UMR CNRS 7366).

Continuity and Discontinuity in the Formal Creative Process in the Music of Pink Floyd from Atom Heart Mother to The Wall The music of Pink Floyd can be split into several different periods since the “Syd Barrett” era until “Gilmour” era. If, from the Barrett’s years to the early seventies, the band was still an experimental group, in its golden age, from The Dark Side of The Moon to The Wall, it started to stabilize some of its creative processes, in particular at the level of the structural plans. Following Ian Bent’s assertion that the ‘structure’ can be a part of a work, a whole work, a group of works or even a repertoire (forthcoming from either a written or an oral tradition), we will show that in Pink Floyd’s music of the ‘70, the same creative process can be revealed in the macro structure of a piece (which is composed of several sequences), in one side of an album, or even in an entire album. However easily this process can be detected, it nevertheless reveals a method of elaboration which is based on discontinuity. Indeed, an advanced study of sources highlights that the songs are not conceived in their entirety from the first sketches, but created by the addition and/ or removal of different elements that sometimes stem from “recycled” sources (Nick Mason). In this presentation, I will demonstrate which elements belong to the deeper structure, and which ones to the outer shape of the composition. 125

Roger Graybill New England Conservatory roger.graybill@necmusic.edu

 Session 8B

Roger Graybill is on the faculty at the New England Conservatory, where he served as Theory Department Chair (2002-2011). His research focuses on the music of Brahms, rhythm and gesture, and musical agency. In addition to articles and reviews, he co-authored (with Stefan Kostka) the Anthology of Music for Analysis (Prentice-Hall, 2003). A member of the Executive Board of the Society for Music Theory between 1998 and 2001, he served as President of the New England Conference of Music Theorists from 2011 to 2013. In addition to his work as a theorist, Graybill has extensive experience as a church organist.

Facilitative Agency in Performance The last decade has witnessed a burgeoning of research on the embodied and gestural aspects of musical performance. Whether these studies draw on the analysis of video recordings or on first-person accounts by performers, they implicitly attribute to the performer an agency – i .e., the “ability or capacity to act or exert power” (Oxford English Dictionary, 2012) with respect to the instrument. This talk, however, focuses on a different kind of performance-related agency, which I designate as facilitative agency, to be distinguished from the primary agency alluded to above. Facilitative agency (FA) refers to the performer’s ability to project an awareness of multiple temporal spans in the music – both past and anticipated – onto his/her present consciousness (see Lewin 1986). Unlike primary agency (PA), FA is not directly observable by an audience, since it is enacted in the performer’s imagination. These internal processes bear marked similarities to ‘audiation’ (Gordon 2007), but I propose that FA is ultimately grounded in a musical understanding that is rooted in multiple modalities: not only aural, but also kinesthesic, oral (through singing), visual (through notation), and conceptual. Here my talk takes a pedagogical turn, advocating for musicianship training in which these modalities of ‘knowing’ are gradually internalized and integrated by the student. The developmental goal is to acquire a deep – i.e., embodied - musical understanding, which in turn provides the ground for effective FA. The final portion of my talk refines the notion of FA by comparing it with PA. First, while a student gains competence in PA through instrumentspecific training (i.e., in the studio), increasing competence in FA follows a trajectory away from instrumental specificity towards the internalization/integration of multiple modalities. Second, FA – true to its name – ‘facilitates’ PA in real-time performance by activating within the performer’s consciousness a heightened contextual awareness that informs her performance decisions. 126

Yoel Greenberg Bar-Ilan University yoel.greenberg@biu.ac.il

 Session 4C

Yoel Greenberg is a lecturer in the department of music at Bar Ilan University and violist with the Carmel Quartet. His research interests concern the development of sonata form from an evolutionary perspective, and the music of Jewish composers in post-WWI central Europe, in particular Schoenberg, Schulhoff, and Ben-Haim. His research has been published in leading journals, such as the Journal of Musicology, Music and Letters, Proceedings of the Association for the Advancement of Artificial Intelligence (AAAI), and Min-Ad. Recently, he re-discovered Paul Ben-Haim’s String Quintet (1919) and recorded it with the Carmel Quartet for Toccata Classics.

On the Origins of the Recapitulation: A Corpus-Based, Bottom-Up Approach to Musical Form Musical form is usually viewed through the lenses of ‘top-down’ approaches, which explain formal elements as the result of an overarching logic. Such approaches are valuable when attempting to reach a synchronic understanding of a given form, but have limited ability to explain how form arose in the first place, and how it developed over time. This research demonstrates the value of a bottom-up approach to musical form in explaining the evolution of the recapitulation in sonata form. Drawing from a corpus of 732 binary form instrumental works between 1650–1770, I will demonstrate that the recapitulation arose from the interaction between mutually independent local formal elements, with an overarching organizing logic emerging only at a later stage. In particular, I will examine three sonata elements pertaining to melodic repetition: (1) The medial repeat: repeat of opening theme at double bar (2) The double return: tonic return of opening theme in the middle of the second half (3) The end rhyme: thematic correspondence between the ends of both halves In so doing, I shall demonstrate that their appearances are statistically independent, with sonata form thus explained as the result of the chance interaction between formal elements, resulting in a ‘bottom-up’ model of the rise of the recapitulation. Thus, elements of the recapitulation were not, at first, governed by a rotational logic, serving instead as local formal markers. In a broader sense, this bottom-up model accounts for the rise of complex forms without theoretical guidance. It also leads to a more dynamic understanding of form than the stable notion behind ‘topdown’ models: no longer subject to a single unifying logic, elements may contradict one another or even ‘compete’ over inclusion in the future formal package, resulting in an understanding of form as an unstable and problematic set of conventions. 127

Dai Griffiths Oxford Brookes University dmgriffiths@brookes.ac.uk

ď ľ Session 7A

Dr. Dai Griffiths is Senior Lecturer in Music at Oxford Brookes University and author of books on Radiohead and Elvis Costello. He is on the editorial boards of Music Analysis and Popular Music.

Elevating Form and Elevating Modulation: So-called Popular Music as Music and as Discourse My study of modulation has to date presented a four-part schema based on empirical analysis. My aim was to explain the examples against the background of the standard harmony textbook, using familiar concepts such as cadence types, transposition levels, and modulatory processes. The historical question is therefore begged: how does the elevating modulation compare with examples in so-called classical music, or music written as a score awaiting its eventual performance? I have no answer to this question, but can begin to illustrate its status by reference to harmony textbooks. As a popular-music text, the elevating modulation often presents two interesting aspects which put it in an unusual position: that it belongs to the domain of arrangement rather than composing or song writing, and that it often belongs to the instrumental domain within a song rather than including the voice. This is a problem for ideas of authenticity, in which personal expression via authorship and vocal expression are of decisive importance. However, the elevating modulation is also critically derided, which is an interesting aspect of the device in terms of conceiving music as a whole: modulating from tonic to dominant in the major-key sonata form, or the augmented sixth chord, suffer no comparable denigration. The denigration and dubiety belong to discourse, rather than the music itself or, to use terms of Robert Bailey on Wagner, while the elevation is an expressive use of tonality is without doubt, as an associative use of tonality, the problem arises (i.e. it can be a clichĂŠ). I shall illustrate this conundrum, while my nomenclature (elevating form and modulation) attempts a more neutral description. 128

Christophe Guillotel-Nothmann  Session 6A Université de Paris-Sorbonne | Bibliothèque nationale de France christophe.guillotel@gmail.com Christophe Guillotel-Nothmann is a research associate at the Institut de Recherche en Musicologie (CNRS-BNF-Université de Paris-Sorbonne). He studied organ, improvisation, linguistics and musicology at the Conservatoire National de RueilMalmaison, 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. Since 2007 he has been a lecturer in musical analysis, music theory and history of music theory at the Université de ParisSorbonne. His research interests include methods of digital humanities applied to musicology, musical semiotics, the history of music theory and the origin and evolution of harmonic tonality. From January to September 2014 he has been a postdoc-fellow at the Herzog August Bibliothek in Wolfenbüttel.

Conditional Asymmetry and Spontaneous Asymmetry of Harmonic Progressions in Madrigal Cycles from Verdelot to Monteverdi (c. 1530-1638) The theory of harmonic vectors identifies the asymmetry of root progressions as one of the most outstanding characteristics of tonal harmonic syntax. My talk aims at explaining this phenomenon by considering the evolution of the relationship between contrapuntal constraints – especially the dissonance treatment – and the asymmetry of root progressions through a corpus study of madrigal cycles by Arcadelt, Verdelot, Lassus, Rore, Wert and Monteverdi of the period 1530-1638. This computer-assisted statistical analysis determines, from a synchronic and diachronic point of view, the links between the overall asymmetry and the asymmetry associated with dissonances. Furthermore my talk investigates the bonds between the asymmetry of root progressions and other characteristics of the harmonic syntax – especially phenomena of polarization and the hierarchical articulation of tonal syntax. This paper shows a deep evolution between a conditional asymmetry and a spontaneous asymmetry: the first, constrained by contrapuntal rules and intervallic structures – the second, acting on voice leading and resulting from a dynamic understanding of the fundamental bass. I argue that this trend is crucial for the crystallization of tonality in the narrow sense. On this basis, the technical aspects which have fostered this development are identified: the growing hegemony of triadic harmony, the increased use of specific irregular dissonances and the growing importance of the lowest voice. For a better understanding of the intensification of spontaneous asymmetry, I examine the factors that permit to deduce it by considering the morphology of chords and the emergence of specific counterpoint licenses. Finally, this talk aims at identifying the compositional possibilities and theoretical implications of a growing dynamic interpretation of the fundamental bass. On the one hand, it gives rise to a larger distance between the foreground and the deep structure. On the other, it coincides with a shift between the hierarchies inherent in the diatonic system and the hierarchies of tonal harmonic functions. 129

Barbara Haggh-Hugol University of Maryland haggh@umd.edu

ď ľ Session 3A

Barbara Haggh-Huglo is professor of musicology at the University of Maryland. Her areas of interest include music in late-medieval Brussels, and music and musicians in the Low Countries, northern France, and of the Burgundian Order of the Golden Fleece. Secondary areas include medieval chant and liturgy, with an emphasis on offices for the Virgin Mary and saints, and medieval theory. She has received numerous grants, and has published more than 90 articles, an edition of the two earliest offices for St. Elizabeth of Hungary, and four collections of articles on archival topics and plainchant.

133

Masatoshi Hamanaka University of Tsukuba hamanaka@iit.tsukuba.ac.jp

ď ľ Session 9A

Masatoshi Hamanaka received PhD degree from the University of Tsukuba, Japan, in 2003. He is currently an assistant professor in the department of Intelligent Interaction Technologies, Graduate School of System Information Engineering at the University of Tsukuba. His research interest is in music information technology. He received the Journal of New Music Research Distinguished Paper Award in 2005.

Music Analyzer that Can Handle Context Dependency (with Keiji Hirata, Satoshi Tojo & Alan Marsden) Appropriate handling of context dependency is crucial in music analysis. For example, each occurrence of a repeated phrase may have a different musical meaning. The musical meaning derived from a phrase can be represented by a tree, with different tree structures representing different meanings. We propose a cognitive model of musical context dependency in which the key ideas are tension-relaxation grammar, the separation of bottom-up and top-down processes, and expectationbased parsing. A tension-relaxation grammar may work effectively in discovering distant relationships. Parsing with a tension-relaxation grammar is used to generate a global normative form, which contains the information of context dependency. The model extracts local structures in a bottom-up manner while identifying a global normative form within a piece of music corresponds to the top-down analysis. Then, by unifying the local structures with the global normative form, we obtain the whole consistent tree structures reflecting context dependency. We propose that, every time one listens to a piece, oneâ&#x20AC;&#x2122;s expectations are based on the most recent listening experiences and may elaborate and/or revise previous expectation. Hence, we consider the model with two input channels, a score and an expectation; every time a piece of music is input to the model with an expectation previously obtained in the circular manner, an expectation is to be elaborated and revised, and accordingly a more valid tree structure is generated. Through this circular process, the output structure is gradually accommodated with context dependency and converges to a valid tree structure. 134

Chelsey Hamm Kenyon College chelseyhamm@gmail.com

 Session A

Chelsey Hamm is a fifth-year doctoral student in music theory at Indiana University. She holds undergraduate degrees from Ithaca College and a master’s degree in music theory from the Florida State University. Chelsey has presented at international, regional, and local conferences on an eclectic mix of topics, from explorations of medieval music theory treatises to narrative analyses of 20thcentury works. Her recent work has appeared published in the Rivista di Analisi e Teoria Musicale and in Histories and Narratives of Music Analysis. Chelsey’s research interests include music and meaning, text and music relationships, Schenkerian analysis, and 20th-century music, especially that of Charles Ives.

Musical Stagnation and Expressive Failure in Smetana’s Piano Trio in G minor The first movement of Bedřich Smetana’s Piano Trio in G minor (1855) was written immediately following the death of his young daughter, Friederika. A biographical program based on this grim event can account for the formal failure of this sonata-form movement, where neither expositional nor structural closure occurs in the expected key. Within this movement a musical struggle between stagnation and motion transpires. Grief and transcendence can be mapped onto this opposition, and the failure of the sonata to overcome the stagnation indicates an expressive failure as well, leading to a narrative reading of the movement as a token of the tragic archetype. This struggle between stagnation and motion centers on an unchanging melody which permeates the movement in three ways. First, this melody consists of a seven-measure phrase, which can be heard as a prototypical four-measure phrase whose third measure is expanded. This phrase expansion becomes stuck on ^2 within a linear progression from ^5 to ^1, creating a sense of melodic stagnation. Second, this melody repeats multiple times throughout each action zone of the sonata, creating an unremitting cycle of formal stasis in which an action zone seems to break free of it only to find it intruding again. Finally, Schenkerian analysis reveals that the melody also lurks in the middleground of the work, violating its structural normativity by disrupting the descent of the ‘Urlinie’ with chromatic interpolations. This results in a structural stagnation which is not overcome by tonic closure. 135

Lukas Haselböck University of Music and Performing Arts Vienna haselboeck@mdw.ac.at

 Session 8A

Lukas Haselböck studied musicology, composition and singing in Vienna. 1997 he completed his dissertation Analytische Untersuchungen zur motivischen Logik bei Max Reger (publ. Wiesbaden 2000). Since 2001 he is assistent professor for music analysis at the University of Music and Performing Arts Vienna. He organized several symposia and conferences, e.g. Friedrich Cerha-Symposium 2004, „Klangperspektiven“ (with Tristan Murail and others) 2009. Main area of research: Music of the 20th and 21st century. Selected publications: Zwölftonmusik und Tonalität – Zur Vieldeutigkeit dodekaphoner Harmonik, Laaber 2005; Gérard Grisey: Unhörbares hörbar machen, Freiburg i.Br. 2009; (as editor): Friedrich Cerha: Analysen – Essays – Reflexionen, Freiburg i.B. 2006.

Troping Processes and Irony in Songs by Schubert, Wolf and Mahler Robert Hatten’s theory of “markedness” (Hatten 2004) allows important insights into the relationship between analysis, performance, and listening. Hatten presupposes a complex and steadily changing network of musical meanings in Beethoven’s music that correlates to structural aspects. In his analyses of this network, Hatten operates with structural and semantic oppositions (e.g. major/minor) which are subordinated to a process of growth. In specific cases of troping, original meanings associated with specific musical structures might be replaced by their opposites – e.g. in the case of irony where a sudden shift of discourse level can lead to a complete reversion of musical meaning. In this paper, Hatten’s theory of troping and irony shall be applied to the tension between analysis and performance: In discussing comparatively recordings of selected songs by Schubert, Wolf and Mahler (including short live performances by the singer Bartolo Musil), I am focussing on the question whether it is possible to decode troping processes or irony in musical works. Which are the opportunities of performers in the process of troping structural/semantic oppositions? Does their interpretation enable them to reinforce or even to change radically established perception models of composed tropes or ironies? If this turns out to be true, the inclusion of aspects of performance into music analysis might change our way of analyzing musical works fundamentally. 136

Rob Haskins University of New Hampshire rob.haskins@unh.edu

 Session 5B

Rob Haskins is an Associate Professor of Music at the University of New Hampshire whose research concerns music after 1945, particularly the work of John Cage and the American minimalists. His most recent book is John Cage (London, 2012); he is currently working on several projects including a cultural history of the piano and a volume of Cage centenary essays co-edited by David Nicholls and Seth Brodsky. He is also a performer of Cage’s music who has recorded for Mode Records and, most recently, served as the musical director for a new production of Song Books commissioned by the Holland Festival and performed by Alarm Will Sound.

Aspects of Zen Buddhism as an Analytical Context for John Cage’s Chance Music John Cage often claimed he wanted to listen to sounds in themselves, disregarding their possible relationships to each other. This position articulated his interest in Zen, which claims that each individual phenomenon in the universe is as important as all the others. For some time the analysis of Cage’s music was limited to an inquiry of what he called “the questions that are asked” – that is, the pre-compositional possibilities for the composition that are ultimately selected through chance operations or other procedures. In the years since Cage’s death, however, several scholars have employed various types of analytical methods to explore the sounding results of his music; their work raises the possibility that the analysis privileges relationships over single sounds and thus abrogates Cage’s influential aesthetic of listening. This paper performs a close reading of various sources for Zen (most familiar to Cage) in order to explicate further the listening practice he imagined and to articulate an analytical approach to his music. For although sounds are equally important in and of themselves, all sounds are also part of the Buddhistic Dharmadhatu (the totality of phenomena) – always separate and yet always connected on a multiplicity of levels. The Dharmadatu is often illustrated, for example, by the image of Indra’s Net, an infinite network of jewels in the heavens in which each single jewel reflects all the others. Thus, one can always concentrate on one or another aspect of the network without exhausting its possibilities and indeed without violating the significance of single elements within it. I will then apply this approach to two Cage compositions with very different sonic profiles, One5 and Music for Piano. 137

Stan Hawkins University of Oslo e.s.hawkins@imv.uio.no

 Session 7A

Prof Stan Hawkins is Professor of Popular Music at the University of Oslo. His research involves music analysis, video interpretation, gender and cultural studies. From 2010-2014 he led a Norwegian state-funded project, Popular Music and Gender in a Transcultural Context. Author of Settling the Pop Score (2002), The British Pop Dandy (2009), and Prince: The Making of a Pop Music Phenomenon (2011), his edited volumes include Music, Space & Place (2004), Essays on Sound & Vision (2007), Pop Music & Easy Listening (2011), and Critical Musicological Reflections (2012). He is General Editor for Ashgate’s Popular and Folk Music Series.

Gender Performativity and Agency in Popular Song Theories of performativity are useful for understanding gender representations in popular music. Gender performance in popular song plays a vital role in sustaining, challenging, or even terminating norms. If gender is culturally constructed, how does musical performance help define the performer’s subjectivity? This paper will address such questions by considering the reiteration and formation of masculine norms in the recorded performances of Four Tet and The Game. Through these casestudies, I will explore and demonstrate prevailing stereotypes, as well as considering the possibilities for alternative gender norms. Tropes of identity help identify agency at work in popular music, and central to the discussion in this paper is the significance of individual agency in performance. Music-analytically, this study involves a malleable approach that locates precise moments in the pop score that are symptomatic of agency and style. This entails scrutinising the desired emotional effect of musical styles through the politics of performance. Through an analysis of vocal techniques, production, sampling and stylistic markers in Four Tet and The Game, I show how the popular song works performatively (in albums, songs, videos, live performances). My method is to extrapolate the musical detail as it is distributed through systems of repetition, where its embellishment and intrigue is ultimately at the beck and call of the performer’s antics. Popular song operates as a historical and cultural mediator of gender, and therefore reinforces a long tradition of performative display. The case-studies I dwell on can be read as part of a meticulously constructed lineage and heritage in popular music. 138

Áine Heneghan University of Michigan heneghan@umich.edu

 Session C

Áine Heneghan (University of Michigan) is a specialist in the music and writings of the Viennese School. Through archival research, she engages diverse topics relating to early 20th-century musical thought—compositional, philosophical, theoretical, and pedagogical. She is currently completing a book entitled Schoenberg on Form for Oxford University Press. A member of the Society for Music Theory’s Executive Board, she serves on the editorial boards of Analytical Approaches to World Music and Music & Politics.

Schoenberg’s Sentence Writing in English for the first time inspired Schoenberg to rethink not just his nomenclature, as he was forced to find terminological equivalents in a new language, but also the very nature of the theme, as he considered anew its structural and expressive features. It was then that he was motivated to expound on ‘melody and theme’, delivering a lecture before the American Musicological Society, and sending to Prentice Hall the ‘sample’ chapter for Fundamentals of Musical Composition. In its earliest drafts, all themes were designated “sentences” (attractive because of its syntactic parallel), and “schemes for the construction of sentences” were “distinguished according to the kind and degree of subdivision and repetition into undivided and subdivided sentences.” Schoenberg’s writings invite us to consider the “two main forms of the sentence” (periods and sentences) not as “fundamentally opposing theme-types” (Caplin) but as different manifestations of the same principles. The ‘Formgefühl’ (feeling for form) that Fundamentals aims to foster enables the student of composition (and analysis) to negotiate coherence and contrast, thereby creating (and recognizing) sentences in their various guises. Exploring the complicated evolution of ‘Satz’ and ‘sentence’ permits an understanding of thematic construction that is both flexible and nuanced. Moreover, it encourages us to attend to the performative aspects of the theme, comparing the balance and repose of the period with the dynamism of the sentence, a dynamism that is apparent not only in the analysis of Beethoven’s Op. 2 No. 1-i but also in Schoenberg’s own Menuett from the Suite, Op. 25. 139

Rebecca Herissone University of Manchester rebecca.herissone@manchester.ac.uk

 Session 3B

Rebecca Herissone is senior lecturer in Musicology and head of Music at the University of Manchester, and a co-editor of Music & Letters. She is the author of Musical Creativity in Restoration England (CUP 2013), Music Theory in Seventeenth-Century England (OUP 2000) and ‘To Fill, Forbear, or Adorne’: The Organ Accompaniment of Restoration Sacred Music (Ashgate, 2006), edited The Ashgate Research Companion to Henry Purcell (Ashgate, 2012) and co-edited the interdisciplinary collection Concepts of Creativity in Seventeenth-Century England (Boydell and Brewer, 2013). She has written extensively on approaches to composition in late 17th-century English music.

Matthew Locke and ‘The English Opera’ Matthew Locke’s provocative decision to entitle his 1675 published score of Psyche ‘The English Opera’ has been seen as a direct response to the apparent threat posed by the 1674 production of Ariane in London, and the public appeal the French musicians involved had made to Charles II to sponsor their proposed new ‘Academy of Opera’s’. Locke had been key to developing Restoration music-drama and was the senior London theatre composer of the 1670s; it is therefore easy to see his selfpublished score of Psyche as a manifesto for English opera. Scholars have largely interpreted this manifesto as “a vigorous defence of the practice of mixing music and spoken dialogue on the stage” (Price). Yet in the preface to ‘The English Opera’ Locke stated clearly that it was Shadwell who determined the part-sung, part-spoken form of Psyche; indeed, Shadwell himself claimed that he had controlled the distribution of the music and “what manner of Humour I would have in all the Vocal Musick”. Locke’s preface placed the musical emphasis elsewhere: while explaining that he took pains to fit the musical ‘humour’ to the text, he focused primarily on its variety, such as “was never in Court or Theatre till now presented in this Nation”. The concept of variety – which contrasts with modern notions of structural unity – was central to creativity in all fields in this period, and it was discussed extensively by contemporary writers on music, most notably Thomas Mace and Roger North. In this paper I use surviving accounts of variety and ‘humouring’ the text as a starting point for analysing Locke’s musical vision for English opera, and as a preliminary means of assessing how we can develop a more historically contextualized understanding of the structural principles used by Restoration composers for their large-scale works. 140

Nathalie Hérold Université de Strasbourg nathalieherold@hotmail.com

 Session 4D

Nathalie Hérold is Doctor in Arts (speciality Music) of the University of Strasbourg. She also holds a Teacher’s Certificate in Music, speciality Piano, and a Bachelor’s Degree in Mathematics. She has taught in the Music Department of the University of Strasbourg and in the Department of Musicology of the Pierre-MendèsFrance University – Grenoble 2. She is currently a postdoctoral researcher in the Excellence Laboratory GREAM (Groupe de Recherches Expérimentales sur l’Acte Musical), where she is pursuing a research project on the role of timbre in musical form during the 19th and 20th centuries. She is also member of the Board of Administration of the French Society for Musical Analysis (SFAM).

Considering Form/Structure and Continuity/Discretization Dialectic from Timbral Analysis Timbral analysis – at least the integration of timbre within musical analysis – is currently being developed within the frame of diverse repertoires, and has given rise to a wide range of analytical methods. Because timbral analysis is at the interface of acoustics, psychology and cognitive sciences, this type of analysis inevitably goes through a detailed examination of the principles that are usually at the basis of musical analysis. This is especially the case for the notions of form and structure, to which timbre is intrinsically related, as explained by authors such as Jean-Baptiste Barrière or Stephen McAdams, who consider timbre as “porteur de forme” [carrier of form]. This paper proposes therefore, in the particular context of timbral analysis, to consider the form/structure dialectic, often ambiguous and scarcely discussed, from the continuity/discretization point of view. Timbral analysis aims indeed to free itself from the ‘classical’ meaning of form – related to the idea of formal model, often inoperative for 20thcentury music and restrictive for earlier repertoires – and to consider the unity, dynamics and internal working of each musical form. The discussion of the form/structure and continuity/discretization connection will be based on several examples of analyses of music from the 19th- and 20th-century repertoires. These analyses show that continuity and discretization act complementarily, timbre organizing itself – in a hierarchical and recursive manner – in the form of timbral unities that are concatenated, articulated, interrelated and integrated within timbral processes. They also show that distinction between formal continuity and structural discretization essentially depends on the level under consideration, which – depending on its place within the hierarchy – focuses attention on timbral relationships on small, middle or larger scales. 141

Nina Hildebrand Robert-Schumann-Hochschule D sseldorf hildebrandnina@googlemail.com

 Session B

Born in 1980, Nina Hildebrand graduated from both Düsseldorf and Cologne Music Conservatory in music pedagogy, majoring in piano, chamber music, music theory, aural training and arts management. Currently, she teaches piano, accompaniment, music theory and aural training at music schools near Düsseldorf where she prepares students in pre-university programs for entrance exams to music conservatories. Besides teaching as a music theory lecturer at Düsseldorf’s Robert-Schumann-Hochschule, Nina trains pre-graduate students who are attending pre-university preparation along with regular classes in school. She also creates special courses for students with absolute pitch. On the topic of absolute pitch, she has released two papers.

Pre-Graduate Students with Absolute Pitch. Chances and Challenges for Integrative Courses in Aural Training and Music Theory The topic of absolute pitch still consists of ambiguities concerning the development on one hand and incertitude about being seen as a sign for musical talent. The discussion regarding advantages versus disadvantages still couldn’t find a consistent answer within the literature. However, it clearly shows that absolute pitch is a special ability with different characteristics that needs to be treated in special ways during lessons. Pre-graduate music students are in an exception among the German educational system, attending pre-university preparation along with their regular classes in the school. They are seen as extremely gifted due to the fact that they play their instruments as good as university students although being much younger. Besides their regular instrumental lesson they have to complete, depending on the conservatory, courses in minor subjects such as aural training and music theory. There is a conspicuous number of pre-graduates with absolute pitch which doesn’t seem to be too extraordinary; but the accuracy of this ability in comparison to others of the same age with absolute pitch being not a pre-graduate student, is surprising. After all, is there a correlation or are there other parameters that lead to very good absolute pitch results? Nevertheless there is a need to find a suitable concept for music theory and aural training lessons with such young talents. Because of their absolute pitch, they are in general ahead of their knowledge in music theory and they can resolve themselves unclear situations by hearing them. However, there are problems concerning structural and harmonically hearing and ignoring further musical parameters because of their ability to capture single tones and chords. That’s where lessons have to tie in by integrating music theory and aural training with extracts of entire transcriptions that are leading to an understanding of a musical ensemble; always being aware of finding a balanced mixture of conveyance simultaneously to basics. 142

Keiji Hirata Future University Hakodate hirata@fun.ac.jp

ď ľ Session 9A

Keiji Hirata received his degree of Doctor of Engineering from the University of Tokyo in 1987. He joined NTT Basic Research Laboratories in 1987 (later changed to NTT Communication Science Laboratories) and Future University Hakodate as professor in 2011. His research interests includes music informatics (computational music theory), smart city (demand-responsive transportation), ICT support for depression, and video communication system.

Music Analyzer that Can Handle Context Dependency (with Satoshi Tojo, Alan Marsden & Masatoshi Hamanaka) Appropriate handling of context dependency is crucial in music analysis. For example, each occurrence of a repeated phrase may have a different musical meaning. The musical meaning derived from a phrase can be represented by a tree, with different tree structures representing different meanings. We propose a cognitive model of musical context dependency in which the key ideas are tension-relaxation grammar, the separation of bottom-up and top-down processes, and expectationbased parsing. A tension-relaxation grammar may work effectively in discovering distant relationships. Parsing with a tension-relaxation grammar is used to generate a global normative form, which contains the information of context dependency. The model extracts local structures in a bottom-up manner while identifying a global normative form within a piece of music corresponds to the top-down analysis. Then, by unifying the local structures with the global normative form, we obtain the whole consistent tree structures reflecting context dependency. We propose that, every time one listens to a piece, oneâ&#x20AC;&#x2122;s expectations are based on the most recent listening experiences and may elaborate and/or revise previous expectation. Hence, we consider the model with two input channels, a score and an expectation; every time a piece of music is input to the model with an expectation previously obtained in the circular manner, an expectation is to be elaborated and revised, and accordingly a more valid tree structure is generated. Through this circular process, the output structure is gradually accommodated with context dependency and converges to a valid tree structure. 143

Ding Hong The Chinese University of Hong Kong hongding.nxt@gmail.com

 Session H

Hong Ding has recently completed his PhD in Music Theory at the Chinese University of Hong Kong, with a thesis on analysing Debussy’s music from the approach of transformational theory. He also holds degrees in clarinet performance from Shanghai Conservatory of Music (BA) and the Hartt School, University of Hartford (MM). His research interests include the music of Debussy, contemporary Chinese art music, and the comparative study of the traditional Chinese music and Western art music, in both their aesthetics and practice.

Sonicizing the Poetics of Illusion: Debussy’s Transformational Strategy in Prélude à l’après-midi d’un faune One of the most noted traits of Prélude à l’après-midi d’un faune is the simultaneity of its stasis and dynamics. The aberrant writing of the well-discussed opening flute theme, which stubbornly recurs eight times throughout the piece, with characteristic changes each time, is aesthetically so subversive in this regard that Boulez once claimed that “the flute of the faun brought new breath to the art of music”. However, most analysts today read the work as tonally and formally complying with traditional prototypes, despite some apparent abnormalities. In this paper, by identifying a transformational pattern of transposition-bya-semitone-down (T-1) between two restatements of the flute theme, I rethink the tonal and formal structures of the Prélude as embodying the simultaneity in question. I contend that Debussy’s deployment of a series of related transformations can be associated with the faun’s confusion, the enigma in Mallarmé poem of whether the sensual delight and happy time he had with the nymphs came from a reminiscence of his real experience, or just a dream. I further investigate Debussy’s development of the same transformational technique in the works of Les parfums de la nuit, the second movement of Ibéria and Jeux in order to demonstrate Debussy’s sonicization of various illusions. 144

Jason Hooper University of Massachusetts Amherst hooper@music.umass.edu

 Session 4A

Jason Hooper teaches at the University of Massachusetts Amherst and is a doctoral candidate in music theory at The Graduate Center, City University of New York. He is currently writing a dissertation under the direction of William Rothstein that chronicles how Schenker’s approach to form changed over time.

An Introduction to Schenker’s Early ‘Formenlehre’: Implications for His Late Work and Its Reception This paper introduces Schenker’s early ‘Formenlehre’, from his first major theoretical writing Der Geist der musikalischen Technik (1895) to the first published mention of the ‘Urlinie’ in his explanatory edition of Beethoven’s Op. 101 (1920). Along the way, I highlight a tension between (1) the conformational approach to form found in Schenker’s unpublished notes, and (2) the generative approach to form based on motivic development found in his early polemical writings (Bonds 1991). These two impulses are then shown to converge in his conception of sonata form. In light of this earlier work, I conclude with thoughts on how the theory of form expressed in Der freie Satz (1935) involves a cunning sleight of hand (Smith 1996). 145

Julian Horton Durham University julian.horton@durham.ac.uk

 Session 4B  Round Table

Julian Horton is Professor of Music and Head of the Music Department at Durham University, and President of the Society for Music Analysis. He has taught at University College Dublin, King’s College, London and Trinity College, Cambridge. His research focuses on 19th-century instrumental music, with special interests in the piano concerto, Bruckner’s symphonies, and the analysis of sonata form. He is author of Bruckner’s Symphonies: Analysis, Reception and Cultural Politics (Cambridge, 2004), editor of The Cambridge Companion to the Symphony (Cambridge, 2013), and has published in Music and Letters, Musical Quarterly, Music Analysis, The Cambridge Companion to Bruckner and most recently The Cambridge Companion to Vaughan Williams. In 2012, he was recipient of the Westrup Prize, the outstanding publication award of the Music and Letters Trust. He is currently completing a study of Brahms’ Second Piano Concerto.

Formal Function and Voice Leading in the First Movement of Bruckner’s Eighth Symphony Although Bruckner’s music has (albeit controversially) attracted Schenkerian attention (Jackson 1997 and 2001; Laufer 1997 and 2001; but see, in counterpoint, Puffett 2001), analyses investigating its formfunctional organisation remain scarce, and detailed consideration of the interaction between function and voice leading has yet to be undertaken. Taking its cue from Schmalfeldt 2011, this paper maps the relationship between formal function and voice-leading structure in the first movement of the Eighth Symphony (1890 version). I pay close attention to Bruckner’s tendency to preserve the rhetorical design of classical thematic types, whilst disrupting the synonymy of end function and cadence. Writ large, such disruptions impact directly on the Schenkerian claim that sonata form arises from the interruption of the ‘Ursatz’, because the recapitulation is articulated neither by half-cadential preparation nor perfect-cadential closure. Invoking the double-tonic idea advanced by Robert Bailey and recently extended by Matthew Bribitzer-Stull (2006 and 2007), I develop a model that understands the relationship between structure and syntax in this music as facets of a self-consistent late-tonal practice. 146

Julian Horton Durham University julian.horton@durham.ac.uk

 Session 11  Round Table

Topic Theory and the Analysis of 19th-Century Music The analyst seeking to extend the application of topic theory from its traditional 18th-century home into the 19th century encounters significant challenges. Although the classical lexicon manifestly endures, changes of social and philosophical context imbue persisting topics with fresh significance. Responding to these shifts, 19th-century composers also evolved new topical styles, which provided the rhetorical apparatus for conveying novel social and aesthetic messages. Thus, although we might agree with Kofi Agawu’s assertion that “the Romantic period may be understood … as an incorporation of classical protocol into a still more variegated set of Romantic discourses”, it is worth stressing the twofold dialectic inherent in this progression, between old and new topics on the one hand, and between old and new uses of persisting topics on the other. This paper offers a case study in the difficulties of applying topical analysis to 19th-century music by appraising the issues surrounding the application of one novel type (the nocturne) as a style in an inherited classical form (concerto first-movement form). I sketch the problems of defining the nocturne as both type and genre, and elaborate instances of its generic migration in concerti by Field, Chopin and Schumann, paying special attention to relationship between topical discourse and formal articulation. Early-19th-century attempts to absorb the nocturne style into the concerto’s topical lexicon impact directly on the development of formal conventions. Thus Field and Chopin both reference the widespread tactic of delineating solo first-theme continuation function by shifting from bravura to nocturne styles; and the first movement of Schumann’s Op. 54 follows Field’s Seventh Concerto in interpolating a nocturne episode as the development pre-core. 147

Mart Humal Estonian Academy of Music and Theatre humal@ema.edu.ee

 Session 6D

Dr. Mart Humal received his PhD from the Leningrad State Conservatory (1981). He is presently a professor of music theory at the Estonian Academy of Music and Theatre in Tallinn. His research interests include Estonian music and problems of music theory. He is the editor of the six collections of articles A Composition as a Problem (Tallinn, 1997–2012). He has participated at several international conferences of musicology, including the 14th and 15th Nordic Congresses of musicologists (Helsinki 2004, Stockholm 2012), 6th and 7th European Music Analysis Conferences (Freiburg 2007, Rome 2011), and the 5th International Jean Sibelius Conference (Oxford 2010).

The Rising Cycle-Of-Fifths Progression: Its Structural and Formal Implications The relationships between structural principles of counterpoint and harmony can be imagined as those of subordination and inclusion. Counterpoint represents a lower level of musical structure. Harmony, as a higher level, contains both contrapuntal and non-contrapuntal elements (the former – as voice leading, the latter – as tonal relations). Whereas the descending cycle-of-fifth progression is one of the most common chord progressions in the tonal music, the rising one (except for such simplest cases as I–V and IV–I) is quite rare. In the progression I–V–ii–vi, the second fifth, as a dominant followed by a subdominant, is somewhat problematic. In such cases, one speaks usually about the back-relating dominant. However, one can disregard the continuation V–ii in terms of harmony but not in terms of voice-leading. The contrapuntal structure and formal implications of a rising cycle-offifth progression depend on the number of rising fifths. When the second fifth (V–ii) is followed by one more ascending fifth (ii–vi), it gives rise to an exact sequence. On the other hand, when it is followed by one or two descending fifths (ii–V, or, as usually ii–V–I), there is no exact sequence. In my paper, these two cases will be discussed in more detail, analysing the contrapuntal structure of a number of progressions on the base of a five-part voice-leading matrix, rather than the two-part Schenkerian Ursatz, as the high-level structure of tonal counterpoint. 148

Joel Hunt University of California, Santa Barbara joelhunt@umail.ucsb.edu

 Session H

Joel Hunt holds a dual BM in Saxophone Performance and Composition from SUNY Fredonia, and an MA in Composition from UC Santa Barbara. He is currently a PhD candidate in Music Theory at UCSB. Joel’s dissertation focuses on the evolution of Henry Brant’s compositional process, incorporating sketch studies and analysis. He has presented his research at Tracking the Creative Process in Music, Paul Sacher Foundation Colloquium, West Coast Conference of Music Theory and Analysis, and Canadian University Music Society. In addition to his doctoral research, Joel is an active composer and performer of interactive electro-acoustic music.

Indeterminacy in the Music of Henry Brant: Toward a Framework for ‘Controlled Improvisation’ Henry Brant rejected notions of indeterminacy in his music, claiming that even in his most complicated spatial compositions, the element of chance is “not much greater than in an average classical work.” However, much in the way that Lutosławski’s ‘controlled aleatoricism’ generates intricate textures by superimposing fixed passages in an approximate manner, Brant’s spatial compositions superimpose spatially separated instrumental groups, each bound by traditional notation, within a relatively flexible combinatorial scheme. Analyses of Brant’s postwar compositions reveal that this variety of ‘controlled aleatoricism’ was the genesis of a more extensive involvement with indeterminacy. Brant’s loosening of compositional control can be seen to progress from flexibility in temporal/structural design to ‘controlled improvisation’, in which he governed surface detail without traditional notation, but with written instructions for improvisation. In the following paper, I will examine Brant’s compositional development in terms of his growing interest in indeterminate techniques. In so doing, I will shed light on a previously unknown thread in Brant’s creative evolution, and expose a collection of works that has eluded most scholars of indeterminate music. 149

Anne Hyland University of Manchester anne.hyland@rhul.ac.uk

 Session 4B

Anne Hyland is a lecturer in music at Manchester University, having previously held lectureships at Royal Holloway, University of London, and Trinity College, Dublin. Her work has appeared in the Journal of the Society for Musicology in Ireland, the Encyclopedia of Music in Ireland, and she has chapters forthcoming in Schubert’s Late Music in History and Theory (CUP), The String Quartet from 1750 to 1870 (Turnhout), and Rethinking Schubert (OUP). Anne Hyland has been editorial assistant for Music Analysis since 2010 and she sits on the Council of the Society for Musicology in Ireland.

‘Form’ and ‘Formung’ in Schubert’s Variations on a French Air, D624: Voice-Leading as Structure The resurgence in ‘Formenlehre’ over the past 15 years has tended towards an engagement with sonata form, the concerto, and, to a lesser degree, rondo form. In contrast, there has not been a comprehensive study of variation form since Elaine Sisman’s work on Haydn (1993) that attempts to address the analytical and theoretical lacunae which have historically surrounded the form. In particular, the central methodological issue that confronts the analyst of independent variation sets remains foremost: how can one honour the inherent parataxis of a variation movement’s ‘outer form’ or design (‘Form’), while simultaneously accounting for it as a complete entity by revealing a hypotactic scaffold or ‘inner form’ (‘Formung’) which supports it? This paper confronts this issue by demonstrating the methodological rapprochement of ‘Formenlehre’ (privileging ‘Form’) and voiceleading analysis (representing ‘Formung’) in a reading of Schubert’s 8 Variations on a French Air in E minor, D624. While this movement displays recognizable conventions of the genre, such as progressive rhythmic diminution, organization of variations into groups, and use of a culminating pair of variations, its large-scale tonal scheme is remarkable in establishing the keys of the major submediant (C major) and the sharpened minor submediant (C-sharp minor), as well as the parallel major. The inherent logic of this tonal scheme is revealed only through analysis of the theme’s voice-leading, which anticipates the work’s tonal outline, thereby providing an over-arching structure, one which is simultaneously derived from and independent of the theme. Ultimately, in navigating between voice-leading and surface parameters such as motive, register, and pitch salience, this paper demonstrates the hypotactic correspondences between local and global elements in this set of variations, while also celebrating the movement’s paratactic outer form. It thereby brings variation into dialogue with ‘Formenlehre’ and linear analysis, and their productive interaction. 150

Job IJzerman Conservatory of Amsterdam job.ijzerman@hetnet.nl

 Session 2B

Job IJzerman studied piano and music theory at the Utrecht Conservatory and the Royal Conservatory The Hague. He teaches solfeggio, ensemble singing for vocal students, analysis, harmony and counterpoint in baroque and renaissance style at the Conservatory of Amsterdam. His research, published in various journals, includes issues like the early atonal music of the Second Viennese School, the romantic German Lied and the non-measured preludes of Louis Couperin. A scholarship of the Dutch Department of Education, Culture and Science allows him to perform research into harmonic-contrapuntal schemata in 19th-century music.

I A New Approach to Harmony Based on Tonal Schemata In the past ten years interest in the relation between 18th-century compositional education and compositional practice has been rapidly growing. Recent publications show us how so-called partimenti include various schemata, which subsequently had to be applied in real, ‘galant’ compositions. Both partimenti and schemata seem attractive tools for the music theory education at conservatories today, since they translate into practice easier than commonly used theories of harmony. At the same time, however, these tools pose a problem. An orientation on merely 18th-century music cannot fulfil the demands of a general theory programme. First, before claiming to cover the whole commonpractice period, the influence of galant schemata on 19th-century music must be examined. Secondly, these surviving or possibly new schemata would have to be analysed in the context of whole compositions in order to understand their structural functions. Finally, a new method of harmonic analysis must be modelled. Because of the contrapuntal nature of most schemata, founded on melodic bass motions, and the partimenti, mainly being bass exercises, such a method must depart from bass progressions (figured bass), more than from root progressions (roman numerals). Contemporary treatises like Förster’s Anleitung zum General-Bass (1805), Choron’s Principes de Composition des Écoles d’Italie (1808) as well as the ‘Regole’, often preceding the partimenti collections might offer additional support. I have compiled a database of schemata in compositions of mainly Beethoven, Schubert and Schumann, which shows frequent occurrences of particular schemata. These form the starting point of more comprehensive analyses. In my paper I will offer the results of my research so far, by means of an analytical method, not oriented on ‘vertical’ chord progressions but on ‘horizontal’ bass patterns and contrapuntal bass-melody combinations. 153

John Paul Ito Carnegie Mellon University itojp@cmu.edu

 Session 10

John Paul Ito is assistant professor of music theory in the School of Music at Carnegie Mellon University. His main area of research is meter and hypermeter and their connections with cognition, performance, and the history of musical style. Some of his recent and forthcoming publications can be found in Bonner Beethoven-Studien, College Music Symposium, The Journal of Musicology, The Journal of Music Theory, and Music Perception.

Nascent Hypermeter in Bach: The Development of Style and Perception Hearing hypermeter in real time involves hearing in terms of a set of wellknown possibilities, or schemas. But how did these schemas develop? Did composers imagine hypermeter and then write regular music so that others might hear it too? Or could hypermeter be an emergent property of statistical regularities that exist for other reasons? This paper investigates these questions, looking at Bach’s music as a test case, placed as it is between the norms of the 17th century (compound meter, irregular phrase lengths, relatively low salience of bar lines in compound meter, few indications of hypermeter) and those of the 19th (salient notated downbeats, robust hypermeter, standard hypermetrical manipulations). Two hypotheses are tested, using a corpus of ritornello movements. First, the notated measure was being stabilized. In a variety of meters, some simple and some compound, the metrical placement of ritornello returns and of cadences suggests an intermediate stage in which halfbar displacements are more prevalent than in later music, but in which they are not arbitrary, rather reflecting hierarchies of key and of form. Second, four-bar construction of ritornellos has a prevalence that far exceeds chance. There are furthermore signs that Bach intended hypermetrical hearing, as ritornellos with a multiple of four bars are often followed by episodes starting on the subsequent measure, while ritornellos that contain one additional bar beyond a multiple of four often end with a phrase overlap, the cadence of the ritornello coinciding with the beginning of the episode. Statistical evidence for hypermeter in Bach must be balanced, however, by consideration of examples in which a regular four-bar frame receives an internal organization that would seem to render the frame unhearable. Such examples suggest: that hypermetrical hearing was for Bach only one of the possible results of four-bar construction; and that listeners should expect the unexpected. 154

Roman Ivanovitch Indiana University rivanovi@indiana.edu

 Session 11

Roman Ivanovitch is Associate Professor of Music Theory at Indiana University, Bloomington. His research concerns issues of form, style, and aesthetics in the 18th century, particularly with respect to Classical-era variation and sonata form. His principal focus is the music of Mozart, on which he has published articles in Music Theory Spectrum, the Journal of Music Theory, and Music Analysis. The Music Analysis article ‘Mozart’s Art of Retransition’ won the Marjorie Weston Emerson Award from the Mozart Society of America for the best English-language article on Mozart published in 2010–2011.

The Brilliant Style: Illuminations, Revelations, and Force The brilliant style, described loosely by Leonard Ratner as the use of rapid passages for virtuoso display, is a mainstay of modern topic theory, often invoked in a complementary relationship with the singing style to account for the basic contrastive mechanism of the Classical style. Its status as a basic stylistic resource, however, together with its ‘superficial’ deployment of the routine building blocks of figuration, threatens to render it either transparent to the analytical filter or in need of constant qualification and alliance with other topics. Its late18th-century home of the concerto, though, reminds us that at the heart of the brilliant style is a set of propensities for theatrical and public modes: a performativity tied to a sense of occasion. The current paper investigates this configuration through some illustrations from the music of Haydn, focussing in particular on the coda to the finale of Symphony No. 98 in B-flat (with its remarkable ‘cembalo solo’), and the first movement of the String Quartet in D, Op. 71 No. 2 (whose recapitulatory discourse is eclipsed near its end by an apotheosis — in what turns out to be a parenthesis within the form — of learned style and brilliant style dazzle). In both cases, although in very different ways, the brilliant style is exploited at ‘gratuitous’ points of the sonata form to illuminate the role of a controlling agency or persona — whether performer, composer, or some more complex amalgam — which in turn reveals the contingency or malleability of formal conventions. 155

Timothy Jackson University of North-Texas tjackson928@gmail.com

 Session 13

University Distinguished Research Professor, Timothy Jackson is well-known for his work on the music of Richard Strauss, on which he wrote his doctoral under Carl Schachter. Jackson’s interests have branched out from German music to encompass the Russian, Estonian, and Finnish traditions. He authored the monograph on Tchaikovsky’s Pathétique for the Cambridge Handbooks Series (1999) in addition to co-editing Sibelius in the Old and New World (2010), Bruckner Studies (1997), Sibelius Studies (2001) and Perspectives on Bruckner (2001). With Paul Hawkshaw, he wrote the composer article on Bruckner for the Revised New Grove. He is currently completing books on Sibelius, Strauss and Nazism and the early history of the Schenkerian movement in Austria and Germany.

Anton Eberl’s Innovative Conceptions of Sonata Form: The Example of the First Movements of E-flat major Op. 33 and D minor Op. 34 Symphonies I shall attempt to show that the usual procedure in the major-mode sonata of prolonging the dominant initiated at the beginning of the second group through to the end of the development is not operative in Eberl’s conception of sonata form. Rather, in the exposition of Eberl’s E-flat major Symphony, tonic prolongation cuts through the dominants of both second groups or ‘Seitenthemas’ such that the definitive arrival on the dominant (which I designate ‘DDA’) is postponed until the closing group or ‘Schlussgruppe’. The intervention of the tonic into putative dominant prolongations has consequences for the recapitulation since in it the parallel interventions are made by the subdominant into tonic prolongations. The result is the destabilization of the tonics associated with the first and dual second groups in the recapitulation; indeed, given the emphasis on the subdominant, these tonics also become dominants of the subdominant. According to this logic, then, only at the end of the recapitulation in the closing group is the tonic definitively secured – as a parallel to the definitive arrival on the dominant only at the end of the exposition. Far from being an anomaly, Eberl employs this type of ‘tonic override’ resulting in ‘dominant delay’ in the expositions of other works, including his Symphony in D minor, Op. 34. Indeed, Eberl’s D minor Symphony is an even more innovative and ‘experimental’ work. In the first movement, Eberl begins with a ‘standard’ tragic introduction in D minor, but then he presents a second introduction, a jaunty march (!) in D major complete with its own internal formal organization, and from these two highly contrasting introductions, he derives the entire symphony! These innovations are combined with the technique of reversed recapitulation - in the outer movements - to create a novel type of sonata structure. 159

Tobias Janz University of Kiel janz@musik.uni-kiel.de

 Session 8A

Tobias Janz is professor of „Historische Musikwissenschaft“ at the ChristianAlbrechts-Universität zu Kiel. He has taught as Juniorprofessor of “Historische Musikwissenschaft” at the University of Hamburg, and he has been visiting professor at the Humboldt-Universität zu Berlin and the National Taiwan University. His main research interests are music history and historiography from 17th to 21st centuries, music theory, sound and media, music philosophy, transnational music history. His books include Klangdramturgie. Studien zur theatralen Orchesterkomposition in Wagners “Ring des Nibelungen” (Würzburg: Königshausen & Neumann 2006), and recently Zur Genealogie der musikalischen Moderne (München: Fink 2014).

Response to the presentations of Heinz von Loesch, Bruno Gingras and Dieter Kleinrath

160

Freya Jarman University of Liverpool f.jarman@liv.ac.uk

 Session 5A

Freya Jarman studied at the University of East Anglia, Norwich, before undertaking postgraduate research at the University of Newcastle. After completing her doctorate (Breaking Voices: Voice, Subjectivity and Fragmentation in Popular Music), she has worked at the University of Liverpool as a Lecturer in Music since 2005, and Senior Lecturer since 2011. Apart from developing analytical tools beyond western notation, her research interests include gender, sexuality, and queer theory, with a particular focus on the voice and vocal music (including opera, musical theatre, and popular music).

“It’s analysis, Jim, but not as we know it”: Teaching Analysis without Notation to a Class of Undergraduates with Radical Subject-Specific Diversity The Music department at the University of Liverpool is unusual in its entrance requirements: it does not require any formal musical background for students of popular music subjects. Meanwhile, it is also home to students with high-level formal training in western classical music, who arrive expecting to make use of their competence in standard analytical methods. Both groups of students, and students whose skills are somewhere on the spectrum in between these extremes, sit alongside each other in a compulsory first year module called Music as Sound. The aim of this module is to develop students’ abilities to talk productively about musical detail in a wide range of musics (from various popular music genres, through Western classical music, to a variety of non-western musics, and avant-garde performance art). This paper reflects on the challenges of developing the module in ways that are meaningful to students with and without formal musical training, particularly because the module does not aim to provide musical theory where it is absent in students’ musical language; instead, it changes the very nature of the goal, by providing a new mode of analysis that challenges notationally competent students to think about analysis without traditional western scores, and also introduces analytical techniques to non-notationally literate students without recourse to the technical tools and language of western classical music. The module thereby encourages classically trained musicians to think about music precisely as sound, rather than as a musical score, while also enabling non-musical students to talk about musical detail in a truly meaningful way. Moreover, such an approach could, if widely-enough adopted, help close the gap in popular music scholarship between textual analysis and context-focused scholarship, as well as enabling scholars of classical music to write in ways more accessible to interdisciplinary audiences. 161

Ariane Jeßulat Guest Lecture GMTh Hochschule für Musik Würzburg | Julius-Maximilans-Universität Würzburg ajessulat@aol.com Ariane Jeßulat. Born 1968, studied first music (teaching profession) and classical philology, later music theory at Universität der Künste Berlin. From 2000 to 2004 she worked as teacher for music theory at Humboldt Universität Berlin, where she completed a habilitation thesis about Wagner´s Ring des Nibelungen in 2011. Since 2004 she works as professor for music theory at Hochschule für Musik Würzburg.

Polyphonic Gestures between Architecture and Interaction Around 1912, Max Weber referred to counterpoint as ‘Kunstregelbau’, focusing on rational and social aspects which he expressed using metaphors taken from architecture and craftsmanship. Although his understanding of counterpoint primarily mirrors the aesthetics of the early 20th century, these two aspects can certainly serve as realms of analysis of musical thought as articulated in counterpoint. The importance Weber assigns to social structures as foundation of the architecture of ‘Kunstregelbau’ seems to be a quite modern approach, elevating elements of simple human interaction to the level of sublime, polyphonic beauty. In fact, his ideas never deviate from the regular contrapuntal pedagogic practice at the beginning of the 20th century. Therefore, the often essential role of a group whose interaction might create the polyphonic web is not taken into consideration – neither in Weber´s approach nor in any other theory of counterpoint until quite recent studies, which are based on artistic research in integrating models of polyphonic improvisation into the Renaissance and Baroque styles. Although contemporary musicology has been able to correct and modify obsolete ideas of composing as the metaphysical act of singular genius, we still find hidden traces of this structural metaphor in today’s counterpoint pedagogy, which is mostly the result of one-dimensional communication in the master-pupil model, etc. At the same time, other ideas of interaction and de-centering strategies in a group, which might open better and more fruitful analytical perspectives, are neglected. Although Weber – as many scholars of his century – held the zenith of ‘Kunstregelbau’ to be the music of Johann Sebastian Bach, this paper aims to investigate further characteristic structures of contrapuntal interaction and topoi in tonal, post-tonal, and contemporary music. 162

Ariane Jeßulat  Session 6A Hochschule für Musik Würzburg | Julius-Maximilans-Universität Würzburg ajessulat@aol.com Ariane Jeßulat. Born 1968, studied first music (teaching profession) and classical philology, later music theory at Universität der Künste Berlin. From 2000 to 2004 she worked as teacher for music theory at Humboldt Universität Berlin, where she completed a habilitation thesis about Wagner´s Ring des Nibelungen in 2011. Since 2004 she works as professor for music theory at Hochschule für Musik Würzburg.

Parsimonious Voice-Leading and ‘Stimmführungsmodelle’ In Neo-Riemannian-Theory parsimonious voice-leading is a tool of mapping triadic spaces moving around the axis of the augmented triad. It guides harmonic analysis counting distances of minor or major triads by the smallest unit of a halftone-step of a single voice and observing the direction of the harmonic path in regions, which are less centered by a single chord than merely diatonic spaces of tonality. In some cases the voice-leading that is to be heard, i. e. the foreground, seems to be the same or at least very close to the shape of parsimonious voice-leading, but it grounds on different principles. Further one may find a kind of interaction between parsimonious voice-leading and a known diatonic ‘Stimmführungsmodell’ as in the overture of Wagner´s Parsifal (Cohn 2006). As Schenker and Riemann were influenced by the tradition of thoroughbass-practice taught through models of diatonic voice-leading there is a basic connection in the history of music theory, but in analytic detail it might be useful to explore the following issues: - Are there possibilities to integrate details as neighbour-notes, melodic formulas or other standards of ‘Stimmführungsmodelle’, which are not in focus of parsimonious voice-leading, in an analysis using primarily tools of Neo-Riemannian-Theory? - If parsimonious voice-leading is a reduction, there should be a kind of remarkable distance to musical foreground. In some triadic music of Beethoven, Schubert, Mendelssohn, Hensel, Brahms or Wagner foreground seems to be its own reduction. Analysis of large-scale form might show the ‘lost details’, which are heard as a distance integrating the memorized development of harmonic and melodic progressions leading finally to a dense triadic harmony of a second nature (Cohn 2012). - The voice-leading models collected in the famous Generalbass-Schule of Simon Sechter show a mixture of a systematic approach and some historic residua, in sum they are less distinct in style than 18th-century models. Is there a chance to sketch a space of stylistic normality of diatonic models in the 19th century, which could divide them clearly from parsimonious voice-leading? 163

Maximos Kaliakatsos-Papakostas Aristotle University of Thessaloniki maxk@math.upatras.gr

 Session 9A

Maximos A. Kaliakatsos-Papakostas is a research fellow at the School of Music studies in the Aristotle University of Thessaloniki, working for the COINVENT project. He holds a PhD from the Department of Mathematics, University of Patras Greece since 2014 where he has graduated in 2006 and received his M. Sc. Diploma from in the program “Mathematics and Modern Applications” in 2009. His current research interest is the application of Artificial Intelligence methods in automatic harmonisation, music information retrieval and automatic music composition.

