Contents

Acknowledgements 1 Welcome 2 Conference Schedule 3 Abstracts 15 Posters 79 About the RMA 80 Exhibitors & Advertisers 83 Milton Court Floor Outline 87 Conference Timetable 88

Acknowledgements

Guildhall School of Music and Drama Cormac Newark (Conference Director) Aoife Shanley (Conference Manager) Sophie Timms (Conference Assistant) Research & Enterprise Team Performance Venues, Audio Visual, and Facilities Teams 1 Programme committee Suzanne Aspden (University of Oxford) Warwick Edwards (RMA / University of Glasgow) Katy Hamilton (RMA) Freya Jarman (University of Liverpool), representing RMA Annual Conference 2017 Cormac Newark (Guildhall School of Music & Drama), chair

Royal Musical Association

Conference programme abstracts edited by Suzanne Aspden and Freya Jarman

The Royal Musical Association wishes to thank all the above, along with Routledge Taylor & Francis Group and the Musica Britannica Trust for sponsorship of the conference receptions Welcome

Dear Colleagues

Welcome to the 52nd Annual Conference of the Royal Musical Association, meeting at the Guildhall School of Music and Drama in London. Here we have assembled a programme of around 130 speakers from across the globe. The programme includes panel discussions by internationally renowned academics, and individual papers on topics ranging from the Cantigas de Santa Maria to Boulez. The conference also includes the Edward J. Dent medal presentation and Lecture by Marina Frolova- Walker, and in a departure from tradition the Peter Le Huray Lecture takes the form of a panel involving four leading practitioners and commentators in the field of opera production and reception. In addition to the Annual General Meeting of the Association, there are receptions sponsored by Routledge and by the Musica Britannica Trust, and the usual exhibition of books and other materials. I hope you enjoy the conference, and if you’re not already a member, feel inclined to join us. Membership is available online at www.rma.ac.uk.

Mark Everist President of the Royal Musical Association

2 • 1A CriticalPedagogy andMusicEducation(Panel) 11am –12.30pmSaturdayMorningSessions Cormac Newark (conference director) Concert Hall 10.45am –10.55amWelcome 9.30am –6pmPublisherExhibition 9.30am –10.45am Saturday 3September Conference Programme Two 20-minute papers followed byapanel discussion Robert Sholl (Royal Academy ofMusicandUniversity ofWest London), chair Rehearsal Room2 1C InMemoriamPierreBoulez (Panel) • • • Three 20-minutepapers anda30-minutechaired discussion Lukas Pairon(University ofGhent), chair Anna Papaeti (Independent Scholar, Berlin), convenor Rehearsal Room1 1B Music,Violence,Justice(Panel) • • • • Four 15-minutepapers, followed byachaired discussionandaQ&Asession Peter Tregear (Royal Holloway, University ofLondon), chair convenor Jonathan Owen Clark (Trinity Laban Conservatoire ofMusicandDance), Concert Hall violence: aspects ofarelationship’ Morag Josephine Grant (Independent Scholar, Berlin), ‘Music-justice- detention centresofthe juntainGreece military (1967–74)’ Anna Papaeti (Independent Scholar, Berlin), ‘Music,sound andtorture inthe Chile’ of Chile),‘Reciprocal effects ofresearch andhumanrights legislation in Katia Chornik (Cantos Cautivos Archive) andManuelGuerrero(University participatory musiceducation’ change”: ethicsandinstrumentalism inthe research anddelivery of Kate Wakeling (Trinity Laban Conservatoire of Music and Dance), ‘ “Affecting in aneraofglobalisation’ Biranda Ford (GuildhallSchool ofMusic&Drama),‘Aconservatoire education ‘What isasuitable “aesthetic education”?’ Jonathan Owen Clark (Trinity Laban Conservatoire of MusicandDance), zones” ofmusicinhigher education’ Louise H.Jackson (Trinity Laban Conservatoire ofMusicandDance),‘“Dead Bayreuth toBayreuth Beaubourg’ Arnold Whittall (King’s CollegeLondon), ‘Boulezianthemes fromthe 1970s: Registration/Refreshments Posters

3 Saturday 3 September Saturday 3 September 4 be happy todirect you. There are a number oflunch options in thesurrounding area, one of ourstewards will 12.30pm –1.30pmLunch /Registration • • • Three 20-minutepapers, followed bya30-minutediscussion Susan Rutherford (University ofManchester), chair Alexandra Wilson (Oxford Brookes University), convenor Rehearsal Room3 1D OperaticObjects(OBERTO OperaResearch Panel) • • • • Roy Howat (Royal Academy ofMusic&Royal Conservatoire ofScotland), chair Rehearsal Room3 Song’ ‘Gary, canyoubringinyourwetsuit?EvolutionofaNewContext for John Rink(University ofCambridge), chair Concert Hall Improvisation inWestern Art-Music Performance Culture’ ‘Current andFuturePerspectives ontheRevival ofClassical 1.30pm –2.15pmSaturdayLecture-Recitals 12.30pm –2.30pmRMACouncilmeeting, MeetingRoom1 • • • • • Guildhall School Student and alumni performers: Clare Lees, Felicity Turner, Iain Burnside (GuildhallSchool ofMusic&Drama) Biography andMaterial Culture’ Alexandra Wilson (Oxford Brookes University), ‘Caruso’s Books:Opera, ResearchSantley: onDisplay’ Anna Maria (Oxford Barry Brookes University), ‘ExhibitingSirCharles Teatro dell’Opera diRoma’s New Production of Andrew Holden (Oxford Brookes University), Hohenstein ‘Bringing to life: The evidence ofthe Collègede France lectures’ College London), ‘Can one panel speak of Boulezian music theory? discussion: Jonathan Goldman (University of Montreal) and Arnold Whittall (King’s Jonathan Dunsby (EastmanSchool ofMusic,University ofRochester), Jonathan Goldman(University ofMontreal), ‘Listening to Pierre Riley Michelle Santiago, Adam Sullivan, Matthew Palmer, Jonathan Hyde and Thomas Carroll (Royal CollegeofMusic),cello Eugene Feygelson (KingsCollege,London) Henrik Jensen (ImperialCollege,London) John Sloboda (GuildhallSchool ofMusic&Drama) David Dolan(GuildhallSchool ofMusic&Drama) Tosca ’ Doubles instereo’ Three 20-minutepapers, eachfollowed bya10-minutediscussion Chris Banks(ImperialCollegeLondon), chair Concert Hall 1E NewAudiences 2.30pm –4pmSaturdayAfternoonSessions • Three 20-minutepapers, eachfollowed bya10-minutediscussion Julian Horton (Durham University), chair Rehearsal Room3 1H ComposerReminiscences • • • • Two 45-minutesections,eachwithtwospeakers andanopportunity for questions. Edward Dewhirst (University ofEdinburgh), convenor andchair Rehearsal Room2 (Panel) 1G StringedKeyboardInstrumentVariety: Pitch,TimbreandtheNovel • • • • discussion Three 20-minutepapers, followed bya10-minuteresponse anda20-minute Roddy Hawkins (University ofManchester), convenor andchair Rehearsal Room1 1F AspectsofEnsemblePracticeinthe1970s(Panel) • • • Reuben Phillips (Princeton University), ‘Brahms as“Kreislerder Jüngere”: late eighteenth-century Britain’ exploration of the more extreme adaptations and modifications to the piano in Jenny Nex (University ofEdinburgh), ‘From the sublime to an the ridiculous: importance oforganised keyboards’ Eleanor Institute), Smith(Orpheus ‘No longeranovelty: re-establishing the sixteenth-century sound’ reconstructing David Gerrard (University ofEdinburgh), ‘Avirginalat “organ pitch”: Italian octave-pitch keyboard instruments’ Edward Dewhirst (University ofEdinburgh), ‘The and “inferior”: ignored Eric Drott(University ofTexas at Austin),respondent Complexity” inBritain’ more: exploringthe roleofensemble Suoraaninthe emergence of“New Roddy Hawkins (University ofManchester), ‘One complexity, two complexity, establishment ofFrench spectralmusic’ Liam Cagney (University CollegeDublin), ‘Ensemble L’Itinéraire’s role inthe Philip GlassEnsemble’ incorporated: the business ofbecomingSteve Reich andMusicians andthe David Chapman (Rose-Hulman Institute of Technology), ‘Minimalism, School ofMusic&Drama),‘Journeys ofnew audiences’ Karen Wise (GuildhallSchool ofMusic&Drama)andJohn Sloboda (Guildhall intersections ofpopular andclassicalin1960sAmerica’ Elizabeth Wells (Mount AllisonUniversity), ‘Bernstein andthe Beatles: for the firsttime’ orchestralbringing musicto young peopleinEnglandthe 1920sand1930s David Kidger(OaklandUniversity), ‘The Robert Mayer Concerts for Children: 5 Saturday 3 September Saturday 3 September 6 5.30pm –6.30pmReceptionsponsoredbyRoutledgePublishing Introduction fromCormacNewark (Guildhall School ofMusic&Drama) Recent developmentsinoperaproductionandreception Concert Hall, The Peter LeHuray Panel 4pm –4.30pmRefreshments • • Fauré’s James Sobaskie (MississippiState University), ‘The Role ofReminiscence in time: Anton Webern’s Sebastian Wedler (University ofOxford), ‘Tonal pairingasastrategy oflyrical recapturing aRomantic aesthetic ofearly music’ John Deathridge (King’s CollegeLondon) Annabel Arden (OperaDirector, Co-founder ofThéâtre de Complicite) Mark Ravenhill (Playwright) Charlotte Higgins(The Guardian) Fantaisie pourpianoetorchestre

4.30pm –5.30pm Langsamer Satz ’ (1905)’ 10.30am –11am Refreshments/ Registration • • Two 20-minutepapers, eachfollowed bya10-minutediscussion Caroline Rae (Cardiff University), chair Rehearsal Room3 2D NationalismandInternationalisation • • Two 20-minutepapers, eachfollowed bya10-minutediscussion Owen Rees (University ofOxford), chair Rehearsal Room2 2C SpanishMedievalandRenaissance Sources • • Two 20-minutepapers, eachfollowed bya10-minutediscussion Amanda Bayley (Bath SpaUniversity), chair Rehearsal Room1 2B Twentieth-Century HungarianMusic • • Two 20-minutepapers, eachfollowed bya10-minutediscussion Rachel Cowgill (University ofHuddersfield), chair Concert Hall 2A Englishness 9.30am –10.30amSundayMorningSessions 9.15am –6pm 9.15am –9.30amRegistration Sunday 4September production ofBritishsymphonies’ school ofcomposition”:anational debate andits interrelation withthe Dorothea Hilzinger (Berlin University ofthe Arts), ‘“Wanted, anEnglish exclusive performances ofnew musicinpost-WWIParis’ Barbara Kelly (Royal Northern CollegeofMusic),‘Fullforeign promise: study’ concert hall:Santiago Kastner’s lifetime Antonio de Cabezón project:acase Sonia GonzaloDelgado (University ofZaragoza), ‘From the archive to the sonic world ofmiracles inthe Cantigasde SantaMaria’ Henry T. (University Drummond ofOxford), ‘Hearing the sacred word: the score: overtones inLigeti’s Qianqian Zheng (Chinese University ofHong Kong), ‘Notes hidden fromthe Contrasts Hei Yeung John Lai(Chinese University ofHong Kong), ‘Performing Bartók’s national music’ Matthew (University Riley ofBirmingham),‘Diatonicism andEnglish present day ahistory ofEnglishsong’ -constructing Rachel Landgren(University ofMelbourne), ‘Elizabethans throughto the with orthographic insights’ Publisher Exhibition Posters Touches bloquées ’ 7 Sunday 4 September Sunday 4 September 8 Three 20-minutepapers, eachfollowed bya10-minutediscussion Byron Dueck(OpenUniversity), chair Rehearsal Room1 Space 2F BritishForumforEthnomusicologyPanel: MusicinContestedUrban • • • • audience Four 10-minutepapers, followed bya50-minutediscussionwiththepanellists and Michael Baumgartner (Cleveland State University), convenor andchair Concert Hall European ColdWar Cinema(Panel) 2E Music,IdeologyandProductionConditionsinWestern andEastern 11am –12.30pm • • • • A 5-minuteintroductorypaper (Bent),four 15-minutepapers, a25-minutediscussion Ian Bent(Columbia University/University ofCambridge), chair Vienna), convenor Kirstie Hewlett (BritishLibrary/University of MusicandPerforming Arts, Rehearsal Room2 2G HeinrichSchenker andVienneseMusicalCulture(Panel) • • • Schenker’s late writings’ William Drabkin (University ofSouthampton), ‘The warden: Heinrich ininterwarculture Vienna’ Vienna), ‘A“quietself-education at the radio”: Heinrich Schenker andradio Kirstie Hewlett (BritishLibrary/University of MusicandPerforming Arts, and opera’ Georg Burgstaller (RILM/CityUniversity of New York), ‘Heinrich Schenker ‘Heinrich Schenker, Otto andSchubert’s ErichDeutsch “Prize Song” ’ Marko Deisinger(University ofMusicandPerforming Arts, Vienna), contemporary soundscapes’ Laudan Nooshin (CityUniversity London), ‘Soundingthe city:Tehran’s Shanghai, c.1930–50’ west”? multi-jurisdictional sounds and a plural history of live music in Yvonne Liao (King’s College London), ‘ “Paris of the east, New York ofthe multinational: the gramophone inSingapore c.1900’ Gavin Williams (University ofCambridge), ‘Sound,colonyandthe an art-house musicalaesthetic’ ap Pwyll Siôn (Bangor University), ‘Michael Nyman and the development of and the new world order’ Guido Heldt (University ofBristol), ‘Power chords: the German Andrei Tarkovsky’ Tobias Pontara (University ofGothenburg), ‘Classicalmusicinthe films of post-Stalinist youth inthe 1960sfilms ofJerzy Skolimowski’ Ewelina Boczkowska (Youngstown State University), and ‘Music,ideology SundayLate MorningSessions Schlagerfilm

