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6Th European Music Analysis Conference – VII

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6Th European Music Analysis Conference – VII 6th European Music Analysis Conference – VII. Jahreskongress der Deutschen Gesellschaft für Musiktheorie Druck: Rombach Druck- und Verlagshaus GmbH & Co KG, Freiburg Redaktion: Prof. Ludwig Holtmeier Jens Awe Torang Sinaga Satz/Layout: Miriam Rieckmann Torang Sinaga Redaktionsadresse: Studium generale Belfortstr. 20, 79085 Freiburg Anfahrtsbeschreibung und Übersicht der Veranstaltungsorte Universität Freiburg Kollegiengebäude (KG) „Haus zur Lieben Hand“, Br eis Löwenstr.16 ac h . e r r S P t t s Domsingschule r. r e g Hochschule für Musik r u b s b P a H . Fahnen- B3 tr s DB bergpl. r e Freiburg L re ß e eo e a le p t r Hbf. l o in t a ld s ri W k r. ng lz c t r S o P Rotteckr. - h Be h g h ma rto P p in c lds B3 e r is tr. s A s o Münster rg u E B J to Werth- - e ba r b h mann- e s n s S s zu i alzs P o b Belfor Pl. a tr. l Schlossberg r tstr. K h in c g . er r g S M b n P it i AltstadtSchwaben- te in r l r torpl. w e e d r Kartäuserstr n . e h L c W eo -W S B31 o indenburgstr. D S h H b c r . reisam Dreisamstr. hw le r b g a -S st rz ß Hochschule . w tr unzstr. n r Schillerstr. a . R o l e t lds für Musik s tr. F n . al ro A K t Tal ) Sch s str. warzw r aldstr. e t ) n ü . S Stadt- tr ch - G s ü r tz e a en halle l a s in llee m ö e S M Anfahrtsbeschreibung Universität Freiburg: Anfahrtsbeschreibung zur Musikhochschule: mit Straßenbahn (Linie 1/3/5 Richtung Bertoldsbrun- Von der Stadtmitte aus mit der Straßenbahnlinie nen): Haltestelle „Stadttheater/Universitätszentrum“. 1 Richtung Littenweiler bis Haltestelle Stadthalle. mit dem Auto: Autobahnabfahrt Zubringer Mitte Abfahrt „Stadtmitte“/“Universität“ Kollegiengebäude, Werthmannplatz 3 Musikhochschule, Schwarzwaldstr. 141 Kongressbüro: 0761/2033090 Kongressbüro: 0761/319150 KGII KGIII M HS2006 Kammermusiksaal KGI HS3044 HS3043 117 Eingang Kongressbüro/ HS3042 Information Opernschule HS1119 (Musikwiss. Kongressbüro/ (1.OG) Seminar 1.OG) M Information 139 Aula Eingang (1.OG) Haus „Zur 156 lieben Hand“ Aufzug Konzertsaal Eingang Eingang Donnerstag, 11. Oktober 2007 Musikwissenschaftliches Seminar, Universität Freiburg, Werthmannplatz 3, KG I ab 9:00 Anmeldung Universität Freiburg, Werthmannplatz 3, KG I, Aula 10:00 Eröffnungsveranstaltung Prof. Dr. Karl-Reinhard Volz, Prorektor der Albert-Ludwigs-Universität Freiburg, Dr. Rüdiger Nolte, Rektor der Musikhochschule Freiburg Prof. Stefan Rohringer, Präsident der GMTH, Prof. Ludwig Holtmeier, Konferenzleitung 10:30 Eröffnungsvortrag: Eckehard Kiem (Musikhochschule Freiburg) Modell und Komposition – Analytisches zu Jacobus Vaet 11:15 Pause KG III, Anbau, HS 3044 KG III, Anbau, HS 3043 KG III, Anbau, HS 3042 KG I, HS 1119 11:30 Sektion Formenlehre I Sektion Kunstlied Sektion Performance Studies Sektion Methodologie I Chair: Clemens Kemme Chair: Hans Niklas Kuhn Chair: Mario Baroni Chair: Michel Imberty Florian Edler (D): „Satz“, „Bar- Harald Krebs (CA): Text/Music Nicolas Donin (F): Analyse musi- José Oliveira Martins (P): Affi nity form“, „Fortspinnungstypus“: Zur Incongruence in the Late Songs cale et analyse d‘activité face aux Spaces: Medieval Conceptions in the systematischen und stilgeschichtli- of Robert Schumann enregistrements de l‘interprétation Analysis of Twentieth-century Music chen Problematik von Grundbegrif- fen der Deutschen Formenlehre 12:00 Stefan Rohringer (D): Noch Martin Günther (D): Zwischen Miriam Quick (UK): Making Jean-Marc Chouvel (F): Application einmal: „Struktur“ und „Design“: Die Hausmusik und Hochkultur: sense of structure: Recordings de l‘analyse de fourrier différentielle syntaktischen Typen „Periode“ und Schuberts Lieder als aufgeführ- of Webern’s Variations for Piano à l‘analyse de l‘interprétation: Une „Satz“ unter der Perspektive des te Kunst im 19. Jahrhundert Op. 27 première approche Schenkerschen Formbegriffs 12:30 Emil Platen (D): Der ‚Dreischritt‘: Mart Humal (EE): Treatment of Hans Peter Reutter (D): Strawinsky Daniel Shanahan (IR): Melodic Ex- Ein elementares Formprinzip der text and music in Schubert‘s als Interpret: Der Zusammenhang pectation and Static Temporality: An tonalen Musik Heidenröslein von Tempo und Tonalität. Analyse Investigation into the Implicative Conse- des ersten Satzes der Sinfonie in C quences of Inert Structures in Music 13:00 Mittagspause 14:30 Sektion Formenlehre I (cont.) Sektion Kunstlied (cont.) Sektion Performance Studies Sektion Methodologie I (cont.) (cont.) Danuta Mirka (UK): Punctuation Arno Lücker Christine Esclapez (F): Histoires Julia Kreinin (IL): Paul Klee’s Forms and Sense in Late-Eighteenth- (D):Wissenschaftstheoretische d’interprétation: Le Sacre du print- in Motion as an instrument of 20th Century Music Probleme der Liedanalyse emps, Pierre Boulez (1963) et Fazil century music analysis Say (2000) 15:00 Patrick McCreless (USA): Liquida- Melissa Hoag (USA): Multiply- Mario Vogt (D): Divergierende Kon- Robert Zierolf (USA): Futurism’s tion and Rhythmic Foreshortening: Directed Moments in Brahms’s zepte musikalischer Zeitgestaltung in Legacy Implications for performance Schön war, das ich dir weihte der performativen Realisierung von Beethovens letzter Klaviersonate 15:30 Martin Küster (USA): Gavotte, Frederik Knop (D): Das Ver- Fériel Kaddour (F): Analyse et Michael Clarke (UK): An interactive Polonaise und die musikalische hältnis von Vokalstimme und interprétation: Lecture analytique et aural approach to musical analysis Vermessungskunst Instrumenten in György Ligetis gestes de pianistes: Sur la sonate D letzten Liedern Sippal, dobbal, 960 de Schubert nadyhegedüvel für Mezzosopran und vier Schlagzeuger (2000) 16:00 Anne Margaret Hyland (UK): The Robert Cook (USA): Emerson’s Pause Pause Rhetorical Telos in Schubert: An Compensation and a Whitman Alternative to Deformation Song by Crumb 16:30 Pause Pause Sektion Formenlehre II Sektion Neue Musik I Chair: Stefan Rohringer Chair: Rossana Dalmonte Ulrich Kaiser (D): „…eine Sache Amanda Bayley (UK): The relation- der Auffassung und des beziehen- ship between notation and perfor- 17:00 Sektion Wiener Schule I (Theorie) Sektion Musik und Text I den Denkens“: Der Begriff der „Über- mance practice in Michael Finnissy’s Chair: Michiel Schuijer Chair: Markus Jans leitung“ und die Musik Mozarts Second StringQuartet (2007) Christopher Wintle (UK): „Ent- Annick Dubois (F): La musique Christian Raff (D): „Tempo di Anne-Sylvie Barthel-Calvet (F): wicklung“, „Abwicklung“ and des mots de la mort: L’œuvre Menuetto“: Eine Satzüberschrift und Performing Xenakis: Rhythmical „Aneinanderreihung“: Arnold de M. A. Charpentier (1645- ihre formalen Konsequenzen purposes and diffi culties Schoenberg‘s theory of forms 1704): Une poétique libérée des contraintes linguistiques 17:30 Nikolaus Urbanek (A): Zum Ver- Luigi Collarile (I): Metrische Michel Vallières (CA): Les pas- Janine Droese (D): Das Verhältnis hältnis von Analyse, Formenlehre Aspekte der lateinischen Dich- sages pré-cadentiels chez Corelli: der spektralen zur seriellen Musik: und Interpretation in der Wiener tung für Musik im 17. Jahrhun- le cas des Sonates pour violon et Analytische Überlegungen zu Gérard Schule dert: der venezianische Kontext continuo op.5 Griseys Vortex temporum 18:00 Norton Dudeque (BR): Systemati- Toomas Siitan (EE): Von der Markus Neuwirth (B): Recom- Jean-Pascal Chaigne (F): Le silence sing Schoenberg‘s analytic theory: Semantik der textlichen und posed Recapitulatory Main Themes comme vecteur de la dramaturgie A possible approach musikalischen Symmetrie der in the Keyboard Sonatas by Joseph musicale chez Brian Ferneyhough: Bachkantate Actus tragicus Haydn: A Descriptive and Explana- L‘exemple des Kurze Schatten II (BWV 106) tory Approach 18:30 Lubomir Spurny (CZ): Arnold Ana Stefanovic (YU): Berlioz Marc Rigaudière (F): La For- Paolo Dal Molin (F): Codomaines Schönberg liest Alois Hába: Einige and French Baroque Opera: Re- menlehre au 19e siècle: De de Pierre Boulez: Incidences de Bemerkungen zur Hábas Neuer lation between Text and Music l’observation des modèles à la l’itinéraire du soliste Harmonielehre and Stylistic Reference pratique compositionnelle 19:00 Pause Musikhochschule Kammermusiksaal 20:30 Konzert I: „Text und Musik“, Hans-Jörg Mammel, Tenor und Michael Behringer, Fortepiano Freitag 12. Oktober 2007 Musikwissenschaftliches Seminar, Universität Freiburg, Werthmannplatz 3, KG I ab Anmeldung 8:30 Universität Freiburg,Werthmannplatz 3, KG I, KGII, KG III, Anbau KG III, Anbau, HS 3044 KG III, Anbau, HS 3043 KG III, Anbau, HS 3042 KG I, HS 1119 9:00 Sektion Schenkerian Studies Sektion Wiener Schule II (Text) Sektion Musik und Text II Sektion 19. Jahrhundert Chair: Oliver Schwab-Felisch Chair: Christian Berger Chair: Jan Philipp Sprick Chair: Robert Hatten Don Traut (USA): Same Struc- Hans-Niklas Kuhn (CH): Das Florian Wetter (D): Musik als fi lmi- David Maw (UK): The Beethoveni- tural Level, Different Formal Verhältnis zum Text: Schönberg scher Subtext: Béla Bartóks 3. Satz an „Anti-tonic“ Potential: Some Observations und George der Musik für Saiteninstrumente, about Schenker’s Deep-Midd- Schlagzeug und Celesta im Spiegel leground Paradigms von Stanley Kubricks The Shining 9:30 Xavier Hascher (F): Two Jerry M. Cain (USA): Webern’s Andrew Davis (USA): Preparing Martin Skamletz (CH): Originalität (beautiful) instances of long- Encounter with Kraus on the Ariadne: Implications of Structural in der Unscheinbarkeit: Normierte range voice-leading in Ravel’s Wayward „Path to Twelve-Tone Symmetry in Hofmannsthal‘s Ariad- Tonartenwechsel und instrumentale Concerto in G Composition“ ne auf Naxos Libretto Grenzen in der Musik um 1800 10:00
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