Magdalini Kalopana University of Athens alkalopana@hotmail.com

 Session 5C

Magdalini Kalopana (musicologist) has a BMus (1998) and a PhD (2008, funded by the State Scholarship Foundation), both from the University of Athens for research on Dimitris Dragatakis: Works’ Catalogue. As a musicologist she has collaborated with the Athens Concert Hall, the Third Programme of the Hellenic Radio and D. Dragatakis’s Friends Society for editions, productions and concerts. Her papers have been presented at international musicological conferences in Greece and abroad, and published in proceedings and musicological journals. She is a member of the Editorial and the Scientific Board of the Greek musicological journal Polyphonia.

Opposition and Symbiosis: Avant-garde and Traditional Greek Elements in the Works for Solo Instruments of Dimitris Dragatakis: An Analytical Perspective Dimitris Dragatakis (1914–2001), one of the most important Greek composers of the second half of the 20th century, had as primary musical source the tradition of his homeland, Epirus. Yet he progressively incorporated contemporary, modernistic elements in his music, thus forming his personal idiom. His output consists mostly of symphonic and chamber music, while some of his solo works are of great importance in defining Greek modernism. From 1960 onwards, apart from structural modifications of traditional classical forms, Dragatakis constructs his music using mainly minimalistic motives. These are based on specific groups of notes (predominantly trichords and tetrachords) and have modal or atonal conception. Similarities and differences, natural maturation and evolution of his style, and new, unexpected, choices reveal the personal route of Dragatakis’s musical thought, relating also his personal techniques with pitch-class sets. This paper explores the various ways Dragatakis uses and amalgamates Greek traditional with avant-garde music elements in his works, and it also considers the influence and application of avant-garde material throughout his works for solo instruments (with or without accompaniment), with particular reference to his Violin Concerto (1969), Piano Concerto (1977), Monologue No. 3 for violin (2001), Monologue No. 4 for piano (2001) applying, among others, the analytical method of set theory. 168

Marina Karaseva Moscow Conservatory karaseva@mosconsv.ru

 Session B

Grand Doctor in Music Art, Full Professor of the Moscow 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. PhD: The Theoretical Problems of the Modern Ear Training (Аdvisor: Prof. Y. Kholopov. The Moscow Tchaikovsky Conservatory, 1982). An author of many books and articles on ear training including Course of Modern Solfeggio (1996), Solfeggio - a Psychotechnique of Ear training (1999). She delivers master-classes in Russia and abroad.

Perceiving music theory by music ear: Innovations and traditions in the approach to the intensive ear training A sensitive and well trained ear for music is one of the most important professional skills for music performers and theorists. Good ear for music is a professional tool which helps to analyze music language components (harmony, modes etc.) and some stylistic features (allusions, quotation etc.). Courses of ear training (Solfeggio in Russian terms) are aimed to implement such a goal. Today one of the main methodological problems in the field of ear training consists in the dissonance between challenges of real music practice and traditional courses of solfeggio: the latter often cannot prepare the music ear for listening modern music. College ear training courses are focusing mainly on classical music language, not on modern. Therefore, the new intensive methodology must be elaborated to reach good practical results in perceiving contemporary music by ear. There are different approaches to this problem in Russia and Europe. In contrast to European ear training principles, Russian specifics of solfeggio has 3 principal points: it lasts about 15 years; it has a hierarchical model of ear training ‐ from classical music (in college) to contemporary (in higher educational degree); the main accents focus not only on sight singing skills but, to a great extent, on the development of music memory as well as on tonal‐functional harmony ear‐scanning. European courses are as a rule shorter and more flexible in its content. The main aim of my paper is to disclose the most effective models in ear training ‐ both from Europe and from Russia ‐ which may be used as a basis for intensive ear learning elements of the 20th-century music language. My own researches on ear training (including my monograph Solfeggio Psychotechnique of Ear Training and Course of Modern Solfeggio) are used as a methodological base of my conclusions. 169

Oliver Kautny University of Wuppertal kautny@uni-wuppertal.de

 Session 7A

Dr Oliver Kautny is working as a teaching and research assistant at the Department of Music Education in the University of Wuppertal (Germany). He has published several articles dealing with rap music. He co-edited a book on the voice in rap music (Stimme im HipHop, 2009; with Fernand Hörner) and a special issue on Sampling in hip-hop (2010, as guest editor with Adam Krims) in Samples, the academic journal of the German ASPM.

Vocal Rhythm in Rap Music The analysis of the MC’s delivery of rhythm, which is called flow, remains a desideratum. Not only have very few scholars have worked on the analysis of flow hip-hop, but work on hip-hop per se has been limited. However, the past two decades have seen the emergence of a growing scholarly interest in the topic. The groundbreaking study by Adam Krims, which focused not only on the sociocultural but also on the aesthetic dimensions of rap music has proved highly influential. His close readings of various styles of rapping inspired scholars who have developed new approaches to the analysis of flow at the end of the 2000s (Kyle Adams, Oliver Kautny, Justin Williams). This paper compares two typical styles of flow in rap music. The German rap song Hammerhart by Absolute Beginner (1998), which became a classic in the history of German hip-hop, produces metric dissonances by combining vocal and instrumental rhythmic layers, each referring to different pulses. The vocal attacks remain within the metrical grid, making minimal use of microtiming. In contrast to that, Eminem’s Till I collapse (2002) is strongly characterized by the MC’s “local time shifts”, to use Anne Danielsen’s phrase, which play microrhythmically around the beat of the instrumental arrangement. 170

Liudmila Kazantseva Astrakhan Conservatory kazantseva-lp@yandex.ru

 Session B

Liudmila P. Kazantseva, Doctor of Arts, is a professor at the Department of History and Theory of Music of the Astrakhan Conservatory and the Volgograd Institute of Art and Culture (Russia), and the head of the Laboratory of Musical Content. Her theoretical concept of musical content, presented in her books and articles, has been introduced into pedagogic practice. Dr. Kazantseva is the editor of scholarly publications and the website www.muzsoderjanie.ru. She is a member of the International Informatisation Academy, the Russian Academy of Natural History, the Composer’s Union of Russian Federation, and the Scientific Committee of Russian Society for Theory of Music.

The Theory of Musical Content as a Pedagogic Tool Thе academic subject ‘Theory of musical content’ is a practical adaptation of scientific ideas that are being developed by a branch of musicology, which was formed in research by Boris Asafiev, Vyacheslav Medushevsky, Valentina Kholopova and others. It has been directing the attention of the learners to the ‘musical intonation’, the ‘musical imagery’, the ‘musical drama’, the artistic ‘theme’ and the ‘idea’ of the piece of music, the ‘program foundation’, and to the question of the author’s ‘self-expression’, intertextual connections between artistic works, and other phenomena that determine the essence of music, but don’t receive the proper learning from the existing academic disciplines. The need for this training course is dictated by the accumulation of a fair amount of knowledge of the expressive side of music covering its meanings and ideas. It is in demand because manifestly ‘technical’ bias prevails in the educational process. Academic disciplines which study ‘how’ a piece of music is made must be balanced by other ones allowing students to comprehend ’what’ exactly is made by the composer. In addition, the figurative and artistic approach to the phenomenon of musical sound allows young musicians to comprehend many of the nonacademic styles, such as jazz, rock and pop music. Being professionally equipped with the new analytical techniques developed for penetration into the semantic aspect of the piece of music, the student is able to navigate in complex and varied social and cultural processes. The years of practice show that the author’s training course ‘The Theory of Musical Content’ equips students with knowledge of the most important aspects of music, with experience of its analysis and with the awareness of the necessity of taking a thoughtful and professionally serious attitude towards music. Finally this course will effectively promote formation of the musician’s personality. 171

Ildar Khannanov Peabody Institute Johns Hopkins University solfeggio7@yahoo.com

 Session 6D  Russian Session

Ildar Khannanov (PhD UC Santa Barbara, 2003, ABD Moscow State Tchaikovsky Conservatory, 1993) studied music theory with Yuri Kholopov and Pieter C. Van den Toorn, and philosophy with Jacques Derrida. He is currently teaching at Peabody Conservatory, Johns Hopkins University. He is the Deputy Chair of the Scientific Committee of the Russian Society for Theory of Music. Interests include harmony, form, Russian music theory and philosophy. Dr. Khannanov has published a chapter in Sounding the Virtual: Gilles Deleuze and the Philosophy and Theory of Music (Ashgate 2010) and a book Music of Sergei Rachmaninoff: Seven Musical-Theoretical Etudes (Kompozitor, 2011).

K The Principles of Harmony from both Philosophical and Technical Standpoints The question of the structural principle of harmony has been pondered throughout the 25 centuries of development of Western music theory. The overwhelming diversity of approaches resists categorization and, perhaps, makes it futile to search for a single governing principle for all music. Yet, from the bird’s view, one can notice a major discrepancy in its interpretation: on the one hand, there is a lofty philosophical idea that comes from Pythagorean mystical numerology; on the other, a very reasonable practical idea of the technique of connecting chords in a certain way, i.e., voice leading. Many theorists allowed for a leap of faith between the philosophical concept and its practical application. Fétis’s reaction to Rameau, Schenker’s reaction to Riemann and Kholopov’s reaction to Schenker may very well be the attempts to overcome a striking disconnect between the two aspects that in an ideal situation have to complement each other. How does the idea of melodic-modal platform of chromatic tonality play out on the background of Herakleitian reconciliation of the irreconcilables? What is the relationship of the ascending fifth motion on the voice-leading graph with the idea of music as realized number? Does Kholopov’s idea of the central element as tonic hold true for both ancient Greek and 18th-century understandings of harmony? This paper will summarize the ideas on the structural principle of harmony presented in this session and will open the floor for the further discussion of this issue. 172

Valentina Kholopova Moscow Conservatory v_kholopova@mail.ru

 Russian Session

Valentina Kholopova (Ph.D. and Doctor of Arts), studied with Victor Tsukkerman and Leo Mazel. She is Professor of Music Theory at the Moscow Tchaikovsky Conservatory since 1960. She is the author of more than 500 scholarly publications in 10 languages, including Problems of Rhythm…, Russian Musical Rhythmic, Forms of Musical Works, Music Theory, Music as an Art Form, Musical Emotions, Music Theory, Music of Anton Webern (in collaboration with Yuri Kholopov), books on music of Schnittke, Shchedrin, Gubaidulina and Spivakov. More than 70 students form the school of Kholopova and work in Russia and worldwide.

Aspects of Teaching of Form in Contemporary Russia Russian theorists prefer to focus on meaning-bearing aspects of musical form. Thus Victor Tsukkerman interpreted the content of Chopin’s forms by means of genre. New directions in analysis rely on the fundamental role of the meaning-bearing prototypes and various kinds of dramaturgy. The latest trend is the search for psychological logic of musical form. Analyses of Russian music are rooted in aesthetics of Znamennyi chant. It is characterized by outer-worldly non-eventual qualities. Melodies of chants are non-climactic, lacking the energy of directionality and gradual. There is a ban on. Znamennyi chant lacks motoric aspect and rhymed verse; there is no ostinato principle and no conventionally parsed structures. The prototypes of Classical musical form are the elements of ancient oratory disposition (as suggested by Mattheson and others). Russian theorists analyze Beethoven’s sonatas in terms of ‘exordium’, ‘narratio’, ‘propositio’, ‘partitio’, (‘argumentatio’), ‘confutatio’, ‘confirmatio’, ‘digressio’, ‘peroratio’. The prototype for the Romantic form is a literary ballade (as in Chopin’s Ballades no. 1 and 4). The ‘exordium’ (a call for attention) is replaced by the prologue; ‘argumentatio’ (persuasion) in the development— by thematic transformation; reaffirmation of the main theme—by a catastrophic coda. Russian theorists use four types of stage dramaturgy: conflict (as between Primary and Subsidiary themes in Romantic music), contrast (song theme and a dance theme in Glinka’s Kamarinskaya), parallel (24 scenes on stage in Soldiers of Zimmerman) and monodramaturgy (in music of the minimalists). Russian theorists also introduced the term ‘dramaturgic form’. The ‘psychological form’produced by the impulses (moments of drawing the attention) during the most important stages: in the beginning, the middle and the end (according to Aristotle) or ‘initium-motus-terminus’ in Asafiev’s terms. This new term is applied to the musical works of the 21st century. 173

Sanja Kiš Žuvela Franjo Lučić School of Performing Arts sanja.kiszuvela@yahoo.com

 Session B

Sanja Kiš Žuvela is a music theory teacher and Head of the Music Theory Department at Franjo Lučić School of Performing Arts in Velika Gorica, Croatia. Born in Zagreb, she graduated from her hometown university with an MA Degree in Music Theory and an MSc Degree in Musicology. Her principal research interests include 20th-century music, relationship between music and visual arts and problems of contemporary musical terminology in Croatia. She is the author of Zlatni rez i Fibonaccijev niz u glazbi 20. stoljeća [The Golden Section and Fibonacci Sequence in 20th Century Music] (Zagreb: HDGT, 2011).

Structural Analogies between the Arts in Teaching Music Theory

Music theory students are frequently confronted with a sort of music that represents an incomprehensible and complicated “semiotic system without a semantic level“ (Eco 1979: 11). One of the main tasks of education in music theory is to teach future consumers of art music how to isolate such semiotic fields from the musical texture as a whole and to attribute an adequate musical meaning to them. Traditional teaching activities such as musical dictation, sight-reading, graphic and aural analysis or compositional exercises may be significantly enriched by introducing intermodal correlation based upon structural analogies between music, visual arts and literature. Such analogies can reduce an array of difficulties that arise from the manifold levels of abstraction in musical art. The author’s approach is based on interdisciplinary and intermodal apprehension of universal structural categories such as positive and negative, identity and contrast, complementarity, symmetry, asymmetry, circularity, unambiguity, ambiguity and polysemy, closed and open forms, evolution, addition, gradation, intensification, integration, fragmentation, variation etc. Musical rhetoric may also represent a rich source of analytical tools in music theory class. Structural analogies between the arts are introduced with special regard to the identity and specific features of every art form, enhancing the interrelation between music and other arts, as well as establishing correlation between musical and non-musical disciplines. Such an interdisciplinary approach may improve students’ mnemonic competencies, enrich their imagination and enhance their ability of structural hearing. In addition, it encourages critical thinking and qualifies students for independent and competent reception, reflexion and reproduction of works of (musical) art. The presentation will include the author’s examples in teaching music theory and ear training in elementary music schools (grades 1-6) as well as harmony, counterpoint and formal analysis at secondary music school level (grades 7-10). 174

Michael Klein Temple University michael.klein@temple.edu

 Session 12

Michael Klein is Chair of the Department of Music Studies and Professor of Music Studies at Temple University. He has published on a variety of topics in Music Theory Spectrum, Nineteenth-Century Music, the Journal of Music Theory, the Journal of the American Liszt Society, and Indiana Theory Review. He is the author of Intertextuality in Western Art Music (IUP) and co-editor (with Nicholas Reyland) of the collection Music and Narrative since 1900 (IUP). His forthcoming book, Music and the Crises of the Modern Subject, concerns concepts of Lacanian psychoanalysis and music from the early 19th century to the present.

K Musical Affect as Vital Bodily Force in the Work of Deleuze and Guatarri This paper develops a theory of musical affect from the standpoint of Deleuze and Guattari’s A Thousand Plateaus. Following Spinoza (Ethics, III), for whom affect was a vital force felt in the body and resulting from increases or decreases in intensities, Deleuze and Guattari separate affect from emotion: “affect is not a personal feeling, nor is it a characteristic; it is the effectuation of a power of the pack that throws the self into upheaval and makes it reel” (ATP, 265). Brian Massumi (‘The Autonomy of Affect’) confirms this separation of emotion and affect: the body responds to intensities, forces, and sudden shifts autonomously from cognitions, which are responsible for emotions. Affect is prelingual, forming one possible route toward freedom from the Symbolic Order (language), in as much as affective responses do not depend on cognition. In order to illustrate how affect works musically, the paper turns to those examples that Deleuze and Guattari offer in their work. One such example is Ravel’s Bolero, which Deleuze and Guattari understand as a prolonged and growing intensity whose final moments strike the body with a sonic force. Such an analysis of the music may be content to explore only the affective (bodily) impact of the music, or it may combine the affective with the emotional (cognitive) to show how the two mutually reinforce or contradict one another. The paper concludes with a discussion of passages of music drawn from the double trill in Chopin’s Polonaise-Fantasie, the sudden low attacks in the opening of Bartók’s Piano Sonata, and the climactic texture near the end of Lutosławski’s Symphony No. 4. In each of these cases, the affective moments interrupt the musical narrative and open the body to an excess that awakens the feeling (not emotion) of life as a vital force. 175

Dieter Kleinrath University of Music and Performing Arts Graz dieter.kleinrath@chello.at

 Session 8A

Dieter Kleinrath, born 1976 in Graz, studied classical guitar, jazz piano and music theory at the University of Music and Performing Arts Graz and obtained a Bachelor degree (2007) and a Master’s degree (2010) in music theory. Since October 2010 he is PhD candidate at the University of Music and Performing Arts Graz and works on a thesis about musical syntax and semiotics. Form March 2012 to May 2014 he has been project staff for the research project A ContextSensitive Theory of Post-tonal Sound Organization (CTPSO), funded by the Austrian Science Fund (FWF).

Experiencing performance, analyzing experience and performing analysis. On the relationship between musical analysis, musical performance and musical listening, exemplified by Pierre Boulez’ Structures Ia

When Nicholas Cook polemically stated that “performers [seem to] have a great deal to learn from [music] analysis” (Cook 1999), he criticized the authoritative prescriptiveness of influential music theories, including Fred Lerdahl’s and Ray Jackendoff’s GTTM, Schenker’s “Schichtenlehre” and the music-theoretical approach of Eugene Narmour. Most of the time music theory pursues unidirectional approaches of music analysis: Based on the analysis of musical structure, it makes assumptions about how music is (or should be) perceived, performed, and composed, often initiating aesthetic judgments. This paper discusses the relationships between musical analysis, musical performance and musical listening from a reconsidered perspective. As part of the Graz research project CTPSO (ctpso.kug.ac.at), Pierre Boulez’s Structures Ia for two pianos (1952), a key-work of postwar serialism, was recorded on two midi pianos (Yamaha Disklavier). The midi data of these recordings are manipulated in various ways, based on a context-sensitive perception-informed analysis of the score and a comparative analysis of different performances of the piece. These manipulations include the emphasis/concealment of supposedly perceived musical structures (shapes, contours, streams), the change of rhythmic structure and tempo, and the addition or removal of individual tones. Both manipulated passages and original recordings are presented to listeners during a listening experiment. The aim of this experiment is to examine, which structures, as suggested by musical analysis, are actually perceived by listeners and how musical performance may influence such percepts. In this context I also examine whether musical prototypes (Deliège 2001) can be identified in Structures, which help to perceive or memorize the complex musical structures. In a last step the results of the listening experiment are again communicated to the performers, possibly influencing their interpretation of the piece. The paper thus intends to demonstrate that an informed communication between music analysis, performance and perception leads to a richer musical experience. 176

Stanley Kleppinger University of Nebraska-Lincoln kleppinger@unl.edu

 Session I

Stanley V. Kleppinger is associate professor of music theory at the Glenn Korff School of Music at the University of Nebraska-Lincoln, USA. His work on pitchcentric music, especially that of Aaron Copland, has appeared in Music Theory Online, Twentieth-Century Music, Theory and Practice, American Music, and Indiana Theory Review. He is a recipient of the Irving Lowens Article Award from the Society for American Music. Dr. Kleppinger serves as secretary of the Society for Music Theory.

Pitch Centricity without Pitch Centers Pitch centricity is commonly understood as the effect of perceptual focus upon one pitch class above all others in a given musical context. This perspective implies a binary classification for Western music of approximately the last century: either it doesn’t project a pitch center, or it engenders pitch centricity via continuation of common-practice techniques or new, divergent methods. The adjectival pairing ‘atonal/ tonal’, whatever else it connotes, serves frequently to distinguish these contrasting musical circumstances. Theories and analyses dealing with the first category are myriad, and there has emerged a growing body of work concerned with the second. But lost in this dichotomy is a third potential class of post-common-practice repertoire: music that coaxes the listener into associating the music with pitch centricity without fostering certainty about what its pitch center might be. This third approach to pitch centricity has distinct perceptual—and thus analytical—issues that merit special attention. This paper explores the perceptual basis for the boundaries among these categories in an attempt to better delineate the third. Informed by research into tonal induction, I speculate that listeners reflexively bring pitch centricity to bear on musical situations that evoke commonpractice tonal elements, including diatonic collections, stable triads, emphasis of ic 5, and the vectoring of musical space that these other properties stimulate. These characteristics catalyze the ‘listen-forpitch-centers’ mechanism of the auditory process, even in those cases where identifying a certain pitch center is a difficult or impossible task. The analyses I will present—of excerpts by Webern, Vaughan Williams, Copland, and others—highlight the importance of distinguishing between pitch-centric listening and pitch-center identification: the former may exist without the latter, and the gap between them is an essential stylistic feature for much music of the last century. 177

Edward Klorman Queens College (CUNY) | The Juilliard School eklorman@qc.cuny.edu

 Session 8B

Edward Klorman teaches music analysis, viola performance, and chamber music at Queens College (CUNY) and The Juilliard School. He has presented at international conferences on a variety of analytical and musicological topics, including musical agency, sociability, form in baroque and classical music, hypermetrical manipulation, Schenker analysis, and performance. His book Mozart’s Music of Friends: Social Interplay in the Chamber Works is forthcoming from Cambridge University Press. He has recorded two albums of chamber music for Albany Records.

Performers as Creative Agents: Mapping the Terrain

When listening to music, do we attend to the utterance of the composer who created the ‘work’ or to the musician(s) who perform it? Is evidence of the performer’s creative agency manifest in musical performances? Is it a performer’s role merely to faithfully execute the work as conceived by its creator? Or if a performer is to ‘interpret’ the music, how do creative choices determine musical meaning? This practical presentation considers a counterexample from rock music to illustrate certain common biases and assumptions within classical instrumental performance. Whereas Cyndi Lauper’s 1983 breakthrough hit Girls Just Want to Have Fun has been acclaimed as an “anthem of female solidarity” (Gaar 2002), Lauper initially rejected the song based on the original 1979 recording by songwriter Robert Hazard, whose forceful, Bowie-esque performance suggests a message of male sexual conquest. That Lauper managed to transform the song’s feel and meaning so totally, while keeping the same melody and (mostly) same lyrics, evinces the creative agency rock musicians wield in performance and videos (cf. Zak 2001 and Burns 2010). In contrast, many classical instrumentalists remain influenced by 19th-century German notions of Werktreue that subordinate the performer’s agency to that of the ‘work’ and its composer (Goehr 1992). Nevertheless, any performance of a composed work necessarily involves creative choices that determine aspects of affect, timing, timbre, dynamic shaping, etc., and even affect structural aspects such as the interpretation of cadences (Burstein 2010). This presentation considers a number of passages - some that I will perform live on the viola, and others that I will consider based on recorded performances - to illustrate that a performer’s creative agency has a greater impact than is commonly acknowledged by music theorists and that it has implications for the analysis of musical performances (as distinguished from the analysis of musical scores proper). 178

Edward Klorman Queens College (CUNY) | The Juilliard School eklorman@qc.cuny.edu

 Session 10

Meter as Agency: Performing Metrical Manipulations in Chamber Music Recent scholarship has departed from a view of meter as a static structure inherent in scores to a view of meter as something people do, in time, while listening to music (Hasty 1997, Dodson 2002, Mirka 2009, Rothstein 2012). While this scholarship has offered a more psychologically rich model of the outside listener’s experience, insufficient attention has been devoted to the performers’ role creating metrical interplay within an ensemble, in time, as they play (cf. Lewin’s [1987] ‘transformational attitude’). This paper presents a new model for the in-time analysis of metrical manipulations as the actions of individual players. By ‘players’, I refer partly to actual instrumentalists - who, quite literally, create or enact all metrical events in performance - but also to their fictional counterparts - characters within the piece whose ‘conversation’ is encoded in the music (Cone 1975; Maus 1988; Klorman 2013). Since these personas, like operatic characters, perceive themselves to be the self-determining authors of their own utterances (cf. Lewin 2006), it follows that they possess agency to trigger metrical preference rules (MPRs, L&J 1983) either supporting or opposing the prevailing meter and, more importantly, one another. Metrical manipulations can thus arise not only from neutral conflicts among inanimate musical elements (as in Kamien 1993 and Temperley 2008) but from the purposive actions of musical personas engaged in a witty game of one-upmanship. This study examines passages from chamber music by Mozart and Brahms in which the characters apply their agency toward opposing ends, seemingly in order to surprise, dispute, or tease one another in a lively metrical interplay. This perspective - which reveals some metrical manipulations that are masked by traditional, unitary, end-state perspectives - suggests performance nuances that are consistent with some 18th-century performance treatises and that may inspire more dynamic performances. 179

Tess Knighton Institució Catalana de Recerca i Estudis Avan‡at t.knighton@imf.csic.es

 Session 3A

Tess Knighton is Research Professor of the Institució Catalana de Recerca i Estudis Anvançats (ICREA) affiliated to the Institució Milài Fontanals (CSIC) in Barcelona. Between 1992 and 2009 she was Editor of Early Music (OUP), and for many years she was a Fellow of Clare College, Cambridge, and is now an Emeritus Fellow. She has published widely on various aspects of musical culture in Spain, Portugal and the New World, and her most recent publications include: Music and Urban Society in Colonial Latin America (with Geoffrey Baker; CUP); Pure Gold: Golden Age Sacred Music in the Iberian World (with Bernadette Nelson; Reichenberger); and the first edition of Gonçalo de Baena’s Arte para tanger (Lisbon, 1540) (CESEM, Universidade Nova, Lisbon).

The Missa pro defunctis by Pedro de Escobar: Transitions and Transformations Escobar’s Missa Pro Defunctis has long been heralded as the earliest setting of the Requiem mass by a Spanish composer, although it is impossible to establish an exact date and other pre-Morales settings also need to be taken into account in any study of the development of the genre in Spain in the early decades of the 16th century. Eleanor Russell, Grayson Wagstaff, Juan Ruiz Jiménez, and others have looked at how a polyphonic tradition distinctive from the Roman, as regards both choice of text and chant melody, developed in Spain. Aspects of this tradition have been considered as distinctly Sevillian or Andalusian, although further study is needed since similar trends are found in polyphonic Requiem masses preserved in northern Spain. The focus of this paper is less on which variants of which chant melodies were used, and more on the manner in which they were set polyphonically, with an analysis of the compositional processes and procedures adopted in the different sections of the mass. Some sections clearly have their roots firmly in the tradition of semi-improvised ‘contrapunto’, and there is evidence to suggest that the Mass for the Dead was customarily elaborated and solemnified in this way on major occasions at least. Other sections display a much greater awareness of composed counterpoint, with some use of imitative textures, and may well reflect familiarity with early Franco-Netherlandish settings such as those by Ockeghem and Brumel that very probably circulated in Spain by the time Escobar was chapelmaster at Seville Cathedral (1507-1514). Certainly, Escobar’s Mass for the Dead can be seen as transitional in that it paves the way for later polyphonic settings such as those by Basurto and Morales, but it should perhaps also be seen as a landmark in the gradual transformation f semi-improvised practise to written polyphony also apparent at this time in other musico-liturgical genres. 180

Yves Knockaert University of Leuven yves.knockaert@kuleuven.be

 Session 5B

Yves Knockaert teaches music philosophy and contemporary music at the conservatory Lemmensinstituut in Leuven (LUCA School of Arts) since the 1980s. He was director of the Institute for Practice Based Research in the Arts at the KU Leuven Association (2006-2010). Publications include Wendingen (Turns, 1997), an interpretation of important changes in 20th-century music, Nieuwe muziek in Vlaanderen (New Music in Flanders, 1998, with M. Delaere and H. Sabbe), Muziek uit de voorbije eeuw (Music from the Past Century, 1999, with B. Buckinx), ‘Systemlessness in Music’ (in Order and Disorder, Collected Writings of the Orpheus Institute, 2004). In 2011 he started a PhD in Musicology at the University of Leuven on analytical approaches to Wolfgang Rihm’s non-system based music.

On Analysing Wolfgang Rihm’s ‘Notebook-Pieces’ In the 1980s Wolfgang Rihm intended to find out to which extent composing in a non-system based way is possible. Therefore he had to develop new aesthetic concepts, such as considering a composition as a series of unique events (‘Einzelereignisse’) on the one hand and focussing on parallelism with fine arts on the other. His experiments in composing without preplanning, even without any sketch, resulted in, among others, the so-called ‘notebook-pieces’: directly creating the final version of a composition without reviewing possibilities. That is the case for both his Fifth and Sixth String Quartets (the title of the Sixth Quartet ‘Blaubuch’ clearly refers to the blue notebook it was written in). However, Rihm stated at the end of the 1980s: “It is impossible to make a work of art without coherence.” For my analysis, the singularity of each composition – in this case each string quartet – necessitates an individual analytical approach, in which aiming at ‘com-posed’, related elements, creating coherence, is not to be excluded. This implies that I reconsider existing analytical tools and invent new ones, but also that I have to accept ‘inexactness’ and restricted applicability of the analytical results. With his Fifth Quartet, entitled ‘Ohne Titel’ (Untitled) Rihm clearly touches the field of fine arts. In the 1980s Rihm was interested in the concept of a composition ‘as a painting’, covering much more than the technique he described as ‘Übermalung’ (overpainting). My analytical approach will also be based on the possibility of the transfer from a painting to a musical work, both on the level of creation and perception. It cannot be a coincidence that Rihm refers to Adorno’s essay ‘Vers une musique informelle’, as a mirror for his own aesthetics. Surprisingly or not, according to Paddison, Adorno based his concept of ‘informal music’ on fine arts. 181

Kristina Knowles Northwestern University klk@u.northwestern.edu

 Session H

Kristina Knowles is a third-year PhD Student in the Music Theory and Cognition program at Northwestern University. Prior to Northwestern, she studied voice, piano and composition at Nazareth college, where she performed with classical, jazz and popular music groups. Kristina was named a Presser Scholar in 2010 and has presented at several conferences, including the Music Society of the MidAtlantic Annual Conference (2014) and the Rocky Mountain Society of Music Theory Annual Conference (2014). Her primary research interest is the aural perception of post-tonal music, focusing on issues of rhythm, meter, and subjective time.

K Rhythm and Temporality in Unmetered Music by George Crumb Twentieth-century composers experimented not only with the organization of pitch structures, but also with rhythmic and metrical structures. Yet research exploring these latter elements is limited in scope. My paper aims to expand theories of rhythm and meter to explore the relationship between these musical elements and temporality in unmetered music. Without a steady pulse and metrical structure demarcating time and providing a framework within which the listener can place rhythmic events, ‘unmetered’ music creates an environment in which composers can manipulate the listener’s sense of time passing through the organization of musical events in time. I identify a set of mechanisms used by composers which contribute to fluctuations in the listener’s perceived passage of time. These mechanisms are grounded in psychological studies addressing influences on the perception of time passing through an examination of external (experienced events) and internal (directed attention) forces. Through a set of analytical vignettes focusing on the work of George Crumb, I show how the repetition of certain rhythmic motives, the presence of competing pulse streams (Roeder 1994;2001) and the occurrence of metrical emergence and dissolution (Horlacher 1995) can be used to manipulate the perceived passage of time within the music. By developing a theoretical framework that emphasizes the interaction between rhythmic and metrical elements and our perceptual experience of time, I demonstrate how composers can and do systematically manipulate time in unmetered music. 182

Olivier Koechlin olivier.koechlin@wanadoo.fr

 Session 5A

Multimedia designer and producer, musician and engineer by training, in the 1980s Olivier Koechlin was a researcher in signal processing and computer music at IRCAM (4X project) and the Groupe de Recherches Musicales of INA (the Acousmographe). In 1995 he founded with Dominique Besson Les Musicographies, first interactive transcripts of unrated musics, electroacoustic, improvised or traditional. Since 2001 he has produced musical educational sites (Le gamelan mécanique with Kati Basset), and is the author of metaScore, a musical analysis software used by the library of the Cité de la Musique in Paris for its listening guides.

Experience and Perspectives of Interactive Multimedia for Musical Analysis This presentation provides an interactive approach to musical analysis, through the experience of different multimedia achievements made over the last twenty years. The paper first presents Les Musicographies, a series of ten graphic transcriptions made in 1996 for the INA-GRM on traditional, improvised and contemporary musics, exploring different types of representations (schematic or sonographic, linear or circular, etc.). Then I will present Le Gamelan Mécanique, made with Kati Basset in 2004 for the Cité de la Musique in Paris, allowing us to understand and experiment the principles of this Indonesian ‘orchestra-instrument’, thanks to a truly interactive and particularly realistic simulator. Finally, I will present metaScore, an authoring tool for the production and publishing of interactive analysis documents, developed since 2004 for the Cité de la Musique in Paris. This tool allows the synchronization of hypertext and animated graphics with the interactive listening of a piece. These three examples, illustrating diverse musical genres, will lead to a reflection on the issues of representation of the musical phenomenon, of anticipation in the reading process, of temporal segmentation (pagination), and will propose an authoring methodology and an ergonomy of consultation of interactive musical analysis documents. 183

Nikola Komatovic University for Music and Performing Arts Vienna nikolakom@gmail.com

 Session 6C

Mag. Nikola Komatovic studied in Belgrade, Serbia. He is doctoral student at the University for Music and Performing Arts in Vienna with a dissertation project on the harmony of César Franck and his adaptations of ideas of other composers and theorists. One of Nikola’s research fields is the history of music-theoretical methodology in Eastern Europe, with a focus on the Balkans.

Response to the presentations of Philip Ewell and Imina Aliyeva

184

Franz Körndle University of Augsburg franz.koerndle@phil.uni-augsburg.de

 Session 3A

Franz Körndle is Professor of Musicology at the University of Augsburg. He has previously taught at the universities of Munich, Tübingen, Regensburg, and Weimar-Jena. In 2003 he organized the Medieval and Renaissance Conference at Jena University. At present he is director of the music department at the University of Augsburg (Leopold-Mozart-Zentrum für Musik und Musikpädagogik). His 1990 dissertation was published in 1993 as Das zweistimmige Notre-DameOrganum ‘Crucifixum in carne’ und sein Weiterleben in Erfurt (Tutzing), and his study of liturgical music at the Munich court in the 16th century is due for publication in 2014. He has published articles on medieval organs, Orlando di Lasso, and Jesuit drama.

‘Die Vigilie auf Römisch’: Lasso’s Second Set of Job Lessons and its Liturgical Use Orlando di Lasso composed two sets of Lectiones ex Propheta Hiob: the first one most likely in 1558; the second was published in print in 1582. While the first set was composed according to the traditional eight modes, the second one presents some riddles concerning the tonal arrangement. This paper shows that the second set of Job Lessons was intended for liturgical use and performed within a complete polyphonic office for the dead by an anonymous composer of the first half of the 16th century. The tonal construction of the Job Lessons follows the modality of the surrounding responsories. There is further evidence that the performance of this office of the dead took place in 1580 when Duke Wilhelm V introduced the Roman rite to the Munich liturgy. Then the scribe Franz Flori replaced the old anonymous ‘invitatorium’ with a new composition (by Lasso?) with text according to Roman use, so that the ‘fürstliche Musik’ could perform ‘Die Vigilie auf Römisch’. 185

John Koslovsky Conservatory of Amsterdam | Utrecht University jkoslovsky@gmail.com

 Session F

John Koslovsky is on the music theory faculty at the Conservatorium van Amsterdam and is an affiliate researcher in the humanities at Utrecht University. He is the author of numerous articles in music analysis and in the history of music theory, and is currently working on a book project that traces the dissemination of Schenkerian theory after the Second World War.

The Contrapuntal Legacy of the French Fin-de-siècle: A Look at Dukas’ Piano Sonata in E-flat minor (with Matthew Brown) “For [Dukas], music is an inexhaustible treasure-trove of forms, of possibilities that enable him to mold his ideas into a musical kingdom drawn from his own imagination. He is master of his own emotions and knows how to avoid unnecessary outbursts; consequently he never lets himself be led into unnecessary developments that often spoil otherwise very beautiful pieces.” Debussy’s comments about Paul Dukas’s Piano Sonata in E-flat Minor from La Revue blanche (15 April 1901) seem at first sight like wishful thinking, the sort of praise one might expect from an old friend and classmate from the Paris Conservatoire. From a bird’seye perspective, the work seems conventional enough: three of the four movements are cast in sonata form and the other includes a long fugal interlude. On closer inspection, however, Debussy’s remarks seem right on target. This paper takes a close look at Dukas’s sonata, a piece exhibiting a rich array of formal and contrapuntal details. In contrast to other analytical studies of French fin-de-siècle music, which mostly deal with its chordal or scalar features, this paper focuses on the contrapuntal dimension, thereby bridging the gap between the sort of training Debussy and Dukas received at the Conservatoire and the pieces they produced as a result of that training. Besides employing stylistically-oriented contrapuntal passages (e.g., the fugal and toccata-like sections of the third movement), Dukas’s sonata also makes extensive use of chromatic voice-leading, motivic transformations, invertible counterpoint, and hidden repetitions in each of its movements. In the end, the paper draws a connection to the wider practice of French composers at the turn of the century while showing the unique attributes of Dukas’s compositional style. 186

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

 Session 4B

Kerri Kotta works currently as a head of the music theory section and associate professor at the Estonian Academy of Music and Theatre. In 2007 he received an 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 has been also active as a composer. He is a chairman of the Estonian Musicological Society and Estonian Arnold Schoenberg Society, and also works as a managing director of the International Eduard Tubin Society.

Form as Interaction between Harmonic Prolongation and Hypermeter It is a widespread notion that a complete formal section, seen as a process rather than a fixed entity, primarily features a two-stage design. In terms of harmonic prolongation, the first stage usually presents a strong harmony and the departure from it creating a need for continuation. Responding to this need, the second stage displays the return of some kind of stable harmony whose proper articulation usually happens only at the end of the section. Considering harmonic prolongation together with that of hypermeter, two types of configuration may arise. In the first case, harmonic and metrical layouts coincide: a strong measure (strong hypermetrical beat) displaying a deeper level harmony is followed by a weak measure showing a lower level harmony (or harmonies). In the second case, however, the two layouts are in opposition – a strong measure displaying a lower level harmony (or harmonies) is now followed by a weak measure showing a deeper level harmony (or harmonies). For convenience, I will refer to the first hypermetrical unit in which the tonal and metrical layouts coincide as a ‘trochaic’, and the second in which they are in opposition as a ‘iambic’ configuration of harmonic prolongation and hypermeter. There seems to be a certain correlation between the aforementioned configurations and formal functions. If, for example, a four-beat hypermeasure displays a trochaic configuration in its first half (hypermetrical beats 1–2) followed by an iambic configuration in its second half (beats 3–4), it usually makes up a complete formal unit, which represents all main formal functions – beginning, middle, and end. On the other hand, if a four-beat hypermeasure displays the two successive trochaic configurations making up hypermetrical beats 1–2 and 3–4 respectively, it most likely represents only beginning, etc. Thus, the aforementioned configurations can be used to specify a section’s formal function it represents on a structural level under consideration. 187

Franz Krieger University of Music and Performing Arts Graz franz.krieger@kug.ac.at

 Session 7B

Franz Krieger (1963) wrote his musicological dissertation on Jazz Solo Piano (Dr. phil, 1995), and psychological dissertation on Structuring and Musical Capability (Dr. rer. nat., 2001). He is Associate Professor at the Institute for Jazz Research at the University of Music and Performing Arts Graz, and Main Editor of the series Jazzforschung/Jazz Research, Beiträge zur Jazzforschung/Studies in Jazz Research and Jazz Research News. His primary area of research is jazz and popular music with a focus on musical transcription and analysis.

Harmonic Modernity in Jazz Blues: Footprints as Played by Herbie Hancock, Chick Corea and Danilo Perez, 1966–2003 This analysis examines five interpretations of the Wayne Shorter blues composition Footprints, recorded by the internationally renowned jazz pianists Herbie Hancock, Chick Corea and Danilo Perez in the 1960s (1966, 1969) and in the recent past (1991, 2001, 2003). The modernity of these quartet and quintet interpretations results mainly from the respective piano styles of the three musicians; the recordings will be investigated as to their harmonic content. The author´s piano transcriptions serve as the basis for the analysis and also include the bass in its orientation function during the pianists´ reharmonisations. Additionally, formal and rhythmic particularities will be examined where they substantially influence the dramaturgy of the piece as a whole. It is the aim of the investigation (a) to specify the musical means employed in the interpretations, (b) to improve the stylistic differentiation of the aforementioned pianists, and (c) to propose an answer to the general question: What kinds of musical material give the impression of modernity? 188

Annie Labussière Université de Paris-Sorbonne annie.labussiere@wanadoo.fr

 Session 4D

Holder of a French ‘Agrégation’ in Musical Education, Annie Labussière is graduated from the Conservatory of Marseille and of the Paris-Sorbonne University, under the direction of Jacques Chailley. Apart from her activities as Professor of Musical Education (1948 to 1989), she is also a composer and a musicologist. Her research areas mainly concern analytical methods in ethnomusicology, musical semiology and melodic analysis. She is also member of the French Society for Musical Analysis and of the editorial board of the journal Musurgia.

Form through Gesture: Formal Implications in the Analysis of Traditional Chant ‘à voix nue’ When traditional chant expresses itself ‘à voix nue’, that is to say without support of any instrument likely to double it melodically or to sustain it rhythmically, it reveals its total consistency with the accents of the language that is used, its inflexions, breaks, deep rhythms. This produces ‘gestures’ of the melody, which progresses by phrases, phrase members and sections, in such a way that a possible ‘paradigmization’ of these elements may induce a formal analysis. Specific analytical tools have been created and have long been probated through this singular research centred on a well-specified vocal corpus. This method measures the organization of the melodic line on a theoretical scale, a general scalar order with which each melody is compared, whatever its geographical and cultural origin. This method allows to identify, in each form of intonation ‘à voix nue’, the articulation of vocal segments, to define its interval form and to draw its dynamic structure. These ‘vocal gestures’, clearly identifiable as driving force of melodic continuity, may be classified into a finite number of paradigms and intonation profiles, which constitute themselves as many universals of chant. 191

Priscille Lachat-Sarrete Conservatoire de Chartres | Université Paris-Sorbonnne priscille01@yahoo.fr

 Session 13

Priscille Lachat-Sarrete is a violinist, teacher at the Conservatoire (CRD) of Chartres and associate researcher at the AIEM of Paris-Sorbonne (IReMus). In 2010, she was granted a musicology doctorate; her thesis, published on-line on the website of the Paris-Sorbonne University, focuses on the entry of the soloist in concertos written between 1750 and 1810.

Analyse des concertos de l’école française de violon du début du XIXe siècle/ Analysis of the Concertos of the French Violin School of the Early 19th Century Giovanni Battista Viotti (1755-1824), whose talent “had the effect of a thunderbolt” when he gave his first public performance at the Concert spirituel in 1782, is considered as the founder of the French Violin School. His successors, his student Pierre Rode (1774-1830), Rodolphe Kreutzer (1766-1831), and Pierre Baillot (1771-1842), are renowned for their Méthode de violon du Conservatoire. Regarded nowadays as secondary composers, these four violinists wrote a set of seventy concertos. The analysis of the concerto form of the beginning of the 19th century is usually done in reference to the sonata form, and to the aria da capo. This study seeks to bring out why these models are not fully relevant when analyzing the consistent and relatively homogeneous corpus of concertos of the French Violin School. It aims at suggesting a grid of analysis, which includes the specific characteristics of this School and should gauge how it may contribute to the analysis of the concertos retained by the posterity as the major works of this time. 192

Anne-Sophie Lahrmann Johannes Gutenberg-Universität Mainz AnneLahrmann@web.de

 Session 1B

Having focused on different studies after graduating from high school in 2006, Anne-Sophie Lahrmann studied music theory, ear training, piano, choral conducting and singing with children at the Institut für Musik der Hochschule Osnabrück from 2007 – 2011. Since summer term of 2012, she has been working as tutor for vocal coaching and repetiteur for singing students at the Institut. Since winter term of the same year she is furthermore enrolled in a music theory masters course at the Hochschule für Musik of the Johannes Gutenberg University Mainz, where she will be teaching music theory from summer 2014. Outside her academic career, she has frequently been accompanying choirs and soloists in rehearsals and concerts.

Rameau vs. Kirnberger: Analytical Systems by Comparison Both Jean-Philippe Rameau and Johann Philipp Kirnberger deal with the issue of analysis in their treatises on music theory, especially in Nouveau systême de musique théorique (Rameau) and Die wahren Grundsätze zum Gebrauche der Harmonie (Kirnberger). This presentation investigates according to which principles both authors proceed, and how they relate to each other. What are the differences and similarities in their approaches? Finally, it explores the significance of musical analysis within a historical context in a more general sense. 193

Janne Lahti University of Helsinki janne.lahti@helsinki.fi

 Session 9A

Janne Lahti (MA - Master of Arts) works as Part-time Lecturer at Business Information Technology department at Laurea University of Applied Sciences teaching User-Centered Design and Usability. Mr. Lahti also has more than 10 years of work experience in UCD and usability consulting business.

Intelligent Digital Music Score Book: CATNIP (with Teppo Ahonen, Kjell Lemström & Simo Linkola) We have developed a digital, intelligent music score book on tablet computers, called CATNIP, to fulfil the need for advanced applications for music professionals. CATNIP has a built-in access to the open and huge Petrucci sheet music library with an intuitive search functionality. The selected scores can be locally saved together with optional personal remarks to the score. CATNIP allows the musicians to synchronize several devices so that one device masters the others to always show an associated view on their device; this view may differ from the master’s one. To enhance the user experience, we have a built-in Spotify interface for related audio playback. Moreover, we are working on including automatic synchronization in the application. 194

Philippe Lalitte Université de Bourgogne philippe.lalitte@u-bourgogne.fr

 Session 4D

Philippe Lalitte is Lecturer HDR at the Université de Bourgogne, permanent researcher at the Centre Georges Chevrier (UMR CNRS 7366) and associate researcher at the Laboratoire d’Etude de l’Apprentissage et du Développement (LEAD, UMR CNRS 5022). His work focuses on analysis, performance and perception of 20th-century music. He is particularly interested in composers weaving links with sciences (acoustics, psychoacoustics and psychology of music). He published numerous papers and was editor of several books, notably Musique et sciences cognitives (with F. Madurell) and Varèse: du son organisé aux arts audio (with T. Horodyski).

L Audio Descriptors: New Computer Tools for Stream and Segmentation Analysis Audio descriptors result from the extraction of some properties by signal reduction. Originally designed for speech and timbre analysis in psychoacoustics, they are particularly used in the MIR (Music Information Retrieval) and the music perception domains. Some descriptors model low-level processing (e.g., intensity, timbre brightness, noise level, roughness, etc.), others are related to cognitive processing (e.g., tonal strength or tonal clarity, harmonic changes, temporal segmentation, novelty profile, etc.). Several software, easily available such as Lucerne Audio Recording Analyzer (LARA), MIR Toolbox, Psysound or Sonic Visualiser, have implemented audio descriptors. This new approach of computer-assisted music analysis, called sub-symbolic, allows to observe, to measure and to analyse sound phenomena from audio recordings. Recordings provide access to several information that are inaccessible with the symbolic approach (which recode the score with various types of encodings), including those from performance (tempo, pitch and duration micro-variations, timbre, texture, acoustic space...) that may be critical for the perception of continuities and discretizations. This contribution aims to examine the relevance of some audio descriptors for stream and segmentation analysis that lead to a cognitive representation of the shape and structure. Firstly, I will propose a classification of audio descriptors according to their functionality for analysis, and secondly, I will sketch a reliable methodology for using these computer tools. 195

Chun Fai John Lam The Chinese University of Hong Kong johnlam8450@gmail.com

 Session G

John Lam is a Doctoral research student at the Chinese University of Hong Kong and a collaborative pianist. His research interest centers on French music in the early 20h century and the cross-cultural dynamics in the repertory. Currently he is working on a project which investigates Sino-Japanese influences in the music of Debussy, Stravinsky and Les Apaches.

Stravinsky à Delage: Pentatonic Scales as Japonisme in Three Japanese Lyrics

Stravinsky’s illustrious collaborations with Ballets Russes in the 1910s have for long overshadowed his association with Les Apaches, a group of Parisian avant-gardists preoccupied with Japanese aesthetics. Stravinsky scholarship has in recent decades revisited Three Japanese Lyrics (1912–13) in the light of Stravinsky’s friendship with Maurice Delage (1897–1961), who translated the three Japanese waka from Russian into French, and travelled to Japan in 1912 (Pasler 1982; Funayama 1986). Nonetheless, analytical readings remain entangled with Schoenbergian pierrotic gestures (Boulez 1968; Taruskin 1996) and the octatonic-diatonic framework purportedly shared by The Rite of Spring (Kaminsky 1983). Stravinsky’s autobiographical account further hinders scholarly venture beyond what Richard Taruskin refers to as a ‘Japanese perspectiveless style’ (Taruskin 1987). The present study probes into the Franco-Japanese musical exchanges in the early 20th century and illuminates the sound world of Stravinsky’s Three Japanese Lyrics in relation to Delage’s Sept haïkaï (1923). Importantly, it unravels hitherto unknown appropriation of the Japanese In scale (hemitonic pentatonic) and Yō scale (anhemitonic pentatonic) in the first Lyric ‘Akahito’ and the third Lyric ‘Tsaraiuki’ respectively. Terminologies used by Japanese theorists, Uehara (1895) and Fumio (1958), will be adopted. The two Japanese pentatonic materials, Inscale trichord [015] and Yō-scale tetrachord [0257] are embedded and transformed at strategic points and relate Stravinsky and Delage musically. The distinctive sound of these pentatonic materials, arguably received as a kind of Parisian Japonisme, can be traced back to the Paris Exposition of 1889 and 1900 and informed Maurice Courant’s study of Japanese music in Lagvinac’s Encyclopédie de la musique et dictionnaire du Conservatoire (1913). This study impacts on our understanding of Stravinsky’s musical language during his years with Ballets Russes, demonstrates notable influence of Japanese music, and throws light on Stravinsky’s and Delage’s shared Japonisme in their waka- and haikuinspired music. 196

Leigh Landy De Montfort University llandy@dmu.ac.uk

 Session 5D

Leigh Landy is the Director of the Music, Technology and Innovation Research Centre at De Montfort University. His scholarship is divided between creative and musicological work. He is editor of Organised Sound (Cambridge) and author of six books including What’s the Matter with Today’s Experimental Music (Harwood, 1991) and Understanding the Art of Sound Organization (MIT Press, 2007), both standard references in their fields. Widening the Horizon Electroacoustic Music Analysis, co-edited with Simon Emmerson, will be published in 2015 (Cambridge). He directs the ElectroAcoustic Resource Site (EARS) projects and is a founding member of the Electroacoustic Music Studies Network (EMS).

How Listening-based Analysis Can Aid the Appreciation and Understanding of Electroacoustic Music This keynote talk will take on the challenging task of attempting to address the issues of the purpose and the value of electroacoustic music analysis. To this end, the author will look at the state of affairs – as well as the presentations of the day – from a distance. Why do we bother to analyse electroacoustic works? Similar to many contemporary experimental musical works, we are often introduced to the ‘what’ and the ‘how’ of the works’ construction by analysts, but too rarely with the ‘why’. It will be proposed that the ‘why’ of analysis may hold the key towards this aspect of electroacoustic music studies’ dynamic future. As the question of accessibility of electroacoustic music is of utmost importance to the author, the question of how analysis can serve appreciation will also form an important part of this talk. One example: given the fact that, similar to ethnomusicologists, we often need to create our own scores, how do we use them for analysis or even rely on them? Clearly scores can be used towards a number of goals. The articulation of the goal could be considered the ‘why’ of its use. With this in mind, it will be suggested that the types of ‘why’ deserve to be investigated by communities of users such as those meeting at this EuroMAC event. The author, in a recent large-scale electroacoustic music research project directed by Simon Emmerson and himself, offered a four-part question that will be presented as a means of facilitating the keynote address’s further discussion: For which users – for which works/genres – with what intentions – with which tools/approaches? A template to complement this four-part question was also created and will be introduced in the talk prior to investigating a potential future scenario for electroacoustic music aural analysis. 197

Edward Latham Temple University elatham@temple.edu

 Session K

Dr. Edward D. Latham is currently Coordinator of the DMA in Performance and Associate Professor of Music Studies at Temple University’s Boyer College of Music and Dance in Philadelphia, Pennsylvania (USA), where he has received multiple awards for excellence in teaching. His research focuses on the interdisciplinary and Schenkerian analysis of texted or danced musical works and his publications include reviews, articles and book chapters on the music of Britten, Copland, Debussy, Gershwin, Joplin, Korngold, Lully, Schubert, Schoenberg and Weill. His conference papers have also explored works by Bach, Massenet, Mendelssohn, Mozart, Puccini, Schumann, and Verdi.

‘Beautiful Infinity’: The Permanent Interruption as a Symbol of Romantic Distance in the Music of Robert Schumann

Despite its potential value as a hermeneutic tool, the permanent interruption has not yet been widely recognized as a valid Schenkerian background structure. Such an incomplete structure is typically cast in negative terms—as Schenker disapprovingly noted, “… without the ^1 a work is bound to give the effect of incompleteness” (1979, 126). For Schumann, however, who employed it more than any other composer in the Schenkerian canon, the permanent interruption afforded another opportunity to project the “beautiful infinity” he so admired in the writing of Jean Paul Richter (Hoeckner 1997, 63). Although scholars have acknowledged the interruption as “one of the most significant aspects of Schenker’s approach” (Cadwallader and Gagné 2007, 163), they disagree on its precise nature: is it a potentially violent disruption that threatens our “insistence upon continuity— the postulate of uninterruptedness” (Dahlhaus 1975, 16), or merely a “high-level motive” (Cadwallader, Pastille and Schenker 1992) that creates a retardation? The first part of this paper will outline the theoretical possibilities for middleground interruption at the phrase (‘nested interruption’), sectional (‘repeated interruption’), and formal (‘extended interruption’) levels, while the second part will make the case for interruption at the background level—‘permanent interruption’—as a compelling, albeit unconventional, structural model, particularly for Schumann. Examples will be given from Schumann’s songs and solo piano works. The background permanent interruption, at once a logical extension of the nested, repeated and extended middleground interruptions ubiquitous in the canon, and a bold rhetorical move that emphasizes lack of closure, should be added to the analyst’s palette as a possible background structure, particularly when the text or aesthetic of the piece in question suggest Romantic distance. 198

Sergei Lebedev Moscow Conservatory olorulus@mail.ru

 Russian Session

Sergei Lebedev holds degrees in music theory from Gnessins Institute with Yulia Yevdokimova, Bavarian Academy of Sciences with Michael Bernhard and Theodor Göllner (Humboldt fellowship, 1990-92) and Vienna University with Walter Pass (1997). He is Associate Professor and Chief Research Fellow at Moscow Conservatory and was guest professor at Vienna University in 1998. He is the author of Cuiusdam Carthusiensis monachi tractatus de musica plana (Tutzing, 2000), Musica Latina (St. Petersburg, 2000; with Rimma Pospelova), Boethii institutio musica (with Russian translation, Moscow, 2012) and published articles in Russian, German and Bulgarian languages.

Foundations of Harmony. Current Research in Ancient and Early Mediaeval Music Theory in Russia Russian music theory has a strong foundation in Greek and Latin source studies. This status quo is preconditioned by a rich tradition of instruction of the Greek and Latin languages in the Russian pre-revolutionary culture, as well as by some powerful relations of the Russian Orthodox theology with the Greek and Byzantine history. During the 1980s and 1990s (1985), several dissertations dedicated to the Western early music theory were successfully defended at the Moscow Conservatory. Most of them appeared under the influence of Prof. Yury Kholopov. During the most recent years, two books came out from Moscow Conservatory. One is the bilingual edition of Boethius’ Fundamentals of Music (2012) by Lebedev, and the other is Ptolemy’s Harmonics (2013) translated by Vyacheslav Tsypin. The latter incorporates a translation of Porphyry’s Commentary to Ptolemy’s Harmonics — the first translation of the Commentary into a modern language. This paper will touch upon some closely interrelated fundamental categories of the early music and reveal the discrepancies between Western tradition (Boethius, Ingemar Düring, Frieder Zaminer, Andrew Barker, Thomas Mathiesen, Calvin Bower, Jon Solomon etc.) and the Russian one (mostly scholars from the Moscow Conservatory). Ptolemy’s famous definition at the very beginning of his Harmonics is the definition of ‘harmonia’ rather than that of either ‘harmonic science’ or ‘harmonics’. Another point of discussion is the author’s observations over the term ‘modulari’ and its derivatives (‘modulatus’, ‘modulandi’, ‘modulatio’, ‘modulamen’) in Boethius’ early treatises. The author conceives these two new interpretations—the most comprehensive understanding of ‘harmonia’ as a pitch system of some type and ‘modulatio/modus’ as two paradigms of an early comprehension of the notion of ‘lad’—in order to render further support to Yury Kholopov’s universal concept of harmony. 199

Claude Ledoux Conservatoire de Paris | Arts2 Mons ledouxclaude@yahoo.com



Guest Lecture SBAM

Claude Ledoux is a composer and music analyst. Passionate about all kinds of sounds, he is also immensely fascinated by the Asian musical traditions. He was recently the artistic curator of the Contemporary Music Festival “Ars Musica”. Nowadays, he works as a composer as well as a music analysis professor at the CNSM of Paris and Composition professor at Arts2, Mons (Belgium). In 2008-09, he taught music analysis of contemporary music and composition at the Universities of São Paulo and Campinas (Brazil); in 2013 he was a guest professor at the Shanghai Conservatory of Music. He is a member of the “Royal Academy of Belgium”.