• • • • • Five 15-minutepapers followed bya15-minutediscussion Peter Holman (University ofLeeds),convenor andchair Rehearsal Room1 2J ThomasArneRevisited (Panel) • • • • Four 15-minutepresentations, followed byadiscussionandquestions Jan Hendrickse (GuildhallSchool ofMusic&Drama),convenor andchair Concert Hall (Panel) ExplorationsofMusicandSpace 2I SiteandSound:Practice-Based 2.30pm –4pmSundayAfternoonSessions 12.30pm –1.30pmRMAStudentCommittee,MeetingRoom1 be happy todirect you. There are anumberoflunchoptionsinthesurrounding area, oneofourstewards will 12.30pm –2.30pmLunch /Registration • • • Three 20-minutepapers, eachfollowed bya10-minutediscussion David Charlton (Royal Holloway, University ofLondon), chair Rehearsal Room3 2H TheLongEighteenthCentury Biblioteca de Catalunya MSM1964’ IfeBarry (GuildhallSchool ofMusic&Drama), ‘Scarlatti MSSinSpain: Music andRegime ChangeDuringthe French OccupationofMainz,1792–93’ Austin Glatthorn (Dalhousie University), ‘Out with the Old, in withthe New: England andScotland’ musical affects andmechanist philosophyinearly eighteenth-century Tomas McAuley (University ofCambridge), ‘Hearing the Enlightenment: Peter Holman (University of Leeds),‘Thomas Arne andCharles Burney’ of John Cunningham(BangorUniversity), ‘New lightonThomas Arne’s setting Suzanne Aspden (University ofOxford), ‘Arne the “affected imitator”?’ Scholar), ‘Thomas Arne asateacher ofsingers’ Olive Baldwin (Independent Scholar) andThelma Wilson (Independent on amusician”:Arne’s Oratorio Britannica Trust), ‘ “One of the most noble compositions that ever stampt fame Simon McVeigh (Goldsmiths, University ofLondon) andPeter Lynan (Musica soundartsecological practice’ Matthew Sansom (University ‘Inthe ofSurrey), making:insights gained from Claudia Molitor (CityUniversity London), ‘ landscape andmateriality’ Nell Catchpole (GuildhallSchool ofMusic&Drama),‘Interventions: Jan Hendrickse (GuildhallSchool ofMusic&Drama),‘Isolations’ The Fairy Prince ’ Committee, MeetingRoom2 RMA AnnualConference2017Programme Judith inits wider musicalandsocial contexts’ Sonorama ’ 9 Sunday 4 September 10 Sunday 4 September • • • Three 20-minutepapers, eachfollowed bya10-minutediscussion Keith Howard (School ofOrientalandAfricanStudies),chair Rehearsal Room2 2K UsesofMusicalObjects ‘An InclusiveHistoryforaDividedWorld’ The EdwardJ. DentMedalAwardandLecture conference attheUniversity ofLiverpool. award willbeannounced,along withtheCallfor Proposals for nextyear’s annual Immediately following theAGMrecipient ofthisyear’s Edward J.Dentmedal not vote. register for the conference. Non-members are welcome at the meeting, butmay report andaccounts. The AGM isopen to allRMAmembers without the need to Including announcement ofelectionresults, President’s annual report,trustees’ Annual GeneralMeeting Concert Hall 4.30pm –6pmPlenarySession 4pm –4.30pmRefreshments • • • Three 20-minutepapers, eachfollowed bya10-minutediscussion Carlo Cenciarelli (Cardiff University), chair Rehearsal Room3 2L MusicandMusiciansonScreen 6pm –7pmReception sponsoredbytheMusicaBritannica Philippine presidential elections, 1953–98’ James Gabrillo (University ofCambridge), ‘The soundandspectacle of schools fromRiode Janeiro’ practice andaesthetics ofcompositionincomposers’collectives ofthe samba- Friederike Jurth(University ofMusicFranz Liszt),‘From the idea to samba: Garmonii (Chinese University ofHong Kong), ‘B.A.Arapov, I.V. Sposobin, and Hong Ding(Soochow University School ofMusic)andCheong Wai-Ling Miguel Mera (City UniversityMiguel London), ‘The comedy of audio-visual musicality’ Nürnberg Áine Sheil (University ofYork), ‘From operato film: between research andpopular culture’ Joanne Cormac (University ofNottingham), ‘Composerbiopics:interfaces Mark Everist (University ofSouthampton, President ofthe RMA),chair Marina Frolova-Walker (University ofCambridge) onscreenin1920sGermany’ : the legacy ofaSoviet Harmony textbook inChina’ Trust Die Meistersinger von Uchebnik • Three 20-minutepapers, followed bya30-minutediscussion Richard Glover (University of Wolverhampton), convenor andchair Concert Hall Processes asResearch 3E RMAMusicand/asProcess StudyGroupPanel: Creative Performance 11am –12.30pm 10.30am –11am • • Two 20-minutepapers, eachfollowed bya10-minutediscussion Stephen Muir(University ofLeeds), chair Rehearsal Room3 3C MusicinTerezín • • Two 20-minutepapers, eachfollowed bya10-minutediscussion Shay Loya (CityUniversity London), chair Rehearsal Room1 3B TheCimbalominArtMusic • • • discussion One 20-minutepaper, followed bytwo10-minuteresponses anda20-minutepanel Mieko Kanno (SibeliusAcademy, University ofthe Arts Helsinki), chair Julian Anderson (GuildhallSchool ofMusic&Drama),convenor Concert Hall 3A Composersand‘GroupSelf-Contempt’ 9.30am –10.30am 9.15am –2.30pmPublisherExhibition 9.15am –9.30amRegistration Monday 5September Gillian Moore MBE(Director ofMusic,Southbank Centre),respondent Arnold Whittall(KingsCollegeLondon), respondent sector since1973’ Short: Inturned aggression andgroupself-contempt inthe modern music Julian Anderson (GuildhallSchool ofMusic&Drama),‘SellingOurselves portable keyboards’ Xenia Pestova (University ofNottingham), ‘Pocket pianos: working with and viciouscirclesinPavel Haas’s Martin Terezín, 1941-1944’ David Fligg(University of Leeds),‘(Re)visiting the Archive ofGideon Klein- creativity: Liszt’s representations cimbalom playing’ ofHungarian-gypsy Hyun Joo Kim(Independent Scholar, New York), ‘Interpretive fidelity to gypsy Bohemian folk instruments inlate eighteenth-century Europeancourts’ Sam Girling (University ofAuckland), ‘Exotictastes: the appearance of C ˇ urda (Cardiff University), ‘Grief, melancholia, uncanny reflections Refreshments/Registration Monday MorningSessions Monday Late MorningSessions Posters Four Songs from Terezín’ 11 Monday 5 September 12 Monday 5 September Rehearsal Room2 (Panel) 3G BeyondPropaganda:MusicandPolitics intheNapoleonicTheatre • • • • Four 15-minutepapers, followed bya30-minutediscussion BracefieldHilary (University ofUlster), chair Rehearsal Room1 3F MusicasaMatrixforActioninHealthcareSettings(Panel) • • 12.30pm –1.30pm be happy todirect you. There are anumberoflunch optionsinthesurrounding area, oneofourstewards will 12.30pm –2.30pmLunch • • Two 20-minutepapers, eachfollowed bya10-minutediscussion Robin Bowman (BirminghamConservatoire), chair Rehearsal Room3 3H SingingPractices • • • Three 20-minutepapers, each followed by10minutesofdiscussion Benjamin Walton (University ofCambridge), chair Katherine Hambridge (Durham University), convenor Ian Pace (CityUniversity London), ‘Between academia andaudiences:some studio-laboratories: operaandsoundrecordinginthe nineteenth century’ Karen Henson (Frost School ofMusic,University ofMiami),‘Ofinventors and Pasta andthe Rossini Anna McCready (Royal CollegeofMusic),‘“Adistinctphysiognomy”: Mme Napoleonic theatre’ Katherine Hambridge (Durham University), ‘Genre consciousness inthe Cortez Sarah Hibberd(University ofNottingham), ‘“L’épique enaction”: Le Sueur’s Annelies Andries (Yale University), ‘Dreaming “Opéra de Luxe”: Spectacle in music therapy trainings’ of the musictherapist: exploringmusicaladmission requirements for UK Donald Wetherick (GuildhallSchool ofMusic&Drama),‘The musicianship exploring presenceandrepresentation throughpractice-based research’ Stuart Wood (GuildhallSchool ofMusic&Drama),‘“Care, The Musical”: vocal improvisation asamusictherapy technique inamental health setting’ Irene PujolTorras (GuildhallSchool ofMusic&Drama),‘The useofgroup the Norfolk countyasylum’ Rosemary Golding (Open University), ‘Out of mind, out of earshot: music in to intonation inJohn Cage’s Mira Benjamin(University ofHuddersfield), ‘Exploringasystematic approach critical andmethodological reflections fromaperformer-scholar’ andthe aesthetic ofspectacle’ Ossian oulesBardes BFE/RMA Conferences Sub-Committee, Meeting BFE/RMAConferences Sub-Committee, bel canto Room 2 Four ’ style’ for stringquartet’ Fernand • • • Three 20-minutepapers, eachfollowed by a10-minutediscussion Andy Fry (King’s CollegeLondon), chair Rehearsal Room2 3K SourcesforPerformance PracticeStudies • • • Three 20-minutepapers, eachfollowed bya10-minutediscussion Richard Witts (EdgeHillUniversity), chair Rehearsal Room1 3J TheMusicIndustrythenandnow • • • • Four 15-minutepapers followed bya30-minutediscussion convenors/chairs Emily Payne (University ofLeeds)andFlorisSchuiling(UtrechtUniversity), co- Concert Hall (Panel) 3I Performing Notations: Relational ApproachestoMusicalMaterials 2.30pm –4pmMondayAfternoonSessions David Milsom(University ofHuddersfield), chair Concert Hall ‘Clara Schumann’s Romances Op.22’ 1.30pm –2.15pmMondayLecture-recital • • of alterity’ Ross Cole(University ofCambridge), ‘Transatlantic bluesand the performance tempo andrubato inrecordingsofAlexander Scriabin’s early piano preludes’ Stijn Vervliet (LUCA School ofArts, KU Leuven), ‘Mapping performances: Conservatory’Brussels ‘Sources of early nineteenth-century violin performance practice in the Richard Sutcliffe (Royal Conservatoire ofBrussels/University ofBirmingham), Listening to Sound:Extended Audiovisuality Film’ inDocumentary Holly Rogers (Goldsmiths, University ofLondon), ‘Hearing Musicand the scene’ psytrance Christopher Charles (University ofBristol), ‘Ektoplazm.com-free musicand years ofthe Musicians’ Union’ Glasgow), ‘Protecting musicians fromthemselves? Criticalreflections on 123 Martin Cloonan(University ofGlasgow) andJohn Williamson (University of notation andperformance inBeethoven’s late stringquartets’ Rachel Stroud(University ofCambridge), ‘“Notation associalnetwork”: Orchestra Emily Payne (University ofLeeds),‘Performing Cage’s material inthe performances culture ofthe ICPOrchestra’ Floris Schuiling(Utrecht University), ‘Music notation astechnology and notation andthe collapse ofthe Stockhausen Ensemble’ Sean Williams (Independent Scholar), ‘Creative agency in non-standard Amarins Wierdsma, violin Laura Roberts (GuildhallSchool ofMusic&Drama) : acreative conundrum?’ Concert for Pianoand 13 Monday 5 September 14 Monday 5 September 4pm Depart • • • Three 20-minutepapers followed bya30-minutediscussion Ross Cole(University ofCambridge),chair Keith Potter (Goldsmiths, University ofLondon), convenor Rehearsal Room3 Materials (Panel) 3L NewPerspectives onSteveReich viatheStudyofhis Sketch melodies”: understanding Steve Reich’s apPwyll Siôn(Bangor University), ‘“From resultingpatterns to extended (Portrait der Schola 1981)’ Cantorum, which Ispeak:Gottwald, identity Reich in andlinguistic John Pymm(University ofWolverhampton), ‘Englishisthe onlylanguage Steve Reich’s Keith Potter (Goldsmiths, University ofLondon), ‘Tonality andharmony in Music for 18Musicians

