School of Music

11.00 Onwards

13.30

14.00 - 16.00

SESSION 1: Plenary

Phenomenological approaches to the music of Elliott Carter
Convenor: Arved Ashby (Ohio State U.)
• Martin Boykan (Brandeis U.): Encountering Elliott Carter's First Quartet
• Marion Guck (U. of Michigan): Qualities of action in a Carter work:
limping, singing and dwindling in Au quai
• Joseph Dubiel (Columbia U.): Observations of Carter’s Clarinet Concerto

16.30–18.00

SESSION 2: Parallel Sessions

2A (LLT): Elliott Carter 2
Chair: Arnold Whittall (King’s College London)
• John F. Link (William Paterson U.): On Elliott Carter's late music
• Joshua B. Mailman (Eastman School of Music): An imagined drama of competitive opposition in Carter’s Scrivo in vento
• Brenda Ravenscroft (Queen’s U., Ontario): Keeping his finger on the pulse: clarity of design in Carter’s later music

2B (SLR): Repetition and closure in early 19th-century instrumental form
Chair: William Drabkin (U. of Southampton)
• Timothy Clarke Best (Indiana U.): Schubert’s expansive sonata forms: the Trio in E flat op. 100 as case study
• Julian Horton (University College, Dublin): John Field’s piano concerti and the evolution of concerto first-movement form in the early nineteenth century
• Adriana Ponce (Illinois Wesleyan U.): Chopin’s thematic restatements: returns and culminations

18.15

Hot buffet (Aberdare Hall Library)

20.00 Concert Hall

Elliott Carter: a 100th Birthday Offering
London Contemporary Music Group

Elliott Carter: Canon in memoriam Igor Stravinsky, Con leggerezza pensosa, Enchanted Preludes, Gra, 90+, Scrivo in vento

Newly commissioned homages to Elliott Carter by Robert Saxton, Anthony Powers, Luke Bedford, Tim Raymond, Ben Foskett, Adrian Hull and Phillip Cooke

9.30 - 11.00

SESSION 3: Parallel Sessions

3A (CH): ‘Im Schatten Wagners’: aspects of a legacy
Chair: Robert Samuels (Open U.)
• Xavier Hascher (Université Marc Bloch, Strasbourg): Beyond the famous chord: a comparative analysis of Wagner’s Tristan Prelude and the beginning of Richard Strauss’s Metamorphosen
• Frederick Stocken (U. of Manchester): Anton Bruckner and Simon Sechter’s fundamental bass theory
• Silvio J. dos Santos (U. of Florida): Between Wagner and Schoenberg: Berg’s crisis of identity in the composition of Lulu

3B (LLT): Contemporary British composers
Chair: David Beard (Cardiff U.)
• Kenneth Gloag (Cardiff U.): Fundamental polarities and stylistic identities in Nicholas Maw’s Scenes and Arias
• Benjamin K. Davies (U. of Southampton) ‘Grasping the nettle’: Birtwistle’s pitch-language
• Edward Venn (Lancaster U.): Smoke and mirrors: Thomas Adès’s Brahms

3C (SLR): Polyphony and disjunction
Chair: Jonathan Cross (U. of Oxford)
• Marc Rigaudière (Université Paul Verlaine, Metz, and CRULH): Reading between the lines: the analysis of melodic disjunction in tonal music
• George Papageorgiou (Royal Holloway, U. of London): ‘Defying gravity’: structural conflict as dynamic experience
• Anthony Gritten (U. of Middlesex): Dialogue, Stravinsky, distraction

11.00 - 11.30

Refreshments

11.30 - 13.00

SESSION 4: Plenary
Music theory after the Ottoman empire
Chair: Alexander Knapp (SOAS, U. of London)
• John Plemmenos (Ionian U., Corfu): Theorizing the Greek echoi at the end of the Ottoman period
• John M. O’Connell (Cardiff U.): Theorizing the Turkish makam at the dawn of the Turkish republic
• Ruth Davis (U. of Cambridge): Theorizing the Tunisian nuba in the shadow of the Protectorate