De la trace à l’écart. À la source de nouvelles narrations contemporaines Il est largement convenu qu’une des conditions premières de la cohérence de nombreuses créations musicales écrites à la charnière des 20ième et 21ième siècles réside dans l’organisation structurée de leurs composantes, selon des modèles d’intelligibilité et d’écoute critique. L’analyse de ces musiques n’a d’ailleurs cessé de confirmer cette orientation, réduisant fréquemment le contenu de ces musiques à des séries de formalisations variables. Dans le domaine des musiques “classiques”, de récentes méthodes analytiques ont toutefois articulé le tramage des multiples sens en action à partir d’autres notions, à commencer par celles permettant d’échafauder un sens narratif induisant une complicité entre le compositeur et son auditeur. Il est intéressant dès lors d’élargir ce terrain de prospection, de l’appliquer à la création vivante en intégrant dans les principes de références sousjacentes, non pas de nouveaux revois de type culturel, mais aussi des objets “signifies” prenant racine dans l’identité même de notre image corporelle et de sa confrontation à l’espace dans lequel elle se meut. Si l’enjeu n’est guère neuf, il se dévoile de manière surprenante au creux même de la création contemporaine. De Holliger à Stefan Prins, en passant par Aperghis, la géographie des corps, leurs mouvements et les espaces inspectés dynamisent conséquemment la pensée musicale. Ils articulent un réseau complexe de relations entre l’événement sonore et les faits d’incarnation spatialisée afin d’engendrer de nouvelles narrations qui “parlent” à la sensibilité de l’auditeur d’aujourd’hui. Le voyage entre ces traces vécues par tous et les écarts par rapport à celles-ci devient alors vecteur de nouvelles formes de dramatisation du discours, une stratégie d’aujourd’hui que tentera de mettre en évidence cette intervention. 200

Ji Yeon Lee City University of New York, Graduate Center jiyeonlee79@gmail.com

 Session E

Ji Yeon Lee is a PhD candidate in music at the City University of New York, Graduate Center. She studied at Stony Brook University and University of Munich where she held a visiting position under the auspices of the German Academic Exchange Service. She has presented papers at the SMT Mid Mid-Atlantic and New England Chapters, AMS Greater New York and New England Chapters, North American Conference on Nineteenth-Century Music, ICMPC, among others. Her primary interest is analysis and reception of the 19th-century opera. She is currently writing her dissertation on climax structure in operas of Wagner and ‘verismo’ composers.

Ernst Kurth’s Climax Theory and its Application to Wagner Analysis Ernst Kurth is generally known in North America for his account of Wagnerian chromatic harmony through the ideological lens of contemporary energetics and Schopenhauerian philosophy. Work by Patrick McCreless (1983) and Lee Rothfarb (1989; 1991) are standard in Kurth scholarship; more recently, Daphne Tan’s dissertation on Kurth’s Musikpsychologie (2013) illuminated Kurth’s harmonic system as part of the field of psychology. The present paper concerns further Kurth discourse regarding dynamism, but aims to expand it as analytical methodology: I consider the climax techniques investigated in Bruckner (1925) and their application to analysis of Wagner’s operas. Although Kurth’s discussion centers on Bruckner’s symphonies, the suggested climax techniques transfer naturally to Wagner’s operas, due to the two composers’ contemporaneity and prominent use of such shared compositional idioms as chromatic harmony and continuous melodic waves. In the first part of the paper, I establish a theoretical foundation by categorizing and systematizing Kurth’s climax devices. Kurth broadly covers the parameters of tension increase and abatement; I will position these parameters within each phase of the tension teleology, while exploring how to contextualize the climax system as a whole and coherent entity. The next part demonstrates the effective applicability of these parameters as an analytical tool; techniques including repetition, sequence, pitch motion, rhythmic diminution, dynamic change, silence and interruption, and brass instrumentation will be employed to decode the climax process in Tristan and the Ring Cycle. Through this theoretical and analytical study, I will argue that Kurth’s climax theory offers considerable insight into the construction of Wagner’s dynamic quality, which engenders fluidity and mobility in the context of ‘musical prose’ (‘Musikalisches Prosa’). 201

Mike Lee Cornell University mcl77@cornell.edu

 Session M

I am a fortepianist-music analyst at Cornell University where I am completing a PhD that centers broadly on the intersection between performance, analysis, and historical research. My work bridges the disciplinary boundaries of performance and scholarship in ways that embody their fluid enactment through writing, teaching, and performing. As a historically informed performer, I was awarded Second Prize and Audience Prize at the 2011 Westfield International Fortepiano Competition.

Rethinking Cyclic Unity through Embodiment: Alternative Sources of Coherence in Chopin’s Preludes Op. 28

As Kevin Korsyn and others have noted, Chopin’s Op. 28 Preludes pose a challenge for the concept of cycles. There have been two contrasting scholarly receptions: one that argues for a structurally unified opus (C. Smith, Eigeldinger) and another that emphasizes the preludes’ self-contained (Schenker, Schachter) and/or fragmentary status (L. Kramer, Kallberg). In this paper, I rethink current notions of cyclic unity by exploring alternative kinds of coherence grounded in gestural and embodied relations, relations that are neither ‘structurally unified’ nor merely ‘fragmentary’. I will show that, in the case of Op. 28, such relations have their sources in performative contexts that lie beyond the published score. Building upon Schachter’s insights on the E-minor prelude and other writings on the A-minor prelude, I propose so far unnoted gestural and narrative continuities between the two works. Although they are noncontiguous within the opus, the A-minor and E-minor preludes were conceived together on a single sketch leaf capturing a once palpable moment of creative energy. I draw on their intimate temporal and spatial proximity to reconstruct the constellation of sounds, touches, and structures that might have animated Chopin’s hands and ears during their common creation. The paper closes with a brief consideration of a third work sketched on the same leaf, the Mazurka in E-minor Op. 41, which offers further support for a triangular relationship between the tonalities A and E negotiated by the interplay between the pitches f and f-sharp. In conclusion, the paper advocates an analytical methodology that approaches questions of cyclic integration beyond the binaries of structural unity and fragmentation, but one guided more flexibly by the contingencies of improvisation and performance, gesture and embodiment. 202

Marc Leman Universiteit Gent Marc.Leman@UGent.be

 Session 8B

Marc Leman is ‘Methusalem’ research professor in systematic musicology and director of IPEM at Ghent University. He has published over 300 journal articles, and several books related to (embodied) music cognition. Pieter-Jan Maes is postdoctoral researcher at IPEM, Ghent University. His research interests are in the embodied music cognition paradigm and cover the relationship between movement, sound and musical meaning. He develops HCI applications for the music education, performance and gaming sector. Thomas Fritz is researcher at the department of neurology, Max Planck Institute for Human Cognitive and Brain Sciences, Leipzig, Germany. His research interests are musical emotion and agency

Agency and Musical Expression (paper developed together with Pieter-Jan Maes &Thomas Fritz) The concept of agency refers to the sense of control of one’s actions. From the viewpoint of dynamic cognition, this is conceived in terms of anticipatory models that predict sensory outcomes of actions. A match between the predicted outcome and the sensory inflow is seen as a marker for agency. Fritz et al. (2013) show that musical agency, in a context of strenuous activities, can dramatically reduce the perception of exertion. This suggests that agency draws attention to musical states rather than body states. To explain this, we argue that musical expression requires a degree of spontaneity which can only be achieved by monitoring sensory inflow in real time. Our assumption is that musical expression relies on low-level automatic motor control adequate to the real-time matching of audio effect to intended musical action. Note that even small variations in the realization of these intentions would have a great impact on expressive phrasing. This is comparable to speech prosody where emphasis on a singular phoneme can change the meaning of a whole sentence. We assume that the perceived reduction in physical exertion during this type of spontaneous motor control is due to the process of combining low-level gestural patterns, motorically already well established, into larger expressive gestures. The modulating influence of this process of constant monitoring on perceived exertion may be two-fold: 1. The task of combining the gestural building block in real-time may demand so many attentional resources that fewer are devoted to bodily exertion, 2. The use of automated gestural building blocks is achieved by a nondeliberate (possibly emotional) system of motor control. This might entail a survival related optimization of control that is perceived as less taxing. The process of expressive gestural control may have its basis in social communication and thus be most prominent during musical interactions. 203

Kjell Lemström Laurea University of Applied Sciences kjell.lemstrom@laurea.fi

 Session 9A

Kjell Lemström is Development Manager at Laurea University (Finland) and leads the C-BRAHMS research group at the University of Helsinki. He has a PhD from the University of Helsinki on string-based music information retrieval algorithms. In 2005 he was awarded a 5-year Academy of Finland Research Fellowship. He is a member of the steering committees of the Finnish Musicological Society and the International Society for Music Information Retrieval (ISMIR) and was program cochair for ISMIR 2006. He has received several research grants and authored over 50 papers, focusing primarily on algorithms for content-based music retrieval.

Intelligent Digital Music Score Book: CATNIP (with Teppo Ahonen, Janne Lahti & Simo Linkola) We have developed a digital, intelligent music score book on tablet computers, called CATNIP, to fulfil the need for advanced applications for music professionals. CATNIP has a built-in access to the open and huge Petrucci sheet music library with an intuitive search functionality. The selected scores can be locally saved together with optional personal remarks to the score. CATNIP allows the musicians to synchronize several devices so that one device masters the others to always show an associated view on their device; this view may differ from the master’s one. To enhance the user experience, we have a built-in Spotify interface for related audio playback. Moreover, we are working on including automatic synchronization in the application. 204

Aleš Leonardis University of Ljubljana matic@lgm.fri.uni-lj.si

 Session 9A

Aleš Leonardis is a chair of robotics and a co-director of the Centre of Computational Neuroscience and Cognitive Robotics at the University of Birmingham. He is also a full professor of the Faculty of Computer and Information Science, University of Ljubljana and an adjunct professor at the Faculty of Computer Science, Graz University of Technology. He is a fellow of the IAPR and a member of the IEEE and the IEEE Computer Society.

L Compositional Hierarchical Model for Pattern Discovery in Music (with Matevž Pesek & Matija Marolt) We present a biologically-inspired hierarchical model for music information retrieval. The model can be treated as a deep learning architecture, and poses an alternative to deep architectures based on neural networks. Its main features are generativeness and transparency that allow insights into the music concepts learned from a set of input signals. The model consists of multiple layers, each composed of a number of parts. The hierarchical nature of the model corresponds well with hierarchical structures in music. If the model is learned on time-frequency representations of music signals, parts in lower layers correspond to low-level concepts (e.g. tone partials), while parts in higher layers combine lower-level representations into more complex concepts (tones, chords). The layers are unsupervisedly learned one-by-one. Parts in each layer are compositions of parts from previous layers based on statistics of cooccurrences of their activations as the driving force of the learning process. We show how the same principle of compositional hierarchical modeling can be used for event-based modeling by applying the statistically-driven unsupervised learning of time-domain patterns. Compositions are formed from event progressions in the music piece. Learning exposes frequently co-occurring progressions and binds them into more complex compositions on higher layers. We show how the time-domain model can be applied for symbolic data analysis, as well as with audio recordings. 205

Stephan Lewandowski Hochschule für Musik Franz Liszt stephan.lewandowski@hfm-weimar.de

 Session E

Stephan Lewandowski, born in 1982, studied music theory and composition in Dresden. Since 2006 he is teaching at the Hochschulen für Musik in Dresden and Weimar. In 2012 he finished his dissertation. Currently, he has a guest professorship for music theory in Dresden. He published several articles about music theoretical topics, his main focus in research lies in music and theory of the early 20th century and the 19th century.

‘Back to the Future’ - The Music Theorist Heinrich Josef Vincent (1819-1901) and his Polemic against Figured Bass A critique that the discipline of music theory sometimes has to face is that it would be lagging behind the musical products of composition, what means in other words, that there would be some musical reality that has to be built first, before it can be theorized. But there have always been approaches existing that seem to turn round the relationship between music theory and composition by containing almost futuristic ideas in their time or dealing with sound material, which was in use only in later generations of composers. In my presentation, I wish to concentrate on the theorist Heinrich Joseph Vincent (actually Winzenhoerlein), whose ideas are nowadays not in the main focus of the theoretical discourse, maybe not completely without any reason. Nevertheless, Vincents works appear as refreshing by being rigorous and partly seeming completely liberated of any historicity. Among other aspects, I would like to talk especially about Vincent’s representations of sounds as geometric figures on circles, his almost fanatical renunciation from the traditional figured bass system, and about his draft of a new musical notation. Finally, I would like to present some (conscious or unconscious) possible precursors and successors of Vincent´s ideas. A timeline of related approaches emerging this way might shed a new light on the alleged outsider Vincent. 206

Lin-Ni Liao Université de Paris-Sorbonne liaolinni@hotmail.com

 Session 5D

Doctor in Musicology, Liao is an Associated Researcher at the University ParisSorbonne (IReMus-MINT, CReLM). Her research focuses on the analysis of music, identity, and cultural heritage of contemporary Asian music as well as femininity in this field. Liao continued contemporary composition studies with Yoshihisa Taïra, Allain Gaussin and Philippe Leroux. Her music has been performed by international ensembles including Cairn, Proxima Centauri, Multilatérale, L’instant donné, Arsenal, and EIC and l’Opéra de Paris at la Cité de la Musique, IRCAM, Pompidou Centre. She is also an artistic director of contemporary music concerts with Tout Pour la Musique Contemporaine in Paris.

Interculturality: Intellectual Organization of the West and Spiritual Listening of the Far East in the Mixed Music of Wang Miao-Wen Since the establishment of a Western musical education by the Japanese in the late 19th century, most Taiwanese composers were trained in this method and pursued further studies in the West. Consequently, they were cut off from their own tradition, which sooner or later led to a questioning of their own cultural and artistic identity. The long, slow process of the search for identity is linked to the historical complexity of Taiwan and is ultimately found through recurring elements in the compositional process - composition, decomposition, recomposition, codification, decodification, re-codification. Miao Wang-Wen trained in France with Yoshihisa Taira, Jean Schwarz, and Gérard Grisey at the Ecole Normale de Musique de Paris and at IRCAM. She was awarded the Prix Bourges as well as commissions from the Festival de Radio France. Her approach is representative of the question of musical identity through her studies of traditional Taoist theory of the I Ching, reworked to construct musical parameters throughout her compositions. Following the same theory, the philosophical use of the I Ching directly corresponds to her spiritual listening. On the occasion of this conference, we propose an analysis which envisages a discovery of the I Ching system whose structure is put in service of musical composition and whose content deepens the imagination of sound, describing a link between nature and human being. 207

Katherina Lindekens University of Leuven katherina.lindekens@kuleuven.be

 Session 3B

Katherina Lindekens studied Germanic languages at the Vrije Universiteit Brussel and Musicology at the University of Leuven. From 2008 to 2011, she worked as an early music programmer for the Concertgebouw in Bruges. She is currently a PhD student at the University of Leuven, working on a musico-poetic study of English baroque opera. Thanks to an FWO travel grant, she spent the academic year 2013-2014 at the University of Manchester. Her publications include an article on English opera in DWB and a book review in Spiegel der Letteren. Alongside her PhD, she conducts dramaturgical research for the festival Musica Antiqua in Bruges.

“Rugged to the Reader, Harmonious to the Hearer”: A Musico-Poetic Analysis of King Arthur Albion and Albanius (1685) and King Arthur (1691) were simultaneously conceived by the poet and playwright John Dryden in view of the 25th anniversary of the Restoration. While the former work was originally intended as an allegorical prologue to King Arthur, it was inflated into an independent, all-sung opera and set to music by Louis Grabu. Its failure in 1685 caused its tandem piece to be shelved at the time. Six years later, King Arthur was produced after all, as a dramatick opera combining spoken dialogue with musical episodes by Henry Purcell. In his preface to Albion and Albanius, Dryden had developed a tentative theory of libretto writing, by distinguishing between different vocal styles and their respective diction, metre and rhyme. After introducing this theoretical model, the present paper analyses King Arthur along similar lines. Do the musical lyrics in this dramatick opera follow the structural principles outlined in Dryden’s libretto model? How does Purcell’s setting confirm or conflict with the musico-dramatic blueprint designed by his librettist? And how should we assess Dryden’s prefatory complaint that “the Numbers of Poetry and Vocal Musick, are sometimes so contrary, that in many places I have been oblig’d to cramp my Verses, and make them rugged to the Reader, that they may be harmonious to the Hearer”? In the absence of Dryden’s autograph, it is only through the structural analysis of the printed word-book and its musical setting that we can begin to retrieve the meaning of concepts like ‘cramped’ or ‘rugged’ verses – often quoted but still arcane. A musico-poetic analysis of King Arthur against the backdrop of Dryden’s theoretical groundwork sheds new light on the literary material of Restoration opera and on the creative dialogue between lyricists and composers at the time. 208

Simo Linkola University of Helsinki simo.linkola@cs.helsinki.fi

 Session 9A

Intelligent Digital Music Score Book: CATNIP (with Teppo Ahonen, Janne Lahti and Kjell Lemström) We have developed a digital, intelligent music score book on tablet computers, called CATNIP, to fulfil the need for advanced applications for music professionals. CATNIP has a built-in access to the open and huge Petrucci sheet music library with an intuitive search functionality. The selected scores can be locally saved together with optional personal remarks to the score. CATNIP allows the musicians to synchronize several devices so that one device masters the others to always show an associated view on their device; this view may differ from the master’s one. To enhance the user experience, we have a built-in Spotify interface for related audio playback. Moreover, we are working on including automatic synchronization in the application. 209

Judy Lochhead Stony Brook University judith.lochhead@stonybrook.edu

 Session 5B

Judy Lochhead is a theorist and musicologist whose work focuses on the most recent musical practices in North America and Europe, with particular emphasis on music of the western classical tradition. Her work builds upon concepts and methodologies of post-phenomenology, cultural theory, and Continental philosophy. Lochhead has articles appearing in such journals as Music Theory Spectrum, the Journal of the American Musicological Society, Music Theory Online, Theory and Practice, In Theory Only, and in various edited collections. With Joseph Auner, Lochhead co-edited Postmodern Music/Postmodern Thought (Routledge 2001). Some recent work includes: ‘Technē of Radiance: Kaija Saariaho’s Lonh’, ‘Difference Inhabits Repetition: Sofia Gubaidulina’s Second String Quartet’, and ‘Chaotic Mappings: On the Ground with Music’.

L Difference and Identity: Musical Sense and Music Analysis The first part of Sofia Gubaidulina’s Second String Quartet (1987) presents repetitions of the pitch G4 in each of the four instruments in a free rhythm realized by the performers: scant information for the analyst to work with. The G4 defines a musical segment with too much identity – if one considers only pitch. But the sense of this passage depends not on the identity of pitch but rather on the differentiations of timbre and articulation. Successive events present distinct timbres and articulations creating a musical flow of perpetual alteration: a wealth of information for analytical inquiry. This qualitative multiplicity presents its own analytical challenge: too much difference. My paper takes this music analytical dilemma – too much identity or too much difference – as a point of departure. First, I consider the underlying methodological and conceptual assumptions that generate the dilemma and demonstrate the roles that identity and difference play in a cross sampling of current analytical approaches to musical structure (e.g., Schenker, Hasty, Forte, Tymoczko). Second, I consider how predominant approaches to identity and difference generate the ‘beyond analysis’ status for much art music composed since 1950. And I suggest that a more productive approach to analysing the sense of recent music should be grounded in experiential models of musical structuring, models in which difference and identity may be shown to operate in the intersensory domains of musical experience. As demonstration I consider briefly works defined by process (Frederic Rzewski), repetition (Alvin Lucier), pastiche (Andrew Norman), post-tonality (Caroline Shaw), and non-musical reference (Anna Clyne). 210

David Lodewyckx University of Leuven david.lodewyckx@kuleuven.be

 Session 2B

David Lodewyckx studied music theory at the Lemmensinstituut (2003) and musicology at the University (2007), both in Leuven. 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 2013-14, he resided at the Schola Cantorum Basiliensis as a research fellow, under supervision of Dr. Felix Diergarten.

‘Tonal Tools’: An Introduction (with Lieven Strobbe) Particularly since the publication of Robert Gjerdingen’s Music in the Galant Style (2007), partimenti have gained a still growing interest from musicologists, music theorists and performers. One of the stimulating side effects of this renewed attention is the use of partimenti in musical training programs. This is an appealing development, since partimento pedagogy is a possible way to deal with some major troubles in today’s keyboard education. After all, from the beginning of the 19th century, these classes increasingly focused on the reproduction of classical literature. This kind of ‘monoculture’ is co-responsible for a typical pathology among classically trained keyboard players today: poor musical understanding, poor musical ear, unreliable musical memory and disproportional stage fright. In our introductory paper (1), we will deal with the obvious question then arising: in how far could we apply the partimento approach in the music education of children? More specifically: 1) How could we incorporate this pedagogy in contemporary training of beginning musicians, who are keen on learning music from a very open-minded perspective? 2) To what extent do we then have to adapt historical partimento pedagogy, its use in current music education as well as the partimento exercises themselves? A recent approach tackling these issues is Tonal Tools (Lieven Strobbe a.o., 2014). Its concept is based on formulaic referent play, using a kit of 9 tonal components to be composed and elaborated, guided by a few simple rules. The system is open-ended and therefore can be adapted to any style or idiom as well as to the actual physical and cognitive challenges or constraints. In the workshop part (2), we will demonstrate how ‘Tonal Tools’ can be applied from the very start of the keyboard learning process, hereby merging different disciplinary aspects of musicianship: improvisation, composition, literature performance and conceptual understanding. 211

David Lodewyckx University of Leuven david.lodewyckx@kuleuven.be

 Session 2B

Marpurg’s Galant Cadence: An Overlooked Cadence Type in Contemporary Schema Theory In the second volume of his Kritische Briefe (1763), Friedrich Wilhelm Marpurg mentions “eine besondere Art von ganzer Cadenz”, which he considers to be typical for “[d]er galante Styl”. This cadential schema features a dominant 6/4-chord with the first scale degree in the top voice. The resulting ‘dissonant’ fourth (considered against the bass), does not resolve by a descending diatonic semitone, but instead moves up a whole tone before coming to a final resolution into the tonic chord. The distinctive voice leading pattern in the melody thus consists of 1-21. First, I will outline the originating history of this ‘Marpurg cadence’ in the galant repertoire from ca. 1730, the point in history which Marpurg himself indicated as its genesis. Three variants of Marpurg’s (rather abstract) schema will be exemplified and discussed, together with their role in the development towards a distinct cadential scheme. Second, I will examine in how far partimento and solfeggio practice contributed to the widespread dissemination of this ‘Marpurg cadence’ in both vocal and instrumental galant music. Solfeggi by e.g. Leonardo Leo, Nicola Porpora, and Giuseppe Aprile at least seem to demonstrate that this cadential schema was undoubtedly an integral part of the Neapolitan musical training from the 1730s on. Finally, I will propose to include ‘Marpurg’s galant cadence’ as a fullfledged schema in existing partimento and galant cadence typologies. Analogous to Gjerdingen’s Do-Si-Do and Mi-Re-Do, I will suggest to subsume this schema under the category of Do-Re-Do cadences. Because of its peculiar combination of upper voice and bass, however, the ‘Marpurg cadence’ deserves its specific designation. 212

Heinz von Loesch Staatliches Institut für Musikforschung Berlin von.Loesch@sim.spk-berlin.de

 Session 8A

Heinz von Loesch, born 1959 in Frankfurt/Main. Studied Cello, as well as Musicology, Philosophy and New History. 1989 Phil. Diss. with a study on Das Cellokonzert von Beethoven bis Ligeti. 1999 Habilitation: Der Werkbegriff in der protestantischen Musiktheorie des 16. und 17. Jahrhunderts: Ein Mißverständnis. Staff member of the Staatliches Institut für Musikforschung/MusikinstrumentenMuseum in Berlin, Professor at the Technische Universität Berlin. Publications in the fields of music history, theory, aesthetics and performing practice/ interpretation research. Co-editor of the series Studien zur Geschichte der Musiktheorie (Olms) and Klang und Begriff (Schott), as well as the Beethoven Lexikon and the Lexikon der Systematischen Musikwissenschaft.

L Concepts of form in performance theory and practice of Artur Schnabel (paper developed together with Fabian Brinkmann (Technical University Berlin)) As part of a collaborative project between the Staatliches Institut für Musikforschung and the Audiocommunication Group of the Technical University Berlin, we measured bar by bar tempi in the first movements of three of Ludwig van Beethoven’s piano sonatas (Appassionata Sonata, Sonata op. 2 No. 3, Hammerklavier Sonata) in interpretations from the 1920s through the 2000s. Beyond the questions whether tempo and tempo design changed over time, whether there are national or culture-specific traditions or whether inter-subjective tempo decisions can be identified, we specifically compared the tempo indications in Artur Schnabel’s edition of the Beethoven sonatas (1924-27) with the tempo design in his recordings (1932-35). While it has to be admitted (against repeated claims) that Schnabel’s differentiated tempo designs very often correspond to the sophisticated tempo indications in his edition, there are nevertheless some notable discrepancies. These discrepancies not only reflect the difference between a more distant, coolish calculation of tempo in Schnabel’s theory of performance and the more suspense-packed, intense atmosphere in the concert hall or the recording studio, but they also represent two competing concepts of musical form: an ‘architectural’ ideal of form and an idea of form as process. In his performances Schnabel realized an evolutional concept of form to an extent he didn’t advance to in his performance theory. 213

Stefano Lombardi Vallauri International University of Languages and Media stefano.vallauri@iulm.it

 Session 5A

Stefano Lombardi Vallauri studied Musicology (Bologna, MA; Lecce, PhD) and Composition. At present he is Research Fellow at the IULM University of Milan. Besides studies on particular authors, his research covers the aesthetics and analysis of contemporary music (academic and extra-academic), treating it as both a repertory of works and a system of experience and of communication. He is the author of the book Dodecafonia postseriale. Gilberto Cappelli e Federico Incardona (Milano, 2013) and co-editor of the book Federico Incardona. Bagliori del melos estremo (Palermo, 2012).

The Composition of Experience (and its Notation) in the MusicalHolistic Art of Dario Buccino

Nowadays music is no longer exclusively a performance art: as in the case of electronic music (both experimental and popular), it can also be produced completely by means of technology, without the live bodily action of an instrumentalist. With respect to this aesthetic paradigm, the Italian composer Dario Buccino (Rome, 1968) does exactly the opposite, creating a music which is even hyper-performative, in that it is composed with the same highest pretensions as much in the aspect of the body actions required to make it sound as in the aspect of the sound itself. To this end he has developed an original notation system, with many graphical ad hoc solutions, where musical symbols are integrated with indications about the proprioceptive attitude and the physical actions of the performer (often kindred to those of experimental theatre, dance, and body art), above all about the experiences to be felt in playing. In this sense Buccino goes farther along the way of Karlheinz Stockhausen’s “intuitive music” (about 1968-70), Dieter Schnebel’s Maulwerke (1968-74, in progress), Helmut Lachenmann’s “musique concrète instrumentale”, and radicalises an approach which instead is typical of other musical genres (both traditional and popular), where form at all levels arises in composition (often extemporaneous) from the singular physical relationship of the interpreter with her own instrument. Analysis must cope with all this, first by understanding a peculiar notation system in its own terms, so as to evaluate its pertinence and necessity, also with respect to its historical precedents and analogous cases; then by studying a music which is not only music, but integrates itself in a more general kind of performance art; finally, most importantly, by finding a way to annex to the scientific domain not only the sound and the structure of music, but also the inner experiences of which, in this aesthetically exceptional case, it is truly composed. 214

Marina Lupishko University of Saarland birochek@yahoo.com

 Session M

Marina Lupishko has studied music theory, history, and musicology in Ukraine, the USA, and Canada, defending her PhD dissertation at Cardiff University in 2006. She has presented at international conferences in the UK, Germany, Switzerland, France, Lithuania, and the USA. Her research has appeared in Mitteilungen der Paul Sacher Stiftung (Switzerland), ex tempore (USA), Russian Literature (the Netherlands), Australian Slavonic and Eastern European Studies, etc. In 2012, she was awarded an Alexander von Humboldt postdoctoral fellowship to work on her project about Yakov Druskin (1902-80) and the ‘chinari’ group in the interdisciplinary context of the Russian and Soviet avant-garde.

The Principle of Confutatio in J.S. Bach’s Music and the Philosophical System of Yakov Druskin (1902-80): The Narratological Aspect Yakov Druskin (1902-1980) is one of the most interesting actors on the Soviet cultural arena of the 20th century. Unfortunately, his works and views are still largely unknown. A philosopher, pianist and mathematician by education, a math schoolteacher by occupation, Druskin was a very versatile figure. His main interest was religious philosophy in the tradition of his teacher Nikolay Lossky, and he left a surprising number of theological treatises that were published only after his death. Today Druskin is primarily known as one of the key members of the group of Russian avant-garde poets and philosophers called the ‘chinari’ (‘the titled ones’), along with Vvedensky, Kharms, Lipavsky, Oleynikov, and Zabolotsky, all of whom (except Zabolotsky) perished during Stalin’s purges or the second World War. My paper will concentrate on Druskin’s musicological study On the rhetoric principles of J.S. Bach’s music (1972), where he investigates the six rhetorical principles of dispositio, listed by Johann Mattheson in Der vollkommene Capellmeister (1739), and tests their possible applicability to the formal analysis of Bach’s instrumental works. Substantiated with numerous examples from Bach’s inventions, partitas, French and English keyboard suites, and solo cello suites, Druskin’s reinterpretation of Confutatio (Mattheson’s 4th principle) represents an important contribution to the study of Bach’s music in the USSR from the point of view of rhetorics. Addressing the issue of how the narrative meaning can be created in media other than language, my study explores the idea and the function of Druskin’s Confutatio, and also sheds some light on the relation between Druskin’s musicological, literary, and theological writings in order to link them with the contemporary protonarratological literary theories (Shklovsky 1921, Tomashevsky 1925, Propp 1928) and to put them into a wider perspective of today’s interest in cross-disciplinary narratology (Grishakova, Ryan 2010). 215

Marco Lutzu Università “Ca’ Foscari”, Venezia mlutzu@livestudio.it Scholar funded by a 2014 GATM-grant

 Session 5A

Marco Lutzu gained his PhD in History and Analysis of Musical Cultures at the University of Rome La Sapienza. He is postdoc researcher in ethnomusicology at the University Ca’ Foscari of Venice, and teaches ethnomusicology at the Conservatory of Cagliari. His main research interests are in Sardinian traditional music, Afro-cuban religious music, music and gesture, music and religion, rhythm, and hip hop music. His publications include books, articles, CDs, and ethnographic documentaries; in 2012 he edited (with Francesco Casu) the Enciclopedia della Musica Sarda (L’Unione Sarda), a multimedia encyclopaedia in 16 volumes. He is currently serving as a member of the Scientific Committee for the Italian study group on music theory and analysis (GATM) and Coordinating Editor of the online journal Analitica: Rivista online di studi musicali (www.gatm.it/analiticaojs).

Representing the Performance in Ethnomusicological Studies One of the basic assumptions of modern ethnomusicological research is the need to analyse music taking into account the relationship between the sound and the context where it is produced. So, mostly since the 1970s, several ethnomusicologists have developed new analytical approaches focused on performance. To analyse the spatial distribution of participants in a ritual or a concert, the interaction between audience and musicians, the relationship among specific performances and the basic grammar in a given genre, and so on, a wide use has been made of models of graphic representation not requiring the use of the staff. In the first part of my paper I will propose a description of some of the most interesting models for the visualization of the performance used in ethnomusicological research, attempting a typological classification based on different parameters. In the second part I will focus on the graphics I used for the analysis of ‘toque de santo’, a complex ceremony of ‘regla de ocha’ (the most common among the Afro-Cuban religions) that involves dancers, singers, ‘batá’ drummers and practitioners. 216

Grigorii Lyzhov Moscow Conservatory voxhumana2005@yandex.ru

 Russian Session

Grigorii Lyzhov is Assistant Professor at the Department of Music Theory, Moscow Tchaikovsky Conservatory. He teaches harmony for theorists, orchestral score reading, and administers the competitions in music theory and in history of orchestration. He authored articles on modal theory and harmony in music of Lassus, Monteverdi, Schnittke and Gubaidulina. The sphere of his scholarly interests also includes the history of music theory (terminology of modal theory of the early 17th century and modal theory of Boleslav Yavorski).

Yuri Kholopov’s Concept of Evolution of Tonal Harmony A prominent theorist, professor of the Moscow Conservatory Yuri Kholopov (1932-2003) has been a Renaissance-type scholar aimed at the broadest comprehension of music, from the ancient ‘μουσική’ and Western plainchant to works of his contemporary composers. In his treatment of harmony, Kholopov maintained a fine balance of aesthetic and philosophical depth with precision of formal-technical analysis of a musical work and equality of historic-stylistic and systemic approaches. His main objective was the seamless integration of the 20th-century music into the general paradigm of evolution of harmony, established for the Classic-Romantic period. Kholopov started by elaborating on the elements of the new harmony in late-Romantic music. These ‘new techniques of Romantic harmony’ include three groups. The first group covers the category of chord, the second—scale, and the third—tonal structure as a whole. The first group presents new normative textures that exceed the classical notions of chord and chord progression, such as ‘elaboration of a chord’, ‘sonant coloristic’, ‘functional inversion’, ‘mono-structural rows’, ‘technique of the intervallic non-variable’ and ‘the functions of triton substitutions’” The second group is related to expansions of the scales beyond the derivation from major and minor. Thus the role of these new scales becomes more and more important for the pitch system of the whole, which is manifested as the new modal technique (expressed in introduction of natural and artificial modes). The third group, which covers ten terms, is united by the degrees of ‘conditions of tonality’ (a table of ten conditions that describe specific, non-classical, relationships of the center of tonal system with its periphery). This system, offered by Yuri Kholopov, has become the core method of current Russian pedagogy and research of tonal harmony of the late 19th and early 20th centuries. 217

Francis Maes University of Ghent francis.maes@ugent.be

 Keynote Lecture Taruskin (Chair)  Round Table

Francis Maes is professor of musicology at Ghent University (Belgium). He published a textbook on Russian music history: A History of Russian Music: From Kamarinskaya to Babi Yar (Berkeley: University of California Press, 2002), and the chapter on the songs in The Cambridge Companion to Shostakovich (Cambridge, 2008). Other publications include a study on Martinu‘s Les Fresques de Piero della Francesca and a textbook on contemporary opera criticism: Opera, achter de schermen van de emotie (Leuven: LannooCampus, 2011) in Dutch. From 1996 to 2002, he was artistic director of the Flanders Festival (Belgium).

221

Joshua B. Mailman Columbia University jmailman@columbia.edu

 Session 5D

Joshua Banks Mailman is a theorist, analyst, critic, philosopher, performer, technologist, and composer of music teaching at Columbia University, and previously at University California, Santa Barbara (UCSB), NYU, and the Eastman School of Music. He researches musical form from flux, temporal dynamic form (PhD 2010, Eastman School) and is published in the Journal of Sonic Studies, Music Analysis, Psychology of Music, Music Theory Online, and Perspectives of New Music. His ‘Improvising Synesthesia’ appears in Leonardo Electronic Almanac 19/3. His multimedia and sound works are in soundsRite, Open Space Web Magazine, and Enough Records 100 Years of Noise.

Renewing the Riverbed: Critical Aesthetic and Epistemological Purposes for Analysis, Fueled by Performative Theory

This paper examines naïve assumptions about purposes of music analysis (distilled in Nattiez’s semiotic tripartition). It then proposes analytical practice (especially Lewin’s, Hanninen’s, Ockelford’s, and Hasty’s) has outgrown these assumptions. For this to have happened, analysis must have been, and still is, fueled by an alternative dual-purpose that has remained largely unarticulated. This dual-purpose synthesizes from a cluster of ideas presented in philosophical aesthetic writings of Isenberg (1979), Sibley (1959), and Lycan and Machamer (1971); music meta-theoretic writings of Lewin (1968-69), Morris (2000-2001), and Cook (2002); cognitive linguistic work of Reddy (1979); the ecological approach to music theorized by Oliveira and Oliveira (2003); and Whitehead’s (1929/78) metaphysics. It is driven by critical aesthetic and epistemological concerns, which cover existing analytical practice thoroughly, and leave more room for future developments in theory and analysis. Contrary to conventional wisdom, analysis cannot reveal how music ‘really is’ in a neutral sense. This is because ostensibly neutral analysis derives from paradigmatic comparison, based on repetition and recurrence, which have become highly relativized by theory, through Lewin (1987), Ockelford (2005), and Hanninen (2003), and thus are non-neutral. Transposition is rendered non-neutral by Lewin’s (1995) non-communitive GISs; repetition is rendered non-neutral by Ockelford’s zygonicity and Hanninen’s recontextualization, not to mention Bergson (1910), Whitehead (1929) and Heraclitus. The proposed dual-purpose of analysis is critical aesthetic and epistemological. Isenberg’s theory of critical communication proposes the purpose of criticism is not to judge, but rather to teach indirectly an appreciative perspective, pointing out details that lead to this perspective (what Oliveira and Oliveira (2003) call ‘self-tuning’). Convenying such appreciation, however, demands attention to precision of information (what Peles (2007) calls ‘initial conditions’), an indirect approach suggested by Reddy (1979) and Whitehead (1929), and explained further by Mailman (2010, 2012), and exemplified with LeCaine’s electroacoustic composition Dripsody (1955). 222

Joshua B. Mailman Columbia University jmailman@columbia.edu

 Session 12

Experimental Pragmatic Approaches to Interactive Music Systems Inspired by Music Analysis The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of technological innovations, flexibility, and breadth. The two fields have not really caught up with each other. It will be interesting to see what arises as they do — especially as both fields have become more concerned with the role of the body and embodied cognition. This paper will consider the relevant developments in these fields leading up to the present. The most popular approaches to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Mead 1999, Wessel and Wright 2002, Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). The proposed paper, however, advocates an experimental pragmatic (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning. Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the liberal ironist approach, as formulated by Rorty (1989). Rather than committing to any particular ways music is already embodied, this approach acknowledges the contingent status of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, expanding how it is heard, contemplated and experienced. 223

Victoria Malawey Macalester College vmalawey@macalester.edu

 Session J

Victoria Malawey is Assistant Professor of Music at Macalester College where she teaches courses in music theory, popular music studies, and gender and music. She completed the PhD in music theory at Indiana University with a dissertation on Björk’s Medúlla, which won the Dean’s Dissertation Prize in 2009. Her articles on popular music have appeared in The Journal of the Royal Musical Association, Music Theory Online, Popular Music, and Indiana Theory Review. Malawey currently serves on the Editorial Board of Music Theory Spectrum and as Area III Representative for Music Theory Midwest.

Vocal Elasticity in Aretha Franklin’s Respect

Singing voices are notoriously difficult to analyse, yet they are central to listeners’ experiences, particularly in popular music genres. To better understand differences in vocal delivery styles that define artists’ idiolects, this presentation explores differences in ‘syllabic elasticity’— which I define as the marked contrast between syllables receiving relatively longer duration (agogic accent) and louder attack (dynamic accent) and fewer accentuated syllables—between Aretha Franklin’s delivery in her recording of Respect (1967) and that of Otis Redding in his original studio recording (1965). Although Redding emphasises some syllables, Franklin’s delivery features a greater number of emphasised syllables, which form a recursive pattern of elasticity in which each verse, parsed into four discrete segments, features more emphasised first and third segments, which alternate with less accentuated ones. Transcription and close analysis of metric placement and duration of syllables illustrate the key differences in syllabic elasticity between Franklin and Redding’s recordings. In addition, Franklin’s syllabic elasticity functions as part of a larger discursive strategy, akin to what Gates (1988) describes as ‘talking texts’, which is ‘a black form of intertextuality’ where “black texts ‘talk’ to other black texts” (p. xxiii). Furthermore, The eagle stirreth her nest (JVB 61/63), one of many extant recordings of sermons by Aretha’s father, the Reverend Clarence LaVaughn Franklin, demonstrates syllabic elasticity and an emergent phrasing technique that is remarkably similar to the segmented phrasing style in Aretha’s Respect, thus confirming the assertion scholars have made regarding the Reverend’s influence on Aretha’s style of vocal delivery. Further parallels between the Reverend and his daughter’s performative styles can be drawn: the congregation punctuates the Reverend’s phrasing with energetic interjections in a call-and-response style, and likewise in Aretha’s Respect, backing vocals mimic her father’s style of call-and-response by prominently articulating the downbeat. 224

Reinier Maliepaard ArtEZ Conservatorium Netherlands rh.maliepaard@chello.nl

 Session B

Reinier Maliepaard (1956) studied organ (cum laude), music theory, church music at the Utrecht Conservatorium and composition with Daan Manneke. At the ArtEZ Conservatorium Zwolle/Enschede, he lectures music theory, music history and coaches students as they create their first compositions. Maliepaard also studied social psychology at the Utrecht University and has researched social comparison. He is involved in scientific research in relation to software engineering and is currently working on the government project ‘The Dutch Environmental Product Database’, that records and evaluates the environmental impacts caused by a product during all stages of its life cycle.

About a Pilot Project on Music Theory In his A Philosophy of Music Education (1989, p. 69), Bennett Reimer states the following: “Music education should help people share as fully as possible in the created expressive qualities of pieces of music, so they can experience the explorations and discoveries of feeling captured in those pieces. Music education should also involve people in the creation of music to the fullest extent possible, to experience their own explorations and discoveries of feeling through the act of creation.” Inspired by Reimer’s view, I started a pilot project music theory in September 2013 at the ArtEZ Conservatorium, that should lead to a new curriculum in approximately two years. The project is based on three statements: first, without creativity there is no development (psychological, social, economic); second, the goal of education is (ideally) the development of creativity and insight in one’s own personal experience and growth; third, creativity is the basic condition for an effective process of music theoretical education. Instead of a primarily cognitive approach with the stress on mental activities, my project has relations with a constructivist approach: experiencing and reflecting on experiences as a way of understanding and building knowledge of the world (inner, social etc. and of course musical). In addition, we know from brain research that intelligence and creativity are separate, not genetically fixed abilities that can be modified by the environment and schooling. So, school curriculum’s should emphasize on developing their students’ creativity. Creativity invokes personal involvement and emotional responses, which positively affects learning, memory, and recall. Students will remember more curriculum content when it is linked with activities that evoke emotions. The central experiential task for students is composing. In my talk, I’ll discuss methodological choices and present the first results. 225

Peter Manning Durham University p.d.manning@durham.ac.uk

 Session H

Peter Manning is a Professor at Durham University. His primary area of research is the development of electroacoustic music from its birth to the present day, embracing the evolution of the associated technology.

Towards an Analysis of Trevor Wishart’s Imago: Form, Structure and Technology (with Michael Clarke & Frédéric Dufeu)

Imago is an electroacoustic work written in 2002 by Trevor Wishart, one of Britain’s leading composers in this field. Typically, Wishart realized the work using software he himself produced. The software package Sound Loom provides a suite of processing algorithms that can be applied to recorded sound files. All the sounds in Imago derive from the transformation of one brief recording. A wide variety of material results from the processing, ranging from short events lasting less than one second to long sustained textures. Often the sounds are the result of many stages of processing applied in sequence. The work itself is formed by the juxtaposition and superposition of the many sound files resulting from such processing. Usefully, both for the composer and the analyst, the software enables users to keep a record of the sounds and processes used so it is possible to trace the creative development of the work and relate this to the final composition. This paper describes the approach taken to analyzing Imago. It is an approach that combines top-down analysis, interrogating the finished work, with ground up analysis – study of the creative process and tracking the development of the musical materials toward the completed piece. Only through this dual approach can a rounded account of such works can be produced. Since the work is a ‘fixed media’ piece, existing only as a sound recording (there is a descriptive score by the composer for sound diffusion purposes, but this is only in summary form), our analysis has largely been conducted within the sound domain. Innovative analytical software we have devised to assist with this will be presented. This work is part of TaCEM, a 30-month project funded by the UK’s Arts and Humanities Research Council. 226

Eva Mantzourani Royal Welsh College of Music and Drama evaman19@hotmail.com

 Session 5C

Eva Mantzourani is Senior Lecturer in Music at the Royal Welsh College of Music and Drama. Her academic qualifications include: a BMus from the Aristotle University of Thessaloniki; an MMus in Music Theory and Analysis, an MMus in Historical Musicology from Goldsmiths, University of London; a PhD from King’s College, London. She has published work on musicological topics and the music of Skalkottas. She has authored The Life and Twelve-Note Music of Nikos Skalkottas (Ashgate, 2011), and edited Polish Music Since 1945 (Musica Iagellonica, 2013). She is the editor of the Nikos Skalkottas Critical Edition, published by Universal Edition (Vienna).

Sonata Form, Sonata Cycle and Multimovement Coherence in Skalkottas’s Free Dodecaphonic Works Skalkottas’s approach to formal articulation was profoundly influenced by Schoenberg’s tonality-based teaching of the Berlin period and his ideas on musical form, coherence and comprehensibility. Skalkottas appropriated traditional concepts of musical construction and adapted classical formal prototypes to a dodecaphonic context. In particular, he fashioned his twelve-note sonata movements predominantly on a reinterpretation of the 18th-century formal prototype with its contrasting thematic and harmonic material. He was also attracted to cyclical forms and cyclical principles of construction as unifying devices, and as a way of ensuring systematic formal and harmonic coherence in multimovement works, particularly the sonata cycle. His approach to achieving cyclic coherence and integration is particularly evident in works built on an undetermined number of sets and exhibiting a free approach to his twelve-note technique. In such cases, Skalkottas treats such works as a single entity by amalgamating a multimovement work with an overarching sonata form. Using Schoenberg’s fundamental ideas on Formenlehre, and A.B. Marx’s theory of sonata cycle, this paper focuses on Skalkottas’s approach to multimovement structures. It examines his techniques for achieving multimovement coherence in his free dodecaphonic works, and it demonstrates his use of combining an overarching sonata form with the sonata cycle in order to achieve integration of disparate harmonic material. By focusing on the technical and formal aspects of the sonata form and the motivic-thematic and harmonic relationships among the movements of a multimovement work, the paper also considers the extent to which Skalkottas reinterpreted normative formal prototypes and employed deformations of Formenlehre categories to construct the formal designs of each movement of the sonata cycle, with examples drawn from his mid-1930s free dodecaphonic works, such as the Second and Third Piano Concertos, and the Violin Concerto. 227

Matija Marolt University of Ljubljana matic@lgm.fri.uni-lj.si

ď ľ Session 9A

Matija Marolt is assistant professor at the Faculty of Computer and Information Science, University of Ljubljana, where he has been working since 1995. He is head of Laboratory for Computer Graphics and Multimedia, where his research interests include music information retrieval, specifically semantic description and understanding of audio signals, retrieval and organization in music archives and human-computer interaction.

Compositional Hierarchical Model for Pattern Discovery in Music (with MatevĹž Pesek & AleĹĄ Leonardis) We present a biologically-inspired hierarchical model for music information retrieval. The model can be treated as a deep learning architecture, and poses an alternative to deep architectures based on neural networks. Its main features are generativeness and transparency that allow insights into the music concepts learned from a set of input signals. The model consists of multiple layers, each composed of a number of parts. The hierarchical nature of the model corresponds well with hierarchical structures in music. If the model is learned on time-frequency representations of music signals, parts in lower layers correspond to low-level concepts (e.g. tone partials), while parts in higher layers combine lower-level representations into more complex concepts (tones, chords). The layers are unsupervisedly learned one-by-one. Parts in each layer are compositions of parts from previous layers based on statistics of cooccurrences of their activations as the driving force of the learning process. We show how the same principle of compositional hierarchical modeling can be used for event-based modeling by applying the statistically-driven unsupervised learning of time-domain patterns. Compositions are formed from event progressions in the music piece. Learning exposes frequently co-occurring progressions and binds them into more complex compositions on higher layers. We show how the time-domain model can be applied for symbolic data analysis, as well as with audio recordings. 228

Sandro Marrocu University of Rome - Tor Vergata sandro.marrocu@gmail.com Scholar funded by a 2014 GATM-grant

 Session H

Sandro Marrocu graduated in Piano Performance from the Conservatory of Turin and in Musicology from the University of Turin. He obtained a PhD in Musicology from the University of Rome – Tor Vergata with a research project focused on the creative relationship between Giacinto Scelsi and Vieri Tosatti. He also obtained a master in Research for Music Education from the Accademia Filarmonica of Bologna. He teaches music theory and piano at the music institute ‘L. Sinigaglia’ of Chivasso.

Su una ‘Sola Nota’: Il Terzo Periodo di Giacinto Scelsi This proposal aims to analyse the element that characterized the third period of Giacinto Scelsi: the ‘sola nota’. ‘Sola nota’ is the artifice that allowed the composer to focus its work on specific areas of ‘Klang’. Scelsi composed and de-composed the sound through the mutual interaction of notes, frequencies used to create a compound. Despite its complexity, the ‘sola nota’ always leads to the idea of a unity in a state of vibration. In this lecture the particular use of notation techniques to create the ‘sola nota’ and to ‘write’ the characteristic Scelsi’s sound will be shown. The analytical model adopted provides for the identification of specific microtonal areas prescribed by the score. The examples given are taken from some of the most important Scelsi’s compositions: Pfhat, Xnoybis and the cycle of the Quattro Pezzi per Orchestra. Furthermore, it will be possible to detect how tensions between microtonal areas allow to draw a macro-structure for the composition. This work is part of a PhD research focused on the controversial relationship between Scelsi and his main collaborator Vieri Tosatti, the ‘craftsman’who created the most important Scelsi’s scores. 229

Alan Marsden Lancaster University A.Marsden@lancaster.ac.uk

 Session 9A

Alan Marsden is a senior lecturer at the Lancaster Institute for the Contemporary Arts at Lancaster University, and editor of the Journal of New Music Research. His original training was in music analysis and he began to use computers in research in that field during his doctoral studies at Cambridge University. His research over the past 25 years has been directed towards formalisation of concepts from music theory with the twin aims of more intelligent musical software and better understanding of music. Recent research has focused on the computational analysis of musical structure, particularly software for Schenkerian analysis.

Data for Music Analysis from Optical Music Recognition: Prospects for Improvement Using Multiple Sources (with Alex McLean & Kia Ng) abstract see Alex McLean under ‘M’

M Do Performers Disambiguate Structure? Analysts are fond of discussing ambiguity in music, and often imply that it contributes to a piece’s value. However, the claim of ambiguity is rarely tested, and it is not clear how the ambiguity inherent in a score might be conveyed to an audience by a performer, if indeed it is. In two famous cases, music theorists have claimed that performers project one interpretation or the other of two possible readings of the musical structure: Nattiez re. Brahms’ Intermezzo Op. 119 No. 3, and Lerdahl & Jackendoff re. Mozart’s Symphony in G minor K.550. The claims concern phrasing in the first case, and metrical weight in the second. The wide availability of recordings of these pieces allows us to test these claims by close examination of timing and amplitude, both factors known to be manipulated by performers to project phrasing and weight. This paper will report the findings of a small-scale study to test these particular claims. If the claim that these cases are ambiguous is true, we should see a wider distribution in variations of timing and amplitude at these points in the pieces than at other points where the phrasing or metrical weight is not claimed to be ambiguous. Furthermore, if the performers project one interpretation or the other, we should see a bimodal distribution with two peaks corresponding to the two interpretations. The research will use Sonic Annotator (effectively a batch-processing version of the widely used Sonic Visualiser) and standard computing tools, and could stand as an example of what any music analyst could do to test analytical claims through computational analysis of audio. 230

Alan Marsden Lancaster University A.Marsden@lancaster.ac.uk

ď ľ Session 9A

Music Analyzer that Can Handle Context Dependency (with Keiji Hirata, Satoshi Tojo & Masatoshi Hamanaka) Appropriate handling of context dependency is crucial in music analysis. For example, each occurrence of a repeated phrase may have a different musical meaning. The musical meaning derived from a phrase can be represented by a tree, with different tree structures representing different meanings. We propose a cognitive model of musical context dependency in which the key ideas are tension-relaxation grammar, the separation of bottom-up and top-down processes, and expectationbased parsing. A tension-relaxation grammar may work effectively in discovering distant relationships. Parsing with a tension-relaxation grammar is used to generate a global normative form, which contains the information of context dependency. The model extracts local structures in a bottom-up manner while identifying a global normative form within a piece of music corresponds to the top-down analysis. Then, by unifying the local structures with the global normative form, we obtain the whole consistent tree structures reflecting context dependency. We propose that, every time one listens to a piece, oneâ&#x20AC;&#x2122;s expectations are based on the most recent listening experiences and may elaborate and/or revise previous expectation. Hence, we consider the model with two input channels, a score and an expectation; every time a piece of music is input to the model with an expectation previously obtained in the circular manner, an expectation is to be elaborated and revised, and accordingly a more valid tree structure is generated. Through this circular process, the output structure is gradually accommodated with context dependency and converges to a valid tree structure. 231

Henry Martin Rutgers University-Newark martinh@andromeda.rutgers.edu

 Session 7B

Henry Martin teaches music theory, composition, and music history at Rutgers University in Newark, where he is a professor of music. He is the recipient of numerous awards, including the 1992 National Composers Competition and the 1998 Barlow International Composition Competition. His books include Charlie Parker and Thematic Improvisation, Counterpoint, and Jazz: The First Hundred Years, which is co-authored with Keith Waters. He is also the author of numerous published papers on music theory and jazz, and is a co-editor of the Journal of Jazz Studies.

Expanding Jazz Tonality: The Compositions of Wayne Shorter The idea of prolongation by arrival (PBA) was first suggested by Martin (1980). It describes how the 4- and 8-bar regularities of the jazz repertory give rise to larger-scale tonal prolongations even when standard harmonic progressions are lacking. The concept has been refined recently in Martin 2012-13 where it is applied to compositions of John Coltrane’s middle period (late 1950s and early 1960s). In this talk, I will examine sample repertory from the middle 1960s with particular attention to works by Wayne Shorter to see the extent to which PBA is applicable to compositions characterized by modal or non-functional tonal harmony. 232

Nathan John Martin Yale University | University of Leuven nathan.martin@yale.edu

 Session 1A

Nathan John Martin is Lecturer in Music Theory at Yale University and holds an FWO Marie Curie Pegasus Postdoctoral Fellowship at the Katholieke Universiteit Leuven. His research interests are in the history of music theory, ‘Formenlehre’, and the analysis of 18th- and early 19th-century music. He is co-editor, with Pieter Bergé and Steven Vande Moortele of Music Theory and Analysis (the former Tijdschrift voor Muziektheorie). His articles and reviews appear in such journals as the Journal of Music Theory, Recherches sur Diderot et l’Encyclopédie, Studies on Voltaire and the Eighteenth Century, and the Tijdschrift voor Muziektheorie.

Fétis’ Historicism

In his 1996 article on “Fétis’ Emerging Tonal Consciousness,” Thomas Christensen likened Fétis’ Esquisse de l’histoire de l’harmonie (1840) to Hegel’s Phänomenologie des Geistes: just as Hegel’s world-spirit actualizes itself across the span of human history, so too does ‘tonalité’ progressively instantiate itself in a majestic world-historical arc that begins with parallel organum and concludes in 19th-century France. As we now know from Robert Wangermée’s collected edition of Fétis’ letters, Christensen’s reconstruction corresponds in essence to Fétis’ own conception. For when Fétis summarized his Esquisse for Eugène Troupenas in a letter dated Oct. 17, 1838, he concluded: “Quant à moi, j’avoue que j’ai adopté complètement la belle idée de Hegel”. But here as elsewhere, Fétis is not his own best exegete. Indeed, equating Fétis’ intellectual project with Hegel’s risks covering up what is most novel in the latter. In Fétis, there is no appeal to ‘determinate negation’ (‘bestimmte Negation’), so that his thought is not, in Hegel’s sense, dialectical. And whereas Hegel’s narrative culminates in absolute knowledge—the perfect self-actualization of ‘Geist’ in full transparency to itself—Fétis’ history knows no comparable ‘telos’; its final stage, the “ordre omnitonique”, instead represents the onset of a terminal decline. Because the history of harmony as Fétis conceives it has neither dialectical motor nor determinate goal, its unfolding cannot be studied in the abstract. Rather, it must be written from the archive, reconstructed through empirical endeavor. In this sense, Fétis is far closer to the German historicist tradition that originates with Herder than he is to the Hegelian project that historicism eventually eclipsed. 233

Nathan John Martin Yale University | University of Leuven nathan.martin@yale.edu

 Session 4C

M Half-Cadence Type and Formal Function in the Mozart Sonatas (with Julie Pedneault-Deslauriers) In our recent article “The Mozartian Half Cadence”, we proposed a new typology of half-cadence types developed through a handcrafted corpus study of the Mozart piano sonatas. We grouped the various subtypes we identified into four overarching classes defined through characteristic three-voice contrapuntal patterns: the converging, expanding, simple I-V, and doppia half cadences. In this paper, we undertake to examine interactions between cadence type and formal function on both intraand inter-thematic levels. First, we identify those patterns that most characteristically appear in 8-measure and 16-measure periods (i.e. the simple I-V and converging cadences) and we explain their prevalence by showing how these two types lend themselves to ready recomposition as perfect authentic cadences in consequent phrases. Second, we ask which patterns are most typical of particular inter-thematic articulations, such as the ending of transitions and development sections, as well as internal half-cadences within subordinate themes. Third, we examine a series of concrete analytical examples, showing how the generalizations proposed in parts one and two elucidate the complex interaction between intrinsic and contextual formal function in Mozart’s music—how, thanks to the correlations we identify, particular half-cadential patterns can come to suggest precise locations in the temporal unfolding of a composition’s form. 234

Caitlin Martinkus University of Toronto caitlin.martinkus@mail.utoronto.ca

 Session A

Caitlin Martinkus is currently pursuing a PhD in Music Theory at the University of Toronto. She holds a BM in both French Horn Performance and Music Theory, as well as an MA in Music Theory Pedagogy, from the Eastman School of Music. Her current research projects include a study of repetition in Franz Schubert’s sonata forms and a cognitive study of the perception of repetition structures in Renaissance-style contrapuntal music. Caitlin has served on the student boards of the journal Intégral in Rochester, and at the Centre for Interdisciplinary Research in Music Media Technology in Montreal.