: what the composer’s sketchbooks tell us’ Octet throughhissketches’ Mein Name Ist... while simultaneously, research pedagogic inmusichas often current clustered research, withits mainfocus onmusicalmaterial andits historical reception, systemsto cultural isroutinely under-represented inexistingmusicological has astrongethicalandpolitical focus. Inaddition, the contributionofeducation has obvious linkswithprofessional practice, anditshould beclear that the session emphasis onconservatoire training,andresearch into the nature ofthistraining, The sessionwill contribute to the conference themes inthe following ways. The situating them firmlyincommunitycontexts (Wakeling; Ford). the four talksstressthe social,transformational andethicalbenefits ofthe arts, philosophy ofeducation (Ford; Jackson) andpostcolonial theory(Clark; Ford), economies. Using approaches variously fromphenomenology (Clark; Wakeling), conformity, inequality and inevitability ofthe effects onindividuals ofglobalised arts education has a unique, perhaps autonomous role to play in resisting the We that argue ifallowed to fulfilits criticalandcreative potential, aspecialist function ofmusiceducation, andspecialistarts education ingeneral, insociety. literature,with this recent critical pedagogical with a view to the reimagining This themed session willbringthe conservatoire context squarely into dialogue perspectives.pedagogical approaches fromarangeofhistorical, philosophical,politicaland sociological, not surprisingly they have come recently under sustained critical using scrutiny, in general. Butgiven the inherent reductionismimplied by these same trends, faculty higher education institution to the music conservatoire and the art school of knowledge. Andmanyofthese trendshave crossedover fromthe large cross- a knowledge economy, coupledwithapoliticalemphasisonthe essentialutility that the university subscribes to amode ofproductionthat exists to contribute to contributed to the ofthe construction now dominant idea withinhigher education andincomerecruitment generation fromresearch activity. promotion of‘bestpractice’ themes withinlearning andteaching; afocus on between institution, teacher andlearner; ofthe protectionguise ofpublic money; afundamental changeinthe relationship accountability framework that similarly promotes consumerism throughthe resulting inthe ubiquity ofthe notion ofconsumer satisfaction; anincreasing marketisation ofhigher education throughthe introductionofstudent fees, coupled withsome arguably detrimental side-effects, including:the increasing often centredonsolelyquantifiable andmeasurable benefits. Thishasbeen attention onits intrinsic value, withthe debate regarding societalcontribution Recent concerns over the role and fundingofhigher education have focused 1A CriticalPedagogy andMusicEducation(Panel) Saturday 3September Abstracts Peter Tregear (Royal Holloway, University ofLondon), chair convenor Jonathan Owen Clark (Trinity Laban Conservatoire ofMusicandDance), Concert Hall,11am reductions inteaching grants and the These factors have all 15 Saturday 3 September 16 Saturday 3 September relationship between the ofneoliberal intersecting freemarkets, structures social the same time asthey simultaneously erode genuine democratic engagement. The obtaining ahigher education isperceived asaninherent ‘good’for democracy at models. pedagogical-political current Suchmodels containaparadox whereby Brown, to assistindispellingthe ‘illusion’ofsocialjusticepromoted through in establishing vocabularies andmethodologies, drawing onthe work ofWendy by Clark. The disruptive potential ofmusicand arts issuggested asaninitialpoint to be‘aesthetically negative’ (Adorno) linksthe material withthe following paper normative neoliberal discourses.Furthermore, thisaspectofthe ability ofmusic context to reshape andreimagine its practices, inorder to resistwhat have become engagement canenable musicwithinahigher withcriticalpedagogy education contexts becoming‘Dead Zones of the Imagination’ (Graeber) that itargues an higher education. Inparticular, following Henry Giroux’s critiqueofeducational pedagogy, and continues by connecting this literature to the topic of music within This paper prepares for the others bysketching the recentliterature oncritical Louise H.Jackson (Trinity LabanConservatoire ofMusicandDance) ‘Dead zones’ofmusicinhighereducation education, that emphasisesits transformational, butalsoits disruptive potential. offers amore holistic perspective onthe wider politicalandstrategic roleofanarts solely around improvements to existingteaching practice. Incontrast,thissession rooted inthe perceptual and communicative potentiality inherent inallarts: ‘The conservatoire asthe idiomatic home ofasuitable ‘aesthetic education’ which is disciplines assimple adjuncts to the entertainment industry, andwe for argue the that hasbeenside-lined models incurrent ofhigher education that seesthese and potentially subversive perceptual-communicative nature ofmusicandart seen fromaphenomenological perspective. Itispreciselyboththe inherent, factors which are basicto ourcognitive andmetaphysical inherence inthe world, Adorno). We extend these ideas to alsoshow how art aesthetically exemplifies society (following similar argumentative tropesinLuhmann Rancièreand ‘irritations’ into more general networks of communication in contemporary transformations enacted by art can cause disturbances, perturbations and of the experiencer, butwhich extends to the manner inwhich the perceptual and art itself; anature that isrooted inthe perceptive and sensorycapabilities will claimthat we canperhaps start fromthe uniqueidiomatic nature ofmusic framework suggested inthe firstpaper byJackson, the secondtalkinthe session education’ (Schiller; Spivak) may be constructed out of the critical pedagogical In attempting to answer inmore detail how asuitable musicalor‘aesthetic Jonathan Owen Clark(Trinity LabanConservatoire ofMusicandDance) What isasuitable‘aestheticeducation’? the papers ofbothFord andWakeling. practices that rediscover criticalandcreative socialengagement, which linkswith can then beunderstood asapotential site for developing alternative educational of repression(Giroux).The paper concludes byclaimingthat musiceducation stultification (Rancière);educational fundamentalism (Alvesson); pedagogy through the ofhope’ concepts criticalpedagogical (Friere); of:‘pedagogy justice and the role of higher education can be better understood and contextualised paper then sets outanalternative model ofprojectdesign andresearch that better the cross-arts work of the Trinity Laban Learning and Participation department, the funding, delivery and assessment of much participatory arts activity. Focusing on improved non-arts-based learning outcomes among children) which drive the agendas (e.g.enhancedhealth andwell-being outcomes among older peopleor and reflexive. The paper firstoutlines some ofthe increasinglyprevalent ‘impact’ and research analysis ofsuchactivities that are at oncemore ethical,democratic older people,the paper proposesalternative approaches to the design pedagogical Trinity Laban’s Learning andParticipation department, particularly its work with and community-basedmusiceducation programmes. Drawing onthe work of research methodologies that aim at analysing best practice in such participatory challenges the widespread instrumentalism found to underpin the evaluative their provision for engagement with their local communities. This paper higher education, manyconservatoires andmusicdepartments have augmented Following the introductionofimpact andknowledge exchangeimperatives into Kate Wakeling (Trinity LabanConservatoire ofMusicandDance) delivery ofparticipatorymusiceducation ‘Affecting change’: ethics and instrumentalism in the research and and develop the conservatoire asacreative andcriticalspace. exchange between with the host potential and visiting cultures, to renew traditions performance couldenrichthe conservatoire environment byoffering anequitable and explorehow ideas ofglocalisation, cosmopolitanism andintercultural innocence ofclassicalmusicasareadily exportable international language, on post-colonialtheory(Bhabha, Spivak) asastarting point,Iquestionthe assumed ethical implications ofthe internationalisation ofconservatoires. Taking writings surrounding countries.Thispaper examines some politicaland ofthe cultural, Asia designed to benefit fromthe popularity ofclassicalmusicinChinaand well placed to capitalise onthismodern drives trendwithrecruitment inEast an international transcending national language barriers, conservatoires are institutions, hasbeensuccessfulasabusiness model. With musicpositioned as of visitingstudents andinexportingourdegrees byoffering coursesinsatellite of the sector, andthe growth ofaBritisheducation, inbothincreasingnumbers to government fundinghave resulted inwhat hasbeencalledthe marketisation the increasinginternationalisation ofhigher education iseconomic necessity. Cuts benefits to students, professors andinstitutions alike, rationale a significant behind courses. Though international exchangecanmake strongclaims to offering has focused onthe effects ofglobalisation andthe internationalisation ofdegree Over the lastfifteen years, strandofresearch onhigher asignificant education Biranda Ford (Guildhall School ofMusic&Drama) A conservatoireeducationinaneraofglobalisation education linkdirectlyto similar themes inthe talksofFord andWakeling. Spivak). These transformative, qualitative and ethicalaspects ofmusicandarts outlines. Only an aesthetic education can continue to prepare usfor this’ (Gayatri of the experiencingbeingexceptinsofar asitwas always implicitinits vanishing every aspectofour lives. Globalisation cannever happen to the sensoryequipment most perniciouspresupposition today isthat globalisation hashappily happened in 17 Saturday 3 September 18 Saturday 3 September Pinochet’s Chile (1973–90). These papers will be supplemented by a reflection on Geographical points offocus are the Colonels’ Greece (1967–74),andAugusto This sessionexamines the useofmusicintorture, conflict,andgenocide. 1B Music,Violence,Justice(Panel) ‘affect’ inthe participatory arts. (2009) instressingthe profound need to move away from‘effect’ andtowards analysis and delivery, the paper thus follows applied theatre practitioner Thompson participants. Incallingfor amore nuancedandreflexive approach to programme and futureexperiences,while buildingrichnew self/other relations among such activity cancreate andenrichinglinkages between past,present intriguing experiences ofparticipants andpractitioners involved, the paper demonstrates how earlier talk by Clark). Using this methodology to engage closely with the first-hand (which linkssquarely withthe phenomenological methodology proposedinthe through ethnographic participant-observation andphenomenological analysis that music-makingcaninitiate, butonsuchactivity’s ‘own terms’, asrevealed embraces the complexprocessesandpossibilitiesofdiscovery andtransformation transgression with regard to the social order. Starting with the so-called ‘charivari’ havemusical symbolism beenusedto portray butalso enact ideas ofharmony and examples fromthe EuropeanMiddleAgesonwards how to discuss musicand paper ‘Music-justice-violence: aspects ofarelationship’. Thispaper usesseveral justice isexploredfromthe perspective ofmusical,socialandlegalhistory inthe the usesofmusic inill-treatment. The relationship between music,violence and as well asthe contributionofmusicinstitutions, suchasRMA,inmakingpublic music research canplay inrevisiting andupdating legaldefinitions oftorture, by law commissions to andtruth the presentday. the potential Itdiscusses rolethat grasp musicaspart ofthe torture techniques dueto the restrictive definitions used research andhumanrights legislation inChile’examines the shared inability to of musicasaninherently enlightening art-form. The paper ‘Reciprocal effects of it assomething separate; thisseparation isalsoindebted to the humanisticnotion of them didnot understand musicaspart ofthe torture techniques used,butsaw the terror and damage suffered as a result of the number use of music, a significant understanding oftorture. Inbothcases, even though interviewees acknowledged paper onChile,about the way locallegalnotions oftorture shaped the interviewees’ regard to the useofmusicindetention. Italso raisesconcerns, shared withthe survivor testimony, the papermemory lapses discusses anddiscrepancieswith today inthe so-called‘War onTerror’. Drawing onthenature challenging of popular songs as part of a sophisticated combination of techniques, still employed were usedbythe Juntainthe context oftorture. Itfocuses onthe continuoususeof centres of the junta in Greece military (1967–74)’ shows how soundand music survivors andperpetrators. The paper ‘Music,soundandtorture inthe detention of musicduringthe detention ofpoliticalprisoners throughinterviews with in Europesincethe MiddleAges.The papers onGreece andChileexplorethe use the historical connections between concepts ofmusicalsound,violenceandjustice Lukas Pairon(University ofGhent), chair Anna Papaeti (Independent Scholar, Berlin), convenor Rehearsal Room1,11am far absent beenconspicuously fromthe discourse.Even interviewees themselves trials in Strasbourg (1969) and Greece (1975), the use of music and sound has so Although torture under with seminal the junta has been a subject of scrutiny music, sleep,food anddrink deprivation andcontinuousstanding,among others). on the body, itcombined together rather banalmethods (suchascontinuous as amore effective way ofshattering subjectivity, while not leaving anymarks interrogationcutting-edge methods ofthe time, practiced at EAT/ESA. Devised Piraeus), andthe Athens-based SpecialInterrogation Unit EAT/ESA. Itfocuses on and silencewere usedinthe detention Forces centresofthe Security (Athens and testimony in existingsources,thispaper exposesanddocuments how music,sound (1967–74). Drawing onnew interviews withsurvivors, supported byoverlooked humiliate and‘break’politicalprisoners inGreece under the dictatorship military This paper examines the various usesofmusicandsoundasameans to terrorise, Anna Papaeti (IndependentScholar, Berlin) junta inGreece(1967–74) Music, sound and torture in the detention centres of the military iii. ii. i. legislation, and ourresearch practice. Inparticular, the paper discusses: the reciprocaleffects ofresearch andpolicy, drawing oninternational andlocal punish perpetrators, andto provide compensation to victims. Thispaper addresses Torture (1984), in which nations agreed to eradicate torture, to investigate and despite having signed(1987)andratified (1988)the UNConvention against in Chile,andto the fact that Chilehasstillnot updated its internal legislation thatargue islinked thislack ofrecognition to the lack oftypification oftorture classed astorture orother forms inhumananddegrading ofcruel, treatment. We result ofmisusesmusic,they have generally failed to that recognise this may be Although interviewees have identified physical and psychological damage as a music beingemployed bythe Pinochet regime(1973–90)uponpoliticalprisoners. we have interviewed victims andperpetrators oftorture who have referred to As part (Chornik) ofourethnomusicological andapplied ethics(Guerrero)research, Katia Chornik( Reciprocal effectsofresearchandhumanrightslegislationinChile Eastern Europeinthe early 1940s. crimes andgenocide aswell, includinginthe caseofmassshootings ofJews in discourses to offer new perspectives onmore recentusesofmusicintorture, war ofoutlawslanguage andoutsiders isportrayed, the paper usesanalyses ofthese traditions offolk justice,andalsocovering tendencies inhow the musicand and the American Society(2008). Musicological the Position Statements onTorture ofthe Societyfor (2007) Ethnomusicology attention to mis-usesofmusic andinexertingchangespolicy, following the potential role of the Royal Musical Association in drawing the wider public’s legislation, and of victims, inhelping makers policy to typifyandupdate humanrights the potential role of music research, linked to the moral consideration victims’ own understandings ofwhat isandnot torture how the limited definitions commissions have usedbylocaltruth shaped Cantos CautivosArchive