14.00 - 16.00

SESSION 5: Parallel Sessions

5A (CH): Late Schubert: songs, cycles, repetitions
Chair: Robert Hatten (Indiana U.)
• Anne Hyland (King’s College, Cambridge): The burden of Schubert’s instrumental music reconsidered: variation form in the second movement of D810, ‘Der Tod und das Mädchen’
• David Bretherton (U. of Southampton): Evocation through structure in Schubert’s ‘Gondelfahrer’
• Blake Howe (City U. of New York): On annihilation and transcendence: Schubert’s final Mayrhofer settings
• Cameron Gardner (Cardiff U.): Schubert’s Piano Sonata in A minor, D845: constructing analysis and interpretation from ‘Todtengräbers Heimwehe’, D842

5B (CH): Covert modernism in the ‘conservative’ mainstream

Chair: Nick Reyland (U. of Keele)

• Michael Byde (U. of Leeds): William Walton’s ‘tonality’: prolongation vs. association
• Raphael D. Thöne (Hochschule für Musik und Theater, Hanover): An Arnoldian ‘enigma’: the application of musical ciphers in Malcolm Arnold’s Seventh Symphony and Fantasy on a Theme of John Field
• Erica Argyropoulos (U. of Kansas): Expressionism and antagonism: Leonard Bernstein’s complex relationship with serialism
• Norton Dudeque (Federal U. of Parana, Brazil): ‘Rolling off like a film’: analysing Villa-Lobos’s ‘Cantilena’ (Bachianas Brasileiras no. 5) through Schoenberg’s ‘unravelling’ concept

5C (SLR): Hexachords plus or minus: from the combinatorial to the transformational
Chair: Christian Kennett (U. of Westminster)

• Bernard Gates (Rugby, UK): Z-related hexachords: their properties and their role in pitch-class set analysis
• Inessa Bazayev (CUNY Graduate Center/Oberlin Conservatory of Music): Orthography in the music of Nicolai Roslavets
• Rachel E. Mitchell (U. of Illinois, Urbana-Champaign): Roberto Gerhard’s idiosyncratic approach to twelve-tone sonata form

16.00 - 16.30

Refreshments

16.30 LLT

SMA Annual General Meeting

18.00

Dinner (Aberdare Hall)

19.30

Gould Piano Trio with Robert Plane (clarinet)
Beethoven: Clarinet Trio op.11
Schubert: Notturno D897
Benjamin Wallfisch: Shattered Light
Messiaen: Quatuor pour la fin du temps

9.30 - 11.00

SESSION 6: Parallel Sessions

6A (LLT): Cognitive and empirical models
Chair: Michael Spitzer (U. of Durham)

• Daniel Shanahan (Trinity College Dublin): Melodic probability in Debussy’s String Quartet: the use of hidden Markov models in music analysis
• Fernando Gualda (Queen’s U. Belfast): Parametric comparison of motif Gestalt
• Vanessa Hawes (U. of East Anglia): Kraehenbuehl’s general theory of musical communication

6B (SLR): Temporality and metre in the 20th century
Chair: Charles Wilson (Cardiff U.)

• Roxane Prévost (U. of Ottawa): Hypermetric structures in post-tonal music
• Nelson Wu (Chinese U. of Hong Kong): Messiaen’s dynamic Mozart

11.00 - 11.30

Refreshments

11.30 - 13.00

SESSION 7: Plenary

Interpreting Schubert’s slow movements for piano trio: a dialogue of gestures and meaning
Robert Hatten (Indiana U.) with the Gould Piano Trio