M Richard Strauss and the Classical Cadence Studies of late Romantic musical form typically highlight the complex relationships that arise when various elements of a work interact, such as musical program, large-scale tonal structure, and the over-arching form of a piece (e.g. Hepokoski 1992, Darcy 1997, Monahan 2007, and Vande Moortele 2009). Issues of cadence, however, are rarely the focal point of analyses (with the notable exception of Monahan 2011), even though cadences arguably play no less central a role in formal articulation in Romantic music than they did in earlier repertoires. In this paper I focus on the use of cadences in the works of one specific composer: Richard Strauss. Culling examples from the tone poems Don Juan and Ein Heldenleben and the Horn and Oboe Concerti, I argue that Strauss, to a surprising extent, relies on classical notions of cadence. I take as a starting point the distinction made by William Caplin between cadential content and cadential function (Caplin 1987, 1998, 2004). I then catalogue the consistent means by which cadential closure is both effected and thwarted in Strauss’s music: (1) I demonstrate classical cadential formulae providing syntactical closure to large-scale formal units, and (2) I illustrate Strauss’s use of cadential deviations in order to expand themes and middle-ground structures, thus creating larger overarching formal designs. I conclude by assessing the aesthetic and interpretive implications of the fact that the syntactical function and conventionalized harmonic content of cadential formulae retain their signifying power in this highly chromatic late Romantic music. 235

AgustĂn Martorell Universitat Pompeu Fabra agustin.martorell@upf.edu

ď ľ Session 9A

AgustĂn Martorell holds degrees in both Electronics Engineering and Musicology, as well as MSc and PhD degrees in the field of Sound and Music Computing. His research area, at the Music Technology Group (Universitat Pompeu Fabra, Barcelona), is related with computational interactive tools for assisting music analysis, with emphasis on hierarchical descriptions and representations.

M Systematic Set-Class Surface Analysis: A Hierarchical Multi-Scale Approach This work presents a systematic methodology for set-class surface analysis using a temporal multi-scale approach. The method involves a comprehensive segmentation of a piece, extracting the set-class content of every possible segment. It solves many representational problems derived from the massive overlapping of segments, by borrowing some real-time human-computer interaction techniques. A time vs. time-scale visual representation, named class-scape, provides a global hierarchical overview of the class content in the piece, which serves as an index for a detailed interactive inspection of any segment. The method provides a fast, precise and intuitive localisation of every instance of a chosen class. It also facilitates the inspection of all the classes and segments simultaneously in relation to a given class, by means of inter-class measures. Additional filters and data structures summarise the set-class inclusion relations over time and quantify the total set-class content in pieces or collections, assisting the interactive exploration of the music, and helping to decide about sets of analytical interest. By guaranteeing the integrity of the class information at the different reduction stages, the method minimizes the interpretative artefacts of similar systematic analysis methods. The technique is applied to the interactive exploration of music segments, pieces and corpora. 236

Nicolas Marty Université de Paris-Sorbonne nicodria@hotmail.com

 Session 5D

Nicolas Marty is a PhD student at the Université de Paris-Sorbonne, where he studies the listening of acousmatic music(s) in its relation with the experiencing of time by listeners. This follows his master’s work about a ‘natural’ narratology for music. All of his research draws from his learnings as a psychology student. His interest for perception comes from his practice as a young composer. He currently follows Jean-Louis Agobet’s instrumental composition courses and Christophe Havel & François Dumeaux’ electroacoustic composition courses. He is junior lecturer in computer music during the 2013-2014 spring semester at the Université Bordeaux III.

The Explicitation Interview, Analyzing the Dynamics of Electroacoustic Music Listening (with Pascal Terrien) The explicitation interview is a method developed by Vermersch (1994) to study the actual unfolding of an action. Many studies using this method are involved in pedagogy – although there has been one study by Petitmengin et al. (2009) regarding the act of listening to sound excerpts. Contrary to common methods to study listening behaviors, the explicitation interview allows one to analyze the dynamics of listening: a sound is not heard all at once, it progressively unfolds in perception. The explicitation interview is concerned with leading the listener towards the detailed description of his/her actual experience – rather than a metaphoric recounting of what s/he heard. This presentation will first consist in an overview of the interview structure, as well as of the method designed by Vermersch (2012) to extract data relevant to the lived experience out of the maelstrom of the interviewee’s discourse. The second part of the presentation will be concerned with explaining how this kind of method might be relevant to musical analysis. This method allows us to meet both the epistemological and critical aesthetic aims of analysis (Mailman 2010). 1/ We might contemplate several analyses of the dynamics of a piece – i.e. the piece as it unfolds, with its hazards. We could also extract regularities in the data from the interviews, which might be a way to develop robust knowledge about the works that are listened to. 2/ Being informed about listening strategies may allow for a didactic analysis – i.e. an analysis seeking to define which indices (Deliège et al. 1998) or attributes (Le Ny 1975) may be relevant to the teaching of listening. The final part of the presentation will be concerned with an analysis of Elizabeth Anderson’s Chat Noir (1998), drawn from several explicitation interviews concerning its first hearing by both electroacoustic music specialists and non-specialists. 237

Marie-Noëlle Masson Université de Rennes 2 marie-noelle.masson@uhb.fr

 Session 4D

Marie-Noëlle Masson is a lecturer and researcher at Rennes II University. She is Vice-president of the French Society for Musical Analysis (Sfam) and member of the editorial committee of the journal Musurgia. Both qualified in philosophy and musicology, she has specialized in linguistic and semiology and she is pursuing a research on the relationships between music and language. She has published numerous texts on musical analysis, especially relating to rhetoric process, either inside musical context or external context of music combined with texts and movies.

Formal Analysis, Structural Analysis, Rhetorical Analysis: F. Chopin’s Nocturne op. 27 No 1 This paper purposes to investigate both traditional oppositions, form/ structure and continuity/discontinuity, from theoretical legacy of 20thcentury linguistic thought (E. Benveniste, Groupe µ). This research will be initiated by a critical analysis of F. Chopin’s Nocturne op. 27 No 1. The nocturne will be analysed into its component parts (melodic material, harmonic sequences, contrasts of texture, etc.) using the traditional typology of formal theory as well as several analyses of this work. However, such a segmentation leads to an impasse from an analytical point of view: juxtaposition and listing of successive units of this work – as technical as they are – fail to point out the singular and problematic unity of this nocturne. We have to think about the form of the nocturne through a new opposition: consecution/integration, and bring in notions of function and level. In this way, Chopin’s nocturne stands between two structural types (‘tripartite’ structure and ‘strophic’ structure). To analyse this ambiguous aesthetic, we have to reckon, in the ‘concrete form’ (A. Souris), with some of its component parts which are not systematised by any theory. This last stage focusing on the notion of figure, gets musical analysis into the sphere of the rhetoric analysis and shows the way for a new poetic analysis of the work. 238

Steven D. Mathews University of Cincinnati steven.d.mathews@gmail.com

 Session 4A

Steven D. Mathews is a PhD candidate in music theory at the University of Cincinnati, College-Conservatory of Music. He maintains a variety of research interests, as he has presented at regional and national meetings of the Society for Music Theory on topics related to Schenkerian theory, musical form, transformation theory, and 16th-century counterpoint. He also has several book reviews published and forthcoming in Notes: The Quarterly Journal of the Music Library Association and Music Research Forum. Currently, Steven is working on a dissertation that identifies similarities between recent and older theories of form in tonal music.

Realizing Schenkerian Formenlehre through 21st-Century Lenses Recently, authors of three musical form treatises – William Caplin, James Hepokoski, and James Webster – each received an unusual chance to defend their theories and also write a critique of the other two methodologies (Bergé 2009). In a review, Mitch Ohriner (2010) agrees with the editor’s conclusion regarding the apparent “endorsement of methodological pluralism” by the three authors. However, Ohriner also sees “a further need to evaluate other theories with an awareness of their unique ambitions”, which is analogous to the three authors’ common belief that Heinrich Schenker’s theory of tonal music “discourages a tolerant engagement with other theories by asserting their own analytical intolerance”. Robert Gjerdingen (2007) adopts a similar view towards Schenker, though his ‘schemata’ resemble patterns typical of Schenkerian middlegrounds. Still, it turns out that refuting older ideas and subtly showing some of their influence is a familiar music theory narrative. As Jason Hooper (2011) has shown, Schenker’s Der freie Satz (1935) contains latent 19th-century ‘Formenlehre’ concepts despite his more famous obstinate disapproval of this tradition. My goal in this presentation is to investigate the implicit similarities between the recent theories of form and structure (Caplin 1998; Hepokoski and Darcy 2006; and Gjerdingen 2007) and those of Schenker: to locate intersections between their theoretical worlds and to ask productive analytical questions (e.g., How can non-Schenkerian formal concepts, such as the ‘Type 2’ Sonata, modulating Prinners, formal functions, and crux points complement a convincing Schenkerian analysis?). My presentation emerges as a result of a recent inspiring publication by David Damschroder (2012), just one indicator of a growing field of neoSchenkerian analytical pluralism vis-à-vis 21st-century approaches to form in tonal music. 239

Thierry Mathis Université de Strasbourg thmathis@laposte.net

 Session 4D

Thierry Mathis, musicologist and musician, was born in Strasbourg. He studied violin, harpsichord, and organ. He began his musical career as a solo violinist and was also concertmaster and harpsichordist in Germany. He also studied musicology and art history in Germany. In 2007, he began a PhD under the direction of Márta Grabócz and in June 2013 he defended his thesis: The harpsichord in France in the 17th and 18th Centuries: Organological Discoveries and New Techniques of Interpretation. He is currently a postdoctoral researcher at the Laboratory of Excellence GREAM at the University of Strasbourg.

The Unmeasured Prelude for Harpsichord in France in the 17th and 18th Centuries, between Continuity and Discretization: Music Analysis of Shape and Structure

The unmeasured prelude is perhaps the perfect example of the necessary back-and-forth between continuity and discretization, since it is written down, to be sure, but rhythmically unfixed. Musicians agree on certain conventions – for example a succession of adjacent notes form a triad – but its sole construction would connect it to the improvised nature of what will later lead to the rhapsody. Indeed, the unmeasured prelude leaves some latitude to the musician’s freedom in the field of interpretation. However, without analysis, there is no possibility for a musical work. The prelude’s unity depends on its components, their function and their articulation. The analysis is used to give a direction to the prelude’s realization. Thus, a structure of the score appears and gives birth to the work. The unmeasured harpsichord prelude in France in the 17th and 18th centuries does neither correspond to a form, nor to a specific structure. It is polymorphic. None are identical to each other. A quick glance suggests a stratification that seems at first to affect its construction. A more careful reading will also reveal harmonic stratification. Thus, the unmeasured prelude presents itself to us as a complete composition, albeit one that reveals itself only after having been studied. This layered structure can be analyzed on three levels: macroscopic, median and microscopic. The first corresponds to the entire piece, the second to the cells, and the third to the unities composing the different cells. Moreover, does a specific notion of tension-relaxation exist for the unmeasured prelude? Is the analytical approach of an unmeasured prelude valid for every one? And more generally, can this study on discretization and continuity in an unmeasured prelude give rise to a reflection on the analysis of other musical works of other periods? 240

Anastasios Mavroudis Goldsmiths College, University of London aramavroudis@gmail.com

 Session 5C

Anastasios Mavroudis (performer – researcher) is PhD candidate at Goldsmiths College, University of London, researching the music of Yorgos Sicilianos. He is currently completing his doctoral thesis: Performing Sicilianos: Selected Chamber Works and Concerto for Violin and Orchestra. His academic qualifications include: a Violin Soloist Diploma from the Athens Conservatoire (2003); a BMus (2006) and an MMus (2008) both from the Royal Academy of Music. He is an active soloist and chamber musician in London and Greece, and his research and performances have been broadcast on BBC Radio 3 and Greek National Radio.

Performing Sicilianos: An Analytical and Interpretative Approach to the Sonata for Violin and Piano, Op. 45 by Yorgos Sicilianos Yorgos Sicilianos (1920–2005), originally a proponent of Greece’s National School Movement, over a period of 30 years experimented with atonal neoclassical styles, the twelve-tone method and integral serialism and sought solutions to problems of form and structure. After 1980 he concluded that the term ‘post-diatonic music’ best described his compositional style, which by then drew inspiration from literary works to give form and meaning to his music. This paper investigates and analyses the compositional influences, process and technique of Sicilianos’s Sonata for Violin and Piano, Op. 45 (1981), and provides an interpretative approach by giving due consideration to the extent to which the analysis informs a performance of the piece. The analysis reveals critical structural parameters that not only impact the subjective aspects of interpretation, but also determine practical matters of performance, such as the bowings that the performer must execute. The Sonata is the second work in his mature compositional period (1980–2005) and it exemplifies this later style. Its sources of inspiration range from Bach, the poets Yannis Ritsos and George Seferis, to Javanese Pantoum poetry and Gamelan music. Giving consideration to the roles of the author/composer and performer, as defined in post-modern and post-structural theory, and using various analytical approaches, this paper attempts to provide practical guidance towards the preparation and performance of the Sonata for Violin and Piano, Op. 45, to aid future performers in interpreting the work with fidelity to its composer’s vision. 241

David Maw Oxford University david.maw@music.ox.ac.uk

 Session 7B

David Maw is Tutor and Research Fellow in Music at Oriel College, Oxford, and Lecturer in Music at Christ Church, The Queen’s and Trinity Colleges. His research interests centre on topics in the technique, analysis and theory of music, considering repertories ranging from the 14th century to the present day. He is also active as a composer and organist.

Chord-Voicing and Chord-Type in Oscar Peterson’s Standard Playing of 1959

The distinction between counterpoint and harmony has become an essential part of the Western understanding of polyphonic music, even if it has been negotiated variously by different theorists. The distinction is relatively simple to manage for music of the common-practice period (1400-1900), in which chords are triadic and all notes not belonging to a triad can be relegated to counterpoint. Jazz harmony, though, is characterised by the use of extended chords (7ths, 9ths, 11ths and 13ths can be regularly found both singly and in various combinations) and of added-note chords (triads are often filled out with one or more of 2nds, 4ths, 6ths and 7ths); and both of these threaten to undermine the distinction between counterpoint and harmony by admitting into the chord-type elements that are usually evaluated as dissonant and as belonging to the contrapuntal elaboration of harmony. This paper proposes to consider a way of retaining the distinction between counterpoint and harmony for the consideration of jazz harmony through mediation of the concept of chord-voicing (the vertical spacing and distribution of notes in the presentation of chords). It will use as a case-study the work of Oscar Peterson, a pianist noted for his mastery of all types of jazz harmony, in performances from his early maturity (1959), focusing in particular on trio renditions of Coleman and Leigh’s Witchcraft and Comden, Green and Styne’s Just in Time, both recorded in Paris on 18th May for the A Portrait of Frank Sinatra album and both presenting the melodies almost exclusively in block chords. These recordings will be analysed to show how the concept of chordvoicing may assume a central role in the comprehension of polyphonic texture by identifying chord-type within the harmonic domain and dissenting melodic notes in the contrapuntal domain. 242

Richard McGregor University of Cumbria richard.mcgregor@cumbria.ac.uk

 Session H

Richard McGregor is Professor of Music at the University of Cumbria. He has written a number of major articles on Maxwell Davies including his use of plainsong and other source material, the ballet Salome, the decoding of Davies’s personal alphabet, and on Mr Emmet Takes a Walk. Articles on the music of James MacMillan include studies of Veni Veni Emmanuel, O Bone Jesu, and an article on MacMillan’s musical identity. He has written on Wolfgang Rihm’s Chiffre cycle, and an article on Tutuguri is forthcoming. Other work includes material on spirituality, agency, identity, creativity and inspiration.

“Die Detonation ist am Körper angekommen” - Rihm’s creative explosion in 1981 In the late 1970s, following intense, wounding criticism of his compositional voice, Wolfgang Rihm began to engage more intensely in studying other artistic forms in the search for a new means of musical expression. As part of this process he began to translate literary and artistic ideas into his musical procedures such that, by December 1981, in an interview with Wilhelm Matejka he could claim to have finally found his own sound. This paper will explore the crucial significance of two works from that year in this process of discovery: Umhergetrieben, aufgewirbelt for alto flute and mixed chorus and Tutuguri VI for 6 percussionists completed just before and after his marriage in July 1981. They are, I will argue, the key works that underpin his confident assertion and which enabled the creation of Tutuguri II and III later that year, and his subsequent musical development. In order to understand Rihm’s subsequent development of technique and idea it is crucial to discern the effect of these non-musical stimuli on his creative processes at that time, and the complex interconnections subsequently made evident in his compositions, writings and interviews. This paper combines elements of textual interpretation with contextual analysis of these two works in order to explore aspects of stylistic change exhibited within them, specifically in Tutuguri VI through Rihm’s treatment of the percussion and in Umhergetrieben aufgewirbelt through his distinctive setting of Nietzsche’s text. I will also examine symbolism inherent in the works and semiotic interpretations. Links will be made to Rihm’s writings and interviews in particular those of 198082 in which the connections with, and influence of, other art forms illuminates his compositional processes. 243

Eric McKee Pennsylvania State University ejm5@psu.edu

 Session 11

Eric McKee is Associate Professor of Music Theory at the Penn State University. His book Decorum of the Minuet, Delirium of the Waltz (2012) investigates the social contexts and bodily rhythms of the two most important dances of the 18th and 19th centuries. His current research, for which he was awarded a fellowship from the American Council of Learned Societies, focuses on the influence of the dance in Chopin’s music. His articles have appeared in such journals as Music Theory Spectrum, Music Analysis, In Theory Only, and Theory and Practice.

Ballroom Dances of the Late 18th Century Dance topics represent the largest and most pervasive category of late 18th-century topics. My paper examines ballroom dances current in Vienna during the last quarter of the 18th century. My repertoire is largely drawn from the ‘Redoutentänze’ that Mozart composed for the Imperial court balls held during Carnival season during the last three years of his life (1788–1791). This rich and diverse group of works includes the most popular ballroom dances of the Classic period: minuets, contredanses, and ‘Deutsche’. I have two objectives. The first is to provide an account of the prototypical features of the choreography for each dance as practiced in Vienna during the second half of the 18th century. The second objective is to examine dance–music relations, especially in regard to phrase structure and hypermeter. What sonic cues — beyond an audible, consistent beat at an appropriate tempo — did dancers require from the music to execute their steps and figures? And how does the music’s phrase structure and hypermeter respond to these needs? Mozart, who was a considerably more accomplished and enthusiastic dancer than Haydn or Beethoven, well understood the practical requirements of ballroom dancers. Within each dance type Mozart employs a particular type of phrase and hypermetrical organization that correlates to the patterns and characteristic movements of the dancers’ choreography. My overall goal is to provide a contextual understanding of dance topics that will provide a better basis for recognizing and interpreting them in non-dance genres. 244

Alex McLean Leeds University a.mclean@leeds.ac.uk

ď ľ Session 9A

Alex McLean is a Research Fellow in Human/Technology Interaction at the Interdisciplinary Centre for Scientific Research in Music (ICSRiM). He works across several areas of research and practice including music improvisation, computational creativity, programming language experience design, computer vision, cognitive psychology and dance.

Data for Music Analysis from Optical Music Recognition: Prospects for Improvement Using Multiple Sources (with Alan Marsden & Kia Ng) Computational Music Analysis requires data in computational form to work with, such as MusicXML or MIDI. Currently this is often derived by hand. Software to read information from scans of scores does exist but it typically operates at a level of accuracy much lower than is now the case for analogous OCR software reading text. This paper will report results from a project to improve the accuracy of OMR by making use of multiple sources of information. Scans of different editions of a work, and sometimes multiple scans of the same edition or scans of scores and parts, are now available from sources such as IMSLP. Our hope is that the increase in accuracy which will result from the combination of information from multiple sources will make OMR a practical tool for computational music analysis. 245

Honey Meconi Eastman School of Music/University of Rochester honey.meconi@rochester.edu

 Session 3A

Honey Meconi is Susan B. Anthony Professor of Gender and Women’s Studies at the University of Rochester, where she is also Professor of Music and Musicology. Her many publications include Pierre de la Rue and Musical Life at the HabsburgBurgundian Court, Early Musical Borrowing (ed.), and Fortuna desperata (ed.). She is currently writing a book on Hildegard of Bingen. She is a member of the editorial board of Grove Music, and was previously Vice President of the American Musicological Society, from which she won the Noah Greenberg Award (with Vox Early Music) for the project ‘Extreme Singing’.

La Rue’s Requiem as Chronological Touchstone The Requiem mass of Pierre de la Rue is easily his best known composition and has garnered more recordings than any of his other works (or any other early Requiem, for that matter). The composition is unique among his masses for various components, such as including polyphony for both proper and ordinary movements, shifting dramatically in range between different movements, and descending lower than any mass of the period. At the same time, the Requiem also shares numerous traits with other of La Rue’s works, including the use of multiple melodic models and varied treatment of its pre-existent material. Significantly, La Rue’s Requiem is highly unusual in containing quotations from two different works of mourning that argue for the creation of the mass after the death of Philip the Fair in 1506. Because of this likely terminus post quem, the Requiem will be used as a jumping off point for construction of a tentative stylistic chronology of La Rue’s chant-based masses, the most numerous of his mass types. 246

Vincent Meelberg Radboud University v.meelberg@let.ru.nl

 Session 12

Vincent Meelberg is Senior Lecturer and Researcher at Radboud University Nijmegen, the Netherlands, Department of Cultural Studies, and at the Academy for Creative and Performing Arts in Leiden and The Hague. He has published books and articles about musical narrativity, musical affect, improvisation and auditory culture, and is founding editor of the online Journal of Sonic Studies. His current research focuses on the relation between musical listening, playing, embodiment and affect. Beside his academic activities he is active as a double bassist in several jazz and improvisation ensembles, as well as a composer.

Composing the Body Electric: The Bodily Aspect of Using Software in Musical Creation Traditionally, musical composition seems to be a cognitive activity only. The composer sits at her/his table, thinks about the sounds she/he wants the musicians to play, and jots the appropriate visual representations down on a sheet of paper. The only actual physical action here is the writing itself; everything else happens in the composer’s mind. Embodied cognition research, however, has refuted this view of musical composition. Cognitive processes such as creating a piece of music depend on what is happening in the body as a whole, and how that body is situated in its environment. Musical composition is a whole-body activity that cannot be reduced exclusively to mental processes. In this paper I will explore this thesis. More specifically, I will discuss how the use of software influences the bodily aspect of musical composition, by relating the concepts of gesture – a physical action through which human subjects structure their environment – and affect – an autonomous bodily reaction when a subject is confronted with a sensation such as sound or an image – to three aspects that are pertinent to the use of software in musical composition: materiality, interface, and movement. This investigation will be carried out through a practice-based approach. I will describe and analyse, using auto-ethnographic methods, the process of composing an electronic musical piece with the aid of music software. In this way I intend to articulate the impact the visual representations of sound, the software’s user interface, and the possibility of instantly hearing what I have composed, have on my embodied engagement in the process of musical composition. 247

Nicolas Meeùs Université de Paris-Sorbonne nicolas.meeus@paris-sorbonne.fr

 Session 4A  Round Table

Nicolas Meeùs is Professor emeritus at the University Paris-Sorbonne, member of the board of the Société Française d’Analyse Musicale, redactor in chief of the journal Musurgia. He is the French translator of Heinrich Schenker’s Der freie Satz. He wrote with Luciane Beduschi a textbook of Schenkerian analysis for the classes in the Sorbonne and gave with her a summer class of Schenkerian analysis in Campinas (Brazil) in 2009.

‘Formenlehre’ in Der freie Satz: A Transformational Theory

Schenker writes: “Das Neue in der nachfolgenden Darstellung der Formen liegt in der Ableitung aller Formen als eines äußersten Vordergrundes von dem Hintere und Mittelgrund” (Der freie Satz, § 306). Ernst Oster translates this as follows: “All forms appear in the ultimate foreground; but all of them have their origin in, and derive from, the background. This is the innovative aspect of my explanation of forms”. Modern Schenkerians rightly wondered in what sense forms could “have their origin” in the background and “derive” (or merely “be derived”, abgeleitet) from it. My communication will first remind that form is not inherent in music, that it is assigned by an analytical process which describes (or should describe) the piece as a ‘work of art’, characterized by coherence and closure. Schenker came to realize that traditional theories of form often failed in this respect and suggested that coherence stems from the background: “A content, unfurled before us continuously in the foreground, only comes to true coherence when it arises from a coherence already clear-sightedly pre-perceived in the depths of a background”. (MwM III, 20.) This new ‘Formenlehre’ is a true transformational theory, a set of rewriting (elaboration) rules linking the background to the foreground. Such a conception does not reject traditional theories of form, it adds to them a new, complementary, somehow ‘perpendicular’ dimension: “The sole coherence in depth from background to foreground is also the coherence in width in the horizontality of the foreground: it is such coherence, considered biologically, that realizes the genuinely organic, the synthesis of a musical work, its living breath”. (MwM, ibid.) This coherence, Schenker adds, concerns rhythm and meter, and even tonality, as well as form. His ‘Formenlehre’ therefore provides a possible general definition of what we call ‘analysis’. 248

Nicolas Meeùs Université de Paris-Sorbonne nicolas.meeus@paris-sorbonne.fr

 Session 6A  Round Table

M Hiérarchisation des progressions dans la théorie des vecteurs harmoniques La Théories des Vecteurs Harmoniques, comme la théorie des progressions harmoniques de Schœnberg (Structural Functions of Harmony), y compris dans sa révision par Sadaï (Harmony), et comme la théorie néo-riemannienne, considère les progressions indépendamment des degrés de la tonalité entre lesquels elles opèrent ou, ce qui revient au même, indépendamment de la fonction tonale des accords. C’est une position méthodologique forte, qui a permis de comprendre certains fonctionnements quasi algorithmiques de l’harmonie, mais qui rend presque impossible une hiérarchisation des progressions selon l’axe syntagmatique. Ma communication discutera des moyens de décrire des hiérarchies syntagmatiques et de réintroduire dans la théorie un certain niveau de centricité tonale. Il s’agit de tenir compte dans l’analyse de contraintes tonales métaphoriques, que ce soit sous forme d’attractions (ou d’un ‘code tonal’ chez Sadaï), ou de fonctions tonales. La prise en compte de principes schenkériens d’élaboration et de la conduite des voix devraient permettre d’établir des critères de sélection moins arbitraires que la supposition a priori d’attractions ou de fonctions, mais il paraît difficile de pousser l’analyse au-delà des limites de ‘phrases’ tonales correspondant à des cycles fonctionnels. 249

David Meredith Aalborg University dave@create.aau.dk

 Session 9A

David Meredith is an Associate Professor in the Department of Architecture, Design and Media Technology at Aalborg University. He has bachelor and masters degrees in natural sciences and music from the University of Cambridge and a DPhil degree from the Faculty of Music, University of Oxford. His research focuses on algorithms for analysing musical structure. He developed the first practical algorithms for discovering repeated patterns in polyphonic music and the most accurate pitch spelling algorithm to date. He is the lead investigator at Aalborg University on the EU collaborate project, Learning to Create (Lrn2Cre8).

Music Analysis and Point-Set Compression

A musical analysis represents a particular way of understanding certain aspects of the structure of a piece of music. The quality of an analysis can be evaluated to some extent by the degree to which knowledge of it improves performance on tasks such as mistake spotting, memorising a piece, attributing authorship, completing an unfinished work and so on. A traditional principle in science is ‘Occam’s razor’, which states that, given two conflicting successful explanations for the same data, one should choose the simpler alternative. This principle has been formalized in information theory as the minimum description length principle and relates closely to certain ideas in the theory of Kolmogorov complexity. Inspired by this general principle, the hypothesis explored in this paper is that the best ways of understanding (or explanations for) a piece of music are those that are represented by the shortest possible descriptions of the piece. With this in mind, two compression algorithms are presented, COSIATEC and SIATECCompress. Each of these algorithms takes as input an in extenso description of a piece of music as a set of points in pitch-time space representing notes. Each algorithm then losslessly compresses this set of points, producing an encoding in terms of a sequence of sets of translationally related patterns. The patterns found by the algorithms often correspond closely to those identified by music analysts as being structurally important. The analyses generated by the algorithms for a selection of pieces will be presented and discussed. Melodic Pattern Discovery by Structural Analysis via Wavelets and Clustering Techniques (with Gissel Velarde) abstract see Gissel Velarde under ‘V’ 250

John Milsom Liverpool Hope University johnross.milsom@googlemail.com

 Session 3A

John Milsom is Professorial Fellow in Music at Liverpool Hope University. He has published widely on 16th-century music, with particular emphasis on Tudor topics, Josquin Desprez, and the analysis of compositional method in vocal polyphony. He has also created the online Christ Church Library Music Catalogue, which investigates and describes the contents and provenance history of the internationally important music collections at Christ Church, Oxford. In collaboration with Jessie Ann Owens, he is currently preparing a new critical edition of Thomas Morley’s A plaine and easie introduction to practicall musicke (1597).

“Lux aeterna luceat eis”: Understanding Polyphonic Craft in Requiem Masses from Pierre de la Rue to Victoria Rites for the dead are by nature solemn events, and most 16th-century composers respected this by writing settings of the Missa pro defunctis that are conspicuously plainer and simpler than their polyphonic settings of the standard mass ordinary. In fact, given this concern for sobriety, it might be asked why so many 16th-century composers wrote Requiems, bearing in mind that most of their settings have been made in roughly the same way, by quoting or lightly paraphrasing the plainchant melodies they replace. This talk ponders that question by surveying the 16th-century Requiem repertory at large, searching out innovation where it exists, and interrogating works that attempt greater combinative complexity than is normal. It also casts a critical eye (or rather, ear) over some recent Requiem recordings, and points to ways in which future performers and their audiences might stand to gain by understanding more about how these compositions were made. 251

Danuta Mirka University of Southampton D.Mirka@soton.ac.uk

 Session 10

Danuta Mirka is Reader in Music at the University of Southampton. 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). 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 2011 Wallace Berry Award from the Society for Music Theory. Her articles have appeared in many publications including The Journal of Musicology, Journal of Music Theory, The American Journal of Semiotics, Musical Quarterly, and Eighteenth-Century Music.

M Harmonic Schemata and Hypermeter In addition to Metrical Preference Rules (MPRs), perception of hypermeter is conditioned by other factors, not involved in perception of meter proper. According to Fred Lerdahl and Ray Jackendoff (1983), meter above the bar level is increasingly supplanted by grouping which, at higher levels, is equivalent to phrase structure. The eminent role of phrase structure and harmonic rhythm in perception of hypermeter was recognized by William Rothstein (1995), who dubbed these factors, respectively, the ‘rule of congruence’ and the ‘rule of harmony’. The ‘rule of texture’ was added by Eric McKee (2004) and the ‘rule of parallelism’ reformulated by David Temperley (2001) so as to account for the effect of the first segment in a chain of repetitions. I will posit another preference factor for hypermeter: the hypermetrical profile of harmonic schemata. By contrast to other preference factors, which work ‘bottom-up’ and cue single events as strong, this factor allows for ‘topdown’ processing of hypermeter by mapping the hypermetrical profile of a given schema upon a span of time including several events which can be either strong or weak. If the schema is recognized at a later event, such mapping may change the hypermetrical status of earlier events and lead to forms of metrical reinterpretation not discussed by Rothstein (1989). I will concentrate on the cadential schema and illustrate its effect on hypermeter with examples from Haydn’s string quartets. 252

Danuta Mirka University of Southampton D.Mirka@soton.ac.uk

 Session 11

Topics and Meter The connection between topics and meter was established by Wye Allanbrook. In her seminal book Rhythmic Gesture in Mozart (1983) Allanbrook observed that in the 18th century individual meters carried affects associated with specific styles and genres. She supported this observation with references to 18th-century authors. All of them represent the tradition of metric notation descending from the mensural system of Baroque music in which meter was closely related to tempo, affect, and genre. In the late 18th century this tradition was continued by Johann Philipp Kirnberger who posited a ‘natural’ tempo for each meter: the so-called ‘tempo giusto’. But, as noted by Allanbrook, the compositional practice underwent an important change between the Baroque and Classic eras. Whereas Baroque composers used one affect for an entire movement, Classic composers began to shape each movement around several affects, which necessitated the choice of a time signature suitable for several meters. This practice was related to another tradition of metric notation, not discussed by Allanbrook, in which time signatures had no tempo significance and no affective implications. In Germany it was represented by Joseph Riepel, Friedrich Wilhelm Marpurg, and Heinrich Christoph Koch. In this tradition the choice of meter was guided by neither tempo nor affect but by convenience. While this pragmatic attitude enabled 18th-century composers to include several topics in one piece, it complicates the task of the analyst by making identification of topics contingent upon identification of the composed meter and, in some cases, upon analysis of phrase structure. I will demonstrate this in relation to the main theme of the first movement of Mozart’s Symphony in G minor, K. 550. What I intend to show through my analysis is that topic theory cannot dispense with historical music theory which — among other things — includes the theory of meter. 253

Jan Miyake Oberlin College Conservatory jan.miyake@oberlin.edu

 Session 4A

Jan Miyake is Associate Professor of Music Theory and Associate Dean for Academic Affairs at Oberlin College Conservatory. She has published articles and given papers on connections between Schenkerian Analysis and multiple themes in the new-key area of sonata form expositions. Other areas of interest include rhythm and meter in Brahms, music theory pedagogy, musics of Indonesia, Sonata Theory, and ‘Formenlehre’.

Investigating Closure: Correspondences Between the EEC and Descent of the Exposition’s ‘Urlinie’ Replica James Hepokoski and Warren Darcy profess to be “resolutely agnostic” on whether the Essential Expositional Closure coincides with the descent of the ‘Urlinie’ replica in the newkey area of a sonata-form exposition. This paper investigates Schenker’s published and unpublished sketches of sonata form expositions to examine whether or not it is necessary to be agnostic on this issue. The presented findings will pay particular attention to multiple readings and less clear-cut analyses. 254

René Mogensen Birmingham Conservatoire Rene.Mogensen@mail.bcu.ac.uk

 Session 5D

René Mogensen (MA, MM, BA, PGcert) is Visiting Lecturer at Birmingham Conservatoire / Birmingham City University, UK where he teaches in the areas composition, performance with technology and music technology. His current research project is focused on interactive mixed music, and developing analytical tools that have practical applications for composers, performers and programmers in music that combine acoustic instruments with electronics. René is also a composer whose output covers a wide range of media.

Comparison of Comprehensibility of Analytical Representations of Electroacoustic Music: Pictographic versus Symbolic Stéphane Roy (2003) and Lasse Thoresen (2007) propose two different approaches to analytical notation of electroacoustic music: Roy’s approach is pictographic while Thoresen’s is a symbol system. Both approaches have been proposed for the purpose of producing practical listening scores that have analytical usefulness. Each bases his approach on Nattiez’s (1990 [1987]) semiology of music, but Thoresen modifies the semiological tripartition and allows the listener to actively determine the listening mode employed, whereas Roy adapts Nattiez’s ‘neutral’ listening mode. In practice, how does Thoresen’s symbol system compare to Roy’s pictographic representations of electroacoustic sound, in terms of musicians’ comprehension of sonic characteristics? How accessible are these approaches to musicians who are not specialists in electroacoustic music? To begin to answer these questions, I conducted an experiment to compare how the two approaches could facilitate the creation of listening scores by non-specialists. I used the same works that Roy and Thoresen analysed: Points de Fuite by composer Francis Dhomont (Roy 2003) and Les objects obscurs by composer Åke Parmerud (Thoresen 2009). The subjects were conservatoire student musicians and composers who had little or no previous experiences of these particular approaches to representation of sound. I examine the subjects’ attempts at transcriptions of the two works using the two approaches. Then I consider the subjects’ written and spoken comments, that resulted from their introductions to learning these approaches for representation of sound. In response to the experiment results, I propose a higher level transcription approach that adapts transformation analysis (Lewin 1993) for work segmentation. This approach seems compatible with detail from both pictographic and symbolic notations, and may be more immediately accessible for non-specialists. 255

Eugene Montague The George Washington University eugene_m@gwu.edu

 Session 8B

Eugene Montague’s research focuses on interactions between music and physical movement. Current projects include a study of agency in musical performance, and an exploration of the role of embodiment in the characteristic energy of classic punk rock. He received his PhD from the University of Pennsylvania, studying with Christopher Hasty and Cristle Collins Judd. Recent publications include essays on pleasure in Ligeti’s Touches bloquées, on instrumental gesture in a Chopin étude, and on physical movement and musical form in a prelude of Debussy.

Towards a Phenomenology of Agency in Performance

The concept of agency has been much debated recently in philosophy and cognitive science (Nahmias 2005; Pacherie 2007, 2011a, b). It is clearly an important concept in the study of music, but the notion that performers are agents is foreign to much discussion of art music, where agency has been accredited to the composer (Cone 1972) or to the music itself (Maus 1991, 2005). The recent theory of performance advanced by Godlovitch (Godlovitch 1998) has outlined a theory of performative agency. However, his idea of agency does not engage with performer’s experience. Therefore, this presentation develops a concept of performative agency that is founded on a broad phenomenology. I plan a talk, an experiment involving the audience, and a concluding discussion. The talk will develop an understanding of agency from a phenomenological perspective. Drawing on work by Gallagher, MerleauPonty, and Pacherie, I present various experiences associated with the concept of agency, in order for my audience to gain expertise in identifying these experiences. The experiment investigates these experiences of agency. It asks audience members to perform a simple musical phrase. The performance contexts will be varied, as some of the audience will have scores, others will perform as cued by the speaker, and others will have instructions to improvise. Afterwards, each member will complete a survey on the experience of performing in terms of the concept of agency outlined previously. The aim of the survey is to examine the phenomenology of agency in performance through informed self-reflection. The audience has the opportunity to reflect on the experience of agency in performance. I will present the results from previous similar studies that I have conducted. The floor will then be open for the audience to relate their experiences, and to discuss the concepts and methodology of the research. 256

Allan Moore University of Surrey allan.moore@surrey.ac.uk

 Session 7A

Prof Allan Moore is Professor of Popular Music at the University of Surrey. He has authored ten edited collections and monographs, from Rock: The Primary Text (1993) to Song Means (2012), and more than fifty journal articles and book chapters, mostly on popular music analysis and hermeneutics. He is series editor of Ashgate’s Library of Essays in Popular Music, on the boards of various journals and book series, and co-ordinating editor for the journal Popular Music. He is currently writing a critical history of English folk-song singing and performing style, and a revisionist history of musical modernism.

M Addressing Meaningfulness in Popular Song The ‘what?’ of musical detail and relationships addressed by analysis too frequently stops short of following what I argue is its necessary consequence: so what? This paper takes that further step as read, but begins by repositioning this consequence, in its suggested opposition of the term ‘meaning’ to ‘meaningfulness’. Discussion of the ‘meaning’ of any particular song, leading us necessarily, as it does, down semiotic holloways, is as apt to alienate as many listeners as it gathers in. In refusing the precision of meaning, approaching the ‘meaningfulness’ of any particular song opens up other possibilities. The paper will briefly explore the combination of discourses of environmentally accountable embodied meaning (combining Gibson with Lakoff, Johnson and Fauconnier), of authenticity and intertextuality, and of the persona which I have developed in order to provide a methodology for accessing this issue of meaningfulness in the analytically-aware listening experience. It will then utilise this methodology in order to address the possibility of meaningfulness held in two songs already addressed by earlier speakers: Rainbow’s Since You Been Gone [Griffiths] and Suede’s Pantomime Horse [Smith]. A starting-point for my exploration is the very different realms of the familiar each appears to inhabit, with dominant reference to timbre, texture and harmony. 257

Daniel Moreira King’s College London daniel.moreira.83@gmail.com

 Session 6B

Daniel Moreira holds a BA in Economics (University of Porto; 2006) and a MA in Music Theory and Composition (Escola Superior de Música, Artes e Espectáculo, Insituto Politécnico ddo Porto; 2010), and he is presently a PhD candidate in Music Composition (King’s College, University of London; 2012). He has an active composer career, with commissions by Porto Casa da Música, Festival Musica Strasbourg, European Concert Hall Organisation and Chester&Novello, among others. His theoretical interests lie mainly on issues of temporality and harmonic motion in post-tonal music. Since 2009, he has been teaching composition and analysis at ESMAE/IPP.

Harmonic Motion in Post-Tonal Music: Voice-leading, Set-Class Progression and Functional Change

Two recent theoretical paradigms – transformational and modulatory – express a growing interest in the dynamic aspects of music modeling. In the former, harmonic motion is seen as stemming from a ‘characteristic gesture’, defined in group-theoretic terms by Lewin (1987) and subsequently developed in neo-Riemannian and voice-leading theories. In the latter, modulation – defined as the process of functional change for a continuing tonal element in a transformed harmonic context – is the key for understanding (diatonic and chromatic) tonal harmonic motion (Ribeiro-Pereira 2005). Drawing from aspects of both of these paradigms, this paper proposes a theoretical model for harmonic motion in post-tonal (twelve-tone tempered) music, in which harmonic change (in both the chordal as well as the macroharmonic level) results from the complex interaction between voice-leading, interval progression and pitch centricity. In this model, the conjunction of the mutable and permanent elements in each of these three aspects instantiates functional changes, which are defined in terms of harmonic motion. Reworking recent ideas on voice-leading (Morris 1998, Straus 2003, Tymoczko 2011), this paper organizes the entire collection of available chords (set-classes) under a metric of harmonic proximity based on the perfect fifth (as opposed to the semitonal voice-leading proximity). Such organization partitions the entire harmonic space of all possible set classes into demarcated regions (where the pentatonic and diatonic collections fulfill important structural boundaries), and allows us to uniquely characterize interval and chord progression in post-tonal music. I claim this strategy has both acoustic and historical implications, which can still be articulated with semitone-based voice leading conceptions. The paper closes with analytical considerations on three post-tonal pieces: Schoenberg’s Op. 11 No. 1; Ligeti’s Arc-en-Ciel; and the ‘Credo’ from Stravinsky’s Mass. 258

Alexander Morgan McGill University alexander.morgan@mail.mcgill.ca

 Session A

Having lived and studied in the United States, France, the Czech Republic, and now Canada, Alexander Morgan draws on several influences and traditions in his approach to music analysis. Recently, he has given presentations on a treatise by Tinctoris, music by Victoria, and the application of Janáček’s theories in his own music (followed by his article Untangling Spletna). These research projects find their common thread in Alexander’s fascination with counterpoint. He is currently pursuing a doctorate in music theory at McGill University in Montreal, Canada.

The Interdependence of Schemata and Form in the Motto Symphonies of Haydn Through an examination of Haydn’s motto symphonies I propose a consideration for the interdependence of schemata and form in this particular analytic context. As described in Music in the Galant Style (Gjerdingen, 2007), a schema is a contrapuntal motion often in two voices that anchors a work in the classical style and simultaneously serves as a point of orientation for the listener. In general, each motto consists of one schema, the familiarity of which renders the motto all the more recognizable. But a schema corresponds neither to a specific formal function, nor to a given level in the form. In identifying the schemata used, one better understands how each one adapts to the constantly changing formal requirements of the sonata with each successive return of the motto. Despite their status as temporal events that motivate harmonic motion, schemata remain para-formal phenomena insofar as most can embody a variety of formal and temporal functions. My analysis of these symphonies shows how they build musical structures that articulate the mottoes while respecting the sonata conventions of the time, that is, how they repeat without stagnating. A schema will often keep the same temporal function (beginning, middle, or end) in a work, but at different formal levels which occasionally engenders significant analytic reinterpretations. The conventional orderings of schemata are the primary means by which they influence the larger form of a work. Examining motto symphonies is particularly worthwhile because the fact that each motto repeats so often necessitates considerable formal plasticity. The interdependence of the two temporal processes of form and schemata manifests itself in other works by Haydn as well and I will conclude with a consideration for the usefulness of this approach in selected piano sonatas. 259

Rowland Moseley Harvard University r.p.moseley.02@cantab.net

 Session 10

Rowland Moseley recently completed a PhD in music theory at Harvard University as an advisee of Christopher Hasty and is now a Visiting Lecturer at Dartmouth College. His previous education was at King’s College, Cambridge. His current research addresses formal, metric, and schematic aspects of J. S. Bach’s instrumental music, with a special interest in Bach’s gigues.

Hypermetric Analysis, Hypermetric Performance, and the Idea of Projection

A clear notion of how hypermetric spans accord with or depart from the linear time of music’s sounding structures is essential to the analysis of hypermeter. By the prevailing cognitive paradigm, this means distinguishing expectation from realization, meter being the schema by which listeners make sense of unfolding sound. Metric theory is thus the science of correlating patterns of ‘subjective’ metrical experience to the structure of unfolding sound (determined by ostensibly more ‘objective’ factors such as the progression of chords or the differentiation of motivic content). The paradigm provides for important distinctions, e.g. a certain hypermeter may be present (to the listener) for a time, even though no complete hypermeasure transpires in the sounded structure. Yet to the analysis of meter as process or experience cognitive approaches arguably offer little more than a chronicle of many ‘end-state’ analyses. When musical process is broadly equated with a listener’s quest to comprehend a musical work as it unfolds, hypermetric spans essentially remain subjugated to the linear time of sounding structure. An alternative temporalist paradigm is advanced in this paper, which extends, simplifies, and critiques Hasty’s (1997) projection theory. Following projection to its logical conclusion, I argue that hypermeter cannot be construed as a sum of multiple pulse-periodicities. Rather, the ‘hierarchical’ relation of smaller and larger durations should be fundamental to hypermeter’s ontology, in which case a number of obstacles to the theory and practice of hypermetric analysis can be resolved, including the separation of structure and experience. A crucial finding is that hypermetric process belongs, above all, to the performance of ‘weak’ beats: this inversion of traditional theory greatly clarifies how hypermetric spans relate to the linear chronology of one’s progress through a piece. The paper’s methodological agenda will be advanced by revisiting a selection of analyses from previous scholarship on hypermeter. 260

Veijo Murtomäki Sibelius Academy veijo.murtomaki@uniarts.fi

 Session 13

Veijo Tapio Murtomäki (b. 1954), MA in organ in 1980, and music theory in 1982 at the Sibelius-Academy, PhD in musicology in 1991 at the University of Helsinki. Professor of Music History (1989–). Member of the Editorial Board of the Jean Sibelius Works (1996–). Publications: Symphonic Unity. The Development of Formal Thinking in the Symphonies of Sibelius (1993), Jean Sibelius ja isänmaa [Jean Sibelius and Fatherland] (2007). Articles on Classical and Romantic music and Sibelius. Editor of Sibelius Forum (1998), Sibelius Studies (CUP, 2001), Sibelius Forum II (2003), Sibelius in the Old and New World (Peter Lang, 2010).

Heinrich Christoph Koch, Josef Antonín Štĕpán and the Viennese Classical Piano School Based on the Classical music theory, especially on that of H. Chr. Koch (1749–1816), it is possible to develop a formal analytical system, in which the thematic labels can even be omitted, if the form is not seen just as a sequence of melodic ideas. Instead, when taking as a departure the cadential hierarchy of the sonata exposition, in which the emphasis is gradually moved from the tonic to the dominant in the major key I–V–V/V–V (V = dominant key), the dynamics of the sonata form can be explained in a satisfactory way. Instead of seeing the beginnings of the new formal stages as the main determinants of the form, it is here proposed that the end-oriented concept of Koch and the idea of four cadential areas (1)–(2)–(3)–(4) are in full harmony with the thinking of the Classical composers. This Kochian sonata form is demonstrated with an analysis of Štĕpán’s A-major Sonata (Šetkova No. 32). Josef Antonín Štĕpán (1726–1797) was among some 30 Bohemian-born musicians, who made a career in Vienna during the second half of the 18th century. Štĕpán was held as one of the leading piano teachers and pianists in Vienna (1741–), where he served as court teacher of the young empresses (1766–1775). As piano composer he was highy appreciated by his contemporaries. Štĕpán’s virtuoso keyboard style was described as innovative and original, full with expression and beauty. With some 40 piano concertos and even more piano sonatas Štĕpán is – besides Haydn, Mozart, and Leopold Kozeluch – one of the founders of the so-called ‘Viennese Classical Piano School’. 261

Bartolo Musil University of Music and Performing Arts Graz bartolomusil@web.de

 Session 8A

Bartolo Musil is a composer and a singer. In both professions he has won international awards and grants, and has worked for some of the most important European venues, radio stations, and CD companies. The synthesis of both professions, as well as a conceptual approach that surpasses the mere interpreting of music is a major concern: an Artistic Reserach Doctorate at the University of Music and Performing Arts in Graz about the tension between speech and music, as well as many artistic projects testify to these endeavours.

Sailing in brackish water. Text and music in the art song of the fin de siècle: theory and practice An art song is the recitation of a poem and at the same time a piece of chamber music: a complex piece of art in which structures of language and music intertwine, get entangled, and sometimes collide. In the body of the singer, the potential of text and music becomes physical reality. The bipolar antagonism of speech and music dissolve in the omnivorous sensuality of the larynx and the breathing apparatus. Similarly, poetry can turn into rhythmic sound and hence turn into music, while vocal music can achieve a coherent, story-telling narrative. Obviously, accumulating a certain amount of “theoretical” knowledge is a necessary requirement for the satisfying interpretation of a song. But it is equally obvious that this can only be a first step. What comes next? How does one filter this knowledge through your system to make it useful for your artistic practice? A singer is at the same time a musical instrument and the reciter of a text; but is he/she more committed to the intentions of the composer, or to those of the poet? The implications of such questions reach from the most pragmatic technical questions to the most sophisticated problems of interpretation. Examples of poetry settings, especially parallel settings of the same poem by different composers, are used as landmarks on a journey through the no man’s land between speech and music, and between analysis and performance. Analyses of poetic prosody, musical phrase structure and harmonic design in these songs (by Hugo Wolf and Claude Debussy among others) will be discussed with regard to their relevance for a convincing performance. 262

Meghan Naxer University of Oregon mnaxer@uoregon.edu

 Session A

Meghan Naxer is a third-year graduate student and graduate teaching fellow at the University of Oregon pursuing a PhD in music theory. She is an active flutist in Eugene, OR and performs in the ‘Asculta!’ woodwind quintet. Meghan previously received master degrees in music theory and flute performance from Kent State University. While at Kent State, she was a graduate teaching assistant and coauthored How Music Works, which is currently being used in the first-year music program. Current research interests include music theory pedagogy, the music of César Franck, and form analysis.

Rotations, Interlacing, and Motivic Transformation in Franck’s Symphony in D minor, Op. 48 Recent years have seen a wealth of scholarship on sonata deformations in late 19th-century music, including work by Hepokoski, Darcy, Monahan, and others. The music of César Franck, however, has not figured prominently in these discussions, despite the fact that Franck’s works are as formally innovative as anything written during the period and have become accepted as part of the orchestral canon. My paper explores Franck’s novel approach to sonata form by focusing on the first movement of one of his most famous works, the Symphony in D minor, op. 48. The initial reception for the work was negative, especially in regard to the repetitive nature of the first movement and the cyclic form of the whole symphony. Tovey, however, praised the symphony for its form in his Essays in Musical Analysis and, more recently, Deruchie elaborated on the importance and transformation of the third scale degree in the melodic structure. While Reddick applied a rotational approach to Franck’s chamber music, the symphony has not been explored from such a perspective. Franck’s symphony uses repetition to achieve a hyper-rotational form that creates unique tonal relationships in order to bring about a significant motivic transformation of the P-theme from its original minor mode to a major-mode version spanning the entire work. In addition to six rotations in the first movement, the development features a compositional technique of interlacing: intricately crossing formal elements together. Franck’s use of rotations and interlacing thematic modules create a imaginative sonata form that allows for the flexibility of pairing atypical key areas in order to facilitate motivic transformation. 265

Bernadette Nelson Wolfson College, Oxford bernadette.nelson@wolfson.ox.ac.uk

 Session 3A

Bernadette Nelson is affiliated with Wolfson College, Oxford, and CESEM-FCSH (Centre for the Study of Sociology and Aesthetics of Music) at the Universidade Nova in Lisbon. She has published widely on topics in Iberian and Franco-Flemish music. Recent publications include Pure Gold. Golden Age Sacred Music in the Iberian World: A Homage to Bruno Turner (edited with Tess Knighton; Kassel, 2011). She is also coordinator of polyphonic sources for the Portuguese Early Music Database (PEM), and has worked closely with repertories of Portuguese music for performance, particularly with the ensemble A Capella Portuguesa.

‘The Lisbon Requiem’: Contexts, Traditions, Development, Influences

It seems likely that the polyphonic Requiem mass in late 16th- and early 17th-century Portugal largely arose out of a necessity to supply music for the exequies of monarchs, princes, members of the nobility and dignitaries. It may therefore have been written in a relatively short space of time for a particular occasion, although a composer/ chapelmaster would in any case have anticipated the need for such a work as part of his duties. These works would inevitably conform to expected norms or patterns of the time, but at the same time reflect individual responses to these set patterns as also indeed influences from pre-existing settings. In the case of Manuel Cardoso, for example, it would seem that his six-voice setting (printed 1625) relied on his working of his four-voice Requiem (printed much later, in 1648), which in turn shows relationships with 16th-century settings, including that of his teacher Manuel Mendes and a much earlier traditional fabordão style which was the backbone to most settings of the three mass ordinary items included in the Missa pro defunctis. Similarly, the Requiem by Filipe de Magalhães (printed 1636) sometimes shows extremely close relationships with the idiom of Cardoso (particularly harmonic), but it also displays certain unique features which distinguish it from those of his contemporaries, including possible allusions to contrapuntal patterns of a much earlier era. In addition, the set of 17th-century ‘Lisbon Requiems’ demonstrate an increased interest in chromatic alterations of the plainchant ‘cantus firmus’ line, thereby contributing to a more dissonant and intense harmonic idiom in some of these works. This paper considers the evolution and development of the Requiem mass by Lisbon composers from the late 16th to the mid-17th century, focusing on the masses of Cardoso and Magalhães. 266

Markus Neuwirth University of Leuven markus.neuwirth@kuleuven.be

 Session 4C

Markus Neuwirth holds a Postdoctoral Fellowship from the Fonds Wetenschappelijk Onderzoek Vlaanderen (FWO) at Leuven University. He received his PhD from Leuven University in 2013. He is the co-editor (with Pieter Bergé) of the collection What is a Cadence?, guest editor of the Zeitschrift der Gesellschaft für Musiktheorie, as well as the assistant editor of the Leuven Cadence Compendium. He has published a number of articles and book chapters on various sonata-form issues in the works of Haydn and his contemporaries, on cognitively oriented music analysis, on the relationship between hypermetric analysis and music performance, and on Helmut Lachenmann’s music.