and Manuel Guerrero (University ofChile) 19 Saturday 3 September 20 Saturday 3 September other: further examplesinclude musicaliconography inimages ofjudgement and social order onthe one hand, andtransgressions against that normative order onthe of afrequentrecourseto inthe musicalsymbolism portrayal ofa‘harmonious’ calls, andtakingplace at nightto maximisethe disturbance—is justone example component of charivari—typically consisting of loud and inharmonious sounds and in which aform of‘anti-music’or‘paramusic’ played role.The asignificant musical recent times. Mystarting pointwillbeso-called‘charivari’ traditions offolk justice, a new perspective onthe useofmusicintorture, war crimes andgenocide inmore music, law andjusticefromthe EuropeanMiddleAgesonwards, asaway to gain In thispaper Iwant some to aspects discuss ofthe historical relationship between Morag Josephine Grant (IndependentScholar, Berlin) aspectsofarelationship Music-justice-violence: with regard to the useofmusicindetention. manifestations these moments inlanguage, are keys to the coded messages they carry memory blocks.Taking into account the ofacute traumaandits psychic structures torture’. Italsoconsiders the status ofmemory lapses, contradictions, repetitions and misperceptions. Inthiscontext, the paper the elusiveness discusses ofso-called‘music music assomething inherently positive accounts and benign for suchomissions and legal definitions usedfor the torturers’ trialsin1975,the humanisticperceptionof tograsp music’s failed implications for torture at first.Inaddition to the restrictive exclusively duringthe years between 1966and1977—and aim to provide arather explore afew ofthe counterpoints between GallicandGermanic—mainly butnot other thanFrance, profoundly affected his development. Sointhispaper Iwill awareness ofthingsGerman,American orFar Eastern, andhisexperiencesinplaces doesn’t mean that he canbeproperly assessedbyFrench criteria alone. Boulez’s Pierre Boulez isroutinely described asaFrench composer andconductor. Butthat Arnold Whittall(King’s College London) Boulezian ThemesFromthe1970s:BayreuthtoBeaubourg Faber inSpring2018. English translation by the three panel participants will be published by Faber & at the Collègede France (1976–95),collected in two conference talksfollowed that byapanel discussion focuses onBoulez’s lectures This panel proposesto honour the memory ofPierre Boulez(1925–2016)through 1C InMemoriamPierreBoulez(Panel) eyewitness reports ofmassshootings ofJews ineastern Europeinthe early 1940s. of torture andgenocide inmore recenttimes, drawing amongst other thingson a different kindofcontext to how we think about the useofmusicinthe context In the third and final part of the paper, how I will discuss these examples can provide particular reference to RuthHaCohen’s musicalhistoryofantisemitisminEurope. often beencharacterised asnoisy, unpleasant ordisruptive, asIwillexplorewith here to how ofoutlaws the musicorlanguage andoutsiders have sinceantiquity punishment from the late medieval and early modern periods. A link can be drawn Robert Sholl (Royal Academy ofMusicandUniversity ofWest London), chair Rehearsal Room2,11am Leçons demusique (2005), whose create ‘meaning’ through objects and how such meanings may changeacross time. present-day professional practice and willconsider how andindividuals cultures The panel asawhole willexplorethe interface between historical research and within life research asmore writingandmusicological traditionally conceived. the studyof music. The thirdpaper examines the roleofobjects andpossessions audiences to collections the learn within about role of museum opera and discussing agenda, considering how objects can be a useful tool for non-specialist encouraging informed operatic performances. The secondpaper engages withthe impact practice, interrogating the roleof‘authentic’ objects inrecreating historically- areas of opera-focused scholarship. The first paper is concerned with operatic the nineteenth andearly twentieth centuriescanbeusefulin threeverydifferent three papers inthissessionwillconsider the ways inwhich material objects from that comparatively isdiscussed rarely withinthe discipline ofmusicology.The is no longeranew area sofar associalhistorians are concerned, butitissomething historical narratives withinthe fieldofoperastudies.The studyofmaterial culture This panel sessionwillexamine the relationship between physical artefacts and 1D OperaticObjects(OBERTO OperaResearch Panel) Goldman (University ofMontreal) Jonathan Dunsby(Eastman School ofMusic,University ofRochester), Jonathan Evidence oftheCollègedeFranceLectures Panel Discussion:CanOneSpeakofBoulezianMusicTheory?The into the eleganthighsocietyofParisian orchestral concerts. a kindof‘unplugged’stereophony inthiswork that marked Boulez’s ascension be ascertained whether the scorecontains gestureswhich mightevoke inalistener the horizon ofexpectations ofcontemporary listeners of analysis ofthe extent to which the experienceoftwo-channel stereophony lay at evaluation ofBoulez’s constantly evolving discourseonthiswork aswell asan this work? Answering thisunusualifapparently anodyne questionrequiresan extent is an allusion to the technology of stereophony inscribed into the fabric of partakes inthe tradition ofantiphonal musicfromGabrieli orBerlioz, to what western world. A historiographical question immediately arises: even if to the mass-distributionofstereo soundtechnology into homes throughout the specifically the commercial introductionofstereo long-playing recordsthat led music isconcerned took place inthe domain recordingandsoundreproduction, the stage. One of the important technological developments of this era as far as which the orchestral choirs are divided into several groupsandscattered across Boulez’s 1958orchestral work Jonathan Goldman(University ofMontréal) Listening to Philippe Olivier, different perspective from that to be found in the 2005 book around the topic by Susan Rutherford (University ofManchester), chair Alexandra Wilson (Oxford Brookes University), convenor Rehearsal Room3,11am Doubles Pierre Boulez:Lemaître etsonmarteau. inStereo Doubles and Arnold Whittall(King’s College London) makes useofanunusualseating planin