13.00 - 14.00

Buffet Lunch

14.00 - 16.00

SESSION 8: Parallel Sessions

8A (CH): Narrativity in late Romantic symphonism
Chair: Stephen Downes (U. of Surrey)
• Robert Samuels (Open U.): When must one speak of narrativity in music?
• David Larkin (University College, Dublin): Curvaceous composition: tracing trajectories in Strauss’s tone poems
• Joseph C. Kraus (Florida State U.): Levels of nostalgia and narrative collapse in the ‘Pastorale’ from Tchaikovsky’s Manfred Symphony

8B (LLT): Compositional fictions in the later 20th century: sound, surface, abstraction
Chair: Alastair Williams (U. of Keele)
• Bruce Durazzi (Washington U. in St Louis): A dialectic of politics and love: Luigi Nono’s Incontri and the aesthetics of the impossible
• Ian Dickson: Scelsi’s musical grammar
• Kivilcim Yildiz Senurkmez and Ahmet Altinel (Mimar Sinam Fine Arts U. State Conservatory, Istanbul): Temporal character of harmony in spectral music

8C (SLR): Harmony and mode in the 16th and 17th centuries
Chair: Geoffrey Chew (Royal Holloway, U. of London/Masaryk U., Brno)
• Antonio Cascelli (National U. of Ireland, Maynooth): Seconda prattica revisited
• Luca Bruno (Southern Methodist U., Dallas): Adrian Willaert’s Madonn’io non lo so: a model for Renaissance harmony
• Jeremy Grall (U. of Memphis): Harmonic functionality through idiomatic ornamentation in Kapsberger’s Partite sulla Folia (Venice, 1604)

16.00 - 16.30

Refreshments

16.30 - 18.00

SESSION 9: Plenary

Keynote address: How many ways can you fetishize a
song?  From Adorno to American Idol
Rose Rosengard Subotnik (Brown U.)
Chair: Michael Spitzer (U of Durham)
Concert Hall

Drinks reception (sponsored by Wiley-Blackwell)

Conference Dinner (Aberdare Hall)

9.30 - 11.00

SESSION 10: Parallel Sessions

10A (CH): Schema, style and the listening subject in Classical music
Chair: Julian Horton (University College, Dublin)
• Laurence Woof (Lancaster U.): Towards an epistemology of the Classical style: Mozart and realism
• Danuta Mirka (U. of Southampton): Techniques of phrase expansion: the case of overridden caesuras
• Vasili Byros (Yale U.): Towards an ‘archaeology’ of hearing: schemata and eighteenth-century consciousness

10B (LLT): Performing jazz
Chair: Sarah Hill (Cardiff U.)
• James Stager (York U., Toronto): ‘With a Song in My Heart’: voice leading and structure in song, arrangement  and improvisation
• Adrian Goodman (York U., Toronto): Who is really in charge here? Rethinking the relationship between Miles Davis and Tony Williams
• Peter Elsdon (U. of Hull): Constructing improvisation: Keith Jarrett's 'Prism'

10C (SLR): Perspectives on centricity and salience
Chair: Joshua Mailman (Eastman School of Music)
• Stan Kleppinger (U. of Nebraska, Lincoln): Salience as a structural determinant in post-tonal pitch-centric music
• Rachel Bergman (George Mason U.): Viktor Ullmann’s String Quartet no. 3 in the context of the Second Viennese School
• Atte Tenkanen (U. of Turku, Finland) and Fernando Gualda (Queen’s U. Belfast): A tonal-centre computational model for real-time music analysis

11.00 - 11.30

Refreshments

11.30 - 13.00

SESSION 11: Plenary

Composing Globalization
• Björn Heile (U. of Sussex): New Music, globalization and the cultural geography of modernism: a neo-cosmopolitan approach
• Geoffrey Poole (U. of Bristol): Transcultural composition: analytical and ethical observations from praxis
• Christian Utz (Kunstuniversität Graz): Difference, stratification, hybridization: works for Western-Asian instrumental ensembles – analytical premises and methodology

13.00

CONFERENCE DISPERSES