“New Twists of the Old”: Explaining Leopold Koželuch’s Recomposed Recapitulations Although the Bohemian composer Leopold Koželuch (1747–1818) did not go as far as Haydn in his recapitulatory revisions, he also had a strong penchant for producing altered reprises. As with Haydn’s practice, Koželuch’s “new twists of the old” (Vogler) cannot satisfactorily be explained by invoking (the most common variant of) the redundancy hypothesis, according to which classical composers sought to delete the secondary theme (or its basic idea) in the recapitulation in the case of a monothematic exposition. It seems to be more likely that, in revising the primary theme in the recapitulation, Koželuch was responding to the theme’s repetitive structure, aiming both to forestall thematic redundancy and to produce a more continuous formal design. In addition, the use of the primary theme in the development section – as a ‘medial return’ or a false (tonic or off-tonic) recapitulation – might be construed as provoking its alteration in the reprise. Apart from the desire to avoid redundancy, recomposed recapitulations can also be explained by reference to the composer’s intention to address a deficient event located at some point before the recapitulation. (1) A non-tonic opening is assumed to have far-reaching consequences for the recapitulation, in which the allegedly deficient event reappears in either a regularized or a properly contextualized fashion. (2) A weak harmonic preparation of the recapitulatory onset (most commonly by V/vi) is said to be a non-normative strategy that would call for a “compensatory dominant zone” (Russakovsky), necessitating a rewrite of the reprise. In scrutinizing these hypotheses, I will not focus on Koželuch’s practice in isolation, but rather will discuss it in the broader context of a contemporaneous (mainly Viennese) corpus of roughly 600 movements. In so doing, I shall seek to demonstrate the advantages of using statistics and generalized corpus data for the analysis and interpretation of individual works. 267

Markus Neuwirth University of Leuven markus.neuwirth@kuleuven.be

 Session 10

Revisiting Hypermetrical Ambiguity: Real-time Perception and Expectancy Formation

It is a hallmark of music from the ‘classical style’ to engender conflicting interpretations of hypermetrical patterns. The resulting ambiguity (or vagueness) may apply to both the first hypermetrical phase in which a metrical pattern is established (and recognized by the listener) and the subsequent phase in which an extracted pattern is extrapolated (London 2004). Being ‘a state of the mind’ (Meyer 1956), the ‘synchronic ambiguity’ (Temperley 2001) of a given passage may resolve once further information is provided that tips the balance into one direction or the other, turning, in Meyer’s words, two (or more) ‘hypothetical embodied meanings’ into one ‘evident meaning’. At least three strategies of dealing with hypermetrical ambiguity have been adopted in the analytical practice: (1) Prioritizing certain factors (or rules) over others, based on a parametric hierarchy; (2) subdividing the musical texture into two streams, one forming the ‘true’ meter, the other a ‘shadow meter’ (Samarotto 1999); and (3) assuming a continuous hypermetric transition from one pattern to another (Temperley 2008). In my talk, I will examine a number of sonatas from Haydn’s oeuvre that contain notable instances of hypermetrical ambiguity. In so doing, I will explicitly adopt a cognitive perspective based on Lerdahl and Jackendoff’s (1983) preference-rule approach as well as Lewin’s (1986) phenomenological theory. To be sure, theories of meter, more than any other theories, are informed by psychological principles and experimental evidence. Nevertheless, when addressing the case of hypermetric ambiguity, theorists often tend to be oblivious to the cognitive constraints resulting from processing metrical information in real-time. My talk thus seeks to provide a corrective to this practice, e.g. by being sensitive to two different kinds of metrical preference rules, real-time rules and post-hoc rules (the latter being applicable only after a certain stretch of music has been heard, such as ‘parallelism’). 268

Kia Ng Leeds University kia@kcng.org

ď ľ Session 9A

Kia Ng is a senior lecturer at the University of Leeds and director of the Interdisciplinary Centre for Scientific Research in Music (ICSRiM). Among many other fields, he has worked on automated recognition and restoration of printed and handwritten music manuscripts, paper texture and watermark analysis.

Data for Music Analysis from Optical Music Recognition: Prospects for Improvement Using Multiple Sources (with Alex McLean & Alan Marsden) Computational Music Analysis requires data in computational form to work with, such as MusicXML or MIDI. Currently this is often derived by hand. Software to read information from scans of scores does exist but it typically operates at a level of accuracy much lower than is now the case for analogous OCR software reading text. This paper will report results from a project to improve the accuracy of OMR by making use of multiple sources of information. Scans of different editions of a work, and sometimes multiple scans of the same edition or scans of scores and parts, are now available from sources such as IMSLP. Our hope is that the increase in accuracy which will result from the combination of information from multiple sources will make OMR a practical tool for computational music analysis. 269

Gesa zur Nieden Johannes Gutenberg-Universität Mainz znieden@uni-mainz.de

 Session 1B

Gesa zur Nieden is a junior professor of musicology at the Johannes Gutenberg University Mainz. After completing her German and French doctoral studies on the Parisian ‘Théâtre du Châtelet’ at the École des Hautes Études en Sciences Sociales in Paris and at the Ruhr-University in Bochum in 2008, she worked as a research fellow for the German Historical Institute in Rome. She has been the German director of the ANR/DFG project “Musici” from 2010 – 2013 and of the HERA project “MusMig” since September 2013. The main focus of her research is on the cultural history of music and on music sociology.

The German Reception of Rameau’s Theoretical Works. Language Frontiers, Material Aspects of Distribution and Ways of Reading This contribution seeks to illustrate the cultural context of the reception of the theoretical works by Jean-Philippe Rameau in the 18th century German speaking world. It will focus on aspects of distribution and translation, as well as on linguistic dimensions and some technical premises of the tradition of his work. First, a regard of the overall language skills of scholars and musicians on the basis of scholarly exchanges within the République des Lettres, the composition of early modern libraries and of multilingual publications, shall reveal the potential for understanding and misunderstanding the French language and particuparly Rameau’s linguistic expression. Second, the materiality of music treatises between printing, manual copying and librarianship will be considered. Herein, the type face of French treatises in contrast to German publications of music theory will be of special interest. In this respect, this contribution is intended as a material-based study of systematic, historical linguistics on the music theory transfer connected to Rameau. 270

Dimitar Ninov Texas State University dn16@txstate.edu

 Session 6D

Dr. Dimitar Ninov is Professor of Music at Texas State University, San Marcos, holds a doctoral degree 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. He studied theory with Dorothy Payne, Alexander Raichev, Bentzion Eliezer and jazz with Alexander Petkov. He was 2009 Chairman of the Board of Directors of the National Association of Composers, United States. Ninov is a published composer and theorist, and an invited lecturer at international and national conferences. His research interests are tonal harmony, musical form, meter, and ear training.

The Diatonic-Chromatic Platform of the Major-Minor System This essay will compare a pure diatonic system with various chromatic systems and will trace the formation of tonality in the common practice period as chromatic expansion of modality. Tonality in the 20th century is often expanded through modal interaction (mixture), chromatic mediant relationship, and fully chromatic chord operation. The author suggests a different path: the focus here will be placed on the potential of certain artificial modes to expand tonality. It is true that the harmonic and melodic major and minor scales are obtained through modal interaction of chords, either by borrowing from the opposite diatonic mode (i.e. minor iv in a major mode) or by adding genuine chromatic chords which do not exist in the pure diatonic system (i.e. an augmented triad). However, these altered chords are derived from superimposed major and minor thirds as parts of the scales, which suggests the arbitrary term ‘conditional diatonic’. A higher level of chromaticism is obtained by the addition of typical altered chords which contain diminished or (more rarely) augmented thirds. It is possible to justify their existence within the so-called double harmonic major and minor scales. Therefore, the main idea suggested in this essay is that the basic platform of the major minor-system is created from the intrinsic combination of natural major and minor and their harmonic and melodic versions, while the double harmonic scales are regarded as a further expansion of this platform. 271

Thomas Noll Escola Superior de Música de Catalunya thomas.mamuth@gmail.com

 Session 6A

Thomas Noll studied Mathematics (Diploma) in Jena and Semiotics (PhD) at the TU Berlin. From 1998 to 2003 he was the leader of an interdisciplinary research group on mathematical and computational music theory. Since 2005 he works as a lecturer in music theory at the Esmuc in Barcelona. He was co-editor of the Journal of Mathematics and Music and serves as reviewer for several journals and conferences in the field. He is also active in popularizing Mathematical Music Theory for a wider audience. Together with David Clampitt, he won the 2013 Outstanding Publication Award of the Society for Music Theory.

Fundamental Bass and Real Bass in Dialogue: Tonal Aspects of the Structural Modes (with Karst de Jong)

We intend to contribute to the theoretical and analytical discussion on a wider concept of tonality by studying its manifestations on a particular level of description: the fundamental bass, or to be more precise, the interpretation of the fundamental bass in terms of structural modes. On the one hand, fundament progressions are not directly given with the score, but are produced as results of analytical interpretation. On the other hand, further theoretical work and analytical activity is necessary in order to interpret them as manifestations of tonality. We anchor our approach in the broader Ramist tradition, namely to consider the fundamental bass as an autonomous level of analysis. We depart, however, from Rameau’s original idea, that the determination of the fundamental bass, both in vertical and horizontal dimensions, would be governed by the structure of the consonant triads. Instead we provide arguments in favor of an alternative contiguity principle, which is governed by the modes of the musical tetractys, the so-called structural modes. These modes consist of three scale degrees (not seven!). Our decision to call the three scale degrees in each of these modes tonic, subdominant and dominant highlights a conceptual bridge between scale theory and functional harmony. Although our approach is reminiscent of Carl Dahlhaus’ attempt to mediate between the Sechterian and the Riemannian approaches to harmony, it nevertheless differs from recent concepts of scale degree function (such as investigated by Daniel Harrison or Ian Quinn). The dialogue between the Fundamental Bass and the Real Bass is meant to be an analytical dialogue between our approach to the fundamental bass and elements from the Thoroughbass and Partimento Traditions. Furthermore we connect to ideas from William Caplin’s article ‘Schoenberg’s “Second Melody”, or, “Meyered-ed” in the Bass’. In many regards this dialogue highlights a pair of complementarity perspectives on the two sides of the same coin. At some points we see also challenging aspects of conflict, which we tend to relate to the two paths of hierarchically refining the bass arpeggiation I - V - I, namely the triadic, on the one hand, and the tetractic, on the other. 272

Thomas Noll Escola Superior de Música de Catalunya thomas.mamuth@gmail.com

 Session 9B

N Descending Diminished Seventh Chords: Integrating Perspectives of Chordal Structure, Fundament Progression, Diatonic and Chromatic Voice Leading (with Norman Carey) Our analysis of the diminished seventh chord sequence (such as in the Coda of Bach’s Chromatic Fantasy, in Mozart’s Piano Sonata K533/i mm. 213-218, or in Chopin’s E-minor Prelude Op. 28 No. 4) involves at least three levels of the scalar hierarchy: structural, diatonic and chromatic. Most puzzling is the ambivalence of the minor third along these levels. At the structural level it embodies the ‘augmented prime’, i.e. the difference between the large step (P4) and the small step (M2). This circumstance is relevant for investigation of fundament progressions. At the diatonic level, the minor third embodies the dual concept of that of the diazeuxis (sum of M2 and m2 as the dual construct to the difference between P5 and P4). The circumstance is closely related to the fact that the difference between the tonics of major and relative minor modes, is a minor third. At the chromatic level the minor third is a generator of the diminished seventh chord, and thereby it exemplifies a violation of the CV-property for chords (cardinality equals variety). In our paper we explore the relevance of these distinguished properties in analytical situations. 273

Jean-Paul Olive Université de Paris 8 jean-paul.olive@univ-paris8.fr

 Session 4D

Jean Paul Olive is Professor in the music department of University Paris 8. He has been director of the musicology laboratory of this university for 12 years and is director of the book collection Arts 8. He wrote a book about Alban Berg (Le tissage et le sens), an essay about montage (Musique et montage au début du xxe siècle) and also a book about the musical thinking of Th. W. Adorno.

O Arnold Schoenberg: Musical Prose and Formal Analysis When he defines his concept of ‘free musical prose’, Arnold Schoenberg occupies a polemic and fruitful position for a reflexion about continuity, discontinuity and the question of formal division. Schoenberg defended a music in which all the elements had to be close to the centre, in which all the elements had to present all the same importance, even if they have different functions in the musical sentences, in the articulation of the musical discourse. Such a position led him to compose a music in which density, articulation and presentation require – for the listener, but also for the analyst – a new position about traditional practice in listening and analysis. The matter of relations between musical elements becomes a fundamental point and, in one sense, it becomes more important than the question of strict division of the form. It is the reason why this music is at once a continuation and a critique of traditional music, and why it makes the analyst look at the music of the past with other eyes. In my paper, I will speak about some fragments of Pierrot lunaire, a work that with great subtlety mixes innovative elements with elements of the past, in the detail of the sentences as well as in the construction of form. 277

José Oliveira Martins  Session 6B Eastman School of Music | Catholic University of Portugal jmartins@esm.rochester.edu José Oliveira Martins (PhD, University of Chicago) is currently on the faculty at the Eastman School of Music (University of Rochester) and is a research fellow at CITAR, Universidade Católica Portuguesa. His interests focus on the modeling of multi-layered harmony in composers such as Bartók, Stravinsky, Milhaud, Kurtág, and Lutosławski. Current and forthcoming publications appear in the Journal of Music Theory, Theory and Practice, Music Theory Online, Bridges, Mathematics and Computation in Music, and Revista Portuguesa de Musicologia. He is currently reviews editor for Theory and Practice and is on the editorial board for Music Theory Spectrum and Opus.

Multi-Layered Harmony and Plasticity in 20th-Century Music

Our understanding of 20th-century multi-layered harmony (including music of Debussy, Bartók, Stravinsky, Ravel, Milhaud, Prokofiev, etc.) has been marred by a paradox: while the layering and juxtaposition of traditional sound structures is a most characteristic, vital, and novel constructive trait of this music (loosely referred to by terms such as ‘polytonality’ or ‘polymodality’), the classic theoretical models developed in the second half of the 20th century (prolongational post-Schenkerian and atonal set-theory) have rejected, on perceptual and logical grounds, wholesale attributions of traditional tonal structures as organizing pitch markers of this music, arguing that such notions were (to resort to a famous rant) “too fantastic or illogical”, constituting “real horrors of the musical imagination” (van den Toorn, 1983). Dismissive approaches to multi-layered harmony, however, have important analytical and historical consequences and expose a conceptual gap in the literature: what sort of harmony results from the layering/combination of traditional constructs, in ways that preserve and value the constructional character of music in the 20th-century scalar tradition? Drawing from scale theory, group- and transformational theories, this paper advances four inter-related models of multi-layered pitch space, which I call: scalar dissonance, affinity spaces, mistuning, and transpositional networks. These pitch models, in turn, act as analytical frameworks that interpret a variety of distinct interactions between scale-inflected materials in the music of Bartók, Stravinsky, Ravel, and Milhaud (among others), which coherently explore various global harmonic spectra. The paper further shows how some of the harmonic practices in the late 1950s of composers such as Lutosławski and Kurtág have expanded the earlier polymodal impulse by creating certain extended chordal spaces, which engage with various sorts of (homogeneous, expanding, or contracting) global harmonic networks. The design of the proposed models is intended to show that multi-layered harmonies are not merely constructive tricks, but are capable of creating coherent musical syntaxes, explored through a variety of analytical applications. 278

Chikako Osako Université Libre de Bruxelles tonarino11@yahoo.co.jp

 Session 1A

Since 2012, Chikako Osako has been a postdoctoral researcher in musicology at the Université Libre de Bruxelles thanks to a scholarship from the Japan Society for the Promotion of Science (JSPS). Her doctoral dissertation (defended at the University of Ochanomizu, Tokyo in 2011) is devoted to the harmonic theories of François-Joseph Fétis. Osako is also the author of a Master’s thesis on the diverse influences of harmonic instruction at the Paris Conservatory on the music of the Japanese composer Akio Yashiro who studied at the institution following the Second World War.

Concepts of Organisation in François-Joseph Fetis’ Writings on Harmony In establishing his own harmonic theories, Fétis made an extensive survey of the theories proposed by his predecessors, from the Middle Ages to his own time, pursuing a deeper understanding of the subject in its various historical contexts. Previous research has primarily focused on specific aspects of Fétis’ approach to the musical practices of earlier repertoires as seen in his Biographie universelle des musiciens, Revue musicale, Concerts historiques, etc. Relatively little work has been devoted to his interconnected systems of harmony, counterpoint, and rhythm and their philosophies. The aim of this presentation is to situate Fétis’ concepts of organisation through an analysis of his writings on harmony. This will be achieved in three steps. First, I will clarify his conception of tonality, which is fundamentally linked to his harmonic system and its theory. Fétis identified three types of tonality, each different in character: ancient tonality based on church modes, modern tonality based on major-minor scales, and the scalar-based tonality of traditional repertoires. These scales, according to Fétis, are purely “metaphysical” systems that result from the “organisation” of their respective musics. Second, I will examine Fétis’ systematic categorization of rhythm, which he presented as a system dealing with the temporal aspect of music in relation to his harmonic system. The fact that these systems are linked by the same term “organisation” leads to my final point, in which I will examine Fétis’ concepts of organisation, within the context of the contemporary sociological thought of Auguste Comte. Fétis’ diversified concepts of organisation provide clues for situating his theory within the context of 19th-century Francophone theories on music. 279

Nicolò Palazzetti École des Hautes Etudes en Sciences Sociales nicolo.palazzetti@hotmail.it Scholar funded by a 2014 GATM-grant

 Session H

Nicolò Palazzetti is a PhD student at the EHESS (Paris) in the department of CRAL (Centre de Recherche pour les Arts et le Langage). Nicolò’s research interests include history of 20th-century music, aesthetics of music, musical analysis and sociology of culture. His current PhD project, supervised by Professor Esteban Buch, focuses on the influence and legacy of Bartók in Italian post-war culture. Nicolò received a Master’s degree with high distinction in Philosophical Sciences (2013) from the University of Bologna. In June 2013 he received a Collegio Superiore’s Diploma in Humanities. Nicoló also attended the Conservatory ‘Gioachino Rossini’ of Pesaro.

From Bartók to Darmstadt: Analysis of Bruno Maderna’s First String Quartet Béla Bartók’s influence on Italian post-war composers spans over several generations of composers. One of these composers is Bruno Maderna (1920-1973), who, since 1945, has modelled his serial poetics on some aspects of Bartók’s music. Following on my PhD research, I intend to study the extent of this Bartókian influence on Maderna by analyzing his first String Quartet (1943-45) – a work still little known. The threemovement quartet uses the Franco-Flemish canonic techniques and is informed by principles of symmetry: arch macroform, symmetrical harmonic field, palindromic sonata form (i. e. reversed recapitulation) for both Allegro movements. Hence, like in many Bartók’s masterpieces of the 1930s, the slow movement (Lento a fantasia) is the formal and organic nucleus of the work. The dialectic between symmetry and expressiveness, which appears in the ‘Youth’ Quartet for the first time, will be at the heart of Maderna’s serial works made in Darmstadt. 283

Anthony Papavassiliou Laval University (Quebec) anthony.papavassiliou@gmail.com

 Session 4D

Both musicologist, electronic music producer and DJ, Anthony Papavassiliou is currently completing his master’s degree in musicology at Laval University under the direction of Sophie Stévance and Serge Lacasse. His thesis, entitled Une étude de l’Intelligent Dance Music: analyse du style rythmique d’Aphex Twin, focuses on the musical microrhythm and its relationship with the rhythmic structures of IDM works. His areas of research include IDM, rhythm, performance, topics on which he gave five lectures and one publication over the last three years.

To Describe Continuity through Discretization in a Recorded Works Analytical Process

In my research of Intelligent Dance Music (IDM), a semi-experimental electronic music current that emerged in the early 1990s in United Kingdom, I developed an analytical methodology in order to extract the rhythmic structures from untranscribed yet musical works. It consists of three main steps which are (1) a definition of an ‘analysis window’ designed to set the analysis resolution on a time axis, (2) the transcription of sound spectrum data for each analysis unit, and (3) the exploitation of the transcribed data. Although discretization is a fundamental and ubiquitous process at every stage of the analysis, how we organize this process determines the result and therefore the interpretation of rhythmic discourse. How do we retrieve continuity while being fully engaged into uncovering structures? How do we describe these structures ? To answer these questions, I propose to present my analysis methodology used in my study of To Cure a Weakling Child (Aphex Twin, 1996). My goal is, firstly, to show how I managed to build an analysis methodology specifically designed for analysis of rhythmically rich isometric recorded musical works. On the other hand, I want to justify my choices made during the realisation of the method and to focus on their relevance for the discretization/continuity debate. We will see that the systematic separation of sound streams as well as the use of a particular ‘analysis unit’ helps to maintain the rhythmic discourse integrity when interpreting musical data in a context where rhythmic patterns are all distributed into separate units. 284

Errico Pavese Università di Genova erricopavese@hotmail.com Scholar funded by a 2014 GATM-grant

 Session 5A

Errico Pavese gained his PhD in Science of Music at the University of Trento with a dissertation with Franco Fabbri on De André’s production and the concept of style in popular music. He received a Bachelor’s Degree in Sociology and a Master’s Degree in classical guitar. His research deals with Italian popular music, with special regards to musical analysis. Since 2006 he has been Lecturer at the University of Genoa. His publications include: Fabrizio De André: una produzione musicale a più mani e più voci (Sedico, 2009) and Locating style in a record production (in Made in Italy: Studies in Popular Music, Routledge, 2013).

Interpreting and representing micro-rhythmic discrepancies and spatial dimensions in Dolcenera and A Cúmba by De André and Fossati The paper is a report of a research that concerns the stylistic features of Fabrizio De André (1940-1999) and Ivano Fossati (1954), two of the most representative Italian ‘cantautori’ (singer-songwriters), with a special focus on microvariations in temporal and sound dimensions of musical recordings. The presentation examines, in particular, two case-studies (songs) from Anime Salve (“Saved Souls”, 1996), the late collaborative work of De André and Fossati, and explores the specific ways in which experimentation and manipulation practices occur on a micro-rhythm level in connection with the evolution of recording and sound technologies. In the first part of the paper the analysis focuses on instrumentation and sound-sources in general: what instruments sound like, how they work together, where they appear to be situated in the soundbox (Moore 2012), including other aspects of the experience of listening to sound (like echo and reverberation) that enable the construction of senses of space (Moylan 2002). The second part of the paper examines how specific decisions made during recording sessions by musicians, engineers, and the producer impact on micro-rhythmic discrepancies. The musical analysis consists basically of sound analysis with digital technologies (waveform, spectral analysis) and comparison of some illustrative musical examples. The analysis of the particular song rhythmic structure gives the opportunity to discuss certain aspects that relate to the description of grooves and micro-rhythmic discrepancies as a means to distinguish the work and to convey a distinct authorial production identity (Gillespie 2006). One of the main aims of this research, therefore, is the development of an adequate methodology and forms of representations as a result of sound analysis with digital technologies (waveforms, spectrums, spectrograms, etc.). A further aim of the paper is to reveal how innovation processes in the recording studio work in the ‘canzone d’autore’ and song production in general. 285

Julie Pedneault-Deslauriers University of Ottawa jpedneau@uottawa.ca

 Session 4C

Julie Pedneault-Deslauriers is Assistant Professor of Music Theory at the University of Ottawa. Her research centers on the late tonal and atonal works of the Second Viennese School; she is also interested in theories of musical form and in French music theory before Rameau. Her work has appeared or is forthcoming in the Journal of the American Musicological Society, the Journal of Musicology, the Journal of Seventeenth-Century Music, as well as in the collection What is a Cadence? (with Nathan Martin, ed. Neuwirth and Bergé). She is currently working on a co-edited volume on the theory of formal functions.

Half-Cadence Type and Formal Function in the Mozart Sonatas (with Nathan John Martin) In our recent article “The Mozartian Half Cadence”, we proposed a new typology of half-cadence types developed through a handcrafted corpus study of the Mozart piano sonatas. We grouped the various subtypes we identified into four overarching classes defined through characteristic three-voice contrapuntal patterns: the converging, expanding, simple I-V, and doppia half cadences. In this paper, we undertake to examine interactions between cadence type and formal function on both intraand inter-thematic levels. First, we identify those patterns that most characteristically appear in 8-measure and 16-measure periods (i.e. the simple I-V and converging cadences) and we explain their prevalence by showing how these two types lend themselves to ready recomposition as perfect authentic cadences in consequent phrases. Second, we ask which patterns are most typical of particular inter-thematic articulations, such as the ending of transitions and development sections, as well as internal half-cadences within subordinate themes. Third, we examine a series of concrete analytical examples, showing how the generalizations proposed in parts one and two elucidate the complex interaction between intrinsic and contextual formal function in Mozart’s music—how, thanks to the correlations we identify, particular half-cadential patterns can come to suggest precise locations in the temporal unfolding of a composition’s form. 286

Paulo Perfeito Eastman School of Music paulo.perfeito@fulbrightmail.org

ď ľ Session 6B

Paulo Perfeito develops a distinguished musical activity as a Jazz trombonist, composer and pedagogue. He holds degrees in Jazz studies from Berklee College of Musica (BM 2001) and New England Conservatory (MM 2007), and is currently a DMA candidate in Jazz Studies and Contemporary Media at the Eastman School of Music/University of Rochester. Perfeito received multiple awards for his performance, composer and scholarly activities including the DownBeat Student Music Award, the Marian McPartland Scholarship, a Fulbright Scholarship, the Herb Pomeroy Award for Outstanding Jazz Composer and Arranger, and the Jovens Criadores Award from Centro Nacional de Cultura.

Jazz Harmony and Plasticity: Chord-Scales, Nonfunctional Progressions and Modulatory Fields This paper explores a new conceptual framework for Jazz harmony with implications for performative, compositional and analytical practices. Current tonal jazz practice deciphers every active harmonic structure as a defining mode that unifies and contextualizes a basic chord (commonly a 7th-chord type) within a given key: the chord-scale. Grounded on recent harmonic studies of Jazz (Miller 1996 and Russell 2001), Perfeito advances a cognitive-based model for the exploration of chord-scale possibilities in a given improvisatory moment. The plethora of such possibilities is negotiated between the tonal function of a given active chord-scale and the larger tonal context dictated both by past harmonic events and the expected progression. The negotiation between chord-scale and context thus entails a constant assessment of the dichotomy between change of key (modulation) and change of pitch center (tonicization). Such assessment is approached through an overall modulatory framework (Ribeiro-Pereira 2005), by considering the key-defining tritone as a permanent intervallic element, which is subject to harmonic reinterpretation. Furthermore, the paper develops an analytical approach, which examines nonfunctional/modal progressions through modulatory lenses. Such approach generates an encompassing harmonic system, conceived as a modulatory field, which coordinates chord-scales based on common pitch-sets and their relation to harmonic tension. 287

Matevž Pesek University of Ljubljana matevz.pesek@fri.uni-lj.si

 Session 9A

Matevž Pesek is a doctoral student at the Faculty of Computer and Information Science, University of Ljubljana. He received his BSc in computer science in 2012, where he is currently working on his PhD and has been working as a teaching assistant. He is a member of the Laboratory of Computer Graphics and Multimedia since 2009. His research interests are biologically-inspired models, deep architectures including compositional hierarchical modelling and music multi-modal perception, including human-computer interaction, and visualization for audio analysis and music generation.

Compositional Hierarchical Model for Pattern Discovery in Music (with Aleš Leonardis & Matija Marolt)

We present a biologically-inspired hierarchical model for music information retrieval. The model can be treated as a deep learning architecture, and poses an alternative to deep architectures based on neural networks. Its main features are generativeness and transparency that allow insights into the music concepts learned from a set of input signals. The model consists of multiple layers, each composed of a number of parts. The hierarchical nature of the model corresponds well with hierarchical structures in music. If the model is learned on time-frequency representations of music signals, parts in lower layers correspond to low-level concepts (e.g. tone partials), while parts in higher layers combine lower-level representations into more complex concepts (tones, chords). The layers are unsupervisedly learned one-by-one. Parts in each layer are compositions of parts from previous layers based on statistics of cooccurrences of their activations as the driving force of the learning process. We show how the same principle of compositional hierarchical modeling can be used for event-based modeling by applying the statistically-driven unsupervised learning of time-domain patterns. Compositions are formed from event progressions in the music piece. Learning exposes frequently co-occurring progressions and binds them into more complex compositions on higher layers. We show how the time-domain model can be applied for symbolic data analysis, as well as with audio recordings. 288

Birger Petersen Johannes Gutenberg-Universität Mainz birger@uni-mainz.de

 Session 1B

Birger Petersen is professor of music theory at the School of Music, University of Mainz. After ten years as a theory teacher at academies and universities in northern Germany and several years as a professor of music theory at Rostock, he now teaches music theory, analysis, composition and musicology near the Rhine. His recent research projects led him to questions of the history of music theory in the 18th and 19th century, as well as of organ repertoires of the last two hundred years. Youngest publication: Neue Musik. Analysen, Berlin 2013.

Rameau Analysing: From Lully to Corelli and Back Between the early publications of Rameau and his late works – like the unpublished Art de la basse fondamentale (around 1740) and the Code de musique pratique (1760) –, the diversity of terminology in his own explanations is obvious. The later publications seem to be more speculative than the Traité de l’harmonie (1722), dealing with the art of accompaniment and composition. But in combination with several analyses, Rameau opens a new field in analysing music examples from older as well as contemporary composer colleagues. So he does in the Nouveau système (1727) where he analyses the famous recitative Enfin il est en ma puissance from Lully’s Armide (1686). 289

Wayne Petty University of Michigan pettyw@umich.edu

 Session A

Wayne Petty teaches music theory and analysis at the University of Michigan in Ann Arbor. His research centers on the history and practice of Schenkerian analysis, on multimovement instrumental works, and on the history of sonata practice. His paper today reflects a longstanding interest in the keyboard music of Carl Philipp Emanuel Bach, and is offered in part to celebrate the three hundredth anniversary of the composer’s birth.

Some Multimovement Designs in C. P. E. Bach’s Late Keyboard Sonatas

This paper takes as its point of departure Johann Nikolaus Forkel’s 1784 review of C.P.E. Bach’s Sonata in F minor (W57/6), which contains an early discussion of multimovement organization in instrumental music. The essay is noteworthy because, among other things, Forkel treats movements as wholes; in addition, he attempts to describe a progression through the three-movement cycle. This paper identifies three of the techniques that help organize multimovement designs in the sonatas für Kenner und Liebhaber. ) (1) Ruptures in the first-movement fabric. In the C-major Sonata W55/1 Bach prepares but evades the conventional cadence at the end of the second main period (development section), here a cadence in E minor. A signature motif B-A-C-H takes over the bass, leaving E minor to the slow movement. The finale recalls what happened, giving the signature motif a new character appropriate to the finale. (2) Related head motives in all three movements. In the D-minor Sonata W57/4 Bach opens the first two movements with motifs of very different character that are nonetheless related as melodic turns around D. The finale plays out the contrasting notes in these two turns (E and E-flat), integrating that contrast, sometimes shockingly, into most of its phrases. (3) Run-on movements. In the G-major Sonata W56/2 a peculiar tonal contrast in the first-movement development section influences the runon Larghetto, so that the entry of the Allegro finale revisits the motion into the first-movement recapitulation. In this way the three-movement “cycle” shares features with the three-period opening movement, anticipating, at least in that limited way, the “two-dimensional” sonatas described by Vande Moortele (2009). Because other sonatas share some of these features, the paper should apply broadly, and I hope usefully, to C.P.E. Bach scholars and to scholars of 18th-century music generally. 290

Petra Philipsen University of Leuven petra.philipsen@kuleuven.be

 Session 5B

Petra Philipsen was born in Leonberg, Germany. She obtained a Master’s degrees in Music Therapy from the Hogeschool Arnhem and Nijmegen, Netherlands (2000) and in Musicology from Utrecht University (2008). Currently she is a PhD student at the University of Leuven, with Mark Delaere acting as her supervisor (since 2011). Her research focuses on the interdependency of music analysis and music historiography on the basis of a case study of Benjamin Britten.

“Too accessible to be comprehensible to the genuine avant-garde.” Analysing Benjamin Britten’s Music The above quotation from an article in Tempo (1963) by Hans Keller clearly points out that both Britten’s composition methods and underlying ideas are in conflict with those of the avant-garde composers as well as of the ‘hard-core’ theorists, who often put down Britten’s music as too ‘simplistic’. Their reproach is that Britten’s composition methods show a lack of consistency as a consequence of his endeavour to be accessible to a wider audience. In this regard the interpretation of Britten’s tonality is a key issue. Since triads and scales are often present in Britten’s music, many commentators are indeed inclined to seek forms of tonality in his work – usually at the expense of other parameters. The question then arises as to when one can speak of tonality. Are one or more clear triads sufficient in order to be able to speak of a form of tonality or must there be also a functional harmonic structure? Taking examples from Peter Grimes and the Third String Quartet, I will try to interpret these triads and scales in a different way, namely as diatonic pitches belonging to a cluster, pattern or layer. As a result, ambiguities are evoked that make it often much more difficult to identify long-term key relationships than it would seem at first glance. In other words: the extent to which Britten makes use of traditional ‘tonality’ on the one hand and of more advanced techniques to construct the music according to some kind of system on the other will be the focus of my paper. Also, I will point out what the musical effect and possibly even the musical meaning of this approach can be. 291

François Picard Université de Paris-Sorbonne francois.picard@paris-sorbonne.fr

 Session 4D  Round Table

François Picard is professor of analytical ethnomusicology at Paris-Sorbonne University and researcher at the IReMus. He has been the main organizer of two international conferences: Chime, and Luoshen fu arts et humanités . He published three books on music from China and East Asia, and several recordings. A former student at the Shanghai Conservatory of Music, he plays xiao flute and sheng mouth organ in the Fleur de Prunus ensemble and collaborates with contemporary composers, as well as the ensemble XVIII-21 le Baroque nomade.

P The Musical Form Itself as Reflecting the Structure: A Case Study Shifan luogu 十番鑼鼓 music for percussions (China) Strangely little known in the West and even in China, where only the Southern style (Jiangsu) is known, and not the Northern (Tianjin), Shifan luogu music, for percussions alone or alternating with an ensemble of winds and strings, offers outstanding ‘Klangfarbenmelodien’. The six to eight musicians synchronize as precisely as the hands and feet of a single drummer. They should not be understood as polyrhythmic. Although they use the form of regular measures (1/4, 2/4, 4/4, or more), the tunes do not rely on repeated measures or cycles: the composition takes the measure itself as its main object, varying it through methods of increasing and decreasing. It seems that the composition, often inserted in a classical suite form, can be seen as purely of structure. Classical studies (Yang et Cao 1957, Li 1983, Yuan 1986, Li 1988, Zhang 1997), historical recordings — most of which remaining unreleased – and field documents (recordings and scores) will furnish the material to be studied. 292

Olivier Pigott Conservatoire du Val d’Yerres olivier.pigott@sfr.fr

 Session L

Born in 1963, Olivier Pigott studied philosophy at the Sorbonne (Paris IV), and music history, analysis and aesthetics at the Conservatoire National Supérieur de Musique de Paris, while pursuing a pianistic activity and musical composition. Titular of a ‘Certificat d’Aptitude de Culture Musicale’, he teaches music analysis and history at the Conservatoires of the 7th and 16th arrondissement in Paris, and at the Conservatoire à Rayonnement Départemental du Val d’Yerres.

Mahler – Novel or Film This lecture will compare the methods of film analysis, notably of editing, with those of musical analysis for the study of works having a strong narrative component. The starting point will be an analysis of the finale of Mahler’s Sixth Symphony in terms of Adorno’s categories (Theodor W. Adorno, Mahler - A Musical Physiognomy), notably the category of “Variante”, and the works of Robert Samuels (Mahler’s Sixth Symphony, A Study in Musical Semiotics) and Eve-Norah Pauset’ (Marcel Proust et Gustav Mahler: Créateurs parallèles. L’expression du moi et du temps dans la littérature et la musique au début du XXème siècle). Acknowledging the numerous difficulties that the various analyses open up in Robert Samuels’ works, I will illuminate those elements that a simple formal description cannot include. I will define “concrete temporality” or “polyphonia of action”, in which active time, the time of themes in perpetual evolution, overlaps with “out of time”, the time of themes that are maintained and repeated throughout. The capacity of music to accompany an action, whether scenic or not, developed progressively over the course of the 19th century. To the ductility of this capacity, Mahler adds the intrusion of heterogeneous elements that seem to come from a reality external to the music itself. The last part of my lecture shows the relationship between these notions and the time of the cinematographic narrative, which crystalized during the first ten years of the 20th century. In fact, the appearance of cinematic editing, with its junction of scenes throughout a continuous movement, sets a counterpoint of events that is not without rapport with the polyphony of actions evoked earlier. Finally, more generally speaking, the talk will show how the analytical concepts go beyond Mahler’s music and apply to other kinds of music. 293

Heather Platt Ball State University hplatt@bsu.edu

 Session D

Heather Platt is a Professor of Music History at Ball State University, Indiana. She is the author of Johannes Brahms. A Research and Information Guide, and co-editor, with Peter H. Smith of Expressive Intersections in Brahms: Essays in Meaning and Analysis. Platt’s articles on Brahms’s lieder have appeared in such publications as Brahms in the Home and the Concert Hall, The Cambridge Companion to the Lied, Brahms Studies, The Journal of Musicology and Intégral. She serves as c-editor of Book Reviews for Music Theory Online, and Digital Reviews Editor for Nineteenth Century Music Review.

Searching for the Tonic in Brahms’ Lieder

Opening a composition on a chord other than the tonic ‘Stufe’ is a wellknown expressive gesture in 19th-century music. Although Schumann’s lieder that gradually move toward their first structural tonic have often been studied, Brahms’s non-tonic openings have attracted less attention. Like Schumann’s works, Brahms’s lieder exhibit a variety of strategies in reaching the first tonic Stufe. While many songs attain their tonics by the end of their first phrase, others prolong the dominant and only reach the tonic at the end of their first strophe. Still others, such as “Botschaft” (Op. 47 No. 1), begin in one key but subsequently establish a contrasting one. Retrospectively we understand the first key to be subsumed by the second. This paper focuses on songs, such as Parole (Op. 7, No. 2), that extend this searching process so that the tonic is only attained at the structural close. In Schenkerian terms, these songs have an incomplete fundamental structure because the usual initial tonic of the ‘Ursatz’ is omitted. Such deep-level auxiliary cadences are not particularly common, though they do also occasionally appear in Brahms’s instrumental works, including the finale to his Third Symphony. L. Poundie Burstein provides the most extensive discussion of Schenker’s concept of the auxiliary cadence. I will expand upon his ideas, exploring the ways in which a non-tonic opening may be combined with other structural elements such as a delayed ‘Kopfton’ as well as with foreground and middleground motivic developments. In all cases, the tonal structure is intimately related to the meaning of the text. 294

Marco Pollaci Nottingham University marcopollaci@gmail.com

 Session 2B

Marco Pollaci graduated in Liberal arts - Music and Performing Arts - Music from the University of Tor Vergata in Rome. He also studied piano, and opera singing and composition at the Conservatory in Rome. He is currently a PhD candidate at the University of Nottingham (UK) in Music Theory, Analysis and Opera. His studies include opera and Italian composition school in the 18th and 19th centuries. He took part in several conferences in Europe and USA. He is currently working at partimento tradition in the 19th century, and its influence on Italian and French opera composers such as Alfredo Catalani, Francesco Cilea and Jules Massenet.

The Significance of Neapolitan Compositional School for 19th-Century Italian Opera Composers An increasing interest in the study of the methods of musical training has resulted in a steadily growing research on the education of composers. The revaluation of the Neapolitan school as a significant factor in the training of composers in many parts of Europe from the 18th to the 19th century, and in Italy until the very end of the 19th century is still ongoing. In particular, the renewed interest in the partimento and in solfeggi apprenticeship has opened up many new paths for investigation. The so-called ‘apprendistato’ (apprenticeship) consisted of a collection of rules and models common to most musicians of that period. Opera composers underwent years of studies in these traditional methods. Paisiello, Cimarosa, Pergolesi, Spontini, Bellini, Donizetti and other great musicians spent many years as apprentices in the BologneseNeapolitan school, which arguably continued to form the basis of their creative activity. The importance of Fenaroli to Verdi’s training, for instance, was mentioned by Verdi himself. Mingling itself with a growing Wagnerian influence, the partimento traditions still survived through the end of the century with the last opera composers, such as Cilea, Puccini, Catalani and Mascagni. The proposed paper aims to show the influence of traditional methods of teaching on the style of late 19th-century opera composers, through the analysis of selected passages. 295

Michael Polth Musikhochschule Mannheim polth@o2online.de

 Session 6A

Michael Polth, Professor for Music Theory at the Hochschule für Musik und Darstellende Kunst Mannheim since 2002, studied musicology, philosophy, philology and music theory in Bonn and Berlin (TU and UdK), graduation 1997 (Sinfonieexpositionen im 18. Jahrhundert), publications about aspects of music theory, president of the GMTh from 2000 to 2004, since 2008 member of the editorial board of the ZGMTh.

Einzelton und harmonischer Kontext in der Tonfeld-Theorie

Die interessantesten Aspekte der Tonfeld-Theorie sind weniger die offensichtlichen, die durch den Namen des Ansatzes ins Spiel gebracht werden (die Tonfelder als strukturierte Tonvorräte und Grundlage spätromantischer Harmonik), als die verborgenen, die sich als implizite Voraussetzungen und Theoreme aus den Analysen von Albert Simon und Bernhard Haas herausdestillieren lassen. Eine der interessantesten impliziten Vorstellungen Simons betrifft die Funktion des einzelnen Tons im kompositorischen Kontext: In Kompositionen von Bach, Mozart oder Beethoven geht die Bedeutung des einzelnen Tons im Wesentlichen aus einer doppelten Bestimmung hervor: als Teil der jeweils herrschenden Harmonie und als Teil einer strukturierten Stimmführung. Die Tonfeld-Theorie jedoch erklärt einige typische Effekte ‘spätromantischer’ Harmonik durch die Annahme, dass erstens die Stimmführung keine Grundlage des musikalischen Zusammenhangs mehr darstellt und dass zweitens der einzelne Ton in merkwürdiger Weise sich zugleich mit anderen Tönen zu einer Harmonie (bzw. einem Tonfeld) zusammenschließt und sich zugleich diesem Zusammenschluss in charakteristischer Weise widersetzt. Dass ein derart zwiespältiges Verhalten möglich ist, hängt wiederum damit zusammen, dass traditionell periphere Toneigenschaften, allen voran die Klangfarbe, im späten 19. Jahrhundert eine zentrale Bedeutung erlangt haben. In meinem Vortrag soll anhand einiger Beispiele von Wagner und Bruckner dieser spezielle Aspekt, den die Tonfeld-Theorie bewusst macht, beleuchtet werden. 296

Théodora Psychoyou Université de Paris-Sorbonne theodora.psychoyou@paris-sorbonne.fr

 Session 1B

Théodora Psychoyou is Maître de conférences at the University of Paris IV – Sorbonne; she holds a Master of Music and Musicology of the University FrançoisRabelais in Tours with a work on the Miserere of Marc-Antoine Charpentier . Her doctorate in musicology is about L’évolution de la pensée théorique en France, de Marin Mersenne à Jean-Philippe Rameau. She works on baroque music, especially on the history of music theory, music and science in the 17th century and on religious music in France and Italy.

A Modern Thought for a New Music Theory: Rameau and the Authority of the ‘Anciens’ Rares sont les ouvrages dont on peut soutenir qu’ils marquent un véritable changement de paradigme, et le Traité de l’harmonie de Rameau s’est imposé comme l’un de ceux-là. Il a marqué l’histoire de la musique et de sa théorie parce qu’il propose un nouveau modèle pour la compréhension du phénomène musical (dans son organisation première et pour ce qu’il est discours). Premier opus d’un auteur alors peu connu, et bien antérieur aux premiers ouvrages lyriques, le texte de 1722 est suivi d’un grand nombre d’ouvrages théoriques dans lesquels Rameau tente des approfondissements, des nouvelles lectures de son paradigme, des mises en pratique sur des répertoires (telles ses analyses de Lully), et des réponses aux critiques de ses contradicteurs. Ce Traité est, en outre, l’un des objets les plus commentés par la littérature musicale et musicologique. La présente communication en propose une lecture nouvelle, en réinscrivant le Traité dans son historicité, en tentant notamment de faire abstraction de sa postérité, et en se concentrant sur ses antécédents que nous tracerons à travers les sources explicitement citées ainsi que dans les filiations qui s’y dessinent, et que nous confronterons à l’analyse des stratégies discursives de son auteur. Rameau cite assez peu de sources pour un ouvrage d’une ampleur si conséquente : onze auteurs sont mentionnés, seulement deux – Zarlino et Descartes – reviennent plus d’une fois, un ensemble d’autorités sur lesquelles nous nous interrogerons. Par ailleurs, Rameau se pense en Moderne, et nous proposons de mettre concrètement cette idée en perspective avec la vision du progrès défendue dans les académies scientifiques contemporaines. Dans le même temps, l’empirisme du pédagogue rejoint le pragmatisme astucieux qu’il partage avec les auteurs de nouvelles propositions du début du 18e siècle (telle la règle de l’octave). Si la codification scientifique puisée dans les travaux d’acoustique menée au sein de l’Académie royale des Sciences vient au secours de l’élaboration de la théorie harmonique de Rameau dans ses traités suivants, l’intuition de la basse fondamentale en tant qu’ ”unique boussole de l’oreille”, objective, fait figure, en 1722, d’une conséquence logique de la tradition intellectuelle qui le précède. En d’autres termes, ce que nous tenterons d’évaluer, dans l’articulation complexe entre l’ “avant” et l’ “après” 1722, c’est ce que les nouveautés du Traité de l’harmonie doivent à leurs antécédents (n’en déplaise au Moderne). 297

Ingrid Pustijanac University of Pavia ingrid.pustijanac@unipv.it

ď ľ Session 5A

Ingrid Pustijanac graduated in Musicology and gained her PhD in Musicology and Philology; she also received a degree in Composition, Choral Conducting and took orchestral conducting lessons with Emilio Pomarico and Yoichi Sugiyama. Currently she is Research Professor at the University of Pavia. Her main research fields are in performance studies, composition technique and music theory, in particular that of late 20th-century composers such as GyĂśrgy Ligeti, GĂ¨rard Grisey, Helmuth Lachenmann, Giacinto Scelsi, Luciano Berio, Salvatore Sciarrino and others, based on sketch studies and analysis of compositional process.

New Graphic Representation for Old Music Experience: Analyzing Improvised Music The paper focuses on analytical and theoretical problems of improvised music in relation to the graphical representation of improvised music and the ways of communicating its structural dimension. On the one hand, free improvisation has the doubtful reputation of having no structure, presumably no theoretical background and therefore being not suitable to analysis. On the other hand, a concentrate listener perceives constructive strategies and formal processes which can be described and qualified. Moreover, the publication of some improvisatory sessions on recorded media (for example Gruppo di Improvvisazione Nuova Consonanza, Improvisationen, LP Deutsche Grammophon 137 007 (1968) or New Phonic Art (Begegnung in Baden-Baden, LP Wergo 60060 (1971)) induced in the audience the sense of a work character which was mostly non intentionally premeditated, but that will become an essential component in their subsequent reception, with consequences ranging from aesthetic evaluation to stylistic emulation. The research will focus on two different approaches and their limits: 1) the graphic material used by improvisation groups as a guide in formal dimension, for the definition of musical material etc.; 2) the graphic score realized during the analysis of improvisations in order to make the discourse about structure, time, gestures, sound, performance possible. 298

Bruce Quaglia University of Utah bruce.quaglia@gmail.com

 Session C

Bruce Quaglia is active as both a composer and theorist. He has taught music theory at the University of Utah since the mid-1990s. His essays and reviews have appeared in Music Theory Spectrum, Music Theory Online, the Journal of the Society for American Music, Computer Music Journal, and elsewhere.

Nono’s Schoenberg: Early Serial Constructs in the Variazioni Canoniche Luigi Nono’s first publically performed work, Variazioni canoniche sulla serie dell’op. 41 di Arnold Schoenberg (1950), was nominally composed using the twelve-tone row from Schoenberg’s setting of Byron’s Ode to Napoleon. Analysis of that work demonstrates that the composer’s examination of other serial works by Schoenberg also exerted an influence on his first major composition. My paper argues that in Op. 41 Nono found more than a texted theme of protest, but also an important model of Schoenbergian serial harmony that would have consequences for his own early conception of serial technique. Both works employ multiple partitions of the unordered hexachord 6-20, a source set which is hardly unique to Op.41, but which Schoenberg also used in the Suite Op. 29, and elsewhere. In Nono’s Variazioni, the partitions yield a complex permutational strategy which is then combined with other related techniques that involve a systematic cellular rhythmic permutation. Nono’s sketches reveal that he also considered rows from other twelve-tone works by Schoenberg. While Nono ultimately chose to allude overtly to Op. 41 in his title, his serial permutations isolate and reorder individual dyads within the row and consequently generate new hexachordal types that proliferate secondary relationships to other serial works by Schoenberg. Although the row for Schoenberg’s Op. 31 Variations for Orchestra was never under consideration for use in the Variazioni, Nono’s analysis of that score exposes a correlation of rhythmic and pitch-class structures which connects it to nascent rhythmic serial techniques present in the Variazioni. 301

Lorenda Ramou Conservatoire de Paris | Université de Paris-Sorbonne radius_music@hotmail.com

 Session 5C

Lorenda Ramou (performer – researcher) is PhD candidate at the Conservatoire National Supérieur de Musique de Paris and Université Paris–Sorbonne, investigating the piano music of Nikos Skalkottas. She has an extensive career as a concert pianist and has performed in France, Greece, Holland, Germany, USA, Chile. Her recital programs are often influenced by theatre, performance art, poetry and painting (Goya-Beethoven: The Path to Silence, The Strychnine Pianist, Femme disant adieu with French writer Pascal Quignard). She has recorded Nikos Skalkottas’s ballet music for BIS, and Dimitris Dragatakis’s complete piano works for NAXOS, having also realized their critical edition.

Analytical Insights into the Performance of Nikos Skalkottas’s Piano Works (Lecture Recital) Nikos Skalkottas’s piano works constitute an important, but largely unknown, corpus in 20th-century piano literature. Contemporary performers face several challenges when approaching this repertoire, not least the complete lack of information concerning its interpretation from pianists who collaborated with the composer. Consequently, they can rely only on their personal research in order to comprehend and reveal the specificities of Skalkottas’s piano style. This lecture explores two complementary but equally necessary approaches. The first concerns the use of graphic analysis as a performance oriented tool, investigating the relation between Skalkottas’s 15 Little Variations and Suite No. 3 with Beethoven’s 32 Variations in c minor and Sonata Op. 26, which will be discussed here for the first time. The second is an investigation into the aesthetics of interpretation that prevailed in the inter-war Berlin. Skalkottas’s remarks, which function as an introduction to his cycle of 32 Piano Pieces, will be compared with texts by pianists of his time, and related to the Schoenbergian circle, particularly Eduard Steuermann. Reveal the relations between Skalkottas’s piano music and the music of other composers, while being aware of the aesthetics of piano performance of his time, can provide a framework towards the research and interpretation of this repertoire. The lecture will be followed by a recital, including the 15 Little Variations, the Suite No. 3 and the Kurze Variationen auf ein Bergstema. 305

Carissa Reddick University of Northern Colorado carissa.reddick@unco.edu

 Session A

Carissa Reddick earned her PhD in music theory and history from the University of Connecticut. She has taught music theory at The Hartt School, the University of Connecticut, and the University of Oklahoma, and currently heads the music theory area at the University of Northern Colorado. She serves as the president of the Rocky Mountain Society for Music Theory. Her paper Teaching Analysis of Chromatic Chords through Chord Qualities appears in Music Theory Pedagogy Online’s e-journal. She has presented papers on the topic of form in late 19thcentury music at various conferences throughout the US.

Nested Forms and Hierarchical Function in Sonata Forms from the Late 19th Century

One of the broad trends in sonata formal practice from the later half of the 19th century is the expansion of thematic areas through nesting multi-sectional forms within them. For example, the primary theme area frequently consists of a nested ternary form, complete with its own formal functions. The B section in a ternary form usually contains transitional rhetoric, and thus some degree of transition function. The B section does not function as a transition for the sonata movement, however, since the stable A section of the nested form reprises before the movement’s transition segment commences. Such a nested ternary form highlights different functional levels at work during the primary theme area: a surface level that encompasses the functions of the ternary form, and a deeper-level primary theme function that works on the level of the entire movement. Hierarchical functional levels also result when a double second group combines with a trimodular block, creating a nested two-part sonata exposition within the secondary area; double second groups that do not utilize a trimodular block structure can resemble a nested continuous exposition. The presence of nested forms and the hierarchical formal levels they create impact the processes of the entire sonata. For example, the abbreviation of formerly nested ternary forms within the primary theme represents an integration of the hitherto independent form into the drama of the sonata movement as a whole. At the same time, the hierarchical formal levels collapse, since the surface-level functions disappear. Drawing on the work of Warren Darcy, James Hepokoski, Steven Vande Moortele, Janet Schmalfeldt, and James Webster, this paper explores the implications of nested forms and hierarchic formal levels in sonata forms by Brahms, Dvořák, and Grieg. 306

Fabio Regazzi Università di Bologna fabio.regazzi@unibo.it

 Session 5A

Fabio Regazzi graduated in piano, composition and electronic music. Since 1993 he has been working at the Department of Music and Performing Arts in Bologna as head of the Laboratory of Musical Informatics and has been involved in several research projects, in which he has been employed as expert in the re-recording and restoration of audio and video. As a musician, he is particularly interested in the interaction between new technologies and performance. From 2010 to 2013 he was member of the UNIBO team, involved into the European project MIROR (Musical Interaction Relying On Reflexion) as a technician.

An Example of Sound Analysis: Perceptual Responses to Different Instrumental Mixtures (with Mario Baroni & Roberto Caterina) The present paper is not an analysis of music ‘without score’. Its score does exist. Our analysis, however, is not referred to the actual structure of the written notes, but to their global perceptual effect, which is not contained in the score, but only in the minds of the composer and the listeners: we analyse an object that is beyond the score. The research is based on Laborintus II by Luciano Berio, in a short episode of the work he calls ‘canzonetta’: in that moment the speaker reads a fragment taken from La Vita Nova by Dante Alighieri: “… dolcissima morte, io porto già lo tuo colore” (my sweet death, I already bring your colour). The ‘colour’ of death is reproduced by the singing voices and the instruments. We recorded separately 8 small groups of homogeneous instruments and voices in a performance of this chamber piece in order to obtain a global result that we could mechanically modify by subtracting one or more of such groups. We prepared four different excerpts: one with the original version and three with modified versions. The project involved an empirical phase: we asked questions to two groups of 25 subjects: non musicians and musicians. We asked them to listen to 12 pairs of opposite emotional and sensorial adjectives graded from 1 to 7 and to choose among one or the other of the two opposite words. The verbal results have been interpreted in order to evaluate the contribution of the different instrumental groups on the global effect. In the first phase of the paper we will describe the responses of the subjects, in the second we will discuss differences between a number of selected spectrograms. 307

Hans Peter Reutter Robert-Schumann-Hochschule Düsseldorf hpreutter@gmail.com

 Session B

Hans Peter Reutter was born in 1966 in Ludwigshafen/Rhein and grew up in the south of Hessia. He is a composer, music comedian and theorist. He studied composition with György Ligeti (Hamburg, 1985-93), and music theory with W.A. Schultz, Christoph Hohlfeld and Christian Möllers. Since 1985 he has received awards for his microtonal compositions and had international performances with his music. Until 2005 he taught in Hamburg. Since 2005 he is professor of music theory at the Robert-Schumann-Hochschule Düsseldorf. His work includes papers and lectures (GMTh 2008-13, EuroMAC 2007 and 2011, Mendelssohn-Symposium Düsseldorf 2009) and articles on romantic and 20th-century music.

Renaissance Counterpoint as a Study of Melody or ‘The Anti-Gradus’

In most German music universities one can find ‘Renaissance Vocal counterpoint’ in the curriculum. Sometimes ‘Counterpoint’ forms a discipline of its own next to ‘Harmony’ and other theoretical subjects. This poses a problem for many students, because this subject deals with music outside their core repertoire, music that remains alien to some extent despite regular classes. Some teachers are not comfortable with this topic because of the pedagogical dominance of Fuxian counterpoint. Although generations of composers successfully have climbed this contrapuntal Parnassus, the question remains about how students might also best benefit from this journey. In this paper, I will examine which skills should be acquired with the means of vocal counterpoint in compulsory music theory. Next to the obvious aim of learning the most important strategies for interval treatment (which naturally have consequences in tonal music), and the formation of a stylistic sensibility in a clearly defined area, I argue that counterpoint is able to fill a painful gap in music theory to some extent. While there are studies of harmony, form and analysis, a study of melody has not been priorly established in the curriculum which is important because the formation of structures, emotional comprehension and the composition of melodies is of central concern for many students. Developed from the teaching tradition by Christoph Hohlfeld (mostly handed down orally, Hamburg 1970s - 80s), this paper examines the way in which this method of counterpoint (rules, analysis, form) - an elaboration of mostly Gregorian models - can be learned implicitly through creative exercises in the design of melody and setting (e.g. fugal imitation). Finally, I will examine the possibility of knowledge transfer, afforded by this method, to other styles. 308

Nicholas Reyland Keele University n.w.reyland@keele.ac.uk

 Session 12

Nicholas Reyland is Senior Lecturer in Music at Keele University. His research focuses, broadly, on the theory, analysis and criticism of music since 1900, and more specifically on Polish music (principally Witold Lutosławski), narratology, screen music, and theories of affect, emotion and embodiment. He has recently published two books, Zbigniew Preisner’s ‘Three Colors’ Trilogy (Scarecrow 2012) and the co-edited collection (with Michael Klein) Music and Narrative since 1900 (IUP 2013), plus articles in Music & Letters, Music Analysis, and Music, Sound and the Moving Image. Nick serves on the editorial boards of Music Analysis and Twentieth-Century Music.

Classing the Musical Body: Empathy, Affect and Representation in BBC TV’s The Royle Family As Jim Royle’s ever varying refrain in The Royle Family (“______ my arse!”) regularly reminds audio-viewers of the BBC’s critically acclaimed but controversial television sitcom (1998-), the specifics of this fictional family’s working class bodies are central to the series – and not merely as vehicles for the generation of scatological humour. Tabloid rants against the show’s warts and all depiction of family life in Manchester, however, were often blind to the political provocations of The Royle Family’s exceptionally sympathetic representation of British working class life. Presumably, such respondents were also deaf to the programme’s subtle deployment of popular music, which generates affective and other embodied responses that are channeled by the show to assist its induction of culturally subversive experiences of interclass empathy. To engage analytically with these functions of music in The Royle Family, however, is also to engage with a key challenge facing critical musicologists seeking to enrich theoretically engaged close readings (of screen music or any other repertoire) with reflections on affect and embodiment: the ostensibly unbridgeable divide between theories of affect and representation. Situated within, and contributing to, a discussion of those tensions, and drawing on the arguments of music and screen theorists concerned with affect, embodiment and subjectivity, but also authenticity, class, groove, untutored singing and vocality, this talk will analyse two musical sequences from The Royle Family: the ‘Mambo No. 5’ decoration scene and the tripartite performance of popular songs at Anthony Royle’s 18th birthday party. By demonstrating the integral role of musical affect in the programme’s short circuiting of British class consciousness, I will argue in favour of critical strategies seeking to short circuit the stand off between theorists of affect and embodiment, on the one side, and of narrative and representation on the other. 309

Miguel Ribeiro-Pereira Catholic University of Portugal miguel.rp@me.com

 Session 6B

Miguel Ribeiro-Pereira studied law and music (piano and organ diplomas) in Portugal; then philosophy and music at the University of Paris VIII-Vincennes (BA) and the CNSM (‘Premier Prix’ in music analysis and aesthetics). He earned his MA and PhD in music theory at Columbia University, and a postdoctoral fellowship at Yale University. He is currently professor and head of the postgraduate music theory program at ESMAE (Porto Polytechnic Institute); senior researcher and associate director of the Theory of the Arts Journal at CITAR (Catholic University of Portugal). He is the author of the book A Theory of Harmonic Modulation (2005).