Doubles . Moreover, itmust Doubles

21 Saturday 3 September 22 Saturday 3 September set designs inthe collectionat CasaRicordi. costumes fromthe company’s own collection,aswell asthe costume sketches and Alessandro Talevi, the 2015 costume designs were surviving based on original to reproducethe anddesigns staging indetail sources.Directed fromoriginal by at Teatro OperadiRoma, inthe theatre for which from their own interpretation ofthe settingsofeach act, onlythe 2015production Although many subsequent productions borrowed elements from this design, or show that, even under thissystem, the productionevolved. for manyyears. Surviving of licensing ofproductions at the time itremained the onlyauthorised production artistic licence,for the dramatic andsonicworld of1800Rome. Under the system Sant’Angelo, echoing Puccini’s own topographical andhistorical research, with have beenmade onlocation, at leastfor ActIat Sant’Andrea della Valle andCastel La Bohème sets andcostumes for muchofRicordi’s inthe catalogue 1890sincludingPuccini’s Costanzi, Rome, was designed byAdolfo Hohenstein, who had already produced The productionof original Andrew Holden (Oxford BrookesUniversity) production of Bringing Hohenstein to life: Teatro dell’Opera di Roma’s new academic research, considering both the advantages andpotential pitfalls ofthis act asaneffective vehicle for public engagement andthe dissemination of story throughanexhibition.Itwill explorethe ways inwhich exhibitions might This paper willoffer areflectiononthe process bywhich Iwas able to tell Santley’s smoking pipe. bestowed uponSantley, aswell aspersonaleffects including hisjewellery and celebrity status. Itwillalsofeature aremarkable collectionofawards andhonours as well askey documents andletters that shed lightonhiscareer, connections and doctoral research. The exhibitionwillfeature portraits andhiscircle, ofSantley toSantley open in April 2016. I will curate this exhibition, drawing upon my which lay neglected inabasement, willform the basisfor anew exhibitionabout deposited at the Records Office in Liverpool, the city of his birth.These collections, On hisdeath in1922,acollectionofSantley’s papers andpersonaleffects was nineteenth century. Dickens, landscape inthe became cultural ofthe Santley animportantfigure late spanned sixdecades. With Victoria illustrioussupporters includingQueen and international celebrity. The firstsinger ever to beknighted in Britain,hiscareer The baritone Sir Charles was Santley a star of the Victorian operatic stage and an Anna Maria Barry(Oxford BrookesUniversity) Exhibiting SirCharlesSantley:researchondisplay context inwhich bothRoman productions took place. and audience reception which the production process raised and the cultural This paper willexamine questions ofdramaturgy, technology, artistic motivation and Falstaff Tosca . The disposizioni sceniche Tosca Tosca set designs were based on sketches which must , which opened on14January 1900at Teatro at CasaRicordifor later productions Tosca was written, hasattempted only afew exceptions. its(yet?) teaching andpractice inthe context ofclassicalmusicrepertoire, with powers of improvisation. However, interestingly, this renaissance does not include long of absence, the Western to re-discover has begun art-music the industry enhanced engagement between performers andtheir listeners. After acentury- performance upuntilthe twentieth culture century, providing anelement of Adventurous extemporisations usedto beanintegral part ofWestern art-music Culture of ClassicalImprovisationinWestern Art-Music Performance Current Lecture-Recital: and FuturePerspectives ontheRevival present aparticular public persona. their readingsingers discussed habits andtaste inbooksthe pressasastrategy to Operaticand bookculture. recordswere marketed muchlike popular novels and it will also examine broader intersections between early twentieth-century opera inform ourunderstanding ofhisbiography. Focusing onthe booksinparticular, the ways in which analysing the contents can of the auction catalogues Caruso methodologies drawn this paper fromthe studyofcollectingculture, willexplore lives throughtheirfigures’ personallibraries. Informed bysuchapproaches andby Several suchasJungandWilde recentbiographies offigures have ‘read’ historical connection. illustrated books,eclecticinsubject matter butincludingmanywithanoperatic final day ofthe salewas devoted to Caruso’s collectionofexquisitely boundand operas, together withaccessories suchaswigs,buckles,whips anddaggers. The iconography. Alongside these were complete costumes worn infourteen byCaruso coins, French andOrientalporcelain,antiqueItalianfurnituremedieval items,rare luxury includingancientglassfromthe Near andMiddleEast,gold on amassing a vast collection of art. Among the objects onsalewas an array of made afortune duringthe 1900sandwas estimated to have spentover $500,000 the personaleffects ofthe recentlydeceased tenor The EnricoCaruso. singerhad American Art Galleries, East 57th Street, New York City. Under the hammer were Over the courseoffour days inMarch 1923, alarge scaleauctiontook place at the Alexandra Wilson (Oxford BrookesUniversity) Caruso’s Books:Opera,biographyandmaterialculture with amusicalworld that predated recordingtechnology. of material that arguing objects culture, can offer an effective way of connecting type ofproject.Iwillconsider how historians ofmusicmightmake better use Thomas Carroll (Royal CollegeofMusic),cello Eugene Feygelson (KingsCollege,London, Henrik Jensen (ImperialCollege,London) John Sloboda (GuildhallSchool ofMusic&Drama) David Dolan(GuildhallSchool ofMusic&Drama) John Rink(University ofCambridge), chair Concert Hall,1.30pm · · · · · 23 Saturday 3 September 24 Saturday 3 September 2. 1. The purposeofthissessionisthreefold: improvisation intheir Masters’ andDoctorate finalconcertassessments projects. several levels ofintensity, allowing those who sochoose to include elements ofclassical 1990s. Classical improvisation is now being taught through all departments with this art, throughcoursesandworkshops, performances andresearch, sincethe early leading musicinstitutions to include the teaching andlearning, aswell aspractice of The GuildhallSchool ofMusic&DramainLondon hasbeenone ofthe firstworld- neither exclusively practise asresearch nor practise. pedagogical Instead itmaps of imaginative input. Thislecturerecitalaims to sumupanapproach which is devised narrative contexts that draw outfromboth singersandpianists anew level theatre which expands both skill set and repertoire, song in specially staging the Guildhall School hasover the last8 years developed auniqueform ofmusic a reappraisal of what their core skills might be. Responding to these challenges at what itmeans to beasingerandpianistinthe 21st century, together with and corerepertoire. Changesinthe musicindustry, however, demand afreshlook Conservatoire training for singersandpianists tends to revolve around coreskills a NewContext forSong Gary,Lecture-Recital: canyoubringinyourwetsuit?Evolution of 3. Pierre Riley Michelle Santiago, AdamSullivan, Matthew Palmer, Jonathan Hyde and Guildhall School Student andalumniperformers: Clare Lees,Felicity Turner, Iain Burnside (GuildhallSchool ofMusic&Drama) Roy Howat (Royal Academy ofMusic&Royal Conservatoire ofScotland),chair Rehearsal Room,1.30pm Following the above, to reflectonthe implications for professional practice David Dolan,andwillbedivided between: and piano duo. Thispart willinclude a performance by Thomas Carroll and listening andteam-work, risk-takingandexpressionbyaprofessional cello To share a performance of classical improvisations and its impact on active practitioners, researchers, teachers andadvanced students together. for improvisation inart-music pedagogy, research andpractice, bringing particular the sessionwillexplorewhat rolemightbeplayed byaglobal forum art-music performance, impacting audiences,musicians andcommunities.In enhance the revival of extemporisation of the culture in the context of Western To actual outline andpotential anddiscuss developments, which mightfurther music onaudiences’andperformers’ engagements andexperience. perspectivesmusicological about the impact of improvisation in classical year inter-disciplinary studycombining psychological neuroscience, and and public receptionofthe results, feedback andimpact sofar ofathree- b. Approaching repertoire performance by means ofsearching for harmonic a. Duoimprovisations (bothtonal inclassicalstyles and andstructures by extemporising onthem. reductions oftheand structural work andinternalising those reductions awareness.and structural tonally-free), focusing onactive listening, andthe fusionofspontaneity of Music.Itincludes areappraisal ofMayer’s early life inEnglandpriorto his including the newly available MalcolmSargent Archive, andthe Royal College in Hamilton, Ontario, andrelated archival collections at the BritishLibrary, This paper is based on research at the Robert Mayer Archive at McMaster University Royal Family, who attended the basisfromthe concerts 1930sonward. onaregular Family attended the concerts, withnewspapers showing photos ofmembers ofthe Barbirolli. They were marketed withsome skill.Threegenerations ofthe Royal younger conductors inLondon, includingAdrian Boult,MalcolmSargent, andJohn and family groups.These concerts were directed bysome ofthe most important audiences beingmade up for the most part ofgroupschildren fromschools, The by-line ‘No adult admitted without achild’,tells its own story, withthe education andthe relatively new conceptofmusicappreciation. taste andaudience development,of cultural as well as the integration of music from the concertplatform. Assuchthey presentauniquewindow onthe shaping war. These concerts almost always incorporated introductions and commentaries This paper concentrates onthe concertseriesfrom1923untilthe outbreak of London andmajorcitiesinthe north ofEngland. thePalace. organisation Quickly of concerts expanded to include venues in Greater Westminster, andastone’s throw fromthe Houses ofParliament andBuckingham each concert at 11am on a Saturday morning, held at the Methodist Central Hall, enterprise. The concerts were organised inseriesofsixto eightconcerts perseason, reduced hallandperforming fees, provided the foundation for the successofthe musicians fromthe UKaswell asthe Continent, andhisability to negotiate in London. The combination ofMayer’s philanthropy, hissocialnetwork of Robert Mayer Concerts for Children were afixtureofthe musicalprogramming From the early 1920suntilthe late 1970s,withthe exception ofwartime, the David Kidger (OaklandUniversity) to youngpeopleinEnglandthe1920sand1930sforfirsttime The Robert MayerConcerts for Children: bringing orchestral music 1E NewAudiences and pianists combine to give aflavour ofthisinterdisciplinary probing. relationship between anycomposer’s life andwork. Inthislecturerecitalsingers unexpected dramatic focus, deepened not justhisapproach to Schubert, butto the theatre piece.The detailed background research required,combined withhis postgraduate pianistEd,too, to findhimself castasFranz Schubert inafullystaged to the power ofthe experience,to the shock ofthe new. Itcame asasurpriseto introduction to Ives’s From the Swimmers the conviction totestified his singing head into abucket ofwater onstage. When he emerged, gaspingfor air, to the Postgraduate baritone Gary, oncezippedin hiswetsuit, was asked to plungehis on composerbiography andaheightened relevance ofeditorial engagement. of song,speechandmovement, experiencinginthe processbothnew perspectives out afertile middleground,where students committo anunfamiliar combination Chris Banks(ImperialCollegeLondon), chair Concert Hall,2.30pm 25 Saturday 3 September 26 Saturday 3 September were strikingly congruent withthewere organisation’s strikingly congruent sense ofidentity, suchthat results process and the professionals involved. Participants’ views of the Britten Sinfonia engagement in the concert, enabling audience members to connect with the artistic concerts. It showed that pre- and post-concert events were perceived to deepen experiences ofacurated seriesof‘enhancements’ built around two Britten Sinfonia Guildhall School, andCambridge University, which exploredaudiencemembers’ This research buildsonacollaborative projectinvolving the Britten Sinfonia, the of Music&Drama) Karen Wise (Guildhall School of Music & Drama) Journeys ofnewaudiences Beatles’ ultimate legacy to twentieth-century music. role ascomposers(asopposedto performers) raisesinteresting questions asto the Bernstein’s uniqueappeal to both.Atthe same time, Bernstein’s emphasisontheir togethervalues andprioritiesinbringing youth through andadult cultures Beatles, then, played roleininforming acrucial andenrichingAmerican cultural between inAmerica different throughthe milieus Britishinvasion. cultural The the Beatles to bolster interest inclassicalmusicperse,attempting to bridgegaps twentieth century. Atthe same time, Bernstein usedthe fame andnotoriety of them into anarrative ofprogressthat isfamiliar fromhistories ofart musicinthe helped to situate the Beatles in a longer line of classical composers and thereby tie art were identified, exploredandpresented to audiences,we canseehow Bernstein Inlookingat whatdialogue. melodic, harmonic, andlyricalaspects ofthe Beatles’ during aperiod when classical and popular styles enjoyed a lively andengaging Bernstein’s interpretation andpresentation ofthe Beatles’ musicto anaudience classical andpopular musicasevidenced inthese broadcasts, butalsoconsiders as modern composersofparticular note. Thispaper exploresthe intersections of People’s Concerts agenda. Onafew notable occasions, specificallyonanepisode of from bothclassicalandpopular realms into hisbroader musicalappreciation books on music. An inclusive musician, Bernstein attempted to bring perspectives Omnibus, The Young People’s Concerts a conductor ofthe New York Philharmonic, throughhistelevision programmes exerted aconsiderable influenceonAmerican public taste throughhiswork as Leonard Bernstein, hailed as one of America’s greatest home-grown musicians, Elizabeth Wells (Mount AllisonUniversity) 1960s America Bernstein and the Beatles: intersections of popularandclassicalin and composersfromcontinental Europe. and political circle, which bythe 1930sincluded anumber of émigré musicians philanthropic endeavours, and an examination ofMayer’s growing artistic, social audiences inLondon. While the organisation has anestablished loyal following project shiftsThe current the focus to the ensemble’s relationship withits new to the ensemble adeep insight into the orchestra andits working relationships. with classical music,andthe enhanced experiencegave even participants who were participants were either established audiencemembers or already highlyengaged largely served to confirmits audienceengagement ethos andstrategies. However, the andduringthe Harvard Lectures , and the Harvard Lectures and , Bernstein invoked the Beatles John Sloboda (Guildhall School , as well as through his The Young phases: its identity? How does this compare withrepeat attenders? The projecthasthree Sinfonia event? How isitfor easy newcomers to connect withthe ensemble and what are the motivational journeys ofaudiencemembers attending ausualBritten orchestra’s ethos, the London scene presents different challenges.The projectasks, venues,in its regional withcore audiencemembers who are highly attuned to the accounts of1970s art music practice, where New Complexityispitted against neo- art music. Thisseems asameans particularly fruitful ofrethinkingprevailing genre asamulti-dimensional grouping strategy inthe identification ofpost-war essay ongenreandhistoriography provocatively argues for anew conceptionof ofperiodsandtendencies.based ontology In arelated way, EricDrott’s recent ofpost-warwhich musicstilltends musicology to recountthroughacomposer- actors involved inthe historyofmusicscenes (andbyextension, styles andgenres) though, ensemble practices form part ofawider analysis ofthe visibleandinvisible in New York andLondon isthe most prominent example.InPiekut’s accounts, actor-network theory. Here BenjaminPiekut’s recentwork onexperimentalism But the functionof ensembles mightalso be viewed throughthe Latourian lens of heard. musical, historical andsocialresonancescanbemore fullyconceptualisedand in the reproductionofmusichistory, suchthat ‘the’ new musicensemble andits influence of ensembles and invite us to reconsider the (in)visibility of ensembles formation of musichistory, these studies help to frame the art-world positionand of modernism in1970s Britain. With ourear to the processes,discoursesand music for the Pierrot ensemble- andwithitwhat we mightcallthe sonicpolitics demonstrates the ways inwhich ensemble practice spawned anew genreofmusic- on the Britishensemble The Pierrot Players (later The FiresofLondon) and With anemphasisonconcerthistoryandcanonisation, Dromey’s studyfocuses in which a historyofwhat he terms The Pierrot Ensemble, astudywhich exploresthe ways groups as well as touring ensembles. And in 2012, Christopher Dromey published performance ofnew musicinBritainsincethe 1960s,focusing on‘resident’ between those repertoire-led and composer-led ensembles dedicated to the In his 2005 essay on the London Sinfonietta, David Wright identifies a distinction 1F AspectsofEnsemblePracticeinthe1970s(Panel) 3. 2. 1. Eric Drott(University ofTexas at Austin),respondent Roddy Hawkins (University ofManchester), convenor andchair Rehearsal Room1,2.30pm viewpoints, andinto individual motivations for attending. from the perspectives of the organisation itself and multipleaudience attenders) threemonths later. Data give insight into the organisation’s identity Follow-up interviews withseven respondents (new-comers andrepeat a Britten Sinfonia event; An online questionnaireanswered by109audiencemembers after attending organisation’s mainconcerns andshape the research agenda; In-depth interviews withBritten Sinfonia personnel to clarify the Pierrot Lunaire hasbeenprogrammed duringthe twentieth century. 