Modulatory Consciousness: A Plastic Paradigm for Understanding the Conception and Perception of Tonal Space

The interest in grasping the phenomenon of tonality continues unabated today, perhaps even renewed, as evidenced by some recent studies (Cohn 2012; Tymoczko 2011; Rings 2011). In his latest work, however, Leonard Meyer (1989) recognized that one “cannot satisfactorily explain why the progression from subdominant [IV or ii] to dominant [V or vii] specifies a tonal center.” Is then this canonical progression in tonal music an age-old puzzling scriptum whose true meaning remains to be unraveled and still in need of a cogent rationale? Such indeed is my goal: to explain why and how that harmonic succession relates integrally (and intrinsically) to one central tone – the keynote. Developed from Aristotle’s understanding of nature as an inner principle of change and stasis, and Aristoxenus’ music theory of functional transformation in music (metabole), the fundamental cognitive principle of ‘modulation’ is comprehensively defined as the harmonic reinterpretation (or shift in tonal meaning) of any single tone or tonal pattern. Therefrom derives my Plastic Model of tonal syntax, whereby I seek to comprehend both the inner dynamics and overall logic of tonal syntax as a gradual process of harmonic transformation in growing dissonant context through the cadence. Ultimately, it is an archetypal representation of the keynote’s inner life. This seminal notion of modulation is extended up to the highest hierarchical level of the major-minor key system. This is the epitome of harmonic duality, which fully integrates the perception of the thirdinterval and its attendant modulatory, changing nature. The historical evolution of this twofold tonality – expressing a humanistic nature and a linguistic function – is eventually interpreted in terms of cultural consciousness. The following analytical triptych (Bach’s Inventio 1, Beethoven’s piano sonata Op. 10 No. 1, and Schumann’s lied ‘Auf einer Burg’) is meant to illuminate the full artistic scope of harmonic modulation in tonal music. 310

Marc Rigaudière Université de Paris-Sorbonne marc.rigaudiere@gmail.com

 Session 4A

Marc Rigaudière is Maître de conférences at the University Paris-Sorbonne. He specializes in the history of music theory in the 18th and 19th century, to which he devoted his work La théorie musicale germanique du XIXe siècle et l’idée de cohérence (Société française de musicologie, 2009). He also works in the field of critical edition (G. Fauré’s Requiem, Stuttgart: Carus-Verlag) and is the director of the Cahiers rémois de musicologie.

Heinrich Schenker’s Position in the Tradition of the ‘Formenlehre’ Although Schenker overtly ironized on some aspects of the traditional theory of forms, among others on the fact that it too often rests on the identification of themes or motives, turning some analysts into “MotivStatistiker” (Der Tonwille 1, 1921, 31), it is nevertheless obvious that his own analytical works until volume II of Das Meisterwerk in der Musik (1926) still largely make use of concepts and terminologies that belong to this tradition. Through the numerous quotations, often sarcastic, from the ‘literature’ in his study of Beethoven’s Ninth Symphony (1912) as well as in some essays in Tonwille and Meisterwerk, one knows which are the targets of his critique of existing theories, among which A. B. Marx and H. Riemann figure prominently. The list of works in his personal library also allows identifying other texts that Schenker knew. On the basis of the corpus which must have formed the theoretical background for Schenker’s ideas, I intend to trace links between Schenkerian analytical readings and the theoretical tradition from which they are supposed to take distance. I will also trace the origin of notions that recurrently appear in Schenker’s writings, such as ‘Gedanke’ or ‘Vordersatz / Nachsatz’. 311

Steven Rings University of Chicago srings@uchicago.edu

 Session 6A

Steven Rings is Associate Professor of Music and the Humanities at the University of Chicago, where he has taught since 2005. Rings’s research focuses on transformational theory, phenomenology, popular music, and questions of music and meaning. His book Tonality and Transformation won the Emerging Scholar Award from the Society for Music Theory in 2012. His current book project, A Foreign Sound to Your Ear, addresses Bob Dylan’s live performance practice. In other recent work, Rings has focused on the music of Gabriel Fauré and the writings of philosopher Vladimir Jankélévitch. Before becoming a music theorist, Rings was active as a classical guitarist, performing in the US and in Portugal, where he was Professor of Guitar at a conservatory in the Azores.

Transformational Theory and Empirical Research on Tonality

This talk will situate the analytical models presented in my book Tonality and Transformation (Oxford, 2011; hereafter T&T) with respect to empirical, historical, and corpus-based research into tonality. At the heart of T&T are transformational models that speculatively reconstruct certain basic aspects of tonal experience. One draws on concepts of tonal qualia: the ‘raw feels’ that pitches take on when they are heard as tonal scale degrees. The other is based on the idea of tonal intention: the directedness of the listener’s hearing towards a tonic. While these concepts have certain points of contact with work in music cognition and perception, T&T is not scientific or empirical in its intellectual commitments; it is instead a contribution to hermeneutic music theory, in which models of musical experience are deployed in a range of interpretive contexts. T&T also differs from other recent work on tonality that is based in corpus studies. While such work seeks to determine statistical regularities in the tonal practice of given historical eras by studying vast numbers of works (usually algorithmically), T&T is more traditionally ‘humanistic’ in its focus on close readings of single works. Nevertheless, there are suggestive points of contact between T&T and such empirical and corpus-based studies. For at the core of T&T are some basic notions about what tonal phenomenology is like at the local, granular level of experience; such ideas can complement the broader, repertory-general claims of empirical and corpus studies, translating their findings into insights into individual passages and works. Moreover, the findings of corpus theorists suggest that modes of tonal hearing have by no means remained stable over the centuries. Rather, tonal experience has always been historically contingent, shaped by the statistical regularities of the repertories of given eras. These insights into the historical mutability of tonal hearing suggest era-specific refinements to certain of the models in T&T, some of which are adumbrated in the book, and which I will explore further in my talk. 312

David Rizo University of Alicante drizo@dlsi.ua.es

ď ľ Session 9A

David Rizo has been a part-time lecturer in the Department of Software and Computing Systems of the University of Alicante (Spain) since 2002, teaching formal computer languages and user-centered design. He received his PhD in Computer Science working on symbolic music representations for similarity measurement. Besides his PhD topic, he has researched mainly into music information retrieval: computational models for tonal music analysis, genre classification, and melody description and extraction from polyphonic sources. Currently, he is working on computer systems for the encoding of old Spanish musical sources.

Interactive Music Analysis Automatized computer music analysis has been performed so far mainly using classical artificial intelligence / pattern matching techniques with little or no user interaction in the decisions. Many of the problems that lie inside the music analysis area either donâ&#x20AC;&#x2122;t have a unique valid solution, or this solution can be classified more as an exception than a rule. In recent years, the theoretical studies on interactive pattern matching have proved that for this sort of situation, the interaction of the user can lead to new levels of accuracy besides increasing the usability of the systems. In this work we explore the use of interactive pattern matching techniques to two problems: tonal music analysis focusing on the melodic analysis phase, and the similarity analysis between works. 313

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

 Session 2A

Stefan Rohringer is currently Professor of Music Theory at the Hochschule für Musik und Theater München. He completed his studies in music education, piano, music theory, musicology and history in Cologne. He published numerous articles on music pedagogical and music theoretical topics. From 2004 to 2008 he served as President of the ‘Gesellschaft für Musiktheorie’ (GMTh). Since 2006 he serves as a co-editor of the Zeitschrift der Gesellschaft für Musiktheorie (ZGMTh).

Schemata and Holism

Following the questions raised by New Musicology in the 1990s, an extensive discourse has developed around terminology and the meaning(s) of ‘unity’ within and for musical analysis (James Webster, Robert P. Morgan, Daniel K. L. Chua, Jonathan D. Kramer, Robert Fink, Fred E. Maus, Richard Cohn & Douglas Dempster, David Lewin …). In German music theory, the debate circled mostly around Schenkerian analysis and the concept of ‘functionality’ (Michael Polth, Martin Eybl, Oliver Schwab-Felisch, Stefan Rohringer). But also in other music-theoretical traditions, e.g. in historically informed music theory, especially in the context of ‘Modellanalyse’, we can observe a mostly implicit reference to the question of holistic thinking (in German music theory: Markus Janz, Ludwig Holtmeier, Felix Diergarten, Johannes Menke). In all these contexts, we can observe different aesthetic positions that are communicated more or less openly. To bring these discourses together and stimulate further debate, I will begin with a short overview of recent work on holism and related subjects in humanities and sciences, with an emphasis on the Germanophone context. I will then connect these discourses with music theoretical concepts and their development, with an emphasis on the theoretical prerequisites of ‘Satzmodelle’ and schema theory. 314

Martin Rohrmeier Massachusetts Institute of Technology mr1@mit.edu

ď ľ Session 2A

Martin Rohrmeier studied Philosophy, Musicology and Mathematics at Bonn University (Germany). He received his MPhil on musical corpus analysis as well as his PhD on experimental and computational approaches to implicit learning of musical structure from the University of Cambridge (UK), under the supervision of Ian Cross. He continued working on computational modeling and neuroscience of music with Thore Graepel, Microsoft Research, Cambridge (UK), and Stefan Koelsch, Freie UniversitĂ¤t Berlin. Since 2013 he joined MITâ&#x20AC;&#x2122;s Intelligence Initiative led by Josh Tenenbaum and Tomasio Poggio and works on theoretical and computational models of the syntax of tonal music.

Processing of Hierarchical Structure and Non-Local Dependencies in Tonal Music A recent study explored whether listeners perceived nonlocal dependencies using an EEG paradigm. Participants listened to original materials from two chorales by J.S. Bach as well as modified versions, which violated nonlocal dependencies while local structure was kept intact. Musicians and nonmusicians were found to be sensitive to the subtle differences between regular and irregular sequences suggesting that cognitive processes are involved that are sufficiently powerful to deal with long-distance dependencies. Additional converging computational evidence underpins that probabilistic predictive models and context-free grammars plausibly capture features of learning and processing of nonlocal musical structure. From an overarching cognitive perspective it would be surprising if the cognitive mechanisms involved in processing complex musical structure were distinct from processes that deal with hierarchical structure in language and other cognitive domains. Accordingly, music theoretical debates concerning the complexity of schema theory and principles of musical structure building may benefit from contact and contextualization with comparable insights from linguistics as well as (neuro)cognitive evidence concerning human processing capacities. 315

Uri Rom Tel Aviv University urom@post.tau.ac.il

 Session 4C

Born in Israel, Uri Rom studied conducting in Tel Aviv and Berlin, where he also received a diploma in music theory. In 2011, he completed his PhD (summa cum laude) at the Humanities Faculty of Berlin’s Technical University, writing on keyrelatedness as a driving force in Mozart’s compositional process. Beside activities as a composer and conductor, he also regularly presents at various international conferences (e.g., at the EUROMAC 2011 and at the 2011 SMT annual meeting). Since October 2011, he teaches as an assistant professor for music theory at The Buchmann-Mehta School of Music at Tel Aviv University.

The Pitfall of Diachronicity: ‘Explicit’ vs. ‘Implicit’ Musical Temporality

Because music progresses through time, we tend to take for granted that any analytical reduction of it must achieve a coherent representation along the time axis as well (Rom 2011). However, this assumption should be taken for what it is: a tacit, but by no means self-evident presupposition. To be sure, the temporal dimension of a given musical piece may demonstrably interact with its musical substance. William Caplin’s assertion that constituent time-spans express their location within musical time by way of their intrinsic properties (2009) is generally sustained by analytical and, more recently, by cognitive studies (e.g. Vallières 2009). However, while occasional discrepancies between the temporal position of a given passage and its intrinsic structural properties (see, e.g., Meyer 1973) do not necessarily undermine the role of temporality in determining musical form, I propose that comparative analysis, especially when aiming at statistical evaluation, requires a clearer distinction between ‘implicit temporality’, that is, the temporal position of a given passage as suggested by its intrinsic attributes, and ‘explicit temporality’. As will be demonstrated by an in-depth examination of one particular harmonic phenomenon (‘minorization’) in Mozart’s instrumental sonata-form movements, analogous timespans – in terms of ‘implicit temporality’ – may occur at very different positions along the piece’s ‘explicit’ time line. While such concepts as Hepokoski’s and Darcy’s ‘sonata trajectory’ (2006), asserting an essentially diachronic view of sonata form, admittedly appeal to our intuitive notion of musical linearity, they may, at the same time, hinder our perception of analogies between passages sharing ‘implicit’ – but no ‘explicit’ – musical temporality. Furthermore, a sample survey of Mozart’s sonata-allegro movements of differing sizes suggests a statistically meaningful correlation between a movement’s size and its degree of ‘formal irregularity’, i.e., more ‘monumental’ movements tend to abound in irregular ‘leaps’ along the ‘implicit’ musical time line. 316

Jérôme Rossi Université de Nantes je.rossi@wanadoo.fr

 Session 13

Associate Professor at the University of Nantes, Jerome Rossi is the author of numerous articles dedicated to post-romantic music, as well as to the links between music and cinema. His book about the English composer Frederick Delius gained the ‘Prix des Muses de la Biographie’ in 2011.

Un modèle debussyste? À propos de quelques phénomènes de duplications dans la musique de Frederick Delius/ Debussy as Model? Concerning some Duplication Phenomenas in Frederick Delius’ Music The language of Debussy is often praised for its subtle use of duplication – a process halfway between repetition and transformation. Strategies of camouflage, adaptation, fusion appear to be the sources of the innovative language of the composer and have formed the subject of several studies: we think of André Schaeffner, Nicolas Ruwet, or more recently Sylveline Bourion. This phenomenon of duplication in mind, we propose to study a few scores of a contemporary ‘secondary musician’ of the French master, Frederick Delius, English composer born like Debussy in 1862. We’ll deliver some analytical reflections based on paradigmatical analysis, not in order to show once again Debussy’s superiority but to acknowledge the generalization of this method in the music of the time and to demonstrate the singularity of certain proposals. 317

Jeanne Roudet Université de Paris-Sorbonne jeanne.roudet@paris-sorbonne.fr

 Session 13

Senior Lecturer at Paris-Sorbonne University, member of IReMus (CNRS/ParisSorbonne/BnF), her publications focus on musical aesthetics in the 18th and 19th centuries and the relations between sources and performance. She authored with Jean-Pierre Bartoli L’Essor du romantisme: la fantaisie pour clavier de CPE Bach à F. Liszt (Vrin, 2013)

A thorough analysis of a neglected genre by theoretical tradition may lead to a revaluation of current models. The ‘free fantasy’ repertoire for keyboard from the 18th and 19th centuries is most exemplary. Our book, The Rise of Romanticism: The Fantasy for Keyboard from C.P.E. Bach to F. Liszt (L’Essor du romantisme: la fantaisie pour clavier de Carl Philipp Emanuel Bach à Franz Liszt) (Paris, 2013), invites to reconsider the role of this genre in the musical production during this time. With the exception of certain works carefully selected (Mozart’s Fantasie K. 475, Chopin’s Op. 49 for instance), the major theorists have deliberately or not chosen not to take their models in this set of works despite its coherence, or not to draw examples to present or to defend their theories. The exclusion of these works, despite the great impact in their time (like Hummel’s Fantasy Op. 18, or those of C.P.E. Bach), is very meaningful. The history of fantasy calls into question the ‘discourse’ about classical style – monument erected to the glory of the Viennese School, reinforced at the beginning of the 20th century, taken up by Charles Rosen during the full development of the structuralism thought, while focusing on sonata form dialectic and other genres deriving from it. Likewise the study of the fantasy threatens the very foundations of the romantic generation expression used to refer to the most prominent composers born in the 1810s. The analysis of fantasies, either harmonic or formal, not only allows questioning the chronological segmentation currently used to represent the music history at the turn of the 18th to the 19th centuries, but also invites to a new way of analysing. So rhetorical analysis (using the general semiotics tools), topical analysis and paradigmatic analysis can combine forces to give a full account of these works’ plots. 318

Jessica Rudman City University of New York, Graduate Center jrudman@gc.cuny.edu

 Session 9B

Jessica Rudman is a PhD student in music composition at the City University of New York Graduate Center, where she has worked primarily with Tania León (composition) and Joseph Straus (theory). Her research interests include transformational theory, 20th-/21st-century music, and the work of female composers. She has presented at regional and national conferences including the New England Conference of Music Theorists, the West Coast Conference of Music Theory and Analysis, and the Society for American Music. She is currently completing a dissertation applying transformational theory to the music of Ellen Taaffe Zwilich.

Panel 3: Ugly Step-Sisters: A Scale-Theoretic Examination of the Greek Genera Though few fragments of musical notation from Ancient Greece survive, contemporary descriptions and theoretical discussions agree that such music relied on three tetrachords—known as the diatonic, chromatic, and enharmonic genera—from which scales were derived. The diatonic genus includes a half-step followed by two whole-steps and is the foundation for the major/minor modal system upon which Western art and popular music has been based for centuries. The chromatic (two semitones plus a minor third) and the enharmonic (two quarter-tones and a major third) also can be used to build seven-note scales, yet those collections fell out of favor after the time of the Ancient Greeks. While the diatonic has been thoroughly covered in the theoretical literature, the collections built on the other genera have not received nearly as much attention. My research attempts to rectify that situation by applying to the other two Greek genera criteria previously discussed in relation to the diatonic. By examining the scales of all three Greek genera through a variety of approaches, I hope to stimulate renewed interest in the chromatic and enharmonic as both important historical artifacts and viable compositional resources. 319

René Rusch McGill University rene.rusch@mcgill.ca

 Session A

René Rusch is assistant professor of music theory at the Schulich School of Music, McGill University. In addition to specializing in the music of Franz Schubert, Rusch’s research interests include 19th-century chromaticism, Schenkerian theory and analysis, and jazz theory. Her work has appeared in several journals, including Music Analysis, the Journal of Music Theory, and Music Theory Online.

Schubert’s Four-Key Expositions? Another Look at the Composer’s Sonata Form Practice through a Form-Functional Analysis of D575, i, and D667, ii

Among the scholarship on Schubert’s approach to sonata form are brief references to movements that appear to contain a four-key exposition. That the very notion of a four-key exposition has not been pursued beyond the modest attention afforded in footnotes and short paragraphs perhaps conveys the extent to which the idea is understood to be peripheral to Schubert’s sonata forms, if not questionable under the rubric of certain Formenlehre theories. Yet, as this paper suggests, even these supposed formal outliers can tell us something about Schubert’s sonata practice, especially with respect to his three-key expositions. This paper examines two of Schubert’s four-key expositions––Piano Sonata in B major, D575, i (1817) and Piano Quintet in A major, D667, ii (1819; n.b., sonata form without development)––using Caplin’s theory of classical form as a point of departure. I discuss the problem of closure in these four-key expositions, and speculate why the composer’s threekey expositions represent a viable solution. The paper also considers the broader question as to whether Schubert’s formal innovations arose from an effort to expand sonata form archetypes or, emerged instead as a consequence of his experiments with tonality. 320

Giorgos Sakallieros Aristotle University of Thessaloniki sakallieros@gmail.com

 Session 5C

Giorgos Sakallieros (musicologist – composer) is Assistant Professor of Historical Musicology at the Aristotle University of Thessaloniki. His academic qualifications include: a BMus in Musicology (Aristotle University of Thessaloniki), and a PhD in Music (University of Athens). His book Yannis Constantinidis (1903–1984): His Life, Works and Compositional Style was published by the Thessaloniki University Studio Press in 2010. His musicological research focuses on the field of Greek art music (19th-20th centuries). His forthcoming monograph, Dimitri Mitropoulos and His Works in the 1920s. The Introduction of Musical Modernism in Greece, will be published in 2015 by the Hellenic Music Centre.

Dimitri Mitropoulos’s Passacaglia, Intermezzo e Fuga (1924): Introducing Musical Modernism in Greece The introduction of atonality and dodecaphony in Greek art music was initiated by Dimitri Mitropoulos, between 1924-27, with three consecutive works: Passacaglia, Intermezzo e Fuga for piano (1924), 14 Invenzioni for voice and piano (1925-26), and Ostinata in tre parti for violin and piano (1926-27) – the latter being the first work by a Greek composer in which twelve-tone technique was systematically incorporated. The origins of such a creative reform, abruptly divergent from the late romantic, impressionistic, and selective, nationalistic tendencies Mitropoulos had mainly been expressing until 1920, can be found in his three-year sojourn in Berlin, where the young pianist and aspiring composer was associated with and influenced by the progressive musical circles of Busoni and, possibly, Schoenberg. This paper focuses on Mitropoulos’s Passacaglia, Intermezzo e Fuga, and its aim is twofold. First, an analytical approach is applied in order to elucidate the innovative structural elements that constitute each movement of the work. Emphasis is given to the linear pitch progression, intervallic symmetries, chordal patterns, chromaticism, contrapuntal elements and the application of baroque forms within an atonal musical language. This is followed by an exegetical commentary, which discerns the ideological and stylistic elements Mitropoulos adopted from the progressive cultural background of inter-war Berlin, Busonian ‘New Classicality’ and Second Viennese School expressionism. The impact of those influences in the Athenian musical life of the mid- and late 1920s and the establishment of an indigenous musical modernism by Mitropoulos are also explored. 323

Frank Samarotto Indiana University fsamarot@indiana.edu

 Session 4A

Frank Samarotto is Associate Professor of Music Theory at Indiana University Bloomington. He was a workshop leader at the Mannes Institute for Advanced Studies, as well as at the first conferences in Germany devoted to Schenkerian theory and analysis held in Berlin, Sauen, and Mannheim in 2004, and gave a week of lectures on musical time at the Sibelius Academy, Helsinki in 2007. He has been a visiting scholar at Emory University, the Penn State School of Music, Bowling Green State University, Notre Dame, McGill University, and Yale University, and a keynote speaker at the Annual Music Theory Forum at Florida State University. He is currently working on a book on Schenkerian theory and analysis.

The ‘Urlinie’, Melodic Energies, and the Dynamics of Inner Form

The ‘Urlinie’ may be thought to be the guarantor of coherence in a tonal work but it is less clear that it is a motivator of form. Two issues concern me here: Viewed energetically, the ‘Urlinie’, being a descending melodic line, enacts a decrease in energy. This is obviously not a plausible hearing of the overall shape of most tonal pieces. Moreover, the ‘Kopfton’ of the ‘Urlinie’ may remain in effect for most of a piece, suggesting a counterintuitively static picture. Obviously many factors, rhythmic, textural, formal, may counteract this stasis. This paper, however, will consider one aspect little recognized: the injection into the ‘Urlinie’ of conflicting melodic energies as a way of shaping the internal dynamics of a work and motivating its unfolding. Beginning with suggestive comments by Schenker, this paper examines the ways in which surface diminutions may infuse energy into the static ‘Kopfton’, at once digressing from it and sustaining it. Examples from the Baroque, particularly those not following any clear formal schema, will be particularly instructive. This project looks forward to a larger goal of reconsidering the role of the Schenkerian background in shaping the inner form of tonal music. 324

Giorgio Sanguinetti University of Rome - Tor Vergata giorgio_sanguinetti@fastwebnet.it

 Session 2B

Giorgio Sanguinetti teaches at the University of Rome-Tor Vergata. His area of research covers the history of Italian theory from the 18th to the 20th century, Schenkerian analysis, analysis and performance, form in 18th-century music, opera analysis. As a pianist he has performed as soloist and in chamber groups. His book The Art of Partimento. History, Theory and Practice (New York, Oxford University Press 2012) received in 2013 the Wallace Berry Award by the Society for Music Theory.

The Bolognese Partimento School and its Influence on Donizetti and Rossini It is well known that the partimento tradition flourished in the Neapolitan conservatories, but Naples was not the only Italian musical center in which partimenti were composed and used for teaching: another important school was established in Bologna by Giovanni Battista Martini (1706-1794) and his pupil, Stanislao Mattei (1750-1825). Martini, who wrote an admired counterpoint treatise, Esemplare (177475), also left an unpublished collection of partimenti, now housed in the Estense library, Modena. Mattei’s partimento output was much more influential, and his most important (and only published) work, Pratica d’accompagnamento sopra bassi numerati e contrappunti (Bologna, 1825) enjoyed a fame comparable to Fenaroli’s Partimenti e regole musicali. Mattei become one of the most respected teacher of his time, and had among his pupils two of the greatest Italian opera composers, Gaetano Donizetti and Gioachino Rossini. Part I of Pratica d’accompagnamento consists of a series of partimenti arranged by all major and minor keys. Each partimento is preceded by a ‘cadenza’: this is a four-bar harmonic progression whose purpose is to epitomize some typical tonal motion. The style of Mattei’s partimenti is different from that of the Neapolitan school. They are consistently figured, explore remote tonal regions, and have a certain Romantic allure that one would not expect from a Franciscan monk who was often criticized (by his own students) for being overly conservative. The proposed paper aims to trace the influence of Martini and Mattei’s teaching of partimento on the works of Donizetti and Rossini, through the analysis of selected passages of operas and sacred works of the latter, and a comparison with the partimenti of their teachers. 325

Katelijne Schiltz UniversitĂ¤t Regensburg katelijne.schiltz@gmx.de

ď ľ Session 3A

Katelijne Schiltz studied musicology at the University of Leuven and Early Vocal Music at Tilburg Conservatory. From 2001-2007 she was postdoctoral fellow of the Flemish Research Foundation, from 2008-2010 she did research with a grant from LMUexcellent. Her monograph Music and Riddle Culture in the Renaissance will be published by Cambridge University Press. Together with David J. Burn, she co-edits the Journal of the Alamire Foundation. Since 2013 she is professor of musicology at the University of Regensburg.

326

Janet Schmalfeldt Tufts University janet.schmalfeldt@tufts.edu

 Session 4B

Janet Schmalfeldt has taught at McGill University and at Yale, where she was awarded the Clauss Prize for Excellency in Teaching in 1993; she joined the Music Department at Tufts University in 1995. She is the author of a book on Alban Berg’s Wozzeck and has published widely on late 18th- and early 19thcentury music. Her book In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music (2011) received a 2012 ASCAP – Deems Taylor Award and the 2012 Wallace Berry Award from the Society for Music Theory. Her performances as pianist have included chamber, concerto, and solo music.

Beethoven’s ‘Violation’: His Cadenza for the First Movement of Mozart’s D-Minor Piano Concerto Studies of Mozart’s Concerto No. 20 in D Minor, K. 466, and especially of commentaries on Beethoven’s cadenza for its first movement prompt this analyst to investigate their claims, in preparation for her first performance of the concerto. Roughly twenty-four years span the interval between Mozart’s completion of K. 466 in 1785 and Beethoven’s cadenzas for its first and last movements: it is now believed that he wrote all of his concerto cadenzas in 1809, thus well after he had published all but one of his own concerti. For Richard Kramer, it would be too simple to dismiss Beethoven’s outrageously Beethovenian (rather than echt Mozartean) K. 466 cadenzas “as an aberration foreign to the style”. Something more personal is at hand—an agenda, a confrontation, an assault; Beethoven overtly ‘violates’ his Mozartean legacy (Kramer 1991; 2008). Hardly irrelevant to the question of Beethoven’s agenda is the measure of his engagement with Mozart’s text—its formal, motivic, and dramatic content; about this Kramer agrees. Might Beethoven have responded even more deeply to that text than has hitherto been recognized? His fingers and ears might easily have discovered the remarkable, even novel, motivic relations that Mozart’s opening solo idea generates not just within the first movement but also within the finale—relations that for Charles Rosen (1971; 1998) are “almost too obvious”. Broadening the context of Matthew Bribitzer-Stull’s 2006 voice-leading graph of the cadenza further suggests that Beethoven grasped what Heinrich Schenker, more than a century later, would call ‘the primary tone’, repeatedly prolonged by its upper neighbor. Beethoven’s ‘last word’ in the cadenza throws that tone and its neighbor into impassioned relief, and his overwhelming conclusion simply must be understood to achieve the movement’s essential structural close (ESC). Given such details, pianists who choose to play Beethoven’s cadenza might find new impetus for the challenge of performing ‘Beethoven’ and ‘Mozart’ in synergy within a single movement. 327

Gesine Schröder Universität für Musik und darstellende Kunst Wien schroeder@mdw.ac.at

 Session 6C

Dr. Gesine Schröder studied in Berlin (i.a. with Dieter Schnebel and Carl Dahlhaus). She is interested in the theory and practice of orchestration, counterpoint around 1600, gender studies (especially men’s choir research), and new music. As a visiting lecturer Schröder taught in Beijing, Oslo, Paris, Poznań, Santiago de Chile, and Wrocław. President of the GMTh.

The Sinicization of Riemann’s Concept of Harmony via Soviet Music Theories (with Ying Wang)

The transfer of European music theories to the East has been a subject of music theoretical research in a few cases that concern the reception in Russia. But we only have basic information about the situation in China. Hugo Riemann’s concepts of harmony served as the basis of a textbook by Igor Sposobin and three other authors that has been published during Stalin’s era in the Soviet Union. In fact, this book was a mixture: it included ideas from other Central European and Russian thinkers such as Louis & Thuille, Javorskij and Katuar. It was the starting point for a cultural initiative, to which the Soviet Union involved nearly all other socialistic brother states after the World War II. Sposobin’s treatise survived its historical provenance. Even today the treatise is widespread and commonly used, among other places, in mainland China. This paper explores the differences between the Russian version of Sposobin’s textbook and the version, translated into Chinese and adapted to Chinese purposes. On its way to the East the main characteristics of Riemann’s concept became more and more lost. This concerns the idea of duality of major and minor modes, the expression of this idea via the designation of third related chords and the image of the sixth, added as a dissonance to a subdominant chord. On the other hand new adaptations of Sposobin’s concept not only allow a widespread practical usage in China by analysing the so-called common practice literature, but proved to be sometimes even applicable to the music of new Chinese composers, most of whom were trained in Sposobin’s method. 328

Michiel Schuijer Conservatory of Amsterdam michiel.schuijer@gmail.com

Guest Lecture VvM

Michiel Schuijer is head of research and study leader of the Department of Composition, Conducting and Music Theory at the Conservatorium van Amsterdam. He studied music theory at the Royal Conservatoire in The Hague and musicology at Utrecht University. In 1999 he co-founded the Society for Music Theory, and from 2007 to 2011 he was editor-in-chief of the Dutch Journal of Music Theory. Schuijer focuses his own research at the juncture of music theory and historical musicology. His book Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts was published in 2008 by University of Rochester Press. He is currently working on a project that addresses the European conservatoire as a social and cultural phenomenon.

Music Theorists and Societies What theory should music theorists teach and how? And what relation does music theory bear to other disciplines, such as performance, composition and musicology? These questions have been a source of much debate and agony within the music theory community. I have long thought that this lack of disciplinary unity was peculiar to music theory. My paper is inspired by my realization that it is not. Similar battles have been fought in other branches of professional life, such as in economics and nursing â&#x20AC;&#x201C; two disciplines I will expand upon. And similarly, these battles find their origin in cultural and institutional differences between societies. However, this is no reason to sit back and relax. There is a vast literature on the establishment of professional authority, and there are lessons to be learned from it. I will begin by noting some parallels between the development of music theory and economics in the United States, France, and Britain, respectively. Using the French institutional landscape of the 1990s as an example, I will distinguish between music theory as a profession and music theory as a field (which implies that there is music theory that music theorists do not profess). Subsequently I will point out the main elements of the sociological discourse on professionalization, and use these as a backdrop for a comparison of music theory and nursing. However unlikely that comparison may appear, it is instructive to see that both nurses and music theorists have claimed ownership of a field they originally shared with other groups, i.e., doctors, and performers, composers or musicologists, respectively. 329

Oliver Schwab-Felisch Technische Universität Berlin oliver.schwab-felisch@tu-berlin.de

 Session 2A

Oliver Schwab-Felisch is lecturer at the Technical University Berlin, teaching there since 1998. He co-edited several publications, among them Zeitschrift der Gesellschaft für Musiktheorie (2005–2009), Musiktheorie(Handbuch der Systematischen Musikwissenschaft, vol. 2) (2005), and Individualität in der Musik (2002). His publications on topics of music theory and musicology have appeared in Musiktheorie, Zeitschrift der Gesellschaft für Musiktheorie, Archiv für Musikwissenschaft, and Tijdschrift voor Muziektheorie, as well as in various anthologies. 2004–2008 he was vice president of the Gesellschaft für Musiktheorie. Currently he is working on a book on Schenkerian analysis and theory.

Distorted Instances. Listening to Schemata in Beethoven and Schubert

Definitions of musical schemata as given by Gjerdingen (2007) either stem from historical music theory or are modeled after its leading principles. Accordingly, any description of a schema‘s particular instance should involve considering historical sources. As debates on historicism have shown, however, relying solely on historical material bears its own difficulties. Historical analyses, for example, do not simply mirror listening experiences but also depend on theoretical concepts. Historical music theory, in turn, keeps silent regarding the procedural knowledge employed in acts of composing (Temperley 2006). Reconstructing listening in the early 19th century is a particularly intricate task. The concept of organic form, as developed by C.F. Michaelis (1795ff.) and others, changed the status of realtime-perception in music. In order to mentally represent a whole piece and to gain a full understanding of its particular details, repeated listening became necessary. Ideally, listening was complemented by reading the score and playing excerpts of the music under consideration. At the same time, as becomes evident in the early reception of Beethoven‘s compositions, realtime-listening could generate experiences of incomprehension and mental overload even in educated listeners. Two sorts of excerpts from compositions by Beethoven and Schubert shall be discussed: first, instances of conventional schemata that must be estimated as distorted; second, passages that can be perceived as distorted schemata but actually are of a non-schematic origin. In both cases it may turn out that neither historically informed listening nor an exclusively historistically orientated analysis can sufficiently shed light on the structural peculiarities of a piece. Given our contemporary interest in understanding historical compositions in their own right, then, historically informed analysis can not be estimated as an end in itself but as an indispensable interlocutor in a dialogue between times and analytical approaches. 330

Markus Schwenkreis Schola Cantorum Basiliensis schwenkreis@bluewin.ch

 Session 2B

Markus Schwenkreis studied church music in Augsburg (Germany) and specialised during his studies at the Schola Cantorum Basiliensis in Early Music (organ: JeanClaude Zehnder; improvisation: Rudolf Lutz; theory of Early Music: Markus Jans, Dominique Muller). Presently he is teaching at the same institute improvisation on historical keyboard instruments and theory, organises the Studientage Improvisation, which are taking place there each year in springtime, and is preparing the edition of the Kompendium Improvisation, a publication on theory and methods of improvisation in the styles of 17th and 18th century.

“In no art rules solely will turn you into doctors” The rediscovery of the Neapolitan tradition of teaching harmony and its ‘theory’ has had in the recent years a strong influence on the analysis of 18th-century music, especially in America and German speaking countries. So-called ‘schemata’ have been taken up as analytical tools by many writers. However it is mostly ignored that they were originally conceived as means for teaching composition and improvisation in a highly practical manner. Especially the collections of ‘partimenti’ were mainly compiled to provide the student with the material, which he could use to enhance his basic skills in composition by applying the rules learned in advance to set out the given basses. During this studies he was usually coached by an experienced maestro or advanced student. The Neapolitan training course follows thus the principle described by Heinichen: “Hand müsset ihr anlegen, wenn ihr was rechtes im General-Bass, in der Composition und in jedweder Wissenschafft profitieren wollet, denn die Regeln alleine können euch in keiner Kunst zu Doctors machen“ (Heinichen 1728, S. 767). This workshop will focus on setting-out a choice collection of partimenti from Fedele Fenarolis Partimenti ossia basso numerato (Reprint Bologna 1975). It will follow the systematic order of this collection by applying a growing corpus of regole (cadences, octave-rule, bass-seqences etc.) to the original basses. Aspects of figuration (motivic coherence, broken harmonies, planning of positions) and variation, which are – since they were part of the oral tradition – usually not mentioned in the traditional sources, will be discussed and practically put to the test. This work effected by the participants’ team will possibly shed light on the quality of a certain idea of musical ‘knowing’ (in the sense of Michael Polanyi, The tacit dimension, New York 1966) that was imparted by the masters of the Neapolitan conservatories and could be claimed the constructive counterpart to analytical ‘knowledge’. 331

Ciro Scotto University of South Florida cscotto1@usf.edu

 Session H

Ciro Scotto’s research in music theory includes creating compositional systems, producing analyses and theoretical models of the music of the 20th and 21st centuries, mathematics and music, and rock music, especially in the area of timbre. He has published articles in Contemporary Composers, Perspectives of New Music, Music Theory Online, and the Journal of Music Theory. Besides his theoretical work, he is an active composer. His teachers include John Rahn, Richard Swift, Jonathan Bernard, James Beale, Peter Erös, Gunther Schuller, and Milton Babbitt. His prior teaching positions include the Eastman School of Music (1997-2009), and the University of Texas-Austin (1995-97).

Harmonic Process and Formal Structure in Some Recent Music by Boulez

This paper models the harmonic process and formal structure of two relatively recent works by Pierre Boulez, incises (1994, 2001) and sur incises (1996, 1998) and compares their structure to the serial and pitchclass multiplication techniques of earlier works, such as Le marteau sans maître (1954). While the theoretical literature modeling the serial processes in the early works provides some insight into their harmonic and formal structures, very little has been written about recent compositions. Boulez appears to abandon the technique of pitch-class multiplication for generating pitch-class sets and the serial techniques that structured his early works in favor of a more gestural and controlled chance technique in the later works. My forthcoming publication in Perspectives of New Music, however, connects Boulez’s earliest serial works to his most recent works through transpositional combination, an operation that generates pitch-class sets. Moreover, the article proves the formal and functional equivalence of pitch-class multiplication and transpositional combination, so the latter operation not only generates the domains and serial structures of Le marteau sans maître, but also many of the harmonic pitch-class structures in Sur incises as well. Since the theoretical foundation for transpositional combination is transformation theory, the latter theory provides additional tools for modeling harmonic processes and formal structures. In the earlier works, transpositional combination and Boulez’s unique serial structures create a compositional space, a structured topology of pitch-class sets that provides a logical global framework for the progression of domain pitch-class sets. This paper constructs a new global framework for the later compositions that replaces the serially generated framework with a transformational network. Nevertheless, the latter theoretical construct exhibits many similarities to the earlier serial compositional space, such as a logically constructed global framework that allows for local indeterminacy. 332

David Sears McGill University david.sears@mail.mcgill.ca

 Session 4C

David Sears obtained Bachelor’s degrees in Music Theory and English Literature at the University of Arkansas. Currently a PhD Candidate in Music Theory at McGill University, his dissertation examines the perception of closure in music of the classical style using both experimental and corpus-analytic methods, and drawing from theories of implicit (statistical) learning, schema theory, and expectation. He won the Grand prize for student research at the 2011 meeting of the Society of Music Perception and Cognition (SMPC 2011) and has presented several papers at international conferences in North America and Europe.

The Classical Cadence in Context: A Corpus Study of Haydn’s String Quartets In the history of music theory, the concept of closure has occupied a central position for centuries. Despite the seemingly exhaustive treatment this topic has received, particularly for music of the classical period, the lack of consensus as to how composers articulate endings in the classical style has prompted renewed activity from the scholarly community over the last few decades, leading to considerable refinement of the cadence concept. Yet in spite of such intense theoretical scrutiny, it remains unclear how cadential patterns and the boundaries they generate are perceived in the context of music listening. In this paper I provide a temporal framework consisting of two stages to examine how listeners hear cadences: a prospective stage, in which various musical parameters within the cadential progression contribute to the formation of schematic expectations for cadential arrival; and a retrospective stage, in which parameters both at and following cadential arrival serve to elicit, reinforce, or weaken the boundary percept after the fact. To examine cadences that appear in a variety of temporal contexts, I apply this framework to a corpus of 50 sonataform expositions derived from Haydn’s string quartets. Along with the score, I have also annotated scale degrees, modulations, cadences for which the cadential arrival is present (i.e., perfect authentic, imperfect authentic, half, deceptive, and evaded), and inter-thematic functions. I first examine the musical parameters in the prospective stage for each cadence in the corpus—e.g., a trill above the penultimate dominant, a cadential six-four, etc.—to consider the degree to which these parameters function as rhetorical ‘signposts’ for the impending cadential arrival in Haydn’s compositional style. Next I consider how principles of segmentational grouping in the retrospective stage serve to confirm or revise the previous schematic representation after the fact. 333

Maksim Serebrennikov Rimskij-Korsakov Conservatory max.sereb@mail.ru

ď ľ Session 6C

Dr. Maksim Serebrennikov studied at the Rimskij-Korsakov Conservatory in St. Petersburg. He is the head of the Rare Book Department at the conservatoryâ&#x20AC;&#x2122;s library and he teaches harmony. His main interests lie in the history and theory of baroque music, questions of performance practice and the history of Russian music theory.

Response to the presentations of Philip Ewell and Imina Aliyeva

334

Hugues Seress Université de Paris-Sorbonne hseress@club-internet.fr

 Session 6A

Graduated in music theory and history, analysis, harmony, counterpoint, linguistic, and musicology from the Institut National des Langues et Civilisations Orientales and the University of Paris-Sorbonn, Hugues Seress teaches music theory and analysis at the Conservatoire à Rayonnement Départemental of Châtellerault and Vitré, at the University of Paris-Sorbonne, and at the Centre d’Etudes Supérieures de Musique de Poitiers. As a researcher at the Research Center in Musicology IReMus (Paris), he is mainly concerned by the study of extended tonality at the turn of the 19th and 20th centuries, particularly in Eastern Europe, on the outskirts of the Austro-German romantic tradition. He implements theoretical tools of description and analysis inspired by Neo-Riemannian theories.

Polarization, Modal Orientation, and Voice Leading: About Interaction between Different Hierarchical Levels of Tonal Structure Neo-Riemannian theories consider pitch spaces as a set of operations which works on a chord or a tonality, regardless of a tonal context regulated by a central point. Because these theories don’t presuppose tonal grammar but lead to it, they are particularly appropriate to describe a kind of tonality in which tonal hierarchies don’t express themselves in a same way as in the 18th or 19th century. However precisely because they focus on the functioning of the tonal system, transformational theories don’t make tonality identification a priority. In a particular way, transformational approach is linked with the world of monotonality, that is, from a certain viewpoint, atonality. Then it does without a category which is able to lend itself to segmentation. Indeed, the description according to successive and chronological events, doesn’t usually allow to go beyond microstructural scale, because the underlying criteria aren’t directly transferable to a wider scale. This statement is particularly relevant for the music of the later 19th or the earlier 20th centuries, whose musical works are based on complex and developed structures, composed of non-symmetrical recurring units. Transformations and harmonic progressions however offer other observable aspects. Among them, polarization on the circle of fifths and modal direction of the pitch sets, as well as voice leading should allow a significant contribution to bypass the issue consisting in the irreducibility of structure’s different levels. On the one hand, intervallic distances depend on the transformations modal direction as well as polarization on the circle of fifths in any hierarchy level. On the other hand, voice leading creates pitch spaces which embody and outweigh the abstract concept of tonal event subsequent to transformational theories. By observing several fragments of post-tonal works, this lecture is trying to define the tonality in an interaction between the different levels of structure as a conjunction of intervallic distance, polarization, modal direction and voice leading of the harmonic progressions. 335

Hugues Seress Université de Paris-Sorbonne hseress@club-internet.fr

 Session B

Tonal Orientation Units and Polarized Neo-Riemannian Tonnetz: Two Didactic Tools for Extended Tonality (with Philippe Gantchoula)

Analysis teaching in French music schools is still today heavily influenced by the theory of fundamental bass and the 19th century’s classifications of harmony. However this legacy, resulting from successive stacked uses, has been called into question for some two decades, particularly – although not only – in the study of extended tonality. These questionings may concern the concepts of chord and tonality, as well as these of degree and tonal function. They generate new theoretical approaches which are disputing the validity of traditional models based on the only triad and the intervallic distance calculation between this triad and the even more pre-accessed tonic degree. These new visions explore new fields like voice leading, the links between degree and function, the concept of harmonic progression. This way, they may lead to the extension of tonality, as well as the development of advanced procedures and tools appropriate to its description. This lecture is proposing an exploration of two fundamental aspects and an application to the music by Gabriel Fauré. First, we focus on defining the tools of tonal identification, as well as the mechanisms which could allow this identification. Then, the first part aims to reach functional and tonal analysis of the work in small or medium scale. Secondly, we widen the scale of observation to demonstrate that the study of the relationship between tonal distance and tonal direction may shed light on the meaning of tonal structure as a significant discursive component. The second part aims to define and model the path of tonalities of a complete work or movement. 336

Stacey Sewell

 Session 12

stacey_sewell@hotmail.com Stacey Sewell completed a PhD in musicology in 2012. Her thesis proposed an embodied method of music analysis and applied it to a number of recent compositions that sampled bodily sound. She has published in Radical Musicology, Body, Space Technology, and Performance Research and presented at international conferences including Music since 1900 and Digital Resources in the Humanities and Arts.

Embodiments of Making: Breath, Phrase and Entrainment in Electroacoustic Music As musicians, we often take for granted the association between phrase and breath, and specific reference to the physical capabilities of the body as played out in sound is rarely drawn into musical analysis. However, it remains a part of musical understanding, as illustrated, for example, in Andrew Mead’s report of how he found himself in intense pain when listening to a live performance of an oboe concerto and breathing along with the soloist, who, unknown to him, had been employing circular breathing techniques. Mead uses this anecdote to consider how the sound of music is “an embodiment of [its] making, and that hearing that making in the sound had much to do with [his] understanding of the music” (Mead 1999: 2). In this paper I consider how “hearing the making” in sound, particularly as this relates to the body, can become part of an analytical strategy. I examine a small group of electroacoustic and mixed-media compositions that sample breathing sounds, including the opening section of Neil Luck’s Ground Techniques and Hildegard Westerkamp’s Breathing Room. In each of these pieces the audible sounds of breath, and the physical exploration of its limits, contribute to the development of musical form. I explore how the experience of listening to these breathing sounds, as manifested in the shifts and interactions between sound and the body’s materiality, can be drawn into an analytical model. In order to do this I use the concept of ‘entrainment’, which Clayton et al have argued can contribute to understanding music-making and music understanding as “an integrated, embodied and interactive process” (2005: 4), therefore allowing a dual focus on both performance and listening. 337

Jennifer Shafer Ohio State University jeshafer23@gmail.com

 Session 9B

Jennifer Shafer is a first-year PhD student in music theory at The Ohio State University in Columbus, Ohio. She earned a B.M. in piano performance from East Texas Baptist University in 2010 and a M.A. in music theory from the University of Kentucky in 2012. She received a Multi-Year Fellowship from the University of Kentucky and a University Fellowship from The Ohio State University. Jennifer has presented at the Mid-Atlantic, Northeast, and Great Lakes Regional Conferences of the College Music Society and at a Mathematics Seminar at Harding University. Her primary research area is intersections between mathematics and music.

Unveiling the Invisible: An Examination of Structure through Wavelet Analysis

Wavelet analysis is a digital signal processing technique that is related to Fourier analysis but provides better time localization and the ability to analyze simultaneously at multiple scales. This paper proposes an application of the Haar wavelet to pattern recognition in music by first providing examples of applications to music with recognizable motivic patterns and then summarizing the results of an application to a more complex piece of music. Iannis Xenakis’ Evryali (1973) defies traditional consideration of motives and structural patterns. Large-scale structures can be seen in the various sound configurations used to construct the work, but relationships between these structures cannot be easily identified beyond the type of sound configuration. This paper proposes an analysis of macroscopic and microscopic relationships in Evryali by use of wavelets. Examples with pre-determined patterns, intended to test the effectiveness of wavelet analysis for pattern recognition in music, are first presented. The wavelet analysis technique is applied to a sequence of ascending thirds, a two-voice example demonstrating rhythmic augmentation, and an excerpt of a two-part invention by Bach; each example presents satisfactory results. After tracing out predominant lines in each of the sound configurations of Evryali, wavelets are used to analyze the pitch content of select lines. The wavelet analysis reveals ‘motivic’ relationships between different configurations and also recurring ‘motives’ within single configurations, suggesting a sense of motivic parallelism within the work. Furthermore, wavelet analysis also leads to the discovery of Ur-shapes which recur in each configuration over different periods of time, demonstrating a close internal cohesion that varies from the micro level to the macro level within this piece. These relationships lead to an analysis of the large-scale form of Evryali based on the recurrence of certain patterns and Ur-shapes. 338

August Sheehy University of Chicago aasheehy@uchicago.edu

 Session 2A

August Sheehy is a PhD candidate in music history and theory at the University of Chicago. His dissertation Music Analysis as a Practice of the Self examines the ways music analytical practices in the 19th and early 20th centuries responded to the needs of individual practitioners in specific historical milieux. He has published in Music Theory Online, has an essay forthcoming in an edited volume on the music of Debussy, and has presented numerous papers at conferences in North American and Europe.

Methodological Questions of Reconstructing Historical Listening It would seem that ‘the listener’—the universal cognitive subject haunting the annals of music theory—is a thing of the past. More precisely, following a certain drift in recent music theoretical discourse, he only ever appears as one of the possible listeners who emerge from the particular matrices of music history. ‘Listening’, then, is not a universal cognitive act but a set of heterogeneous possibilities. Thus we may ask: how can one know that people of other times and places listened differently to the same music? And if such difference can be determined, how might one ‘access’ these other modes of listening? Confronting these questions, naturalistic accounts of perception and cognition give way to questions of method. Schema theory provides a specific answer: through coordination of patterns (schemata) instantiated in a musical corpus, documented in pedagogical practices, and reiterated in the critical reception history of particular works, “the problematics of historically informed listening [are] situated in a transposition of history from a connotation of pastness to one of epistemology” (Byros 2009). Such optimism is warranted when a repertory (e.g., galant) can be discretely identified and shown to operate in two different historicalcritical frames. Foucault’s ‘archaeological’ investigation of epistemes thus provides an attractive intellectual model. I propose that a general methodology for reconstructing historical listening needs to move beyond archaeology toward the problem of ‘historical ontology’ that occupied Foucault in his later work. Applied to music, the question, “What difference does today introduce with respect to yesterday?” (Foucault 1997) involves the investigation of practices by which listeners are constituted. Such a method would not discount the value of schema theory; on the contrary, schema theory exemplifies modern practices that bring ‘listeners’—past and present—into being as objects of inquiry (Hacking 2002). 339

Robert Sholl Royal Academy of Music and University of West London r.sholl@ram.ac.uk

 Session B

Robert Sholl is a lecturer at The Royal Academy of Music and a Professor at the University of West London. His research interests and publications concern the music of Olivier Messiaen, Arvo Pärt, as well as Stravinsky, Adams, Birtwistle and Berio, music listening, contemporary music and spirituality, and critical and somatic theory. He has organised four conferences at the Southbank centre. As an organist he has given concerts as an improviser; he is nearing the completion of a set of performances of Messiaen’s complete works.

“How do you like your counterpoint, Sir?” Music Pedagogy after Therapy

Traditional approaches to teaching basic counterpoint have long held sway in British institutions. Typically, students are grilled in species counterpoint or battered in stylistic studies, completing musical examples, or, at a more advanced stage, composing their own specimens within the immanent regime of ‘pastiche’. If these ‘old’ techniques were a person, and one asked of their health, would they (like many people) simply respond: “I’m fine, thanks”? But is ‘fine’ really ok? With the ever-widening gap between the expectations of professional academia and the requirements of students (as clients who may not know much music), and the pressures of mass teaching, not to mention the downgrading of such ‘old’ knowledge from the curriculum, how can such ‘old’ knowledge still be imparted as wisdom? Do the old ways - with their ‘what was good for the goose…’ mentality – really give students an education that informs their character? Does the teaching of the ‘old’ ways, like therapy, merely give the client more of themselves, or is there a better way of fuelling students’ ‘condition’ of musical awareness? In this paper, I propose a way of teaching counterpoint that synthesizes ‘the old’ methods while promoting creative learning. Using examples from J.S. Bach’s Goldberg Variations, I reveal a way of teaching basic counterpoint through which students’ can create their own menu for a learning that piques their intuition, and that encourages them to take control of their musical development. 340

Daniel Shutko St. Petersburg Conservatory daniel.shutko@mail.ru

 Russian Session

Daniel Shutko studied with Dr. Tatiana Bershadskaya and is currently Assistant Professor of Music Theory at St. Petersburg Conservatory. His scholarly interests belong to contemporary music, the theory of mode and tonality, harmony, form in both Russian and Western approaches. He has published a number of papers, including the translation of the interview of Gérard Grisey into Russian language.

Tjulin, Kushnarev, Bershadskaya: Leningrad School of Music Theory One feature that distinguishes Leningrad school from Moscow and, partially, from Western tradition is that is concentrates not on musical text but on human dimension. It gives preference to psychological component of music theory. Thus, analysis and conceptualizations of Leningrad theorists include, as a main component, the aspects of musical perception, interpretation, and expression. As a consequence, the musical objects are analyzed and conceptualized not in their atemporal structural dimension but as dynamic processes. Yuri Tjulin and Tatiana Bershadskaya were interested primarily in the condition of a musician here and now, in the shades of his or her psychological situation. Even such a robust and abstract concept as harmonic function received a dynamic reinterpretation: instead of clear-cut T-S-D-T model, Tjulin discussed ‘intermittent functions’, i.e., functions that change their meaning in the process of unfolding linear intervallic material. Although Leningrad school has always been famous for systematic thinking, it has never lead theorists to a simplified schematicism. The field of music theory, which theorists of this school often call ‘hypersystem’ consists of several hierarchies of subsystems, such as metro-rhythm, texture, mode, thematicism, and form. Each element of such a subsystem participates in several hierarchies and therefore can have different definition. These meanings should not be conflated and both the categories and hierarchical levels should not be confused. With all that, each element can be used in the most flexible way. Already from the first encounter, Leningrad school seems to be closer to Schenkerian position (priority of dynamic, process-like, linear dimension over the structural schematic abstractions), than to both Moscow school and the continental tradition of ‘Funktionslehre’. However, these differences and similarities are very fine and complex. They complement the picture of development of music theory in Russia and in the West. 341

Joseph Chi-Sing Siu Eastman School of Music jsiu2@u.rochester.edu

 Session A

Joseph Siu, originally from Hong Kong, is a third-year MA/PhD student in music theory at the Eastman School of Music. Joseph’s research interests include phrase rhythm and musical form, music cognition and perception, and music theory pedagogy. Joseph has presented his research at the conference meetings of the Society for Music Perception and Cognition, the New England Conference of Music Theorists, the Canadian University Music Society, the Rocky Mountain Society for Music Theory. He was the recipient of the Best Student Paper Award at the 2014 conference meeting of the South Central Society for Music Theory.

Hypermetrical Shift in Haydn’s Late Monothematic Sonatas

Many recent studies of rhythm and meter have been devoted to the phenomenon of hypermeter and its implication on musical form. Temperley (2008) proposes that the hypermetrical shift between “oddstrong” and “even-strong” hypermeter is often used to emphasize the formal division of a piece. Moreover, Temperley believes that the importance of hypermetrical shift is primarily local, and he would be wary of constructing large-scale analytical narratives involving ‘odd-strong’ and ‘even-strong’ hypermetrical states. However, in my analyses of hypermetrical shift in Haydn’s late Keyboard Trios and String Quartets, I have found some large-scale manipulations of hypermeter that Haydn was consistently applying in his compositions, particularly in his monothematic sonatas. My analyses have shown that the majority of Haydn’s monothematic expositions have an even number of hypermetrical shifts in its transition zone, often starting with the metric reinterpretation pattern and ending with the successive downbeats pattern as a link to the secondary-theme zone. As a result, each formal unit in these monothematic movements is articulated with an altering hypermetrical state, providing tension and momentum to the otherwise predictable monothematic design. Moreover, Haydn seemed to be purposefully associating his thematic materials to a particular hypermetrical state. For his monothematic sonatas, both the primary theme and the secondary theme are usually in the same hypermetrical state; but for the contrasting-theme sonatas, the primary theme is in one hypermetrical state while the secondary theme is in another. 342

Charles J. Smith University at Buffalo cjsmith@buffalo.edu

 Session 4A

Charles J. Smith is Associate Professor at the University at Buffalo, Slee Chair in Music Theory and Director of Graduate Studies. His on-going research involves 19th-century and early-20th-century chromaticism, Schenkerian analysis, philosophy of music, and history of music theory. He published in Music Analysis, Music Theory Spectrum, In Theory Only, Perspectives of New Music, College Music Symposium, and the collection Music Theory: Special Topics.