27 Saturday 3 September 28 Saturday 3 September unemployment supportto workers insmallfirms. Musicians andartists to rushed A majorNixon-eraeconomic reform, moreover, greatly expanded for eligibility these years insimilar bidsfor andsurvival. legitimacy in the New York art-and-performance communityalso remade themselves during unprecedented expansion ingovernment arts fundinginthe United States. Many in order to demonstrate fitness aspotential grantrecipients duringaperiodof unexamined roleinthisfamiliar history. Groups like these needed incorporation this presentation that argues legalincorporation played butpreviously asignificant Philip GlassEnsemble. Drawing uponinterviews, archives andgovernment reports, organisations. The latter are known to ustoday asSteve Reich andMusicians andthe split acrimoniously and incorporated themselves as two separate professional In the early 1970s,asingle,informal groupofperformers indowntown Manhattan David Chapman (Rose-Hulman InstituteofTechnology) Musicians andthePhilipGlassEnsemble Minimalism, incorporated:thebusinessofbecomingSteveReich and accounts ofwhich they are not onlyapart butalsoanactor. in which ensembles mightbeviewed inrelation to the established historiographical focuses onthreeexamplesof 1970sensemble practice inorder to tease outthe ways Romanticism, Minimalismagainst Spectralism,andsoon.Thissessiontherefore music communityat Darmstadt in1982. Dufourt andLevinas presented their collective aesthetic to the international new French music;anditwas under the umbrella of l’Itinéraire that Grisey, Murail, a valuable platform for these young composers in the internecine environment of have canonical status inthe historyofspectral music. Ensemble l’Itinéraire provided Périodes commissioning, workshopping and disseminating of works such as Grisey’s Tristan MurailandRoger Tessier, that ‘gave birthto spectralmusic’throughthe as Michaël Levinas puts it,itwas Ensemble l’Itinéraire, founded in1973by consideration ofthe role ofthe performers who premieredthose works. Yet, (Grisey, Murail,Dufourt) andwhat are considered their key works without Research onFrench spectral musicto date hastended to focus onmajorcomposers Liam Cagney (University College Dublin) music Ensemble L’Itinéraire’s role in the establishment of French spectral twentieth-century American music-making. within broader andthey testify milieus, to the uniquecomplexities involved inlate These insights further illuminate minimalismasacommunitypractice, situated hierarchies asitdidwithanyfeud between the two groups’namesake composers. as muchto do withcontract negotiations, non-competition clausesandlabour of already-fraught relationships amongst the musicians. Their separation had music ofthisperiod.Incorporation, onthe other hand,alsocompounded anetwork stabilising certaininstrumental practices which we now associate withminimalist thus motivated aminimumnumber to ofconcertdates secure peryear, thereby take advantage ofthe new asitwent policy into effect in1972.Reich andGlasswere , Murail’s Mémoire-érosion andDufourt’s Saturne , works that have come to based onbroad national/regional styles. Within these groupings,itis the large, the The studyofkeyboard instruments hastended to establish archetypes and categories Novel (Panel) 1G StringedKeyboard Instrument Variety: Pitch, Timbre andthe New Complexitymay yet serve ausefulhistoriographical function. world. With the emphasisonperformance andreceptionrather thancomposition, the emergence ofthe term andidea ‘New Complexity’inthe Britishnew musicart players.) Thispaper assessesthe importanceofSuoraanfor anunderstanding of explicit andlong-lastingrelationship withthis repertoire, usingthe same coreof the younger complexcomposers.(Ensemble Exposéwent onto form amuchmore pivotal part inthe Britishperformances ofworks bythe Finnissy, Ferneyhough and initially onthe instrumentation ofthe FiresofLondon, the ensemble played a formed inLondon bycomposersJames Clarke andRichard Emsley in1977.Modelled Suoraan (Finnish for ‘straight-ahead’) was a ‘composer-driven’ new music ensemble elements. because itcontinuesto assertthe primacy ofthe composerat the expense ofother the idea of‘two complexities’, rather thanasinglegrouping,isitself problematical voices (and,byextension, allthose composersassociated withthem). Inother words, a device usedto assertthe individuality ofFerneyhough’s andFinnissy’s musical is simultaneously about geographical influenceandcompositionalstyle; itisalso (in Freiburg), the secondcloserto (inLondon). Michael Finnissy Thisdistinction with ‘New Complexity’coalesced:one groupbasedcloserto BrianFerneyhough that there werearound which two different distinctfigures composersassociated Britain. Inrejectingthe label inthisway akey part ofthe argument rests onthe idea its validity asamodel for understanding thisbrandofpost-serialcompositionin supporters which the term points toward) acommon theme isthe total rejectionof In recent revisionist scholarship on the New Complexity (i.e. those composers and Roddy Hawkins (University ofManchester) inBritain Suoraan intheemergenceof‘NewComplexity’ One complexity, twocomplexity, more:exploring theroleofEnsemble performanceoriginal context ofFrench spectralmusic. work, Dufourt’s of L’Itinéraire’s performers inthe compositionalprocessofone particular spectral L’Itinéraire’s 1970sorganisational finallythe paper structure; examines the role receipt ofagenerous annualsubsidy fromthe French state; the paper then details scene at apropitiousmoment (that ofthe closureofthe Domaine musical)allowing creation, the performer-composer collective appearing on the French new music organisational the paper the structure), background firstdiscusses to L’Itinéraire’s hitherto unexamined 63-page intern’s reportwritten in1980onL’Itinéraire’s this era,aswell asarchival research ofhistorical sources(includinga primary on interviews with composers and performers associated with L’Itinéraire in This paper examines the founding and1970soperations ofL’Itinéraire. Drawing Edward Dewhirst (University ofEdinburgh), convenor and chair Rehearsal Room2,2.30pm Saturne. Throughthisgreater visibilitywillbeafforded to the 29 Saturday 3 September 30 Saturday 3 September keyboard pieces)willshow the musicalqualitiesspecific to aninstrument at this while abriefperformance ofsuitable repertoire (bothvocal intabulations andsolo the use of historically available instrument making techniques will be discussed, contemporary Englishorgans). The processofdesigning suchaninstrument and Englishvirginalsoundingafourthcentury above ‘normal’ pitch (correspondingto further broughtto life throughademonstration ofareconstructed sixteenth- the most widely ofpitch, used.Questions transposition andtone colourwillbe keyboards were generally the firstdeveloped and,for several subsequent centuries, onwards.century Far frombeingderivations oflarger instruments, these small with reference to iconographic and documentary evidence fromthe mid-fifteenth Italian octave-pitch instrument popular in the sixteenth and seventeenth centuries sound anoctave higher than‘normal’, providing new insights into the typesof focus onpitch, withthe openingpresentationinstruments which discussing five minute segments, including opportunityfor questions. The firstpairofspeakers audio examplesandalive performance. The sessionwillbedivided into two forty- drawing fromhistoric manuscripts, images andinstruments, andincorporating Four varied speakers willdiscuss aspects ofstringedkeyboard instrument history, musician. ofthesignificance manyshapes andsizesofinstrument available to the historical the emphases of modern scholarship do not necessarily reflect the prevalence or loud andthe elaborately decorated that have received the most attention. However, instrument, particularly those at octave pitch. musician invariably had access to a range of types and pitches of stringed keyboard inferior byresearchers andaudienceswere However, thusignored. the historical harpsichords andthe small,octave-pitch keyboard instruments were thought to be revival ofhistoric keyboard instruments focused onthe large, elaborately decorated instruments survive anddate frombefore the middle ofthe seventeenth century. The revival andresearch ofstringed keyboard instruments. Large numbers ofthese instruments oftheir time orlater times, have inthe beenignored twentieth-century Octave-pitch keyboard instruments, which soundone octave higher than Edward Dewhirst (University ofEdinburgh) keyboard Italianoctave-pitch instruments The ignoredand‘inferior’: the new andnovel. will illustrate how London’s instrument makers responded to popular demand for upon advertisements, legaldocuments, andcontemporary comment, thispaper nineteenth centurieswith the inclusionofthe piano’s hammer action. Drawing combination instruments continuedto bedeveloped throughthe eighteenth and and rolesofthe claviorgan willberevealed. The how finalspeaker willdiscuss and the various outposts ofthe Holy Roman Empire,the varied musicalcolours examples fromthe linked courts ofEnglandandSpain,the ducalstates ofItaly, ubiquity throughout the courts of fifteenth- and sixteenth-century Europe. With combination instruments, and the their first speaker prevalence will discuss and earliest documents regarding stringedkeyboard instruments refer to these ofinstrumentssignificance which combine pipesandstrings.Some ofthe The second forty-five-minute segment focuses on timbre and the particular pitch level. as the harpsichord was invented, organ pipeswere added. from the late fourteenth century. Indeed, the evidence suggests that almost assoon counterparts, suchcombination instruments are found across European traditions instrument. Although fewer in surviving numbers than their more conventional to describe all manner of combinations of pipes and strings within a single in the œuvre ofhistorical instrument building.Indeed, the term hasbeen used research hasrevealed the importanceofthe ‘organised’ keyboard orclaviorgan Long dismissedbyinstrument historians as mere novelties, recentdoctoral Eleanor Smith(OrpheusInstitute) keyboards the importance of‘organised’ No longer a novelty: re-establishing ofthe practicalitiesa discussion oftransposition insoloperformance. musical/timbral qualitiesofaninstrument at thispitch level, aswell asfacilitating and solokeyboard pieces)willilluminate the paper’s consideration ofthe specific Ademonstrationwill bediscussed. ofsuitable repertoire (bothvocal intabulations techniques available to a sixteenth-century instrument maker, and these issues from surviving instruments oflower pitch levels, aswell asthe useofgeometrical The processofdesigning suchahypothetical instrument reliesuponevidence corresponds to the 5-foot, orprincipal,pitch ofcontemporary Englishorgans). English virginalsoundingafourth above ‘normal’ pitch (apitch level that This lecture-demonstration presents ofasixteenth-century areconstruction less suitable for later modification, andwere more easilydiscarded. higher pitched keyboard instruments were not preserved, perhaps asthey proved usage. However, astimbral tastes andmusicalrequirements changedover time, and early seventeenth centuries indicate some of the pitch levels in contemporary contexts. Surviving Englishharpsichords andvirginalsfromthe late sixteenth keyboard instruments that would have required transposition in certain musical There isconsiderable evidence for the useandpopularity ofhigh-pitched plucking extensively,discussed the same issuesandpractices alsoaffected stringedkeyboards. While the roleoftransposition inEnglishchoral andorgan musichasbeen David Gerrard (University ofEdinburgh) A virginalat‘organpitch’: sound reconstructing sixteenth-century automatic instruments willbeilluminated. Finally,discussed. the association ofoctave pitch withseventeenth-century novelty the positionofsuchinstruments withinmusicpractice andsocietywillalsobe recorded examples,andthe acoustics willbeanalysed. Documents which indicate musician. The repertoire for suchinstruments willbedemonstrated, with spinets in order to understand the types of instrument available to the historical seventeenth-century Italianoctave-pitch harpsichords, virginals,clavichords and This will be followedwill be discussed. by a survey of surviving sixteenth- and detailed descriptions anddrawings ofthe clavichord, harpsichord andvirginal, Theorigin. c.1440Henri Arnaultde Zwolle manuscript,which includes be revealed, includingthe prevalence ofoctave-pitch instruments andtheir of stringedkeyboard instruments inthe fifteenth andsixteenth will century Drawing onimages fromItalyandacross Europe,the international picture 31 Saturday 3 September 32 Saturday 3 September were inasense tangentialbutnevertheless contributed to the general directionof years later andbeyond. There have alsobeenexplorations ofsome ofthe ideas which from Cristofori’s ideas original inthe early 1700sto Erard’s double escapement 100 rehearsed: today we caneasilyread about the linear evolution ofthe instrument The development ofthe piano inthe eighteenth andnineteenth centuriesiswell Jenny Nex (University ofEdinburgh) century Britain adaptations andmodificationstothepianoinlateeighteenth- From the sublime tothe ridiculous: an exploration ofthe more extreme instrument to demonstrate the effectiveness ofthe timbral combination. illustrated withrecorded examplesofmusicthe period,played onacombination but alsoinreferences to historical accounts andinventories. Thiswillalsobe value of‘organised’ keyboards ascanbeascertained fromthe surviving examples, various outposts ofthe Holy Roman willalsoconsider Empire.The discussion the courts ofEnglandandSpain, aswell asthe importantducalstates ofItaly, andthe of new musicalforms andgenres.Thiswillinclude consideration ofthe linked which suchinstruments are found, andhow claviorgans were usedinperformance Particular consideration willbemade ofthe musicalactivities ofthe courts in courts ofEurope,focussingcentury onboththeir prevalence andubiquity. This paperthe evidence willdiscuss for claviorgans inthe fifteenth- andsixteenth- infatuation withthe writings ofE.T. A.Hoffmann, inparticular, ranto such mentioned inmost biographical accounts ofthe composer’s youth. Brahms’s The zealwith which Johannes Brahms devoured Germanromantic fictionis Reuben Phillips(PrincetonUniversity) of earlymusic Brahms as‘Kreislerder Jüngere’: recapturingaromanticaesthetic 1H ComposerReminiscences novelty inthe market place ofearly-industrial Britain. be framed asitems ofmaterial withinthe context culture ofthe wider desire for As well as considering the musical aspects of these objects, the instruments will Merlin, &Broderip, Longman William Rolfe andJames Cheese willbe presented. important component parts. Contributions frommakers includingJohn Joseph piano itself involving modifications to the action andchanges inmaterials for such asthe grandharmonica willberevealed aswell as‘improvements’ to the mechanism inside) and combined harpsichord/pianos. Also, ‘new’ instruments are combined), the pianoforte (atypeofcittern withaminiature guittar piano combination instruments, suchasthe ‘organised’ piano (where anorgan andpiano and patents, although extantexampleswillbeconsidered. willcover Discussions instruments survive, the mainsourcesare archival, most notably newspapers London during the second half of the eighteenth century. Since few relevant additions andconcepts which are further offthe radar which appeared in travel. However, here we will examine some of the modifications, more obscure Julian Horton (Durham University), chair Rehearsal Room3,2.30pm implications. analyticalissuesofnineteenth-centuryof the musicandtheir crucial temporal of, Schoenberg’s ideas; but also proves a pertinent place to think through some with,ratherinto dialogue than (as iscommonly heralded) aone-sided adoption As such,the more common conceptionoftonal pairings asinstances of‘directionaltonality’. maintain thistonal pairingthroughout the work, incontradistinction to the I willexplorethe compositionalstrategies which Webern utilisedinorder to a studyofthe manuscripts andsketches archived at the PaulSacher Foundation, a combination ofSchenkerian analysis andneo-Riemannian theories, aswell as in the firsteightbars, astonics operating onthe same hierarchical level. Through my interpretation isthe work’s pairingofCminor andE-flat major, setupalready pre-existing idiosyncratic concernfor ‘lyricaltemporality’. The starting pointof developing variation) asexpressive means anddevices bywhich to reformulate his had introducedhimto (the traditional Formenlehre, functionalharmony and Webernshall argue, interpreted the ‘Brahmsian techniques’ that Schoenberg ‘the Brahms fog’ (W. Frisch) would beto misunderstand the work. Rather, asI Yet to locate the importance of Webern’s evidence ofBrahms’s influenceuponSchoenberg’s musical thought anddidactics. has beenmade subject to scholarly onlyinasmuchasitprovides inquiry early Webern producedunder the tutelage ofArnold Schoenberg, the Completed inJune 1905asone ofthe earliest compositionalstudieswhich Anton Sebastian Wedler (University ofOxford) Satz Tonal pairingasastrategyoflyricaltime:AntonWebern’s compositional techniques. to recover the sense ofplayfulness with which he setabout assimilating historical thus seeksto recontextualise Brahms’s initialinvolvement withearly musicand be viewed asextensions ofHoffmann’s alluringmusicalfiction.Myinvestigation the pastiche keyboard musicandcontrapuntal choral works ofthese years might facilitatedself’ Brahms’s exploration of past musical styles and genres, that early music.Isuggestthat the cultivation ofKreislerasacompositional‘second of the Kreislerpersonaduringthe 1850sinrelation to hisburgeoning interest in high art (appreciated byaselectfew). Secondly, Iexamine Brahms’s deployment stark opposition between popular virtuosic works (enjoyed by the masses) and esteem for instrumental music withinthe hierarchy ofmusicalgenres,anda 1850s and’60s.These include the veneration ofasmallcanon ofpastcomposers, Hoffmann’s writingsthat resonate withBrahms’s compositionalprioritiesinthe with Kapellmeister Kreisler. To I outline begin, a cluster of musical values in In mypaper Iwillexploretwo aspects ofBrahms’s adolescent entanglement Brahms byhisreading ofHoffmann hasnot beensufficientlyscrutinised. later romantic relationships, but the rich music-aesthetic legacy bequeathed to acknowledge the implications ofBrahms’s youthful literary enthusiasms for his ego—that ofthe hapless Kapellmeister Johannes Kreisler. Scholars increasingly lengths that he appropriated the identity ofaHoffmann character for hisalter (1905) Langsamer Satz invites usnot onlyto seethe early Webern entering Langsamer Satz only stylistically within Langsamer Satz Langsamer

33 Saturday 3 September 34 Saturday 3 September London of the insome chorus; ways most remarkable ofall,Damiano Michieletto’s production it has had to deal with large in funding,resignations cuts anda threatened strike by critics andperformers; EnglishNational Operahasrarely beemoutofthe news as singers (predictably, mainly women) hasagain beenespeciallyhotly debated by however,recent discussion, hasbeensurprising.The properphysique for principal few years some familiar topics have beenback incirculation.The intensity ofthe presented target aneasy for acertainkindofjournalisticrhetoric, andinthe last The thisyear LeHuray lecure takes the form Operahasalways ofapanel discussion. The Peter leHurayPanel pour pianoetorchestre This presentation will reveal the role of allusive reminiscences in Fauré’s competing tonal centresthat dramatically resolves near the endofits ternary form. the ways, pastinengaging boundbyacomprehensive contextual processinvolving reminiscences ofthese genres and works, his instrumental by those music readily familiar recognised with his œuvre. Eliciting recent lyricdrama during the firsthalfofthe nineteenth century. For thisFauréused motifs fromhis improvised origins were formalised withinpopular works by Liszt and others essential, however, are elements derived fromthe operatic paraphrase, whose references to features concerto grossoandsinfonia fromfugue, concertante. Equally Fauré’s listeners.still intrigue repertoire, exploitingthe premiseofreminiscenceinuniqueandsubtle ways that composer addressed asophisticated Parisian audiencefamiliar withhisstyle and upon hisSymbolist aesthetic, plushisexpansive graspofmusicalhistory, the movement, andinanticipating them, hasnot attracted similar attention. Drawing implicit irony and burdened belatedness that later distinguished exemplars of that trend, Neoclassicism. However, Fauré’s imaginative andconfident work lacked the orchestre During the summer of1918,Gabriel Faurécomposedhis James Sobaskie (MississippiStateUniversity) The roleofreminiscenceinFauré’s museums prize,themuseums Contemporary ArtSocietyaward, and the Royal Philharmonic Yorker the BBC,was published byGuardian-Faber in2015.She hasalsowritten for the reviews andessays. Charlotte Higgins Music &Dramaare pleasedto welcome panel: adistinguished reception environment mean? To consider this,the RMAandGuildhallSchool of moribund, operainthe UKseems to matter asnever before. What does thisnew Guillaume Tell Introduction fromCormacNewark (Guildhall School ofMusic&Drama) Concert Hall,4.30pm , the , offering aninnovative illustration ofwhat would become adominant Fantaisie pourpianoetorchestre Evening Standard New Statesman at the Royal Operain June-July 2015made the frontpage ofthe This New Noise writes mainly for Pénélope and demonstrate its determined modernity. and . Far frombeingirrelevant or, assome have argued, (1913),adding self-borrowings fromhismélodies and Prospect , abookbasedonher nine-part series ofreports on The Guardian . She hasserved as ajudgeofthe ArtFund alludes to multipletemporalities via Fantaisie pourpianoetorchestre Fantaisie pour piano et orchestre , contributingeditorials, book Fantaisie pourpianoet Fantaisie evokes evokes New New currently preparing anewcurrently Englishtranslation of and Evil opera, he has published on Wagner in particular, including past president of the RMA. A lifelong enthusiast and writer and broadcaster about John Deathridge Théâtre de Complicite in1983. Gran Teatre delBarcelona. Annabel was Liceu, aco-founder ofthe renowned National Opera,Teatro Regio -Torino, Musicale-Firenzeandfor Maggio the the ROH,Glyndebourne Festival, EnglishNational Opera, Opera North, Welsh broadcasting aswell asacting anddevising new work. She hasdirected operasfor Annabel Arden’s and the Michael Grandage Company. under commissionto the Royal CourtTheatre, the Royal Shakespeare Company Pountney. developing He iscurrently andoperawithMichael Nymanandis Elysium played this year at the Norwegian OperainaproductionbyDavid in October thisyear at the Lyric, Hammersmith. Hislibretto for Rolf Wallin’s The plays of Society awards, andisheard onRadio regularly 3. (2008) and‘Waiting for Wagner’ (in Mark Ravenhill isEmeritus Professor ofMusicat King’s CollegeLondon anda distinguished career encompassesopera,theatredistinguished and include Shopping andF***ing The Opera Quarterly The Ring for Penguin Classics. , which willberevived Wagner Beyond Good , 2014).He is 35 Saturday 3 September 36 Sunday 4 September century composers allowedcentury them to break the ‘shackles of 300years andregain even suggested that the ‘new andpowerful appeal’ ofsixteenth- andseventeenth- Howells were seenasembracing the spiritoftheir Tudor predecessors. One critic a focal point.ComposerssuchasVaughan Williams, Gustav Holst andHerbert as the most importantfoundation ofanEnglishcomposer’s ‘whole-art’, became Song-writing, epitomised by the Elizabethans and considered by Edward Dent musical past,Englishcomposerswould be unable to findadistinctnational voice. Musicians and scholars agreed that without a serious understanding of their a few lines ofChaucerandSpenser andonlyseenafew scenes ofShakespeare’. past. He compared the modern Englishcomposer to a‘poet who hasread only the challengesfacing Englishcomposers lay intheir oftheir ignorance musical Writing for the Carnegie United Kingdom Trust in1916,H.C.Collesobserved that Rachel Landgren (University ofMelbourne) English Song constructing ahistory of ‘Elizabethans through to the present day’: 2A Englishness Sunday 4September sharing andsocialmedia. by literaterecognised listeners today, finding renewed impetus through file- sustained aremarkable quantityandvariety ofartistic projects andisstillinstantly connoting nobility, serenity, elegy,mysticism andagony. The diatonic complex intermingledcurrents inmanifold ways, contributingto alayered semanticfield Parry, butsimultaneously ‘up’fromthe drawing room,notably viaQuilter. These from sacred andceremonial music, viaHandel, the Victorian organists and through characteristic stringtextures andsolos.Englishdiatonicism came ‘down’ sixth textures, 2–5melodic progressions, andthe realisation ofthese features sevenths, diatonic tritones and‘open’sonorities, subdominant relaxation, parallel- on aspects suchasheightened diatonic dissonance,characteristic secondary expressive world of the idiomandits subtle deployment inthe repertory, focusing my own firstproposedsome fifteen years ago. Thispaper further reconstructs the never beenexamined systematically beyond studyof apreliminary inmusicology of the early complexofdiatonic twentiethisapeculiar century idioms that has Central to the experience ofstandard-repertory Britishart-music compositions Matthew Riley(University ofBirmingham) Diatonicism andEnglishnationalmusic English song. with the musicalpastcontributed to the ofalongdesired construction history of links between Englishsongsofthe pastandpresentreveals how anengagement and Violin Focusing onthe genesis, compositionandreceptionofHolst’s liberty inthe spirit’ofearly madrigalists. Rachel Cowgill (University ofHuddersfield), chair Concert Hall,9.30am (1916)andthe 12 HumbertWolfe Songs (1929), thispaper exploresthe Four Songs for Voice irregularity andcomplexity resultingfrommobile keyirregularity blocking. However, acloser Understandably, scholarly attention haslargely beendrawn to the rhythmic in his1973essay Wege ‘Neue der Klaviertechnik’ published inMelos. technique, according to Ligeti, isdeveloped andillustrated byHenning Siedentopf blocked keys evenly and successively, thus resulting in a ‘stuttering’ effect. This not) byone hand,while the fingersofthe over other handrun the soundingand two compositions, several keys are held after beingdepressed (either silentlyor Selbstportrait technique referred to asmobile key blocking,which alsofeatures prominently in books of altogether eighteen piano études for its systematic employment of a special Ligeti’s third piano étude, Qianqian Zheng (ChineseUniversity ofHong Kong) Notes hiddenfromthescore:overtonesinLigeti’s notation onperformance. orthography, andlead to anevaluation ofthe impact muchignored ofmusical All these add to shed lightonBartók’s tonal thinkingasconveyed throughhis dramatic changeofthe A-D ‘Verbunkos’ how andargue they may help decode the referential tones init.The of the hexatonic collection, the 9-12 collection, and the aggregate in Bartók’s (Cheong, 1993).Iventure beyond thisto examine the orthographic implications ic3-related pitch classesuponwhich conventional are retrievable triadic structures specific approach to the issue of octatonic orthography singles out one of the four orthography andits possibleimpact onperforming interpretation. Bartók’s first movement ofBartók’s provide performers withinvaluable information. Thispaper takes ‘Verbunkos’, the Orthographic analyses decode the inherent dramatics ofstaffnotation andmay consideration factors oforthography benefits the musicperformance concerned. furtherI argue that andhierarchy astudyoftonal that structure takes into to convey the teleological anddramatic processofthe tonal trajectory(1989). Gillies’s claimthat Bartók’s orthography maximisesthe capacity ofstaffnotation character ofthe work (1985).Thisresonates withinits structure’ with Malcolm in terms ofdramatic action …speaksdirectlyto the performer’s need to findthe According to Janet Schmalfeldt, ‘the analyst’s interpretation offormal structure Hei Yeung John Lai(ChineseUniversity ofHong Kong) Performing Bartók’s 2B Twentieth-Century HungarianMusic writingonnationalthat musicological music. regulates muchcurrent over the within literate producerandlistener communitiesandasthey grow anddevelop music. Itaddresses questions ofpoetics,aesthetics and receptionasthese operate spirit ofAnthony D.Smith’s nationalism analyses ofcultural inthe visualarts and This paper probes the ‘inner world’ ofEnglishnational music,somewhat inthe Amanda Bayley (Bath SpaUniversity), chair Rehearsal Room1,9.30am longue dureé , the secondpieceofhis . Inthisway itdevelops analternative to the constructivism Contrasts Touches bloquées Contrasts # tritone iscaptured at different levels. structural with orthographicinsights asacasestudyto investigate his specialised Three Piecesfor Two Pianos (1985), is distinctive among his three Touches bloquées (1976).Inthese 37 Sunday 4 September 38 Sunday 4 September heard these stories, andhow didthey listen to them? Among the large number of andmusic,wepoetry have not soextensively assessedtheir consumption. Who narratives setto song.Whilewe have taken substantial steps inanalysing the CSM’s the later years presentauniqueandfascinating of hisreign, instance ofmiracle The Cantigasde SantaMaría (CSM),made at the courtofAlfonso XofCastilein Henry T. Drummond(University ofOxford) de SantaMaria of miraclesintheCantigas Hearing thesacredword:sonicworld 2C SpanishMedievalandRenaissance Sources to Boulez’s intended these overtone effects, andthat hisinnovation caninfact betraced back existing literature. Throughanalysis, that Iargue Ligetiwas conscious ofandeven with the keys held after beingdepressed, which have sofar beenoverlooked inthe Touches bloquées harmonic phenomena. Thispaper presents anin-depth studyofthe piano étude keys bring about not only new possibilities of rhythmic articulation but also new study ofbothSiedentopf’s article andLigeti’s compositions reveals that the blocked von Organisten und Hernando deCabezón: Eine Chronikdargestellt amLebenzweier Generationen de Cabezón (1510–66),crowned byKastner’s monumental monograph in hiscareer: hislifetime projectto lift the veil onthe Spanish composerAntonio twentieth-century Iberianmusicology, so thispaper focuses onone particular topic to eighteenth-century Iberiankeyboard music.Kastner voice was arecognised in performer settledinLisbonwhose lifetime focus was the uncovering ofsixteenth- Macario Santiago Kastner (1908–92)was arenowned and Britishmusicologist Sonia GonzaloDelgado (University ofZaragoza) Antonio deCabezónproject:acasestudy lifetime From the archive to the concert hall: Santiago Kastner’s CSM andwithinother miracle collections. This invites areconsideration ofhow texts were read andlistened to, bothinthe criticism, canreveal muchabout the expected rolesofbothreaders andlisteners. sonic properties, informed by analytical methodologies from musicaland literary song, especiallywhen not understood byits auditors. Greater studyofmiracles’ on the ethical values of sound, highlighting the dangers of poorly articulated listeners guiding throughamiracle. However,aural cue, thissongalsoinstructs that ifrepeated melody orrhyme isdistinctive ormemorable itcanfunctionasan narrative addresses the compositionofsong.Using CSM202asacasestudy, Iargue Santa Maria’ (CSM202)isparticularly germane to this studyofsound,sinceits own of rhyme soundandmelody, acted asamnemonic device to the listener. ‘Muito á the CSM’s highlydependent poeticandmusicalstructure, upon the reiteration are the onlymajorcaseto survive withmusicalnotation. Thispaper suggests that miracle collections circulating throughout Europe, the CSM are unique since they Owen Rees (University ofOxford), chair Rehearsal Room2,9.30am Improvisation IIsurMallarmé (Tutzing, 1977). , focusing mainlyonthe fascinating overtone effects associated (1957). Antonio ensure access to new music,which had beenunavailable duringthe war. Working Conscious ofthispotential, Jean Prunières, Wiéner andWalther Straram, acted to amonga general the curiosity elites for unknown works fromother countries’. Director of the Revue musicale, ‘when the killing was finally at an end, there was promote foreign contemporary musicin Paris. Accordingto Henry Prunières, This paper examines anumber ofinitiatives immediately after World War Ito Barbara Kelly (Royal Northern College ofMusic) World-War-I Paris Full of foreign promise: exclusive performances of new music in post- 2D NationalismandInternationalisation Between 1880andWorld War I,alively debate about aBritish/English school Dorothea Hilzinger (BerlinUniversity oftheArts) its interrelationwiththe production ofBritishsymphonies anEnglish school ofcomposition’:‘Wanted, a nationaldebateand deliberate ofpost-conflictinternationalisation. policy became patronsculture ofcontemporary musicandessentialparticipants ina be kept secret until the last moment. Thus self-selecting consumers of avant-garde daring couldpay extrafor ‘private concerts for the elite’ where programmes would musicians, suchasSegovia, at the officesof Revue musicaleconcerts, for instance, were invited shoulders to rub withcelebrity access to celebrated musicians fromallover Europeandbeyond. Subscribers to the Straram usedadvertising to enticenew audienceswiththe promiseofprivileged Mobilised byacommitment to internationalisation, Wiéner Prunières, and threat to their ofanational construction tradition. Léon Vallas, openingupconcertvenues to foreign musicandjazzpresented areal against firmly held chauvinist attitudes; for Charles Tenroc, Louis Vuillermin and Hindemith andSchoenberg. These musicians entrepreneurial were working concert halls.Itwas possibleto hear the latest Bartók, Szymanowsky, Prokofiev, Claire Croixaandthe Pro Arte Quartet, they changedthe soundscape ofParisian in partnership withkey performers andensembles, includingMarya Freund, repertoire andhisroleinincludingitinternational concertprogramming. ofaninterpretativeconstruction tradition ofsixteenth-century Iberiankeyboard on the particular caseofAntonio de Cabezón, to assertKastner’s authority inthe some ofhisstudents, complemented bytheir own recordings,allow us,focusing 1972). The systematic analysis ofthese sources,inaddition to the testimonies of his clavichord for the seriesMonumentos Históricos de laMúsicaEspañola (Spain, 1954; published inMainzbySchott’s Söhne ( on editions made byFelipe Pedrell. Kastner later edited manyCabezón pieces, Diferencias sobre elCantodelCaballero the programmingofCabezón’s best-known pieces,the Spanning four decades of his career, Kastner’s interest in Cabezón started with Caroline Rae (Cardiff University), chair Rehearsal Room3,9.30am Tentos undFuguen , 1958and Silva Ibéricavol.2 , inhisrecitalsduringthe 1930s,based Claviermusik La Revue musicale , 1965)andrecorded them on , 1951; Pavana Italiana Silva Ibéricavol.1 . Indeed, the most andthe , 39 Sunday 4 September 40 Sunday 4 September as the appraisal ofprogramme musicwill alsobediscussed. ‘freshness’, novelty ofmelodic invention, variety ofthought vs. imitation, aswell period. Categories like ‘diatonic healthiness’ to (contrary ‘ugliness in sound’), on a cosmopolitan shape instead—interrelated with symphonic concepts of the ought to producenational musicbyusingEnglishfolk songsorshould concentrate characteristics ofthe ‘Englishschool’ —suchasthe questionofwhether the school that the work had its concertpremiere.Thispaper willshow how the musical ‘Oliver Cromwell: A Character Symphony’ (1904), although it was not until 2005 Modern BritishMusic’(1906)in multi-part series about ‘Studies in the Young British School’ (1899) and ‘Studies in William Henry BellandJoseph Holbrooke. Iwillconnect RutlandBoughton’s Villiers Stanford, alsoconsiders mydiscussion including lesser-known figures, In addition to suchwell-known composersasRalphVaughan Williams orCharles the way the public debate andthe symphonic outputinteracted andoverlapped. discourse about British symphonies emerge. The aimofthispaper isto examine changed withthe passingoftime. Intracing these changes,various linksto the environment. Naturally, the arguments for specificcomposersorworks have and readers emerged out ofthe broader context of adynamic artistic cultural in contemporary among musichistories. critics,composers, Thisdiscussion of compositionappeared inBritishmagazines andnewspapers, aswell as two radically different ways inthe director’s later films: it bothunderscores arecurring Pontara concentrates onAndrei Tarkovsky’s useofWestern art music, which works in World War IIgeneration. his coming-of-age protagonists’ rebellionagainst patriotism ofthe andreligiosity radical Polish filmmaker Jerzy Skolimowski, whose allegorical soundtracks mediate Boczkowska examines representations ofpost-Stalinistyouth inthe 1960sfilms ofthe 1970s and1980s. Union ofthe 1970s,West Germanyofthe 1950sto the 1970sandGreat Britainofthe created. The four casestudiesfocus onfilmmusicinPoland ofthe 1960s,the Soviet of the productionconditions under which films inEastern andWestern Europewere mediate distinctWestern orEastern ideological values, andto convey anunderstanding give aten-minute positionpaper investigating music’s