How to Select a Background? Start with Conventional Form … What kind of thing is a Schenkerian background? Certainly not just a collection of notes plucked from the musical surface and promoted to greater significance (Proctor, NOTES, 1980), but rather something like a conventional form – a template of musical organization through which a piece is fruitfully viewed. For most pieces of normal size and complexity – for example Haendel’s E Major Air (“Harmonious Blacksmith” theme) – we can apply more than one background, with little to choose between the results. What sense are we to make of such a surprisingly common situation? A Schenkerian who presumes that every piece has one definitive background may try to fault all but one – the last background standing. On purely technical grounds, more often than not, this is a futile exercise. Tellingly, the shallow middleground and foreground are usually not much changed by altering the background through which they are viewed; what alters is the relative weighting of middleground patterns within different deeper organizations. Is there no basis for choosing between such alternatives? Or reason to do so? One good reason is the regularity with which forms and backgrounds map onto one another (Smith, Music Analysis, 1996). If a piece displays a clear conventional form, then it makes sense to privilege the background that most directly reflects that form – large-scale harmonic shape along with thematic reprises used to articulate this shape. We need only be deliberative and systematic in fleshing out the form/background correlation; in the case of the Haendel Air, the harmonic shape (first section open, modulating to V) and the absence of a tonic articulating reprise suggests that, of the several backgrounds that can fit this piece, the ^8-line works best as a starting point for its analysis. 343

Kenneth Smith University of Liverpool kenneth.smith@liverpool.ac.uk

 Session 6C

Dr. Kenneth Smith is Lecturer in Music at University of Liverpool. He teaches Music Theory and Analysis, and specialised in turn of the 20th-century music. His first book Skryabin, Philosophy and the Music of Desire was published in 2013, and he has further published essays on Skryabin, Ives, Zemlinsky and harmonic theory more generally.

Szymanowski’s Local Mythologies

It is no secret that Polish composer Karol Szymanowski was heavily influenced by the Russian Alexander Skryabin. Just as Skryabin took Wagnerian erotic music to extremes in his Poem of Ecstaty or Prometheus, Szymanowski reached the dizzying heights of King Roger or his Third Symphony – Song of the Night. But while Skryabin drew philosophical inspiration from sources that tried to transcend a sense of local place (Theosophy; Hegelian dialectics), Szymanowski derived inspiration from relatively local sources (Sicillian art; Persian mysticism). And just as Skryabin aimed to transcend local harmonic matters with his famous chord of nature – the mystic chord – derived from the overtone series, Szymanowski delved into local modes such as the ‘Podhalean mode’. But these produced similar results, for the Podhalean mode (McNamee) – a version of the ‘acoustic scale’ – uses #4 and b9 to produce a ‘polytonal’ admixture of dominant-seventh impulses almost identical to Skryabin’s mystic chord. Szymanowski’s popular collection of three pieces for soloviolin, comprising his Myths, Op. 30 can be read as comments on this. Stephen Downes explores how the opening sonority of No. 2 entitled Narcissus (Downes, 1996), with its symbiotic relationship between the violin and piano, and its derivating harmonic flowering, works within the dynamics of the Freudian Identifications of a child/parent during the primal stages of subject formation. The ambiguous harmonies (actually a reordered version of the mystic chord) are here mirrored between instruments, encapsulating the drives of the pre-Oedipal subject. The intimate piece with its inward-facing local (narcissistic) outlook, representing Poland’s isolated position between Germany and Russia, is compared in this paper with Skryabin’s extroverted international sound world. 344

Kenneth Smith University of Liverpool kenneth.smith@liverpool.ac.uk

 Session 7A

A Neo-Riemannian Approach to Suede As it was conceived, Neo-Riemannian study pertained more to the Romantic tradition of classical music than to pop. But Capuzzo, and more recently Curry and Schultz among others, have proved that this branch of theory helps us to conceptualise some otherwise theoretically awkward chord progressions in certain popular music genres. My model of minor third and major third chord interactions, developed from postRomantic music, maps the process of energetic storage and discharge of harmonic sequences and proves pliable enough to assist with this repertoire also. The first two studio albums from Suede, the fruits of the song-writing collaboration of Bernard Butler and Brett Anderson, served as the erotically twisted underside of early 90s Britpop, adding bizarre, seductive alternatives to the relatively normalised sexual experiences described in the songs of Pulp or Blur. Suede’s harmonic progressions prove to be extremely dextrous with sinuous voice-leading and abrupt, yet parsimonious, key changes, often based on common-tone modulations rather than dominant to tonic release. Using some of their later songs to demonstrate the chord patterns that were to become recognisable Suede cliches (the bVI-V progressions and the III/bVII/bII dominant substitutes from songs like The Beautiful Ones or Everything Will Flow, providing alternatives to Griffiths’ normative ‘elevating modulation’) I return to examine their earlier work in a new light with readings of Sleeping Pills and Pantomime Horse from Suede. 345

Peter H. Smith University of Notre Dame Peter.H.Smith.80@nd.edu

 Session 4B

Peter H. Smith, Professor and Chairperson in the Department of Music at the University of Notre Dame, earned his PhD in music theory from Yale University. He also holds M.M. and B.M. degrees in viola performance from The Juilliard School. Smith’s articles on the instrumental music of Brahms and related composers, Schenkerian analysis, and theories of musical form appear in numerous scholarly journals. His book Expressive Forms in Brahms’s Instrumental Music was published by Indiana University Press. IU Press also published Expressive Intersections in Brahms, for which Smith served as co-editor and chapter contributor. He currently serves as President of the American Brahms Society.

‘Hausmusik’ for ‘Cognoscenti’: Some Formal Characteristics of Schumann’s Late-Period Character Pieces for Instrumental Ensembles

In recent decades, scholars have shown increased appreciation for Robert Schumann’s creative adaptation of sonata form. What remains somewhat neglected are the compelling formal strategies Schumann devised in his character pieces for instrumental ensemble, especially those of the controversial late period. The Intermezzo from the Third Violin Sonata and the first movement of the Märchenbilder, Op. 113, exhibit, in the context of ABA form, some of the same strategies Schumann brought to bear in his creative appropriation of sonata form, in which there are indeed symbiotic form/content interactions. The first and third movements of the Märchenerzählungen, Op. 132, adopt similarly sophisticated integrative strategies but in the context of unique forms not traceable to conventional architectonic patterns. A combination of Schenkerian and more traditional formal analysis reveals interactions among motive, harmony, and form across multiple structural levels. One result is to highlight the great formal interest of these so-called ‘small’ forms, which turn out not to be ‘small’ when attention is paid to depth of compositional craft rather than simply length and the ‘private’ versus ‘public’ character of the musical rhetoric. In the Intermezzo, the symbiosis of structure and design centers on development of the movement’s FAE cipher and its interaction with a D minor/F major tonal pairing, which eventually resolves in the context of the movement’s pattern of directional tonality. In the first of the Märchenbilder, formal integration involves interactions between a 5-6-5 neighbor motive and a related i-VI ‘Leittonwechsel’ progression, and the influence of both of these characteristics on the dramatic articulation of the movement’s formal-tonal trajectory. The two movements from the Märchenerzählungen exhibit similar form/content synergy, but in the context of sui generis designs that nevertheless project a clear sense of shape in which idiosyncrasies of pitch and phrase rhythm are presented, developed, and ultimately resolved. 346

Irina Snitkova Moscow Gnesins Academy of Music irina.snitkova@mail.ru

 Session C

Irina Snitkova is a doctor of Art Criticism and a professor at the Russian Academy of Music Gnesin, where she teaches courses in counterpoint and new methodologies of humanitarian research. The area of her research interests is the music of late 20th and 21st centuries, the aesthetic of post-modernism and the theory of contemporary musical composition. The title of one of her main works is The Picture of the World Imprinted within Musical Structure (The Conceptual Structural Paradigms of Contemporary Music). Her interests also include musical cryptography (Webern’s Symphony Op. 21, the music of the group Moscow Cryptophonists, etc.).

Webern. Symphony, Opus 21: ‘Lyrical’ or ‘Symbolical’ Geometry? The presentation presents a hypothesis, which offers a new structural and symbolical rendition of Anton Webern’s Symphony Op. 21, one of the most ‘classic’ compositions of 20th-century music. A detailed analysis of the serial technique and the register, carried out with the aid of a certain additional analytical coordinate, reveals another dimension in the construction of the composition, hidden in its compositional subtext. It presents itself as being complementary in regards to the conventional interpretation of the first movement as a double canon in inversion. This type of approach to Webern’s famous opus is substantiated by the testimony of one of the composer’s friends, Cesar Bresgen: “I remember very well the musical staff, on which it was possible to see geometrical figures around an immobile point and inscription… Webern considered the work itself as carried out within this graphical notation at his table.” The presentation proposes a version of deciphering a part of these types of figures. The latter are reflected in a series of graphical pictures which correspond in their contours with the serial structures of the first movement of the Symphony. One of such symbolic depictions, in our opinion, is the ‘primordial plant’ (‘die Urpflanze’) described by Goethe, which for Webern became the main symbolism of the idea of ‘metamorphosis’ and the ideal model of the structure of the universe. A continuation of the presented visual-graphic code is also presented by the unfolded numerical symbolism discovered by us. The supposition is stated that this type of conception for the symphony, implying not only ‘lyrical’ (according to Herbert Eimert), but also ‘symbolical’ geometry, presents a direct continuation of the ideas of the Medieval and Renaissance conceptualism. 347

Olga Sologub The University of Manchester olga.v.sologub@gmail.com

 Session D

Olga Sologub is a PhD researcher at the University of Manchester, UK. Her thesis analyses harmony and structure in Sergei Prokofiev’s late instrumental works, using a combined methodology based on Yuri Kholopov’s Russian theoretical text on the composer’s harmony and the neo-Riemannain theories of Richard Cohn and Daniel Harrison. Her research interests include tonal practices in music of the first half of the 20th century, theory and analysis of 19th- and 20th-century repertoires more generally, and music education.

The Slippy Slide: Reconsidering the Concept of ‘Wrong Notes’ in the Music of Sergei Prokofiev

The phrase ‘wrong notes’ has become closely associated with the musical style of Sergei Prokofiev since Patricia Ashley used it in her 1963 dissertation on the composer. It captures the sense that certain chromatic notes invade the otherwise tonally coherent musical surface to which they do not belong, which instantly raises two theoretical questions: how can the alien chromaticisms be reconciled with the familiar tonal context, and what implications does this have for Prokofiev’s musical style? Three different scholars – Richard Bass, Neil Minturn and Deborah Rifkin – have produced theoretical accounts proceeding along this line of enquiry in Anglo‑American musicological literature, drawing either on Schenkerian or pitch‑class set theories. These explain Prokofiev’s ‘wrong notes’ as constituents of the phenomena of ‘chromatic displacement’, ‘structural sets’ and ‘structural motifs’, respectively. While their methodologies differ, all three accounts propose that Prokofiev’s music should be understood as perturbed or enriched by ‘wrong notes’. My paper seeks to reconsider the concept of ‘wrong notes’ by offering an alternative line of enquiry stemming from new research into the theories of prominent Russian musicologist Yuri Kholopov (1932‑2003). Much of his prodigious output remains untranslated into English, barring access to many Western scholars. I will illuminate fundamental concepts developed in his 1967 tome on Prokofiev’s harmony with the aid of neo‑Riemannian tools of triadic and voice‑leading analysis, representing a conjuncture of Russian and Western analytical thought. With particular focus on the neo‑Riemannian ‘slide’ transformation, I will show how some oft‑noted characteristics of Prokofiev’s musical style, including chromatic slipping and dissonant chords, can be encapsulated within a methodology combining Kholopovian and neo‑Riemannian perspectives. By demonstrating the benefits of a holistic conceptualisation of the composer’s musical language, my paper will provide a new angle on Prokofiev’s music and the analysis of tonality in 20th‑century musical repertoire. 348

Sören Sönksen Hochschule für Musik, Theater und Medien Hannover soeren.soenksen@gmail.com

 Session 1B

Sören Sönksen (1987) completed his studies in music and history at Hannover University of Music, Drama and Media in 2013 and teaches music theory at the same place since winter semester 2013. He worked on the history of music analysis, fundamental bass theory, prolongation and is currently researching the transformation of rhythmic aspects and harmonic rhythm in the 17th century.

S Deconstructing the ‘Stack of Thirds’. Aspects of the Theories of Rameau, Kirnberger and Sechter In spite of the famous Riemannian criticism concerning Jean-Philippe Rameau’s chord generation, the works of the latter offer a number of theoretical instruments to explain chords and chordal progressions variant to the model of the ‘stack of thirds’. But historians also face a striking discontinuity in Rameau’s analytical use of instruments like ‘supposition’, ‘accords par emprunt’ or the interpolation of additional roots. The thoughts of Johann Philipp Kirnberger and Simon Sechter, represented by their books Die Kunst des reinen Satzes in der Musik (1771) and Die Grundsätze der musikalischen Komposition (1853/54) can be regarded as attempts to integrate some of Rameau’s ideas into closed systems of fundamental bass theory. Their achievements and newly formed problems are discussed using the example of incomplete chords. 349

Markus Sotirianos Hochschule für Musik Würzburg markus.sotirianos@hfm-wuerzburg.de

 Session B

Markus Sotirianos (b. 1980), studied music education (violin) and music theory with Michael Polth at the Musikhochschule Mannheim. From 2007-2013 he taught as a lecturer and substitute professor in Mannheim, Stuttgart, Hanover, Düsseldorf and Frankfurt. In September 2012 he became director of the precollege department at the Musikhochschule Mannheim and of the ‘Netzwerk AMADÉ’ – a co-operation between the Musikhochschule Mannheim and more than 20 regional music schools to encourage especially talented young musicians. As of April 2013, he teaches full-time as an academic at the Hochschule für Musik Würzburg.

Between “What do I need that for?” and “Didn’t you learn that in theory class?” – Questions and Observations in German Undergraduate Music Theory Classes

These two often heard phrases point to a recurring dilemma in the everyday life of students: on the one hand, the purpose of spending a lot of time studying music theory is unclear to many students, on the other hand the learning content does not seem to meet the expectations of their instrumental professors. The result is often frustration on all sides. The teaching of music theory in undergraduate studies at German ‘Musikhochschulen’ finds itself in many areas of conflict: institutional and structural conditions, as well as questions regarding the content need to be considered; in addition, there exist different demands, prejudices and expectations towards this specialist field. What does music theory achieve, what should it achieve? Which kind of understanding of music theory is therefore the basis? The mentioned statements illustrate that in many places various attempts to establish a commonly understandable and comprehensible perception of music theory, which is profitable for one’s own musical practice, have not yet been successfully established. They also indicate a problem that clearly lies deeper: aside from degree courses and examination regulations, even among music theory teachers there is no common sense of which content, abilities and knowledge should be the goal of a basic education for undergraduates in music theory. It would be necessary to look beyond national frontiers to explore whether the mentioned problems are simply the result of the course structure at German ‘Hochschulen’ or in fact part of the nature of the subject itself. The attempt of a baseline study made by this paper could be an initial impulse for a transnational discourse. 350

Michael Spitzer University of Liverpool michael.spitzer@liverpool.ac.uk

 Session 7A

Prof Michael Spitzer is Professor of Music and Head of Department at the University of Liverpool, Chair of Music Analysis’ Editorial Board, and was President of the Society for Music Analysis from 2007-2013. Author of Metaphor and Musical Thought (Chicago, 2004), and Music as Philosophy: Adorno and Beethoven’s Late Style (Indiana, 2006), he organised the First International Conference on Music and Emotion (Durham, 2009), and co-organised the International Conference on Analysing Popular Music (Liverpool, 2013). He is writing a book on the history of musical emotion.

Analysing Emotion in Popular Music In recent years, the affective turn in music psychology (Juslin, Sloboda, et al) has begun to enter the field of music analysis. There is empirical evidence that performers, composers, and listeners associate basic and discrete emotional categories (such as happiness, sadness, tenderness, fear, and anger) with acoustic or secondary parameters (such as tempo, dynamics, articulation, and contour). It is easy to show that, in this respect, emotion in popular song can be analysed in the same way as in classical music. I will demonstrate that with tracks discussed at today’s session, including The Game’s We Ain’t and Suede’s Pantomime Horse. Conversely, I will show that emotion in popular music is distinct from classical in the way it splits acoustic parameters in two directions, towards groove on the one hand; and, on the other, towards what Judith Becker calls, after Bourdieu, “a habitus of listening” (embodied sonic patterns of action and reaction). As I have shown elsewhere, classical music typically unfolds the emotional category captured in its opening gestures as a ‘behavioural’ process; e.g. Schubert’s fearful textures lead to fearful formal trajectories. Such a synchronic/diachronic dialectic is harder in popular song, because it tends to foreground repetition at all levels and is thus less amenable to through-composed formal thinking. However, the relationship between groove and habitus reconstitutes this dialectic on different terms, taking the affect-defining quality of acoustic parameters in opposite directions. Whereas acoustic parameters constantly shift in classical music, groove sustains affect much more than is the case even in a baroque instrumental work, suggestive of Spinoza’s theory of emotion as conatus – a striving to sustain personality through dogged repetition. From an opposite standpoint, the materials of popular music are much more frankly mimetic of real life – of scenes of living and ways of being. 351

Jan Philipp Sprick Hochschule für Musik und Theater Rostock jan.sprick@gmx.net

 Session 2A

Jan Philipp Sprick is currently Professor of Music Theory at the Hochschule für Musik und Theater Rostock. He studied music theory, viola, musicology and history in Hamburg, Harvard and Berlin. In 2010 he received his PhD from HumboldtUniversity Berlin. His research interests include history of music theory, musical ambivalence and the relation of music theory and musicology. From 2009 to 2013 he served as co-editor of the Zeitschrift der Gesellschaft für Musiktheorie. In 2012 he was Visiting Assistant Professor at the Department of Music of the University of Chicago.

Historical Listening and Historically Informed Performance

Since Hermann von Helmholtz’ Sensations of Tone (1863), the discussion of musical listening seems to have become solely the domain of music psychologists. A basic assumption in this context is that musical listening does not change fundamentally over time (Bacht 2010). Schema theory begins from a different perspective: though it combines systematic and historical approaches, its overall aim of ‘historically situated cognition’ — to reconstruct a possible listener of the ‘long’ 18th century — appears to be a truly historical project. An exclusive opposition between historical and systematic analytical methods, however, can often result in anachronistic “historicist naivety” (Christensen 1993). The controversial ‘authenticity debates’ around historical performance practice in the 1980s und 1990s (Taruskin, Dreyfus, Butt et al.) resulted in similar insights. Current discussions of ‘historically informed music theory’ (e.g., schema theory) thus stand to benefit from a comparison with these debates if the following caveat is kept in mind: music has always been performed, but it has not always been analyzed. In this talk, I will discuss methodological and theoretical overlaps between historically informed performance and historically informed listening. Byros’ “paradox of historical listening” (2009, 2012) is an interesting instance of such overlap. Byros claims that if one wants to “demonstrate that historical modes of listening may exist today”, one must articulate some “difference with the present so as to qualify the situatedness of cognition as historical”. Against this paradoxical background, I will argue that ‘historically situated cognition’ is a perspective that could, following Taruskin’s similar ideas towards historically informed performance, only emerge in the 20th or 21st century. Rather than facilitating a reconstruction of a ‘listener of the past,’ the concept creates a ‘messy relation to history’ that enhances creativity in current listening. 352

Jan Philipp Sprick Hochschule für Musik und Theater Rostock jan.sprick@gmx.net

 Session 6A

Sequences between Affirmation and Destruction of Tonality. In the history of music theory, we frequently encounter the paradox, that harmonic sequences are on the one side seen as fundamental and affirmative examples for tonality (Rameau, Sechter et al.) and on the other side as structures, that threaten or almost destroy cadence oriented understandings of tonality (Riemann, Grabner et al.). I have argued elsewhere, that the discussion of sequences therefore functions as a kind of ‘testing ground’ for individual conceptions of tonality (Sprick 2011). In my talk I want to leave the historical perspective in favor of an evaluation of current theories and discussions of tonality. In comparison with the role of sequences in theories of harmony in the 19th and early 20th century, I want to discuss the position of sequences in neo-riemannian- and transformational theories, in schema theory, ‘Tonfeld’-analysis as well as in current pedagogical approaches, based on historically informed music theory, Riemannian functions and roman numerals. The main aim of my talk is to identify, whether we can observe a continuity towards the integration of sequences in the different approaches or significant changes. My point of departure will be the comparative analysis of selected musical examples from the common practice period. 353

Danae Stefanou Aristotle University of Thessaloniki dstefano@mus.auth.gr

 Session 5C

Danae Stefanou is Assistant Professor of Historical Musicology at the School of Music Studies, Aristotle University of Thessaloniki, and improvising musician. Her academic qualifications include: an MA (Universities of Nottingham); a PhD (University of London); a LRSM in Piano Performance (distinction). Her research centers on the historiography and aesthetics of a broad range of 20th- and 21stcentury sonic practices, experimentalism and free improvisation. She is the editor and translator of the first Greek edition (2012) of Michael Nyman’s Experimental Music: Cage and Beyond. She has published articles in the Journal of the Royal Musical Association, Journal of Interdisciplinary Music Studies.

“Maybe a glimpse into the void beyond”: Experimentalist Paradigms and the Liminal Spaces of post-1960s Greek Modernism

Mainstream narratives of Greek modernism operate around a sparse but pervasive canon. The criteria and corresponding analytical tools for this canon are often reduced to the singular question of tonality, and the measure of adherence or departure from established models of pitch organization. Alternative modes of notation, problematisation of modernist ideals of technique and virtuosity, and experimentation across genres and media as one finds in Jani Christou, are an uncomfortable fit. Consequently, not only Christou’s late works, but even the markedly less radical graphic output of Anestis Logothetis, are often portrayed as exceptional, idiosyncratic, if not downright exotic ‘anomalies’ in an otherwise neat local taxonomy. This approach inconspicuously collapses an entire force field of 20th-century cross-media currents and developments into one single opaque notion of modernism as a high-culture, postSchoenbergian break with tradition, realized and communicated through a fixed set of Western Art Music genres and institutions. What is left out are the relevant responses and contributions to these developments from artists who did not quite make the aforementioned canon, but contributed to a radical re-appropriation of post-war European modernism through different channels, be it the sound poetry and performance art of Christou’s contemporary Leonidas Christakis (1928– 2009), the interdisciplinary collective interventions of Dimosioypalliliko Retire (1984–2006), or the extended notation and intermedia works of younger generation composers (e.g. Alexis Porfiriadis, b. 1971). In examining such cases, the ‘failed project’ narrative of Greek modernism becomes a rather more complex story, and lends itself more easily to a deeper, socially situated analysis. Starting with a re-evaluation of the current analytical literature on Christou’s cross-media compositions, the paper draws on a series of ‘liminal paradigms’ from the above fields, and considers methodologies for a more inclusive, analytically grounded account of post-1960s Greek modernism. 354

Gaetano Stella Accademia Internazionale delle Arti - Rome gaetano.stella@tiscali.it

 Session 2B

Gaetano Stella earned his PhD in Music Theory at Rome University – Tor Vergata with a dissertation about the theoretical works of Pietro Platania. He published articles on international journals (such as the Rivista di analisi e teoria musicale and the Journal of music theory), edited conference proceedings (for the Italian Institute for Music History), edited special journal issues and attended to many conferences (Euromac 2008 and 2011, Durham University-U.K., and U.S.A. - AMS meeting 2008 in Nashville – TN). He currently teaches piano to post-graduate students at the Accademia Internazionale delle Arti (Rome).

Partimenti in Today’ Schools of Music. An Experiment in Integration of Theory and Music Pedagogy Partimenti were a pedagogical tool for teaching composition and music theory trough practical exercises at the keyboard. Generations of Italian composers, singers and players learned music in 18th and 19th century this way achieving the full mastery of their profession, fame, and success. My proposal aims to present the results of an experimental course in the basics of partimento that is currently taking place at the Frosinone Conservatory inItaly. The course is addressed to a selected number of undergraduate students in Music Pedagogy and to some private ‘amateur’ students. The traditional syllabus of topics in the didactics of partimento (to quote the main steps: cadences and rule of the octave, suspensions, modulations, imitations and fugue) serves as a point of reference. An ‘action plan’ has been set up in which were decided weekly, mid-term and final goals. According to the Neapolitan didactics, all these elements are constantly checked, ‘tailored’ and adapted to the different skills of the students. The lessons are as cooperative as possible with mutual help, discussions and suggestions using, mainly, the exercises of Francesco Durante and Fedele Fenaroli and the book of Giorgio Sanguinetti devoted to this topic as a text book. As many scholars in didactics have pointed out in the last decades (moreover in the didactics of languages), the traditional sequence theory-practice can be successfully reversed reproducing, in music too, the same process of the maternal language learning. 355

Lieven Strobbe LUCA - School of Arts strobbe.lieven@gmail.com

 Session 2B

Lieven Strobbe teaches organ and creative keyboard at LUCA School of Arts in Leuven and the Flemish Part-time Music Education Academies (DKO) in Ekeren and Wilrijk. He is co-author of Klanksporen, Breinvriendelijk musiceren (2010) and has published several articles on music education.

‘Tonal Tools’: An Introduction (with David Lodewyckx)

Particularly since the publication of Robert Gjerdingen’s Music in the Galant Style (2007), partimenti have gained a still growing interest from musicologists, music theorists and performers. One of the stimulating side effects of this renewed attention is the use of partimenti in musical training programs. This is an appealing development, since partimento pedagogy is a possible way to deal with some major troubles in today’s keyboard education. After all, from the beginning of the 19th century, these classes increasingly focused on the reproduction of classical literature. This kind of ‘monoculture’ is co-responsible for a typical pathology among classically trained keyboard players today: poor musical understanding, poor musical ear, unreliable musical memory and disproportional stage fright. In our introductory paper (1), we will deal with the obvious question then arising: in how far could we apply the partimento approach in the music education of children? More specifically: 1) How could we incorporate this pedagogy in contemporary training of beginning musicians, who are keen on learning music from a very open-minded perspective? 2) To what extent do we then have to adapt historical partimento pedagogy, its use in current music education as well as the partimento exercises themselves? A recent approach tackling these issues is Tonal Tools (Lieven Strobbe a.o., 2014). Its concept is based on formulaic referent play, using a kit of 9 tonal components to be composed and elaborated, guided by a few simple rules. The system is open-ended and therefore can be adapted to any style or idiom as well as to the actual physical and cognitive challenges or constraints. In the workshop part (2), we will demonstrate how ‘Tonal Tools’ can be applied from the very start of the keyboard learning process, hereby merging different disciplinary aspects of musicianship: improvisation, composition, literature performance and conceptual understanding. 356

Walther Stuhlmacher Conservatory of Amsterdam walther@stuhlmacher.nl

 Session 7B

Walther Stuhlmacher (1961, Tübingen, Germany) is a senior teacher of music theory and keyboard harmony at the Jazz Department of the Conservatory of Amsterdam and the Music and Technology faculty of the HKU University of the Arts Utrecht. Furthermore he is working as a professional arranger and orchestrator.

Schemata in Jazz Compositions Recent publications by Gjerdingen and Sanguinetti show (and fuel) a renewed interest in the 18th-century musical schemata-based education by means of partimenti and solfeggi. There are many parallels between the 18th-century all-round musician and the jazz performer/arranger/ composer, singer/songwriter and media composer of today - more perhaps than to the performer of classical music. Although archetypal patterns like II—V—I, turnaround, rhythm changes or 12-bar blues have always had their place in the teaching of jazz music theory, the possibilities of systematic teaching of schemata have not yet been widely explored. It is my believe that the teaching of schemata can enrich both the vocabulary and referential network of the student. It adds another dimension to the taxonomy of harmonic phenomena (and their chord/scale implications) by linking stylistic ideosyncracies with general (melodic, harmonic and syntactical) principles. The schemata or archetypal patterns can be categorised into four levels: 1. the ‘song level’ (mostly 32 bars), 2. the ‘phrase level’ (mostly 8 bars), 3. the ‘motif level’ (2 or 4 bars), and 4. the ‘cell level’ (1 or 2 bars). The paper discusses the compositions: Whisper Not (Golson), Madalena (Lins), and Seven Stars (Ferrante). The common denominator in these pieces is the use of the same pattern, a modulating chord sequence built on a descending bass line, Cm—Cm/Bb—Aø—D7. The analysis has the following objectives: to identify the archetypal patterns; to reveal the compositional possibilities and challenges of the used schemata by defining their intrinsic harmonic and melodic implications, and to compare the ‘solutions’ offered by the composers with exemplars of the American Songbook repertoire. 357

Lauri Suurpää Sibelius Academy lsuurpaa@siba.fi

 Session 4B

Lauri Suurpää is Professor of Music Theory at the Sibelius Academy, University of the Arts Helsinki. His main research interest is analysis of tonal music. In his publications he has often combined Schenkerian analysis with other approaches, such as programmatic aspects, narrativity, form, musico-poetic associations in vocal music, and 18th-century rhetoric. He is the author of Death in Winterreise: Musico-Poetic Associations in Schubert’s Song Cycle (Indiana University Press, 2014) and has published articles in many journals (e.g., Dutch Journal of Music Theory, Intégral, Journal of Music Theory, Music Theory Spectrum, and Theoria) as well as in several anthologies.

Heroic Duty and Tragic Love in the Third-Act Quartet of Mozart’s Idomeneo

Following the conventions of Metastasian ‘seria’ libretti, Mozart’s Idomeneo features tension between duty and love. This paper examines how this tension appears in the third-act Quartet, Andrò ramingo e solo. Duty is now deemed primary and love appears to be unobtainable; the opera’s four main characters each reflect on the love that he or she feels, all forced to concede that duty and its requirements outweigh the hopes for love. This paper traces how this conflict is reflected in the Quartet’s form, voice leading, and expression. The Quartet’s form consists of two extended rotations. The first follows principles of sonata-form exposition, albeit in a somewhat modified manner, while the second rotation includes features of both the development and the recapitulation, but departs from the sonata-form conventions to the extent that the sonata-form terminology does not have much explanatory power. Modal mixture features significantly in both rotations: in the first rotation the music moves from E-flat major, the tonic, to the minor-mode dominant, B-flat minor, while in the second rotation the tonic major and minor are juxtaposed. The formal idiosyncrasies and modal mixture subtly interact with the voice-leading structure, where the reaching of tonal goals is often postponed. The musical obstacles that defer the arrival at the voice-leading goals, as well as the way in which these goals ultimately arrive, reflect the tension underlying the text. The Quartet’s musico-poetic network creates a narrative, which suggests two reactions to the conflict between duty and love: on the one hand, heroic acceptance of duty, on the other, frustration over the inevitable loss of love. The Quartet sets the text twice, once in both of its rotations, and the music affects the text’s dramatic effect. As a result, the expressive meaning of the same textual lines is interpreted differently in the two rotations. 358

Richard Taruskin University of California taruskin@berkeley.edu

 Session 5B/Keynote Lecture

Richard Taruskin has been a professor of musicology at the University of California at Berkeley since 1987. He is one of the most acclaimed, controversial, and influential musicologists in the world today. His main research interests are theory of performance, Russian music, 20th-century music, nationalism, theory of modernism, and analysis.Book publications include The Danger of Music, and Other Anti-Utopian Essays (Berkeley and Los Angeles: University of California Press, 2008); On Russian Music (University of California Press, 2008) and the landmark The Oxford History of Western Music (Oxford University Press, 2005).

Is Anything Unanalyzable? The answer to the question posed by the title is of course no. If ‘analyzability’ is the objective, it can always be achieved. The question is, rather, what makes for an informative analysis. In answering this question, I will be considering some of the reasons why I have been referred to in print as, among other things, “the present day’s most notorious theorist-basher” (Arnold Whittall). Famous analytical cruxes in Stravinsky and Boulez will figure. 361

Benedict Taylor University of Edinburgh b.taylor@ed.ac.uk

 Session D

Benedict Taylor is Chancellor’s Fellow in the Reid School of Music, University of Edinburgh, having previously served as Lecturer at Magdalen College and Senior Research Fellow at New College, Oxford. He is the author of Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form (Cambridge, 2011), and has published on a range of 19th- and 20th-century music. His most recent book, The Melody of Time, a study of music and temporality from Beethoven to Elgar, is forthcoming from Oxford University Press in 2015.

Navigating Grieg’s ‘Harmonic Dreamworld’: Tetrachordal Harmonies and Added-Note Voice-Leading in Haugtussa

Edvard Grieg’s delight in harmonic sonority, his propensity for chords of the ninth, eleventh, or even thirteenth as entities in their own right, is evident throughout much of his music. Indeed, according to his own later recollection, as a child the first thing he did on a piano was to pick out the chord of the major ninth. One of the most sophisticated compositional realisations of such extended harmonies may be found in his song-cycle Haugtussa (The Mountain Maid), Op. 67 (1895). The current paper explores the use of added-note harmonies in Grieg’s music, specifically tetrachords that extend the diatonic triad, and their interaction both with the 19th century’s first (diatonic functional) and second (chromatic) practices. It analyses Grieg’s exploitation of the dual-root equivalence of added-note harmonies in Haugtussa’s opening song, Det syng (‘The Enticement’), and his sophisticated, differentiated systems of tetrachordal voice-leading in the central strophes of the cycle’s final song, Ved Gjætle-Bekken (‘At Goat Brook’). Grieg’s practice is contextualised against the background of 19th-century harmonic theory concerning extra-triadic, tertian chordal constructions, such as that of his teacher Moritz Hauptmann and Helmholtz. In particular, I find the hitherto neglected work of Georg Capellen forms a profitable point for development of my own extended late-Romantic harmonic theory, alongside Harrison’s more recent theorising of mixed functional chords and Jack Douthett’s and Richard Cohn’s work on Boretz transformations of ‘Tristan genus’ tetrachords. 362

Pascal Terrien Université Catholique de l’Ouest | CNSMDP pascal.terrien@wanadoo.fr

 Session 5D

Pascal Terrien is Senior Lecturer in Musicology at UCO, and in Educational Sciences at the Conservatorie National Supérieur de Musique et de Danse in Paris. His entire research has concentrated on musical cognition. He sheds new light on the mechanism of the construction of knowledge and skills in music. He is a permanent researcher at O.M.F./MUSECO (Paris-Sorbonne), and at present directs a research group GRIHLAM at U.C.O., and ‘Didactic Research’ at the C.N.S.M.D.P. He is a visiting professor at the University of Keele, Hope University of Liverpool, the Academy of Music Minsk, Byelorussia, and University of Calgary, of Ottawa and Laval (Quebec). He published several books and articles since 2000.

The Explicitation Interview, Analyzing the Dynamics of Electroacoustic Music Listening (with Nicolas Marty) The explicitation interview is a method developed by Vermersch (1994) to study the actual unfolding of an action. Many studies using this method are involved in pedagogy – although there has been one study by Petitmengin et al. (2009) regarding the act of listening to sound excerpts. Contrary to common methods to study listening behaviors, the explicitation interview allows one to analyze the dynamics of listening: a sound is not heard all at once, it progressively unfolds in perception. The explicitation interview is concerned with leading the listener towards the detailed description of his/her actual experience – rather than a metaphoric recounting of what s/he heard. This presentation will first consist in an overview of the interview structure, as well as of the method designed by Vermersch (2012) to extract data relevant to the lived experience out of the maelstrom of the interviewee’s discourse. The second part of the presentation will be concerned with explaining how this kind of method might be relevant to musical analysis. This method allows us to meet both the epistemological and critical aesthetic aims of analysis (Mailman 2010). 1/ We might contemplate several analyses of the dynamics of a piece – i.e. the piece as it unfolds, with its hazards. We could also extract regularities in the data from the interviews, which might be a way to develop robust knowledge about the works that are listened to. 2/ Being informed about listening strategies may allow for a didactic analysis – i.e. an analysis seeking to define which indices (Deliège et al. 1998) or attributes (Le Ny 1975) may be relevant to the teaching of listening. The final part of the presentation will be concerned with an analysis of Elizabeth Anderson’s Chat Noir (1998), drawn from several explicitation interviews concerning its first hearing by both electroacoustic music specialists and non-specialists. 363

Lasse Thoresen The Norwegian Academy of Music lasse.thoresen@nmh.no

 Session 5D

Lasse Thoresen (b. 1949) is a composer and professor of composition at the Norwegian Academy of Music. His music has absorbed influences from archaic Norwegian folk music and ‘ethno music’ in general, from French spectral music and ‘Musique Concrete’, and from Harry Partch’s tonal system ‘Just Intonation’. Professor Thoresen has developed methods for aural analysis of emergent musical forms (The Aural Sonology Project). A major book entitled Emergent Musical Forms. Aural Explorations is under publication at Studies in Music of the University of Western Ontario. He initiated the Concrescence Project in 2006, which aims at renewing vocal practice through the contact with ethnic traditions.

Aural Analysis of Emergent Musical Forms. A Gestalt-oriented Approach to Musical Analysis

During the last half century, a sound-based music, as opposed to an interval-based one, has been emerging. The lack of consensus around what is pertinent for the formation of a syntax within soundbased music, has made this music accessible to only a small circle of specialist listeners and practitioners. Our approach to analysis (‘Aural Sonology’) came about very much as a response to the challenge of the lack of syntactical musical conventions. If syntax be defined as a way to prolong the listener’s experience of a moment within a musical discourse and as the means of ordering what he hears, then a possible way to meet this challenge is to seek out models of aural organisation that in some evident way discloses a sound-pattern, i.e. a Gestalt. Our methodological assumption is that anything that is perceived as ordered can be described as structure. The Aural Sonology Project has therefore been concerned with the identifications of musical gestalts, which on some level of the musical discourse present themselves as evident to the listener. The research is grouped into isotopies. On the level of form-building we have identified and elaborated five such isotopies: Time-fields (segmentation of successive units), Layers (simultaneous units), Dynamic Forms (directional, basically energetic patterns), Form-building Processes (recurrence, variation, and contrast), Form-building Transformations (patterns of complex vs. simple, fission vs. fusion, proliferation vs. collection, partitioning vs. integration etc.). To aid the presentation of the analysis, we have had a useful collaboration with INA-GRM in order to make a Plug-In for their Acousmograph program. After a brief presentation of some analytical signs via powerpoint, the session will end by showing a few examples of the application of the analysis to sound-based music on the Acousmograph. 364

Rebecca Thumpston Keele University r.m.thumpston@keele.ac.uk

 Session 12

Rebecca Thumpston is a doctoral candidate at Keele University. Her research, funded by the Research Institute for the Humanities at Keele University, theorises musical agency and embodiment within the wider discourse of music narratology. Rebecca has presented her research at conferences including the XIIth International Congress of Musical Signification, and the Eighth Biennial Conference on Music Since 1900, and recently published her first article, ‘The Embodiment of Yearning: Towards a Tripartite Theory of Musical Agency’, in Music, Semiotics, Intermediality (E-proceedings of the XIIth International Congress on Musical Signification).

The ‘Feel’ of Expansion: Embodying Musical Growth In ‘Anatomy of a Gesture: From Davidovsky to Chopin and Back’, Patrick McCreless examines the composite gesture that constitutes the climax of the first section of Mario Davidovsky’s Electronic Study No. 1 (1960), a four-part gesture comprising a “high-register crescendo with an increase in activity, precipitous plunge, low-register crash, and rebound” (2006: 11). McCreless highlights not only the universality of the gesture (found in a variety of works and styles, stemming from its history in the Romantic piano literature), but also its physicality: for McCreless, it is the gesture’s physical nature – understood through embodied imagination – that makes it so compelling. In a similar vein to McCreless, this paper will examine a specific musical gesture: that of musical growth or expansion, experienced as bearing volitional agency. The sense of a musical ‘lift-off’ is a powerful, physical sensation, existing across a range of styles and genres. Recognizing first the long history of scholarship on issues of growth and organicism, this paper will identify and theorise the goal-directed teleology, and subsequent resolution, of examples such as the openings of Richard Strauss’s Alpine Symphony, Wagner’s Das Rheingold, and Ravel’s Piano Concerto for the Left Hand. Further examples examined may include the anticipation forged through musical expansion in Ravel’s Bolero and in the second movement of Lutosławski’s Second Symphony. The paper will analyse and theorise the musical mechanisms that enable growth to be embodied in the mind and body of the listener, and also examine, in line with scholarship by authors including Naomi Cumming, Robert Hatten and Matthew BaileyShea, the manner in which this growth – experienced as a bodily sensation – is projected onto figurative, agential bodies in the music. 365

Satoshi Tojo Japan Institute for Science and Technology tojo@jaist.ac.jp

ď ľ Session 9A

Satoshi Tojo received degrees of Bachelor of Engineering, Master of Engineering, and Doctor of Engineering from University of Tokyo, Japan. He joined Mitsubishi Research Institute, Inc. (MRI) in 1983, and Japan Advanced Institute of Science and Technology (JAIST), Ishikawa, Japan, as associate professor in 1995; professor from 2000. His research interest is in formal semantics of natural language, logic in artificial intelligence including knowledge and belief of artificial agents, and grammar acquisition, as well as linguistic models of music.

Music Analyzer that Can Handle Context Dependency (with Keiji Hirata, Alan Marsden & Masatoshi Hamanaka)

Appropriate handling of context dependency is crucial in music analysis. For example, each occurrence of a repeated phrase may have a different musical meaning. The musical meaning derived from a phrase can be represented by a tree, with different tree structures representing different meanings. We propose a cognitive model of musical context dependency in which the key ideas are tension-relaxation grammar, the separation of bottom-up and top-down processes, and expectationbased parsing. A tension-relaxation grammar may work effectively in discovering distant relationships. Parsing with a tension-relaxation grammar is used to generate a global normative form, which contains the information of context dependency. The model extracts local structures in a bottom-up manner while identifying a global normative form within a piece of music corresponds to the top-down analysis. Then, by unifying the local structures with the global normative form, we obtain the whole consistent tree structures reflecting context dependency. We propose that, every time one listens to a piece, oneâ&#x20AC;&#x2122;s expectations are based on the most recent listening experiences and may elaborate and/or revise previous expectation. Hence, we consider the model with two input channels, a score and an expectation; every time a piece of music is input to the model with an expectation previously obtained in the circular manner, an expectation is to be elaborated and revised, and accordingly a more valid tree structure is generated. Through this circular process, the output structure is gradually accommodated with context dependency and converges to a valid tree structure. 366

Eldad Tsabary Concordia University eldad.tsabary@concordia.ca

 Session 5D

Eldad Tsabary is a professor of electroacoustic music at Concordia University (Montreal). He founded and directed the Concordia Laptop Orchestra through interdisciplinary collaborative performances with symphonic, chamber, jazz, and laptop orchestras, soloists, dancers, and VJs and through telematic, telemetronomic, and networked performances. In 9 years at Concordia, Eldad has been the primary developer of an aural training method specialized for EA, which is inspired by auditory scene analysis studies and is based on a transformational, democratic educational model — primarily action research methodology. Eldad received his doctorate in music education from BU. He is the current president of the Canadian Electroacoustic Community.

Understanding Analysis of EA Music through Aural Training Pedagogy This paper will focus on questions relating to how we hear and listen to electroacoustic (EA) music by discussing the question “what do we teach in training students’ ears in the context of EA studies?” Dedicated courses in EA aural training are quite rare in college and university programs. In reality, many EA educators introduce specialized aural skills within compositional or analytical contexts, but without the methodical, rigorous repetition necessary for acquiring skills. In 2005, the Music Department of Concordia University in Montreal spearheaded a new aural training course with its undergraduate EA majors, influenced by fundamental concepts from studies of Auditory Scene Analysis (ASA), primarily integration and segregation as defined by Bregman (1990). ASA is the process of perceiving auditory evidence and sorting it into packages that belong to separate happenings (or streams). This process involves integrating (grouping) auditory evidence, both sequentially and simultaneously, into streams, while segregating these streams from other simultaneous or sequential happenings. To develop structural flexibility of aural focus, Concordia’s ear training courses are designed as a yearlong scan from microstructure (segregation) to macrostructure (integration), organized loosely into three stages: (1) segregation (or segmentation) of sonic content in order to improve students’ ability to perceive aural detail in EA music, environmental sound, and all other sonic stimuli; (2) integration of perceived sound components into higher level formations (sequences and simultaneous groups); and (3) analysis, description, memory, and organization of multiple auditory streams into larger structures and textures, for the purpose of deriving musical meanings from them. In this presentation, I will discuss the aural parameters EA students at Concordia learn to hear, and how these parameters are incorporated into higher level analytical models. 367

Tatiana Tsaregradskaya Gnesins Russian Academy of Music tania-59@mail.ru

 Russian Session  Round Table

Tatiana Vladimirovna Tsaregradskaya graduated from the Gnesins Russian Academy of Music (Moscow) as a pianist and musicologist (with a PhD on “Compositional Techniques of Pierre Boulez, Karlheinz Stockhausen and Milton Babbitt: Comparative Study” (1988)). Since 1986 she has been lecturing at the Gnesins Russian Academy of Music, teaching courses on contemporary compositional techniques, contemporary analytical techniques, and popular music studies. In 2011-12 she was a lecturer at the Goldsmith college, University of London. Her main publication is a monograph on Messiaen, entitled Vremya i ritm v muzyke Olivier Messiana (“Time and Rhythm in the Music of Olivier Messiaen”) (Moscow, 2002).

Boris Asafyev and the Ideas of Energeticism in Russian Music Theory

In Music Theory from Zarlino to Schenker David Damschroeder and David Russel Williams call Boris Vladimirovich Asafiev (1884-1949) “one of the most influential scholars in Soviet music theory”. His contributions fall into three categories: 1) musical intonation (Russ. ‘intonatsia’) as socially predetermined phenomenon; 2) musical form as a process; 3) mode (Russ. ‘lad’) and harmony as the manifestations of ‘intonatsia’. Asafiev’s idea of ‘intonatsia’ has been inspired by various achievements in humanities and in music theory by Ernst Cassirer, Ferdinand de Saussure, Antoine Meillet, Ernst Kurth and Boleslav Yavorsky. Intonatsia is rooted in the aural experience of a musician that provides the material for building relationships among various elements of music (sounds, scale steps, keys etc.). In the process of emergence and renovation of these relationships one can witness musical ‘becoming’ and ‘unfolding’—the qualities that manifest energetic essence of music. Since music reveals itself in the process of unfolding, musical form is defined by a ‘process’, the most important aspects of which are the ‘relationships of identity and contrast’. Asafiev’s interest toward process was inspired by Ernst Kurth and his work Foundations of Linear Counterpoint. Asafiev’s interpretation of musical energy is distinct from pure psychological interpretation of Kurth. It is based upon the idea of ‘ntonational energy’ and presents the process of unfolding as ‘i-m-t formula’ (initio-motus-terminus); its main premise is functionality. Mode (Russ. ‘lad’) and harmony are also placed under the auspices of intonatsia. In Asafiev’s own words “lad is the intonational combination of melodic-harmonic relations” lead to understanding of mode as a dynamic phenomenon which is opposite to scalar concepts of mode. Asafiev did not create a school but his ideas exerted immense influence on theorists of both competing traditions of Leningrad and Moscow. 368

Costas Tsougras Aristotle University of Thessaloniki tsougras@mus.auth.gr

 Session 5C

Costas Tsougras (musicologist – composer) is Assistant Professor of Systematic Musicology and Music Analysis at the Music Department of the Aristotle University of Thessaloniki. His academic qualifications include a Bmus and a PhD, both from the Aristotle University of Thessaloniki, and a PhD in Music Analysis from the Columbia University of New York. He is the editor of Musical Pedagogics, the Greek Society for Music Education scientific journal. He has published theoretical and analytical work in international and Greek journals (JIMS, Musicae Scientiae, Polyphonia, et.al.), and conference proceedings on GTTM, Modal Pitch Space, music cognition models, computational musicology, music by Greek contemporary composers.

Kurze Variationen auf ein Bergsthema from the 32 Piano Pieces by Nikos Skalkottas: An Analytical Approach of Theme and Variations Based on Greek Folk Melodies Nikos Skalkottas, the pioneer of Greek musical modernism, used folk and folk-like musical elements (melodic and rhythmic material) in a considerable number of tonal or atonal works, while employing a great variety of compositional techniques for the exploitation of the embedded folk elements. This paper examines a representative of the category of ‘Theme & Variations’ piano works that, although based on modal Greek folk melodies, are atonal overall. The work examined is the Kurze Variationen auf ein Bergsthema (No. 3 from the 32 Klavierstücke, composed in 1940). The analysis focuses on the following points: the harmonization of the original folk melody for the creation of the theme; its transformation during the variations, while functioning as a melodic and structural core through developing variation techniques; the evolution of the motivic and harmonic material; and the musical texture throughout the unfolding of the variation form. The analysis reveals Skalkottas’s outstanding capacity to fuse traditional formal elements with modern harmonic and transformational techniques, and it correlates this piece with other members of the same category (such as the Thema con Variazioni from the Suite No. 3 for piano and the Eight Variations on a Greek Folk Theme for trio with piano). The paper compares these compositional approaches with those employed in his other atonal variation-type works which are not based on Greek folk tunes (such as the 15 Little Variations and the Passacaglia), thus moving towards the understanding of the principles of Skalkottas’s Variation Form. 369

Costas Tsougras Aristotle University of Thessaloniki tsougras@mus.auth.gr

 Session 9A

The General Chord Type Representation: An Algorithm for Root Finding and Chord Labelling in Diverse Harmonic Idioms

In this study we focus on issues of harmonic representation and computational analysis. Encodings such as guitar style chord labels or roman numeral analysis notation that are meaningful for representing tonal music, are inadequate for non-tonal musics; conversely, pc-set theoretic encodings that are employed for atonal and other non-tonal musics are inadequate for tonal music. Is it possible to devise a ‘universal’ chord representation that adapts to different harmonic idioms? In this paper, a new idiom-independent representation of chord types is proposed that is appropriate for encoding tone simultaneities in any harmonic context (such as tonal, modal, jazz, octatonic, atonal). The General Chord Type (GCT) representation, allows the re-arrangement of the notes of a harmonic simultaneity such that abstract idiom-specific types of chords may be derived; this encoding is inspired by the standard roman numeral chord type labeling, but is more general and flexible. Given a consonance-dissonance classification of intervals (that reflects culturally-dependent notions of consonance/dissonance), and a scale/ key, the GCT algorithm computes, for a given multi-tone simultaneity, the ‘optimal’ ordering of pitches such that a maximal subset of consonant intervals appears at the ‘base’ of the ordering in the most compact form. The lowest tone in the base is the ‘root’ of the chord. If a tonal centre (key) is given, the position within the given scale is automatically calculated. The proposed representation is ideal for hierarchic harmonic systems such as the tonal system and its many variations, but adjusts to any other harmonic system such as post-tonal, atonal music, or traditional polyphonic systems (in the case of atonal music, the GCT amounts to the ‘normal order’ typology of pc-set theory). The proposed GCT algorithm is applied to and tested qualitatively against a set of examples from diverse musical idioms (medieval, baroque, classical, romantic, octatonic, atonal, traditional), showing its potential, especially, for computational music analysis & music information retrieval. 370

Dmitri Tymoczko Princeton University dmitri@princeton.edu

 Session 6A

Dmitri Tymoczko is a composer and music theorist who teaches at Princeton University. He is the author of one book (A Geometry of Music, Oxford University Press) and two CDs (both available from Bridge Records).

A Study on the Origins of Harmonic Tonality I study the gradual origins of tonality using a large corpus of scores and harmonic analyses, comprising more than 1000 movements (120,000 chords) drawn from the period 1450–1870. My talk focuses on two processes — for simplicity, considering only ‘major’ modes (in modern terminology ‘Ionian’, ‘Lydian’, and ‘Mixolydian’, where tonal-harmonic routines are first evident). The earliest is the development of (‘zeroth order’) preferences for particular chords. During the early 16th century, the frequency of root-position I, V, and IV increases, while that of secondary triads (including iii and iii6) decreases, with the change in IV being particularly dramatic. (Interestingly, the prominence of IV is transitory, being supplanted by ii in the 17th century.) The decline of iii makes I6 the primary chord over bass scale-degree 3, remarkable insofar as root position triads generally predominate this repertoire. (This preponderance of I6 may indicate an intuitive and untheorized precursor to root functionality, though other explanations are also possible.) The second process is the development of ‘first-order’ preferences for particular progressions. These propagate backwards along the circle of fifths: one first finds V moving to I, then (in the early 17th century) ii becoming the primary nontonic approach to V, then (in the 18th century) vi–V being eliminated in favor of vi–IV and vi–ii. Thus the functionally tonal ‘harmonic cycle’ is assembled backwards from tonic to dominant to predominant to pre-predominant (vi). Importantly, proto-functionality involves loose tendencies rather than strict laws. I close by arguing that we can acknowledge these tendencies without devaluing the modal character of 16th-century music. 371

Victoria Tzotzkova Harvard University vdt3@caa.columbia.edu

 Session 8B

Victoria Tzotzkova is currently a Teaching Fellow at Harvard University. She received her doctorate in Music Theory from Columbia University in May 2012, with a dissertation titled Theorizing Pianistic Experience: Tradition, Instrument, Performer. Her research focuses on sound in piano performance, drawing on ethnographic, psychoacoustic, and cognitive approaches. Her main teaching interests currently are keyboard skills and period improvisation. Performance credits include Weill Recital Hall at Carnegie Hall, Steinway Hall, and the Miller Theatre in New York, as well as appearances in Germany, France, Switzerland, the UK, and her native Bulgaria.

Sounding Music, Cultivating Agency: Musings on Concepts, Discourses, and Practices in Present-Day Traditions of Classical Music Performance

“[Listening to Cortot …], one was suddenly in the pure presence of the music itself. With Horowitz […] one was in the presence of, well, Horowitz…” These terms of speech, quoted from a 1983 Boston Globe review, may sound both completely natural and decidedly odd: natural, because they are perfectly in line with common ways of thinking about classical music performance, but also odd, because the requirement that the presence of the performer remain unnoticed during a performance is hardly self-evident apart from such common but singular ways of thinking. Taking its cue from work in critical ethnography (Thomas 1993), this presentation aims to highlight the interdependence between ways of thinking and ways of doing, tracing the dynamic trajectories of conceptual formulations in classical music in tandem with practices they support and engender (Goehr 2007, Hamilton 2008, Kingsbury 2001, Clifford & Marcus 1986), arguing for a conscious, continual negotiation of both beliefs and practices in the enaction of living traditions (Boudon 1992). It specifically considers ways in which agency – as one’s own sense of authorship of one’s own actions and influence over one’s own circumstances (Sztompka 1994) – is routinely downplayed in classical music discourse, sometimes fueling unproductive confusion, as in the case of a young conservatory student documented by Kingsbury. The presentation also explores particular concepts and practices as ways to cultivate a sense of agency during performance, focusing on pianistic experience for the sake of precision and particularity. Drawing on statements by pianists, past and present, as well as personal experience, it aims to contextualize and open for discussion practical insights into discovering and maintaining a real-time experience of agentic presence in the act of creating musical sound (Neuhaus 2002, Sandor 1995). 372

Christian Utz University of Music and Performing Arts Graz christian.utz@kug.ac.at

 Session 8A  Round Table

Christian Utz has been professor for music theory and music analysis at the University of Music and Performing Arts in Graz/Austria since 2003 and has also taught as visiting professor at National Chiao-Tung University (Xinzhu/Taiwan), University of Tokyo, University of Vienna, Karl-Franzens-University Graz, and Alpen-Adria-University Klagenfurt. His monographs include Neue Musik und Interkulturalität. Von John Cage bis Tan Dun (Steiner 2002) and Komponieren im Kontext der Globalisierung. Perspektiven für eine Musikgeschichte des 20. und 21. Jahrhunderts (transcript 2014). He is currently director of the research project A Context-Sensitive Theory of Post-tonal Sound Organization (CTPSO), funded by the Austrian Science Fund.

Time-Space-Experience in Works for Solo Cello by Xenakis, Lachenmann, and Ferneyhough. A Performance-Sensitive Approach to Morphosyntactic Musical Analysis My “morphosyntactic” approach to the analysis of post-tonal music, informed by empirical and historical research on musical morphology and syntax and the notions of emancipated sound and perception in post-tonal musical contexts (Utz 2012, 2013), is based on a contextual application of Auditory Scene Analysis (Bregman 1990) and the idea of a “performative analysis” (Cook 1999) to post-tonal repertoire. In this context-sensitive understanding of musical experience, meaning arises from music-specific constellations of sonic time-space-events. This methodology does not render “stable” meanings but rather “possibilities” in a field of tension set up by score, performers, performing traditions and constantly changing technical and cognitive preliminaries. The present paper aims to expand this understanding of musical meaning by integrating performative dimensions systematically, connecting particularly to my more recent research into the temporal qualities of musical perception (Utz 2014). The paper complements a morphosyntactic view of sound structure with a comparison of different recordings of key pieces in the repertoire of solo cello music since the 1950s (Xenakis, Nomos Alpha; Lachenmann, Pression; Ferneyhough, Time and Motion Study II) by (1) interpreting software-based collections of performance data, and by (2) interviews with performers on their conception of time and tempo in these pieces. The analyses propose three different categories of time-space-conceptualization: a non-temporal, mathematically construed architectonics (Xenakis), an evocation of sonic presence and its repeated disruption (Lachenmann), and a continuous loss of auratic presence and gestural intensity through eroding and sabotage (Ferneyhough). The performance-related data and interviews are confronted with these conceptualisations, presumably challenging their validity and corroborating the space of “informed intuition” (Rink 2002, 36) even in the performance of these highly prescriptively notated scores. In conclusion, a short dialogue with Ellen Fallowfield will discuss how such time-space-images might constructively interact with a performer’s experience and intuition during the study of this repertoire. 375

Vera Valkova Gnessins Russian Academy of Music veraval@yandex.ru

 Russian Session

Vera Valkova is Professor of Music at the Gnessins Russian Academy of Music. She studied with Victor Bobrovsky and finished het doctoral dissertation Musical Thematicism – Thinking – Culture in 1993. She gave papers at a number of international conferences in Moscow, Saint Petersburg, Tambov, Nizhny Novgorod, Tampere, Vilnius and Berlin. In 1996 she has lead the international project 20-th Century Music: the End of an Epoch? (Soros Foundation grant FD-100), She is an author of more than 70 articles on music of Lutosławski, Schnitke, Mussorgsky, Shostakovich, Rachmaninoff and others.

The Category of ‘Spread-Out’ Theme in Contemporary Russian Music Theory In Russian musicology of the past three decades the category of ‘spreadout theme’ has been used in the studies of folk music, new compositional languages of the 20th-21st centuries and, to a lesser degree, music that was formed before the 20th century. The same phenomenon is also often referred to as ‘microthematicism’. The demand for this term occurred in 1970s. One of its sources is Reti’s The Thematic Process in Music. It is used in the texts of Abram Jusphin, Victor Bobrovsky, Yevgeniya Tchigaryeva, Ekaterina Rutchyevskara, Ljudmila Skaftymova, Vera Valkova and others. There are two types of spread-out theme. The first is a short motive or intonational cell that plays the role of a full-fledged theme (in Skaftymova’s term it is microthematicism, in Bobrovsky’s—‘spread-out theme’. Such a theme can play an important independent role either when a classical theme is present or when it is absent, as in the works based upon textural, timbral and rhythmic structures. Inna Barsova’s idea of ‘intonational fabula’ belongs to the same category. The second aspect (which is used more widely) is ‘thematic and intonational connections’, which is emphasized in the teaching of Yekaterina Rutchyevskaya. These include, in her own words, besides short motives, the “diffused or spread-out connections, such as the related types of melodic patterns, rhythm, texture, as well as separate intervals, rhythmic formulae, and small melodic cells”. The independent role of such elements in the music of the 20th century allows considering them as one of the functional embodiments of musical thematicism—the spread-out theme. Analytical perspectives of these two aspects of the spread-out themes will be demonstrated on examples from music of Lutoslawski (his Second symphony), Schnittke (Second violin concerto) and Rachmaninoff (First symphony). 379

Jean-Claire Vançon Université Paris-Sud jcvancon@gmail.com

 Session 13

Holding a PhD in Musicology and Music Theory, Jean-Claire Vançon is also graduated from the Paris Conservatoire (CNSMD, he won the first Prizes in History of Music and Aesthetics in Paris). He is now ‘Agrégé’ Professor in Paris-Sud University and artistic director at Ile-de-France ARIAM. He also assisted prof. Michaël Levinas in the Paris Conservatoire for six years. His research focuses on the history and analysis of works composed in France during the 18th and 19th centuries.

Sur la trace d’un ‘style académique’: analyser les œuvres des lauréats du Prix de Rome à la lumière des catégories de l’Académie des Beaux-Arts (1803-1830)/ In Pursuit of an ‘Academic Style’: An Analysis of the Prix de Rome Laureates in the Light of the Categories of the Académie des BeauxArts (1803-1830) Many of the composers who won the Prix de Rome for composition never achieved inclusion in the Pantheon of great musicians. I will analyse some of the works they sent from Rome, from the perspective of categories derived from the system of values emphasized by the Académie des Beaux-Arts – to the extent this can be read in the reports of the Music Section on the submissions. These values constitute the terms of an ‘academic style’, and I will study the manner in which this style is embodied in the works of selected musicians, chosen from the winners of the Prix de Rome between 1803 and 1830: how did they progress, judging from their submissions, and how did this style then determine the construction of their works after their return from Rome? 380

Steven Vande Moortele University of Toronto steven.vandemoortele@utoronto.ca

 Session A

Steven Vande Moortele is Assistant Professor of Music Theory at the University of Toronto. His research concentrates on theories of musical form, the analysis of instrumental music from the late 18th to the early 20th century, and the music of Arnold Schoenberg. His book, Two-Dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky, appeared in 2009. Currently he is working on an edited volume on the theory of formal functions (with Julie Pedneault-Deslauriers and Nathan Martin) as well as on a second monograph, provisionally titled Forms of Beginning: Romantic Overtures and Large-Scale Musical Form.

The Potpourri Overture as Musical Form Richard Wagner’s essay De l’ouverture of 1841 contains a famous invective against the then increasingly popular format of the so-called potpourri overture: a form in which isolated melodies drawn from the opera are strung together in loose concatenation. Such overtures, Wagner writes, may possess great entertainment value, but lack artistic merit. Similar comments abound in music criticism of the second quarter of the 19th century, often marking the potpourri overture as typically French (as opposed to German), or as inferior to the more established sonata-form overture. In this paper, I take the potpourri overture seriously as a musical form and problematize the binary opposition between sonata form and potpourri. Drawing on theories of musical form by Caplin (1998), Hepokoski and Darcy (2006), and Vande Moortele (2009), I will focus on cadential plans, tempo organization, and key distribution in order to show how potpourri overtures, far from presenting their different sections in random succession, display a surprising degree of formal organization. Underneath their heterogeneous surface, they often mimic procedures familiar from the single-movement sonata form or the multi-movement sonata cycle; in their combination of these two types of formal organization within a single movement, they may even be said to be quite innovative. Conversely, loosening phenomena such as excessively long introductions, internally heterogeneous expositions, changes in tempo and meter, and interruptions of the expected course of the form are not limited to the potpourri overture. They can also be found in several overtures from the second quarter of the 19th century that are generally thought to be in sonata form, but that are more accurately understood as moving in and out of a strict sonata-form organization. Examples will be drawn from overtures by Weber (Oberon, 1826), Rossini (Guillaume Tell, 1829), Hérold (Zampa, 1831), and, indeed, Wagner himself (Der fliegende Holländer, 1841). 381

Gissel Velarde Aalborg University gv@create.aau.dk

 Session 9A

Gissel Velarde is a PhD fellow at Aalborg University working on a wavelet-based approach for analysis of symbolic music representations under the supervision of David Meredith and Tillman Weyde. Velarde holds a degree in Systems Engineering from the Bolivian Catholic University and a Master of Science in Electronic Systems and Engineering Management from the South Westphalia University of Applied Sciences. She studied piano at the Bolivian National Conservatory of Music and won first and second prizes at the National Piano Competition in Bolivia (1994 and 1997 respectively). From 2006 to 2008, she was DAAD scholarship holder.

Melodic Pattern Discovery by Structural Analysis via Wavelets and Clustering Techniques (with David Meredith)

We present an automatic method to support melodic pattern discovery by structural analysis of symbolic representations by means of wavelet analysis and clustering techniques. In previous work, we used the method to recognize the parent works of melodic segments, or to classify tunes into tune families (Velarde, Weyde & Meredith, 2013), and in this study, we use it to discover melodic patterns. Wavelet analysis is a mathematical tool that compares time-series with an oscillation — the wavelet — at different positions and scales, returning similarity coefficients. We explore properties of the wavelet coefficients in relation to segmentation and similarity detection. For this purpose, we sample symbolic representations of monophonic pieces into onedimensional (1D) pitch signals, which are contour like representations of those pieces, and apply the continuous wavelet transform (CWT) with the Haar wavelet. The returning wavelet coefficients are used to set local boundaries at different time-scales, considering the coefficients’ zero crossings, local maxima or local extrema. The wavelet coefficients are also used to represent segments in a transposition invariant manner. We use k-means to cluster melodic segments into groups of measured similarity and obtain a raking of the most prototypical melodic segments or patterns and their occurrences. We test the method on the JKU Patterns Development Database and evaluate it based on the ground truth defined by the MIREX 2013 Discovery of Repeated Themes & Sections task. We compare the results of our method to the output of geometric approaches. Finally, we discuss about the relevance of our wavelet-based analysis in relation to structure, pattern discovery, similarity and variation, and comment about the considerations of the method when used to support human or computer assisted music analysis and teaching. 382

Roberta Vidic Hochschule für Musik und Theater Hamburg roberta.vidic@hfmt-hamburg.de

 Session 1B

Roberta Vidic (1987, Italy) is completing in summer 2014 a BA in Composition/ Music Theory at the Hochschule für Musik und Theater Hamburg (Prof. Reinhard Bahr). She is also translator Italian‐German and holds the Italian (Udine, 2005) and German State Diploma (Munich, 2011) in Harp. Her BA‐thesis concerning F. A. Calegari and Vallotti is part of a larger research project she has been pursuing since 2011. Poster with R. Bahr (Conference on Music of the Western Greeks, Agrigento 2013); paper about subthematics and ambiguity in German and North American analyses with own approach to Beethoven’s late work (Conference on Form, Tallinn‐Pärnu 2014).

Rameau and the Italian Tradition “On ignore le premier Inventeur de l’Art harmonique ... par la même raison qu’on ignore le premier Inventeur de chaque Science” (d’Alembert, 1762). My paper aims to reconsider competing systems of harmony in Paris and Padua in the 18th century, focusing on the terms art and science in order to work out some characteristic differences. The discussion around the sources until 1750 regards so‐called ‘priorities’ of pure musical nature: first, the identity of a chord and its inversions and second, the origin of the diatonic scale in the three ‘note fondamentali’ or ‘sons fondamentales’. According to actual knowledge, the Paduan ‘Scuola dei rivolti’ achieves the chronological priority by narrow margin, but certainly not Rameau’s historical role in the reception. The scenario changes drastically with Démonstrations (1750), when Rameau tries to establish his system as a system of (natural) sciences in the Academies of Sciences in Paris and Bologna. As a matter of fact, this dispute should not be confused with the mentioned ‘priorities’. I take the single controversies 1750‐79 back to the general discussion: Which principles underlie a system of music? In his Élements (1752, 1762), d’Alembert programmatically refuses the old “proportions & progressions” and saves those parts of Rameau and Tartini he needs for his system of music as a ‘science Physicomathématique’: the two principles deriving from ‘corps sonore’ and ‘terzo suono’. Science is here expected in fact to reduce the sensory experiences of art to principles. This idea is already present since Rameau’s Traité (1722). But are sensory experiences strictly necessary to harmony? Calegari’s Ampia dimostrazione (1732) will now appear archaic: I suggest a reconsideration of Seicento romano from Liberati (1666) to the origin of ‘partimento’. But when Vallotti replies in 1779 to d’Alembert, refusing both Rameau and Tartini, this is the voice of the Aristotelianism in the Renaissance! 383

Panos Vlagopoulos Ionian University pvlag@ionio.gr

 Session 5C

Panos Vlagopoulos is Associate Professor in Music at the Ionian University, Greece. His academic qualifications include: a BA in Law from the Democritus University, Greece; a BMus in Musicology from Basel University, Switzerland; a PhD from the Ionian University, Greece. His publications include an article on Jani Christou in Komponisten der Gegenwart, papers in the Papers of the Austrian Wittgenstein Society, and elsewhere. He has translated into Greek Lydia Goehr’s Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, and Nelson Goodman’s Languages of Art. He is the editor-in-chief of the peer reviewed journal Mousikos Logos Online.

Jani Christou’s Second Symphony: Monument, Crossroads, Path

Jani Christou’s career began in 1948 in the Bergish atonality of the Phoenix Music and ended abruptly in 1970 while he was experimenting with music–theatrical rituals that use graphic notation. (In the meantime, from 1960 to c.1965, he had been experimenting with selfstyled ‘meta-serialism’). In comparison with the post-war avant-garde Christou was another ‘Spätentwickler’ working at the periphery, though arguably an obsessively idiosyncratic one. During his twenty-odd years of compositional activity he was seemingly coming more and more in sync with the international avant-garde, at the same time adhering to a personal langue (as opposed to avant-gardistic paroles) from his first to last work. On the basis of an analytical commentary to the manuscript sources, this paper proposes a new dating of the Second Symphony, and tries to bring into relief concrete techniques for assessing the overarching unity of his complete oeuvre, particularly in the context of Christou’s multifaceted and solid philosophical background: above all Jung, Wittgenstein, and Nietzsche. The Second Symphony marks the end of his first period, and stands out as a monument to his recently deceased brother and personal guru Evis, a promising analyst at the Jung Institute in Zurich; as a crossroads of atonal approaches and the serial techniques fully applied in his next work (the Patterns and Permutations of 1960); and finally, as the musical imprint of a personal path on the way to his Jungian individuation. 384

Florian Vogt Musikhochschule Freiburg florianvogt@gmx.net

 Session 2A

Florian Vogt (1978) teaches music theory at the Universities of Music in Freiburg and Trossingen. He studied music theory, music education and mathematics in Freiburg and Rochester and earned a master’s degree in Early Music at the Schola Cantorum in Basel. He is currently working on a dissertation about Stölzel’s composition treatise. Further research interests include the theory and practice of improvised counterpoint, partimento and ‘Satzmodelle’. As a musician he plays basso continuo on the harpsichord and organ in several ensembles for Early Music.

Bruckner and ‘Satzmodelle’. An Analysis of the Beginning of the Seventh Symphony In my presentation I will analyze the famous and much discussed beginning of Bruckner’s seventh symphony from a perspective of harmonic-contrapuntal patterns (‘Satzmodelle’). The aim of my analysis is twofold: on the one hand the goal is to shed light on the specific use of ‘Satzmodelle’ in Bruckner’s harmonic language, on the other hand it is also meant as a contribution to the general discussion of how ‘Satzmodelle’ are used and integrated in the musical language of the 19th century. At the beginning of my presentation I will discuss some harmonically and contrapuntally striking moments at the beginning of the symphony. In the following I will connect these moments to an ‘openly’ composed instance of a Romanesca-model beginning in m. 18 which gives some clues to the understanding of the previous passage. As I will show, one aspect of the extraordinary hovering atmosphere of the symphony’s opening is that the actually sounding three voices are based on a counterpoint of 4 or 5 voices in which some voices and especially the bass line are only alluded but not fully realized as sounding voices. 385

Anja Volk Utrecht University a.volk@uu.nl

ď ľ Session 9A

Anja Volk holds master degrees in musicology and mathematics and a PhD in computational musicology from Humboldt University of Berlin (2002). The results of her research have contributed to areas such as computational musicology, music information retrieval, digital cultural heritage, music cognition, and mathematical music theory. After two post-doc periods at the University of Southern California and Utrecht University, she was awarded a prestigious VIDI grant from NWO in 2010, which allowed her to start her own research group MUSIVA at Utrecht University. MUSIVA investigates music similarity in an interdisciplinary manner comprising Music Information Retrieval, Musicology and Cognitive Science.

V Rhythmic Patterns as Contituents of the Ragtime Genre Ragtime is considered a â&#x20AC;&#x2DC;hybrid from folk and written culturesâ&#x20AC;&#x2122; and poses serious challenges regarding its very identity. Musicologists have identified important rhythmic and harmonic patterns through musical analyses that they consider as characteristic patterns of the genre. In this paper we employ computational methods to investigate the RAGcorpus of 11000 ragtime MIDI files on the occurrence of characteristic patterns and their role regarding the identity of the genre. We show how the computational processing of a large musical corpus can complement and augment traditional musicological analyses of ragtimes. 386

Ralf von Appen University of Gießen Ralf.v.Appen@music.uni-giessen.de

 Session 7A

Dr Ralf von Appen holds a PhD in musicology from the University of Gießen (Germany), where he has been working as a teaching and research assistant since 2004. He has been a board member of the German ASPM (Arbeitskreis Studium Populärer Musik) since 2008, and is a co-editor of the academic online journal Samples (www.aspm-samples.de). Von Appen has published a book on the aesthetics of popular music (Der Wert der Musik, 2007) as well as several papers dealing with the history, psychology, analysis and aesthetics of popular music.

Corpus Analysis: Song Form and Harmony in the Repertoire of the Rolling Stones (with Markus Frei-Hauenschild) While many detailed analyses on the music of the Beatles have been published, almost no research has been conducted focusing on the music of the Rolling Stones who are rather dealt with from a cultural point of view. Evidently, the Beatles’ melodic songs, their harmonic ‘richness’ and colourful instrumentation seemed to offer more to originally classically-trained scholars than the Stones’ approach. Our corpus analysis of c. 300 songs by Mick Jagger and Keith Richards aims to characterise their idiolect and its development over the course of their 50-year career. The first focus is on how song forms like AABA, simple verse, verse/chorus and the uses of non-repeating sections develop towards what fits the Stones’ aesthetic best. The second focus is on harmonic structures. The prevailing verdict of harmonic simplicity wrongly equates a limited range of chords to harmonic paucity. It thereby ignores the variety of shades provided by the famous intervening of guitars making the chords “move within themselves”, the harmonic ambiguity caused by bi-tonicality, and the reinterpretation of chords by means of syntactical rearrangement. More generally, we will talk about the Stones’ aesthetic apparent from our analytic results. Whereas the Beatles’ songs are often discussed as works of art, many listeners interpret the Stones’ music as an expression of a certain lifestyle. Descriptions like hedonistic, passionate, or ‘elegantly wasted’ come to mind. Moore’s recent concept of how a fictitious persona is constructed through the design of a musical environment will be used to tackle the question of whether musicological analysis can actually show correspondences in the music that trigger and support such ascriptions. Ultimately, we present results valid for many kinds of music that refuse to comply with the prevailing aesthetics of artistic sophistication and progress. 387

Petros Vouvaris University of Macedonia vouvaris@uom.gr

 Session 5C

Petros Vouvaris is Lecturer in Music Form and Analysis at the Department of Music Science and Art of the University of Macedonia, Greece. His academic qualifications include: an MMus from the University of North Carolina-Greensboro, USA; a DMA from the University of Wisconsin–Madison, USA. He has presented papers on music analysis and piano pedagogy at conferences and seminars in Greece, Cyprus, Serbia, Netherlands, and the USA, while his articles have been published in both Greek and American journals. He is a member of the board of directors of the Hellenic Musicological Society, and an active performer.

Issues of Melodic Structure in Nikos Skalkottas’s Post-Tonal Music

Research interest in issues of melodic structure in post-tonal music has been rather limited. Basing their theoretical premises on the notion of octave equivalence, most methodological tools that pertain to the analysis of post-tonal music seek to account for its pitch-class structure, largely overlooking such foreground phenomena as the registral distribution of its specific pitch content. This disinterest may be attributed to the relative absence and/or inconsistency of surface linearity that comply with the commonplace commitment of many researchers to a ‘contrarian’ perspective (Huron 2006), rendering the matter of melody construction in post-tonal music implicitly moot. However, the textural priority of melody over its accompanying counterparts remains a salient feature of works that customarily fall under the rubric of early modernism. Particularly in the case of Nikos Skalkottas, the dispersed pitch content of his clearly delimited and conspicuously projected melodic structures often appears so balanced as to imply linear continuities underneath the registrally fragmented surface. Through the case-study analyses of the diachronically and synchronically articulated thematic melodies of such works as the Second Piano Suite, the Octet for Wind Instruments, the Violin Concerto, and the works for string duo, the proposed paper aims at investigating the pertinent musical attributes that evince the resemblance of the associative middleground of Skalkottas’s thematic melodies to prolongational structures commonly associated with tonal melodic lines. Towards this goal, the adopted methodological background adapts the premises of auditory scene analysis in the assessment of implied polyphony in Baroque music (Davis 2006) to the prerequisites of the post-tonal idiom. 388

Julie Walker Université de Strasbourg julie.walker@live.fr

 Session 4D

After a bachelor’s and master’s degree in musicology, Julie Walker began her PhD in October 2011 under supervision of professor Márta Grabócz. Her research focuses on Chopin’s last style according to three main axes: study of the context, narrative analyses and study of the interpretation. She presented papers at several conferences (International seminar on musical semiotics in Helsinki, ICMS12 in Louvain-La-Neuve, Doctorales Musique-Musicologie at the University of Paris Sorbonne IV, “Narratologie et les arts” in Paris and Strasburg, Seminar “Literature and Music” of the Ecole normale supérieure in Paris). Julie Walker is still studying at the Conservatory of Strasburg (piano and writing) and works as a junior high school music teacher since September 2011.

Different Discretized Structures in Chopin’s Last Style According to Ian Bent, “musical analysis is the reduction of a musical structure in several components […] and the research of functions of these components inside the structure”. It is in this wide analytical context that my research about Chopin’s last style is to be situated. I use a combination of classical and narrative analysis to consider these two different but complementary aspects of a musical work. The musical work is divided into significant unities (discretization by segmentation) according to the topics and narratives actors use. By so doing, I want to integrate elements from the musical signification into the structural dimension of the work. However, this distinction allows us to go further and to bring to light the different narrative identities, by the relation and interactions of the discretized unities and their rhythmic states: complex course, simple course, less contrasted course, etc. Thus, these unities become entirely comprehensible by the global observation of the path and enable us to understand the construction and tracking of the work. Then, these elements can be used for the study of the interpretation at the level of the sound object (tempi and dynamics) and for the study of the choices made by performers. It will be asked if these unities are still relevant for the sound object and if they have an impact on the performance. 391

Ying Wang Central Conservatory of Music Beijing christina-wy@hotmail.com

 Session 6C

Dr. Wang, Ying studied Music Analysis at the Central Conservatory of Music Beijing. Her research fields: polystylistic, the music of Henri Dutilleux (dissertation), Johann Nepomuk David, and the history of Chinese music theory.

The Sinicization of Riemann’s Concept of Harmony via Soviet Music Theories (with Gesine Schröder)

Keith Waters University of Colorado-Boulder keith.waters@colorado.edu

ď ľ Session 7B

Keith Waters is Professor of Music at the University of Colorado-Boulder. He is the co-author of Jazz: The First Hundred Years and author of the books Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger and The Studio Recordings of the Miles Davis Quintet 1965-68. The Miles Davis book has won awards from the Association for Recorded Sound Collections, Down Beat, Jazz Critics Association, and Jazz New York. He has published numerous articles on the analysis of jazz in the 1960s. As a jazz pianist, he has recorded and performed throughout the US, Europe, and in Russia.

Postbop Grammars This paper focuses on the 1960s jazz compositions of Wayne Shorter, Herbie Hancock, and Chick Corea, particularly those with tonally ambiguous harmonic progressions. I question rigid tonal/hierarchical approaches toÂ this repertory, such as Schenkerian (Strunk 2000, Martin 2013), layered (Strunk 2000, Julien 2003), and others (Strunk 2005). I suggest instead that the compositional paths are largely cyclic, with harmonic and/or melodic motion guided by transpositional cycles. First order grammars match the cyclic motion in both the harmonic and melodic dimensions. Second order grammars use harmonic substitution sets to accommodate the melodic cycles. These grammatical structures activate unusual harmonic progressions, and offered postbop composers powerful alternatives to more conventionally tonal procedures. 393

Sebastian Wedler University of Oxford sebastian.wedler@music.ox.ac.uk

 Session C

Sebastian Wedler is a doctoral student at Oxford University, with a thesis on the early music of Anton Webern (supervision Jonathan Cross), funded by the Arts and Humanities Research Council in conjunction with Merton College. His research draws on unpublished manuscripts and sketches from the Paul Sacher Foundation, Basel, where Sebastian has been appointed a Fellow for 2014. He is winner of the Merton College Prize Scholarship (2014/15), and the Link 2 Future Award (2011) from the Institute of Psychoanalysis Zurich (PSZ). He currently teaches at several Oxford Colleges (including Music Analysis, Richard Wagner, Viennese Modernism, Musical Thought & Scholarship).

On the Genealogy of Webern’s Lyrical Physiognomy

Anton Webern has long been considered to be a ‘musical lyricist’. Theodor Adorno, for instance, argued that Webern had been generally guided by the idea of ‘absolute lyricism’. Drawing on Karol Berger’s A Theory of Art, my paper takes ‘musical lyricism’ to be a concept of temporality, a temporality of the decisive moment or ‘Augenblick’ in which—as opposed to ‘narrative’ or ‘dramatic-dialectical’ orientations of musical form—the individual musical part rests in itself. This paper takes the perspective that throughout his compositional output, Webern was concerned with these ‘lyrical’ notions of temporality, and that it is this that arguably fundamentally distinguishes Webern’s aesthetics from that of Schoenberg or Berg. While these ‘lyrical notions’ have only been addressed in Webern’s aphoristic and dodecaphonic works, this paper explores the genealogy of Webern’s ‘lyrical attitude’ by an indepth analysis of Im Sommerwind (1904). I will approach the work by means of four analytical focal points: (i) Webern’s ‘leitmotivic practice’ and the tight-knitted threads of motivic-thematic correspondences that issue from this; (ii) a Hepokoskian analysis of the work’s ‘sonata deformation’; (iii) the ‘interlacing of harmonic plateaus’ through a combination of Schenkerian and Neo-Riemannian analysis, effectively evoking the virtual contemporaneity of events; (iv) and the penetration of the overall form through what Ernst Kurth conceived of as ‘wave forms’, with the effect that motion is suggested while nothing is actually developing. In the course of this, I will discuss these analytical findings in the light of the work’s programme, a poem of the same name by Bruno Wille, as well as Webern’s sketches from the Paul Sacher Foundation, Basel, Switzerland. In so doing, my paper aims at a contribution towards the elucidation of Webern’s ‘lyrical physiognomy’ in particular, and the analytical grounding of the paradigm of ‘lyrical’ temporality in general. 394

Tillman Weyde City University London t.e.weyde@city.ac.uk

ď ľ Session 9A

Tillman Weyde is a Senior Lecturer at the Department of Computer Science, City University, London. He holds degrees in Computer Science, Music, and Mathematics. His PhD is on the topic of automatic analysis of rhythms. He is coauthor of the prize-winning software Computer Courses in Music Ear Training, was a consultant to the NEUMES project at Harvard University and has contributed to the integration of SMR in the MPEG-4 standard and the EU project i-Maestro. His current research interests are in machine learning models for analysing music, as well as other signals and data.

Melodic Prediction and Polyphonic Structure Analysis In recent years, machine learning methods have been used increasingly for music analysis. A particularly interesting aspect is the modelling of the interaction of different musical parameters in the analysis process. When analysing the polyphonic structure (voice separation) of a piece, there are influences from low-level perceptual processes, but there are also local and global expectations of melodic continuation that contribute to the formation of voices in the perception of the listener. Machine learning enables us to model the interaction of these processes in voice separation. The most used techniques for melody modelling are probabilistic models, mostly Markov and hidden Markov models. More recently, neural networks have shown very promising results. We will discuss the use and effectiveness of neural networks and probabilistic models in a joint melodic and polyphonic model. 395

Bryan White University of Leeds b.white@leeds.ac.uk

 Session 3B

Bryan White is a senior lecturer at the University of Leeds where he is a member of Leeds University Centre for English Music. He is a member of the editorial committee of the Purcell Society for which he has edited Louis Grabu’s opera Albion and Albanius and G.B. Draghi’s large-scale ode From Harmony, from Heav’nly Harmony. He has published articles on English Restoration music in Music & Letters, The Musical Times, and Early Music, and book chapters for Ashgate and Boydell & Brewer. He is working on a book: Music for St Cecilia’s Day in Britain from Purcell to Handel.

Lost in Translation? Louis Grabu and John Dryden’s Albion and Albanius

Louis Grabu’s setting of John Dryden’s Albion and Albanius is an unprecedented and unimitated experiment in English musical drama. Grabu returned to London from France to compose “something at least like an opera” when Thomas Betterton failed to import the real thing – a full-blown French opera – on his trip to Paris in 1683. Grabu’s debt to Lullian opera has long been acknowledged, and his setting of English frequently criticised. However, the difficulty he faced in setting Dryden’s text has been too little acknowledged. The libretto did not conform to any precedent in English musical theatre, much less the librettos by Quinault that formed the template for Grabu’s conception of opera. This paper analyses Grabu’s attempt to write music using the style, form and aesthetic of Lullian opera to an English text constructed on an unfamiliar dramaturgical design. A close examination of the Act II dialogue between Albion and Albanius reveals the way in which he created a style of English recitative wholly unlike any English precedent. Although he did not always grasp the idiomatic accentuation of English, Grabu developed a flexible metrical technique – adapted from Lully – well suited to Dryden’s recitative style, which is marked by irregular line lengths and stress patterns. The examination also reveals disparate concepts of opera held by the composer and librettist, in particular Dryden’s lack of understanding of the hierarchies of musical style and form required in French opera. Dryden’s use of stanzaic song texts in the encounter between Albion and Albanius caused difficulties for Grabu who found it inappropriate to set them in song forms. The result is an uneasy compromise, in which Grabu is nevertheless able to create an unexpected sense of tenderness between Albion and Albanius, a moment in which music transcends the restraints of the libretto. 396

Darryl White University of Arizona darryl.musico@gmail.com

 Session J

Darryl White is an active guitarist, composer, music theorist, and educator, living in Tucson, Arizona. He holds a BM in theory and composition and an MA in music theory. He is presently completing his PhD in music theory at the University of Arizona. His research interests include American popular music, the music of Gabriel Fauré , form theory, and critical theory.

The ‘Melodic-Harmonic Divorce’ in Jazz David Temperley (2007) has described instances of melodic-harmonic independence or divergence in rock music as “stratified pitch organization”. We have found similar organization in other genres of popular music, suggesting that it may be a widely-distributed phenomenon. Since it has only recently been considered theoretically, further study is needed in order to understand the functions of stratified tonal music and how they compare to those of the ‘unified’, commonpractice music that has set the terms for tonal theory. Our paper will give examples of stratified or layered organization in jazz, beginning with clear, relatively-simple cases in order to establish our terms. We then will give an overview of Four, a composition by Eddie ‘Cleanhead’ Vinson (made famous by Miles Davis) that not only exhibits this feature but brings up a number of interesting issues related to it. Our method of analysis is suggested by Temperley’s notion of stratification. We thus divide the music into at least two layers: melody (or main voice) and accompaniment. Each layer is understood to envelop tonal forces and play a distinct formal role. Having analyzed each in isolation, we consider the products of their interactions. We provide the rationale for our analytical method by outlining a theory of layered formal functions, based, in part, upon a selective reading of the theories of Arnold Schoenberg. 397

Jonathan Wild McGill University wild@music.mcgill.ca

 Session 9B

Jonathan Wild is Assistant Professor at McGill University in Montreal where he teaches Music Theory and Composition. He holds a PhD from Harvard University where he wrote a dissertation on pitch tessellation under David Lewin. He has recently served on the Editorial Board of the Journal of Music Theory and is currently on the Editorial Board of the Journal of Mathematics and Music. In the course of his research he has investigated various branches of compositional theory using mathematical models, and repertoire from the 20th and late 19th centuries.

Scale Theory in the 16th Century — the Case of Nicola Vicentino

In his treatise of 1555, L’Antica musica ridotta alla moderna prattica (henceforth L’Antica Musica), the theorist and composer Nicola Vicentino describes a tuning system comprising thirty-one tones to the octave, and presents several excerpts from compositions intended to be sung in that tuning. The rich compositional theory he develops in the treatise, along with the few surviving musical passages, offers a tantalising glimpse of an alternative pathway for musical development, one whose radically augmented pitch materials make possible a vast range of novel melodic gestures and harmonic successions. In this article I begin with an acoustic derivation of the thirty-one-tone scale; a derivation that is not entirely explicit in L’Antica Musica. I go on to examine the aesthetic rationale claimed by Vicentino for his tuning system, and to investigate, through close reading of the treatise, the modal and generic frameworks that he develops within it, while considering their historical antecedents. Finally I consider to what extent these pre-compositional pitch structures are realised in the surviving compositions, by performing some preliminary analysis on the works excerpted in the treatise. One difficulty in working with a repertoire such as this is the inability of the modern musician to recreate, mentally or in performance, the sound and affect of the unfamiliar intervals from the enharmonic genus. In my own experience I found I needed to hear what Vicentino intended, before fully grasping what was at stake in his theorizing or appreciating the import of the musical possibilities. And so together with my colleague Peter Schubert we have created aural illustrations of the musical examples by retuning, in post-production, specially recorded performances by professional singers to match precisely the intonational stipulations in L’Antica musica. 398

Justin Williams University of Bristol justin.williams@bristol.ac.uk

 Session 7A

Dr Justin Williams is Lecturer in Music at the University of Bristol where he teaches classes on analysis, jazz and hip-hop. He received BAs in Music and History from Stanford University, MMus from Kings College London, and a PhD from the University of Nottingham under the supervision of Adam Krims (2010). He has taught at Leeds College of Music, Lancaster University and Anglia Ruskin University. His book, Rhymin’ and Stealin’: Musical Borrowing in Hip-Hop, was published in 2013 by University of Michigan Press. His next academic project is as contributing author and editor of the Cambridge Companion to Hip-Hop.

Intertextuality and Lineage in The Game’s We Ain’t Intertextuality, though pervasive in all forms of popular music, is arguably most overtly presented and celebrated in hip-hop music and culture. Much of hip-hop is self-consciously historical, which is demonstrated both extra-musically and within the recorded hip-hop texts themselves. This paper will focus on the intra-musical aspects of the Compton-based gangsta rapper The Game’s We Ain’t (2005), on its intertextuality and the construction of rap lineage. Such investigation at a close level is all too neglected in hip-hop studies and a closer musicoanalytical study of recorded texts reveals that intertextuality in hip-hop is more multifaceted and multidimensional than blanket references to ‘sampling’ suggest. The Game sits at the extreme end of this historically-minded intertextuality spectrum. As one artist in a long line of Dr. Dre protégés, The Game was marketed and presented as the next heir after 50 Cent to the gangsta rap throne. As with Eminem and 50 Cent, Dre and Eminem used their own production styles to incorporate The Game into the fabric of previous gangsta rap styles. The Game constructed himself accordingly, mentioning canonical rappers (including the late 2Pac and Notorious B.I.G.), albums, and other gangsta rap signifiers. Through a close reading and analysis of production techniques, musical figures, quotation, flow, peer references, sampling, and stylistic allusions, I will show how The Game embeds himself in the next generation of gangsta rap artists. I look closely at Eminem’s production style, his sonic signature as providing an authorial presence beyond his rapping as an example of the relationship between recorded hip-hop texts and their place in a carefully constructed lineage. 399

Katherine Williams Cardiff University k.williams@bristol.ac.uk

 Session 7A

Dr. Katherine Williams is a Visiting Lecturer at Cardiff University, and a part-time member of the University of Bristol Music Department. She has recently ended a three-year tenure as Senior Lecturer in Musicology at Leeds College of Music. Her research interests include popular music, singer-songwriter, opera, gender, and jazz. Her monograph on musicological approaches to Rufus Wainwright’s life and music is forthcoming with Equinox in May 2015, and she is co-editor of the Cambridge Companion to the Singer-Songwriter (forthcoming 2016). Katherine is active as a saxophonist in the South-West of England, and performs with classical, jazz and new music ensembles.

“This record is dedicated to me”: Rufus Wainwright’s Ego

Canadian-American singer-songwriter Rufus Wainwright comes from a long family tradition of publicly expressing emotion and anxiety through song. While Wainwright does not explicitly continue the pattern established by his mother (folk singer Kate McGarrigle) and father (folk singer Loudon Wainwright III), the majority of his songs use the first-person singular pronoun. In combination with the increasing prominence of his voice in the production of subsequent albums, this adds up to an overblown sense of ego and identity. This exaggerated ego is emphasized by the visual and musical flamboyance of Wainwright’s musical performances and output. Many of his songs contain explicit or indirect references to opera and the classical music tradition, which offers another avenue for drama and excess. His 2009 opera Prima Donna brought his name and music to new audiences, and is revealing (in subject matter and idiom) of his perception of himself as a leading figure in multiple musical styles. In this paper, I will explore my hypothesis that the increasing prominence of Wainwright’s voice in the produced mix through his seven studio albums can be attributed to his ego and his growing comfort with his place in celebrity culture. By combining detailed analysis of his output with the philosophical perspectives of Barthes and Freud, alongside Moore and Dockwray’s work on the ‘sound-box’ and the spatialisation of recorded sound, I will relate Wainwright’s sense of self to his music, providing a new perspective on the role of autobiography in indie rock.

400

Yi-Cheng Daniel Wu Soochow University yichengwu@suda.edu.cn

 Session I

Yi-Cheng Daniel Wu completed his PhD (2012) in Music Theory at the University at Buffalo. Before coming to Soochow University in Fall 2013 as the Assistant Professor, he taught at Wesleyan University (Middletown CT, USA), where he served as the Visiting Assistant Professor. He has presented his papers at several theory conferences— RMA (UK, 2013), EuroMAC (Italy, 2011), MTMW (USA, 2012), ICMPC-APSCOM (South Korea, 2014). His most recent paper on the subject of pitch contour is coming out this Fall published by ITR. In 2009, he received first prize in the UBSO Concerto Competition and performed Saint-Saëns’s Second Piano Concerto.

A Reconsideration of Interval-Class Spacethrough the Perspective of Joseph Straus’s Evenness and Spaciousness In his 2005 article, Joseph Straus’s ‘offset number’ derived from his ‘fuzzy transformational voice leading’ implies ic 6 as the most “even, spacious” ic among ics 1 to 6 (2005, 67). However, to define ic 6 as the most even, we must locate it in the larger space of an octave, for it equally divides an octave into two even halves. But the ic representing an octave—ic 0 — is missing in Straus’s discussion. To satisfy Straus’s notion of evenness, we must consider ic 0. However, how do we know ic 0 only ever represents an octave? Also, once we consider ic 0, ic 6 no longer projects the most spacious ic, for ic 0— the octave— has a bigger space than that of ic 6. Prompted by this paradox, I propose a theory re-conceptualizing the space of all ic’s. I set up two rules to measure the space of all ic’s in a clock-image used by most theorists to represent a pc-space: (1) no pc ever remains stationary, and (2) we measure the shortest distance between two pcs. These two rules allow us to perceive ic 0 as the most spatial ic projected by the full circle progression around the clock, and ic 6 as the most even ic dividing the clock into two equal semi-circles. Based on this new definition of the space of all ics, I refine Straus’s ‘offset number’, which reveals a truer picture of the ‘degree of chromaticness’ of a chord. To show the practical advantage of my harmonic measurement, my presentation concludes with analyses of Kürtag’s Chamber Song Op. 37 and Crawford’s String Quartet. 401

Maria Yerosimou Goldsmiths, University of London mariayerosimou@hotmail.com

 Session 5C

Maria Yerosimou is PhD candidate at Goldsmiths College, University of London, exploring the late works of the composer Jani Christou. Her academic qualifications include: a BMus in Applied Music Studies (2009) at the University of Macedonia, Greece; an MA in Performance Arts – Practice as Research from the University of Northampton (2010); an MMus in Harp Performance from the London College of Music (2013). She has presented her research in Greece, Cyprus, UK and Germany, and in 2013 she organised an international conference on Jani Christou at Goldsmiths College. She is an active performer (harp, piano) and music educator.

Analytical and Performative Approaches to Jani Christou’s Strychnine Lady Jani Christou was a major composer, whose unusual yet promising career was brought to an end after his untimely death in 1970 at the age of 44. Christou brought into conjunction and in quite remarkable ways, especially in his late works, his deep immersion in philosophical and psychological studies, including the ideas of Carl Jung and alchemy, with avant-garde musical and dramatic materials and means. This paper aims to introduce, define and demonstrate Christou’s key concepts (praxis–metapraxis, proto-performance, patterns) through an analysis and interpretation of Strychnine Lady (1967). This work was included in a group of compositions which were described by the composer as stage-rituals and which aim, through the conception of ‘metapraxis’, to lead the performers and audience to a transcendental stage in order to communicate primeval and archetypal elements of the unconscious. The interdisciplinary nature of these works requires a special analytical approach which will be outlined in the present paper. Moreover, parts of Strychnine Lady will be analysed in order to present Christou’s compositional concepts as they are embodied in the graphic score of the work and in material found in the composer’s archive. 405

Joyce Yip joyceyip77@gmail.com

ď ľ Session A

Joyce Yip holds degrees from the University of Michigan, Queens College of the City University of New York, and the Hong Kong Baptist University. Her doctoral dissertation is entitled Tonal and Formal Aspects of the Mazurkas of Chopin: A Schenkerian View. Her research has been focused primarily on Schenkerian analysis and the music of Chopin, and she has given papers at the meetings of the Music Theory Midwest, the Society for Music Theory, and the International Schenker Symposium. She taught at the University of Michigan and the Ohio Wesleyan University and now resides in central Ohio, USA.

The Roles of the Coda in Selected Mazurkas of Chopin

Coda brings a concluding and satisfying end as well as answers questions, releases tension, resolves conflicts, and allows new critical readings of a literary work. These properties could apply equally well to codas in music. Some studies of coda have appeared, but even so, coda is commonly regarded as an extrinsic component and therefore not essential to a composition. In Schenkerian analysis, coda is only a foreground phenomenon, a suffix extending and reinforcing a closure already reached with the completion of the Ursatz. If it is unthinkable to omit a coda in a performance, why then would it seem permissible to exclude a coda in an analysis? In Chopinâ&#x20AC;&#x2122;s mazurkas, codas appear frequently with a variety of functions, such as recasting thematic and harmonic materials, highlighting motivic and poetic ideas, and bringing tonal resolution and registral completion. These codas should be considered a vital section worthy of our exploration. By examining them individually to reveal how each contributes to an organic whole, I aim to show that codas are indispensable in understanding the overall form of Chopinâ&#x20AC;&#x2122;s mazurkas, functioning much more than mere appendices. The codas of five mazurkas (Opp. 24/2, 41/1, 50/3, 56/1, and 56/3) will be discussed. They pick up, restate, and even develop earlier music. Tonal conflicts are resolved in all but Opp. 41/1 and 50/3. These unresolved conflicts should not be seen as a failure in releasing tonal tension; rather, the resulting slight unrest captures the essential sonority and contributes to the characteristic well-roundedness of the work. 406

Marek Žabka Comenius University zabka@fphil.uniba.sk

 Session 9B

Marek Žabka is an Assistant Professor at the Department of Music of Comenius University, Slovakia. He was a EURIAS Junior Fellow at the Netherlands Institute for Advanced Study in 2012/13 and a Fulbright Visiting Scholar at Yale University in 2008. He has served as co-editor of the Journal of Mathematics and Music since 2013 and was a member of the editorial board of the Journal of Music Theory in 2008–2012. He has published a book and a number of peer-reviewed journal articles on mathematical music theory with a particular focus on scale theories and neo-Riemannian theories.

Well-formedness, Myhill’s Property and Maximal Evenness – How to Generalize Them for Non-Pythagorean Scales? The three properties mentioned in the title (Carey and Clampitt 1989, Clough and Myerson 1985, Clough and Douthett 1991) comprise a logical system that provides an exhaustive theoretical description of ‘Pythagorean’ scales – scales generated by a single interval of the fifth. However, many musically important structures cannot be modeled as Pythagorean scales. Clampitt’s 1997 concept of ‘pairwise well-formed (PWWF)’ scales is a very powerful generalization of the previous logically neat but applicability-wise more limited properties and is able to accommodate various important tone systems. In this paper, I study two alternative generalizations of the three properties. Consider the A harmonic minor scale in just intonation: A – B – C-1 – D – E – F-1 – G-sharp1 (the superscripts trace the syntonic comma corrections). Two different perspectives can be adopted to analyze its step-interval structure. The first perspective focuses on the generating patterns of the intervals. Under such perspective, the step pattern of the scale contains four different steps: bacbada. It is not PWWF but it has a weaker property that I call ‘quasi pairwise well-formedness (QPWWF)’: only two out of three possible pairwise projections result in well-formed words. The second perspective pre-assumes an embracing chromatic space and investigates the steps through their chromatic sizes. In our example we can assume the usual chromatic scale in just intonation, which leads us to the step pattern 2122131. Under the other perspective, I propose the property of ‘quasi maximal evenness (QME)’ that requires generic intervals to have chromatic lengths of up to three consecutive integers. (This is a natural generalization of the original Clough and Douthett’s 1991 definition of maximal evenness that required generic intervals to have chromatic lengths of up to two consecutive integers.) It turns out that QPWWF and QME are tightly connected in the case of fundamental generated tone systems, which is a category that embraces a very wide range of musically relevant scales. The theoretical system is illustrated on several analytical examples taken from the music of Mozart, Chopin, and Debussy. 409

Simon Zagorski-Thomas University of West London simon.zagorski-thomas@uwl.ac.uk

 Session 5A

Dr. Simon Zagorski-Thomas is a Reader at the London College of Music, director of the annual Art of Record Production Conference and co-chairman of the Association for the Study of the Art of Record Production. He co-edited, with Simon Frith, The Art of Record Production: An Introductory Reader for a New Academic Field for Ashgate Press and his monograph on The Musicology of Record Production was published by CUP in 2014. He also worked for 25 years as a sound engineer and producer with artists such as Phil Collins, Bill Bruford, The Mock Turtles, Courtney Pine and the Balanescu Quartet.

Sex On Fire: A Case Study of how Different Forms of Graphic Representation Can Influence Analysis

Any graphic representation of music is necessarily schematic in that it represents certain features more fully than others and therefore encourages the user to focus on those features. When using any representational system for analytical purposes (rather than as instructions for performance) it therefore makes sense to think about how this schematic nature might influence our understanding. Using an analysis of the Kings of Leon’s 2008 track Sex On Fire as a case study, this paper will explore how particular forms of graphic representation can help with particular forms of analytical understanding. Traditional music notation, by restricting itself to a discrete twelve tone representation of pitch and a notional rhythmic grid, provides a schematic representation that focuses the attention on features that are usually the least interesting aspects of recorded popular music: the tonal basis and structure of the melody and harmony. Aspects of micro-timing, intonation, pitch variations, vocal and instrumental spectromorphology and spatial or dynamic processing in the recording process are either subordinate or ignored completely. The graphic representations that were used in the Sex On Fire analysis included a hand drawn ‘graphic score’ and a range of computer images generated from the digital audio file of the recording displaying amplitude and frequency content in different ways. This presentation will explore how these images were used in conjunction with a theoretical framework combining the ecological approach to perception, embodied cognition and the social construction of technology to facilitate the analysis. It will also examine how this case study provides ideas that can be expanded into broader principles about how schematic forms of representation encourage particular avenues of thought. These involve the multi-modal nature of perception and the schematic nature of knowledge representation within the brain. 410

Milos Zatkalik University of Arts in Belgrade mzatkali@eunet.rs

 Session H

Composer and music theorist, professor at the Faculty of Music, University of Arts in Belgrade. Main research interests: analysis of 20th-century music; relationships between music and narrative; psychoanalytic aspects of music analysis. Recent publications include Is There a Wolf Lurking behind These Notes in Miloš Zatkalik, Milena Medic, Denis Collins, (eds). Histories and Narratives of Music Analysis, Cambridge Scholars Publishing, 2013; Reconsidering Teleological Aspects of NonTonal Music in Denis Collins, (ed.), Music Theory and Its Methods, Structures, Challenges, Directions, Peter Lang, 2013.

Teleological Strategies of Non-Tonal Music: The Case of Milan Mihajlović Whereas tonal music is strongly goal-oriented with goals given a priori, goals in non-tonal music are either determined contextually, or the whole idea of motion towards a goal is abandoned. The present paper will examine various teleological strategies applied in the composition Eine kleine Trauermusik by contemporary Serbian composer Milan Mihajlović. It is based almost exclusively on the octatonic scale, which is highly entropic, lacks means for establishing a hierarchy of pitches and its potential for projecting goals seems rather feeble. A certain degree of centricity is achieved nonetheless, and these contextually created tonal centers may constitute goals. Next, as in many non-tonal works, aggregate completion plays a certain goal-defining role. Of particular interest, however, is the extension of the completion model, as it instantiates a broader non-tonal teleological strategy. Namely, the goal is defined as the exhaustion of all entities within a given ‘family of entities’, i.e. all pitch classes belonging to the given scale; all possible transpositions of a given collection; all interval classes etc. In my earlier research, I have demonstrated such completion processes in several works by Lutosławski, Messiaen, Ligeti etc. Though frequently a subject of debate in non-tonal contexts, prolongational analysis (relying on several approaches, most substantially on the one proposed by Olli Väisälä) does reveal meaningful connections over longer spans within this composition, and sheds light on its goalreaching motion. Finally, the Mozart quotation appearing towards the end suggests certain narrative, and possible aesthetic and ideological interpretations. Their contribution to the teleology of this composition will be briefly addressed. 411

Lawrence Zbikowski University of Chicago larry@uchicago.edu

 Session 8B

Lawrence M. Zbikowski is Associate Professor in the Department of Music and Deputy Provost for the Arts at the University of Chicago. He recently contributed chapters to Bewegungen zwischen Hören und Sehen (Königshausen & Neumann, 2012), New Perspectives on Music and Gesture (Ashgate, 2011), and Music and Consciousness (Oxford, 2011), and has also published in Music Humana, Musicæ Scientiæ, Music Theory Spectrum, Ethnomusicology, the Journal of Musicological Research, and the Dutch Journal of Music Theory. During the 2010–11 academic year he held a fellowship from the American Council of Learned Societies and was also Fulbright Visiting Research Chair at McGill University.

Response to Session 8B

412

Lawrence Zbikowski University of Chicago larry@uchicago.edu

 Session 11

Music and Dance in the Ancien Régime In 1777, Johann Philipp Kirnberger paused in the production of his monumental Die Kunst des reinen Satzes in der Musik to publish a Recueil d’airs de danse caractéristiques. That he should do so reflected the belief that a thorough knowledge of dance types was essential for the young composer. Thus the preface to the Recueil refers the reader to a forthcoming volume of Die Kunst des reinen Satzes, and the latter makes explicit reference to a knowledge of dance forms that could only come through an intimate familiarity with the dance traditions of the late 18th century. Musicologists of the late 20th century took note of the role of dance types in Kirnberger’s account of musical composition and used it as evidence for the importance of dance topics to composers of the 18th century. As shown by Kirnberger’s Recueil, the majority of these dance types derive from the dance traditions of France’s ‘ancien régime’. In this paper I shall explore the contribution French noble dance made to the topical universe available to composers in the latter half of the 18th century. The first portion of the paper will offer a brief review of the dance culture of the ‘ancien régime’ and the dance notations used by choreographers of the period, as these shed light on the relationship between the steps of a dance and its music. The second portion will illustrate this relationship with an analysis of the steps and music for a bourrée, the choreography for which was published in 1700. I shall conclude with a brief overview of the role of dance topics in musicologists’ analyses of the instrumental music of the later 18th century. 413

Hans T. Zeiner-Henriksen University of Oslo h.t.zeiner-henriksen@imv.uio.no

ď ľ Session 5A

Hans T. Zeiner-Henriksen is associate professor at the Department of Musicology at the University of Oslo, Norway. He finished his PhD in 2010 with a thesis on the correspondences between rhythm, sound and movement in electronic dance music. He has contributed with a chapter on a related topic in Musical Rhythm in the Age of Digital Reproduction, edited by Anne Danielsen (2011). He has also written the book RĂśyksopp: Melody A.M. (2011) (in Norwegian).

The Analysis of Groove in Contemporary Pop Music

How the groove is formed is often of major importance in popular music. Contemporary pop songs are heavily influenced by club music with a strong steady beat as a rhythmic foundation. The groove is mostly formed by the interaction of rhythmic patterns to this steady beat, bringing tension and variation by pulling away from the steady beat. A groove is mostly evaluated according to how it makes us want to move, and since a musical analysis seeks to reveal important aspects as to how the music works, a possible corporeal response is central for this analysis. Metaphor theory (Zbikowski 1998) and entrainment and dynamic system theory (Clayton 2013) are applied to understand the cognitive processes that are at work. Excerpts from contemporary pop music will be used in this presentation with a demonstration on how an analysis can reveal certain qualities of the groove. Sonograms are used to display components that are not easily notated; pitch movements of sounds, dynamic variations, the effect of side-chain compression, and vertical structures (up and down relations). 414

Wei Zhang Shanghai Conservatory of Music zhangwei5541@163.com

 Session 6C

Dr. ZhangWei is a professor at the composition department of the Shanghai Conservatory of Music and the vice director of the graduate school and Secretarygeneral of the Chinese Society of Music Analytics. Zhang teaches music theory, analysis, and harmony and is specialized in pitch and rhythm. His main academic books include The Patterns and Function of Musical Rhythm Structure — Studies on the Structure Power and Dynamic of Rhythm. Representative articles are ‘On the Accent in Rhythm Structure’, ‘On the Feature of Pitch Constitution in Ligeti’s Work — Exploration of Pitch Technique Based on the Example of the Piano Etudes’, etc.

Response to the presentations of Kenneth Smith and Ying Wang/ Gesine Schröder

415

Wei Zhang Shanghai Conservatory of Music zhangwei5541@163.com

 Session G

Serial Music in China: The Development of Technique and Theory of Serial Music during the 1980s and 1990s

In virtue of certain historical reason, professional music composition and theory of composition technique in China did not come into being until the 1980s, though they have already developed different styles and genres in the process of studying and absorbing various western composition technique theories which had been introduced to China since the 1920s. The systematic introduction of concept and composition technique of serial music at that time and a succession of early characteristic practices , the influence of which still can be seen now, laid vital foundation for later development of professional music composition. It also made the time of 1980s an important period for Chinese contemporary music. My study will focus on the following contents: (1) The historical origin of a debate on serial music starts from the 1920s and its implication for the future; (2) The reasons for serial music becoming a mainstream choice for composition technique and idea of the composers, and an important approach to break-through the fences surrounding music composition at that time; (3) The way that Chinese composers used the technique of serial music and started to promote its ‘sinicized’ development at that time; (4) The achievement and significance of research on theory of serial music at this time (the 1980s). 416

Yelena B. Zhurova The Rubinstein School of Music in Moscow pianoplay@mail.ru

 Session B

Yelena Zhurova is a student of Valentina N. Kholopova and the Coordinator of the Moscow Conservatory Program of Implementation of Theory of Musical Content in the Educational Systems of Russian Federation. Her field of interests is musical pedagogy and the application of the theory of musical content. She currently teaches at the Rubinstein School of Music in Moscow. She is the author of more than thirty research articles and educational and methodical publications.

Traditions and Innovations in Music Theory Pedagogy in Russia (To the Question of Interaction of East and West) (with Lola Dzumanova) Success of a system of musical pedagogy is contingent upon the combination of the traditional and the innovative. These proportions vary in different countries. A good examples are the Venezuelan ‘El Sistema’ (a model by Hose Antonio Abreu) and the French pedagogy of revelation (‘Pédagogie de l’éveil’). Russian musical pedagogy also experiences the state of experimentation, although the tradition is not left in oblivion. In this respect the undeniable achievement of Russian musical pedagogy is the thee-step system, comprised of children’s school, pre-conservatory college and the institution of higher education. The Russian system partially overlaps with the Western European and North American. In particular, there is an analogy between the Russian and the German two-step structure. The Russian system has been developed from the materials or the European traditions, such as Italian solfeggio, Dalcrozean rhythm, and Riemannian functional harmony. This paper presents two examples from the system of music theory pedagogy in Russia, the traditional teaching of harmony in pre-conservatory colleges and conservatories (by Lola Dzhumanova) and the innovative methods of teaching aspects of Theory of Musical Content in all three steps (by Yelena Zhurova). Style-based study of harmony at the conservatories and universities is impossible without the solid training in classical harmony, voiceleading, part-writing and modulation, which in Russia is first given at pre-conservatory colleges (7-11th grades in the high school). The most important material—modulation and digression—is learned by writing and keyboard improvisations. An example of highly successful innovation in Russian system is the Theory of Musical Content (introduced in works of Kholopova and Kazantseva), the goal of which is to accumulate all the aspects of knowledge (musical and extra-musical) into a single interpretation of a musical work. 417

Vasiliki Zlatkou Aristotle University of Thessaloniki vzlatkou@hotmail.com

 Session 5C

Vasiliki Zlatkou is PhD Music candidate at the School of Music Studies at the Aristotle University of Thessaloniki. Her academic qualifications include: a BA from the Aristotle University of Thessaloniki (2009); an MMus in Musicology from the University of Edinburgh (2010); a Piano Soloist Diploma from the State Conservatory of Thessaloniki, and a diploma in counterpoint from the Filippos Nakas Conservatory. She is an active performer, and has presented musicological research at Greek and international conferences. She teaches piano at the MusicArt Conservatory in Kozani and Solfège at the School of Music Studies at the Aristotle University of Thessaloniki.

Two Early Sonatinas for Piano by Nikos Skalkottas and Yannis Constantinidis: Re-interpretation of Normative Formal Models

This paper analyses the formal structures of the first movement of two piano sonatinas, both composed in 1927, by Nikos Skalkottas and Yannis Constantinidis. Although both sonatinas are early works, they comprise compositional elements and follow techniques which were further developed by the two composers in their later works. The aim of the analysis is twofold: it considers both composers’ understanding and re-interpretation of normative formal models; and by examining those ‘constant’ structural elements of their respective style, it determines their significance as representative components in the establishment of early 20th-century Greek modernism. The first movement of Skalkottas’s Sonatina outlines a ternary ABA’ form. The thematic material of each section is introduced in a polyphonic, multi-layered texture. The harmonic background of the work is based on an anscending cycle of fifths and the pitch class set [0, 2, 7], which comprises two successive perfect fifth intervals. Section B introduces new contrasting thematic material, together with octatonic and whole-tone scales. In contrast, the first movement of Constantinidis’s Sonatina outlines a textbook sonata form, in particular the ‘Type 3 Sonata’ – as presented in DarcyHepokoski’s sonata form theory – with medial caesuras, essential expositional and structural closures, development tonal and motivic plan, re-transition, resolution and so on. The entire piece is based on the combination of two intervals, the augmented and the perfect fourth, which are integrated with the interval of a second. This combination applies to the motivic, melodic and harmonic background of the piece, which is unified by the octatonic scale, already included in the primary and the secondary thematic area. There is a resolution at the end of the piece, with the second half of the exposition transposed at the interval of a fifth. 418