roleasthe pre-eminent tool to Siôn), chairedbyMichael Baumgartner (Cleveland State University, Ohio),willeach The four panellists (Ewelina Boczkowska, Tobias Pontara, Guido Heldt, ap andPwyll industries onbothsides ofthe former IronCurtain. session proposesthe andproductionconditions casestudyofmusic,ideology infilm intoof entry developing atheoretical model for Europeanfilmmusic,thisthemed European filmmusicisanarea that requiresmore scholarly attention. Asa point Eastern EuropeanColdWar Cinema(Panel) and ProductionConditions inWestern2E Music,Ideology and Michael Baumgartner (Cleveland State University), convenor andchair Concert Hall,11am The MusicalStandard withhisSymphony No. 1 Skolimowski’s career in Poland. imperatives of post-Stalinist era, songs, andmusicofthe While youth (jazz). screams, dissonant clusters), liturgicalreferences (chant,chimes), nostalgic intricately woven into the scoringofthe films, includingwar sounds(explosions, and the ‘old’traditional values ofCatholicism andpatriotism. These tensions are relationship ofthe generation ofSkolimowski’s peersto the ‘new’ politicalregime imperativescultural of inner freedom and patriotic duty, tapping into the complex In bothfilms, the protagonists’ search for material comforts conflicts withthe about their university mistake ofpaintingStalinwithadouble setofeyes. who he is. and the SecondWorld War generation out while simultaneously to trying figure carefree male protagonist in his mid-twenties who rebels against both his peers films of the radical Polish filmmaker, Jerzy Skolimowski. My positionpaper examines representations ofpost-Stalinistyouth intwo 1960s soundtracks. Stalinist era,throughtheir creation ofdeeply personal,allegoricalfilms andfilm the status quoandsocialconformism oftheir generation duringthispost- failed to exertanyrealsocio-politicalchange.These young filmmakers critiqued stabilizacja’, or‘littlestabilisation’, duringwhich the new communistgovernment the October 1956 revolution and the subsequent decade of the so-called ‘mała ‘Third Wave’), marked agroupofdirectors whose formative years coincided with The post-war generation offilmmakers, calledPolish ThirdCinema (orthe Ewelina Boczkowska (Youngstown StateUniversity) Skolimowski Music, ideology andPost-Stalinist youth in the 1960s films ofJerzy production. about theoretical implicationsa dialogue ofEuropeanfilmmusic,ideology, and don’t have? Suchquestions are bestaddressed inathemed session,which initiates with ideological premises thatexpression of aligning other cinematic devices of the IronCurtain?How ismusicuniquelysituated to participate withcinematic differently inart-house cinema incomparison to mainstream cinema onbothside the selection of a particular musical style? In what way did filmmakers use music Eastern andWestern Europeancinema. How didthe different ideologies influence the productionconditions for filmmusicdiffered withinthe specificcontext of After the positionpapers, the chairwillmoderate that adiscussion exploreshow should remainincoexistence isakey-feature ofearly minimalistandambient music. the late 1970sandearly 1980s.NymanandGreenaway’s beliefthat musicandimage Ap Siôn focuses on Michael Nyman’s collaborations with Peter Greenaway during world. displayed anattempt ofthe two Germaniesto findtheir respective places inachanged unadventurous ‘hitfilms’ andmusicafter repositioned Germanculture the war, and theHeldt GermanSchlagerfilm discusses ofthe 1950sand1960s.These formally theme ofexistential alienation andpromisesredemption andabsolute transcendence. Hands Up! shows offriendsintheir thirtieswho areunion reminisce Hands Up! The Barrier exposed their limits, in turn ending navigates the ideological The Barrier features a 41 Sunday 4 September 42 Sunday 4 September and juxtaposed to other kindsofmusic, suchaselectronicandfolk music. Stalker spiritual andethicalconcerns permeating Tarkovsky’s films. Specificallyin is established, inlarge part, throughthe association ofthe musicwithcentral and absolute transcendence. Thisdichotomous appearance ofclassicalmusic alienation, and,onthe other hand,musicholds out apromiseofredemption On the one hand,musicunderscores theme arecurring ofhuman andexistential classical musicworks intwo radically different manners inTarkovsky’s later films. at the same time multi-layered symbolically and highly ideologically charged, My paperthe useofWestern discusses classicalmusicinTarkovsky’s cinema. Being Ravel, Giovanni Battista Pergolesi, Richard Wagner, andGiuseppeVerdi. (1986) feature musicby Johann SebastianBach, Ludwig van Beethoven, Maurice music. no exceptions. Of Tarkovsky’s seven feature films, the last five all contain classical art cinema up to the present day. The films of Russian director Andrei Tarkovsky are that canbecontinuouslyobserved inbothHollywood mainstream filmandEuropean the historyofcinema. Widespread already duringthe silentera,itisaphenomenon The practice ofusingWestern persistent throughout classicalmusicinfilmiscuriously Tobias Pontara (University ofGothenburg) Classical musicinthefilmsofAndreiTarkovsky European cinema, inthe same way that authors such as Barbara Wilinsky, Michael Can one speakofadistinctive musical aesthetic for art-house, Indiefilms and Pwyll apSiôn(Bangor University) aesthetic Michael Nyman andthedevelopment ofanart-house musical which traditional Germanconstructions ofmusichad become obsolete. and contrasthow these films usemusicto negotiate politicsinaworld cultural in and GDRfilms withsingerFrank Schöbel fromthe late 1960s.Iwillcompare such FRGfilms as belie the ofthe simpleconstruction films. My paper willpresentshort clipsfrom translation, butalsoresistance,combined inoften andcomplexways, ambiguous could bepart ofthat. Different forms offilmicandmusicalimitation, emulation, the requirements ofthe regime, andwhich pre-war traditions andWestern trends the GDR negotiated the question of what was popular permissible under culture The FRGnegotiated the relationship withthe new hegemon, the United States; Germanies to findtheir places inachangedworld. afterrepositioning Germanculture the war, part of the attempts ofthe two new And, while formally andmusicallyunadventurous, these films were alsoaway of mainstay of West German film production; even the GDR made a few such films. singers andwithcomedic plots centredonlove andmusicalsuccess,were a However, between the endofthe 1940sandthe 1970s,films builtaround popular formulaic plots, stock characters, andcareless integration ofmusicalnumbers. The Guido Heldt (University ofBristol) Power chords:theGerman Schlagerfilm Solaris and Nostalghia, (1972), (‘hit film’)ishardly the most reputable ofgenres,criticisedfor Hallo Fräulein! Mirror classicalmusicisinterwoven into acomplexsoundscape (1974), Schlagerfilm Stalker ( (1949) to the 1970sfilms ofpop-star Heintje, 1979), andthenewworldorder Nostalghia (1983) and The Sacrifice Solaris, broader Iconsider social milieu. the outdoor concerts given bythe 16thMadras networks oflive performance withinthe city’s spaces—spaces that embraced a Singapore’s elite society. Yet recorded musicinteracted withlonger-standing bandrepertoire.military These recordswere enthusiasticallyreceived within early twentieth-century Singapore asacasestudy, andfocus inparticular onthe and everyday experiences of recorded sound within British colonial society. I take My paper examines the ‘disconnect’ between the gramophone’s imperialfutures part ofatransnational commercial environment. being lived asareality bysome ofthe Empire’s distantsubjects, andwas already British multinational corporation, muchlike Dunlop,orCadbury—was already the brave new music market envisioned by the Gramophone Company—an early who keep watch over the outposts ofthe Empire entertained’ ( some far-away corner ofthe earth where musicnever was before, to keep the men world. Newspaper ads prophesied thatinLondon mightbemailed‘to recordscut the gramophone would allow music of ‘quality’ to be transported throughout the consumers that their technology was serviceable for music. Not onlyserviceable: In 1905the BritishGramophone Companyrenewed to its campaign convince Gavin Williams (University ofCambridge) c. 1900 Sound, colonyandthemultinational:gramophoneinSingapore Urban Space 2F BritishForumforEthnomusicologyPanel: MusicinContested final quarter ofthe twentieth century. creative developments andtransformations inEuropeanfilmmusicduringthe more nuancedunderstanding ofthe musicalaesthetic that hasevolved alongside early 1990s?Bydrawing onseveral examples,mypaper willattempt to provide a earlier musicalstyle come to anendwithhisGreenaway collaborations inthe Did the art-house aesthetic that formed suchanimportantpart ofNyman’s music. supporting the other—is aparticular feature ofbothearly minimalistandambient and image should remaininastate ofrelative coexistence rather thanone merely which lay behindNymanandGreenaway’s audio-visualaesthetic—that music with Peter Greenaway duringthe late 1970sandearly 1980s.The basicpremise British composerMichael Nyman’s filmoutputinrelation to hiscollaborations My presentation willaddress these questions bylookingat the development of cinematic dimensions? the musicalcomponents andhow do they serve to enrichthe film’s visualand experimental music,lend themselves better to anart-house approach? What are more mainstream films? Docertainstyles, suchasminimalist,ambient and these elements andhow do they differ fromsoundtracks composedfor other, nature of art-house and Indie films themselves in their writings? If so, what are Z. Newman, AidanO’Donnell andLaurentJullierhave attempted to describe the Byron Dueck(OpenUniversity), chair Rehearsal Room1,11am The Times , 1905).Yet 43 Sunday 4 September 44 Sunday 4 September considers musical sound vis-à-vis jurisdiction and social discourse. Three short Drawing surviving sourcesfromthis‘chequered’ onmultilingual, past,the paper Communist takeover in1949. occupation, abriefperiodofChinesemilitary Nationalist sovereignty andthe formal colony, the citywitnessed foreign-and-Chinese municipalities,Japanese Shanghai’s complex jurisdictional landscapes in the 1930s and 1940s. Never a a different trajectory. Itseeksto ‘hear’ the various soundworlds emerging from of the West’ continuesto capture the historical imagination. Thispaper embarks on undertones notwithstanding, the contemporary epithet ‘Paris ofthe East,New York Yet they have byandlarge focused onthe cityasaglobal metropolis. Orientalist Studies ofwestern inRepublican, culture pre-CommunistShanghaiabound. Yvonne Liao(King’s College London) and apluralhistoryoflivemusicinShanghai,c.1930–50 ‘Paris of the East, NewYork Multi-jurisdictional sounds ofthe West’? techniques—as aproducerofurban space. influence that canilluminate early gramophone its globalizing culture—and with the recorded bandsheard elsewhere inthe city, creating aprocessofmutual gardens on every fullmoon. These performances interacted incomplexways Infantry Bandthat took place (weather permitting)inSingapore’s botanical of the precedingQajar monarchs. The Pahlavis envisioned acitythat was modern, of historicdestruction the buildings seen as symbolizing regressive traditionalism (1925–79) during which an extensive programme of urban expansion led to the city ofmore than8million.Particularly was the significant periodofPahlavi rule During thistime ithasexperiencedexponential growth fromasmalltown to a mountains, andthe centrefor country’s politicalandcultural over 200years. Iran’s capital cityisavibrantmetropolis, cradled inthe foothills ofthe Alborz Laudan Nooshin (CityUniversity London) Sounding thecity:Tehran’s contemporarysoundscapes notion ofmusicina‘global metropolis’. evidential listening that complements, butalsonuances,the potentially sweeping how the multi/jurisdictionalsoundssuggest apluralhistory oflive music—an taxation. The paper then migrates frommicroto macro concerns, contemplating differentiate themselves fromcommercial dance venues amidharsh Nationalist cafés, bars andrestaurants in post-war Shanghai,andtheir assertions onpaper to had fledthe Nazis. The thirdinvestigates the purportedly distinctsoundworld of in azone inwhich the Japanese Army confined EuropeanJewish refugeeswho Vienna’ inwartime Shanghai,notably how andwhy quasi-Viennese cafés flourished conscious district.The secondexamines the perplexing soundworld of‘Little Concession, andattends to licensing andmusicalrealitiesinanoise- regulation case studiesfollow. The firstanalyses the ‘discordant’soundworld ofthe French (Field notes, 2015) mountains; adistantringtone; the low-level humofthe citybelow.’ mosques; arockbeat from apassingcar; the callofbirdscirclingthe immersed insound:the strains ofthe callto prayer echoing fromlocal ‘Standing onaflat rooftop innorth Tehran onasummer’s evening Iam light onSchenker’s life andwork butthey illuminate the rapidly roleof changing theoretical ideas, DerfreieSatz. The contributions to thissessionnot onlyshed work even asamusicologist, when working onthe definitive formulation of his a young man;andwe also contemplate how he was mindful not to neglect his of hisengagement withopera,we willexplorehisimmersion inconcert life as RAVAG, aswell ashisown consumption of radio broadcasts. Throughthe lens only attempt to foster acollaboration withthe AustrianBroadcasting Corporation, We learn about hisforays into the world tracing ofpopular hisfirstand culture, illuminate adifferent aspectofhisparticipation inVienna’s broader musicallife. Rather than focusing on Schenker the theorist, the papers in this session each by Prof. Martin Eybl at the Universität fürMusikunddarstellende Kunst inVienna. 2014–17, which focuses onthe diaries from1930to 1935and1912to 1914,isheaded wissenschaftlichen Forschung andthe Leverhulme Trust. The principalprojectfor in 1935. It has been generously funded by the AHRC, the Fonds zur Förderung der entriesfrom1918untilSchenker’s ofdiary of correspondence andafullrun death grown into anaward-winning humanitiesresource,yieldingover digital 1,500items by publishing hiscorrespondence inanonline scholarly edition.The site hassince stimulate biographical, studyofSchenker historical andsocio-cultural andhiscircle in these aspects ofSchenker’s life. The projectwas founded in2004withthe aimto Schenker Documents Online hasplayed role in animating asignificant interest Music Manuscripts at the AustrianNational Library. manuscript studies,conceiving andhelping to establish the Photogram Archive of Wilhelm Walter, Furtwängler andBruno andmade apioneering contributionto published critical editions, which won the admiration as ofsucheminent figures and, inhisearly career, was active asacomposer, pianistandconductor. He later schedulefulfilled abusy ofprivate teaching, wrote alarge bodyofmusiccriticism his work as a theorist was just one aspect of a rich and varied career as a musician. He devoted group of students and anenduring place in the academic Yet curriculum. Heinrich Schenker’s ground-breaking theoretical ideas gained him the respect of a 2G HeinrichSchenker andVienneseMusicalCulture(Panel) private, live andmediated experiences? sound? Andhow does soundacquire meaning inrelation to bothpublic and urban context? How are contesting claims over urban space negotiated through and the urban environment: how does soundshape, andhow isitshaped by, the and exploresanumber ofquestions concerningthe relationship between sound Sakakeeny andAbigailWood, thispaper examines the city’s soundscapes changing Drawing onrecentfieldwork inTehran andonthe writingsofscholars suchasMatt of Iranianlife. incompatible withtradition andthe resultingtensions are stillfelt inmanyareas Western-facing andsecular. Their discoursespromoted the idea ofmodernity as Ian Bent(Columbia University/University ofCambridge), chair Vienna), convenor Kirstie Hewlett (BritishLibrary/University ofMusicandPerforming Arts, Rehearsal Room2,11am 45 Sunday 4 September 46 Sunday 4 September From around 500participants, Prisca Maria Mader, alittle-known poetandpianist, commissioned Schenker to the reconstruct ending. of Edward Speyer. As the manuscript was also missing its closing bars, Deutsch considered lostbefore itwas discovered inthe byDeutsch autograph collection song by Franz Schubert for which the text was missing. The song had long been competition at Deutsch’s suggestion,inwhich asuitable poemwas soughtfor a 25 September 1934,the AustrianBroadcasting Corporation, RAVAG, staged a Their final collaboration took place only months before Schenker’s death. On Deutsch’s ‘MusicalRarities’ series. edition of Beethoven’s ‘Moonlight’ Sonata, which Schenker producedaspart of not untilthe 1920sthat they embarked ontheir firstcollaboration—a facsimile and contained alively exchangeofknowledge onthe subject ofmusic.Yet itwas datesDeutsch back to 1913. Their correspondence intensified after World War I The acquaintance between Heinrich Schenker and Schubert scholar Otto Erich Marko Deisinger (University ofMusicandPerforming Arts,Vienna) Heinrich Schenker, ‘PrizeSong’ OttoErichDeutschandSchubert’s de-siècle Vienna to the arrival ofbroadcasting inthe 1920s. music insocietyduringhislifetime, spanningthe burgeoning concertlife offin- regularly wroteregularly about operaina lessformal fashion as ajournalistanddiarist. As akeen participant inturn-of-the-century Viennese life, cultural however, he aspects ofWagner’s he presented closereadings of threenumbers from DonGiovanni andcritiqued decade before his‘discovery’ ofthe Urlinie. ofother Amongst operas, discussion theatre on only one occasion, in applying histheoryto operatic music,Schenker himself formally analysed music the stage and human relationships. Although this has not prevented scholars from additional dramatic dimension transplants music into a setting that involves a text, its own innerHisproblem withoperaistherefore logic. self-evident: the art form’s investigation that isnot subordinate to anypoeticordramatic narrative other than In hismature theory, Schenker presents the musicaltext asastable object of his absolute theory:‘the laws that reside in musicitself’. an autonomous object to bejudgedonits own terms. Absolute musicwas akinto mean anythingornothing, that the itcansignify voice ofanation ormutate into advocacy ofitresonates withbothWagner’s andHanslick’s claims that musiccan Schenker never stipulated afixeddefinition of ‘absolute music’.Yet hisreactionary Georg Burgstaller (RILM/CityUniversity ofNew York) Heinrich Schenker andopera RAVAG on28November 1934,complete withMader’s text andSchenker’s ending. from a letter she personally wrote to Schenker, the song was broadcast by the singer Josef Hueber. Despite beingdissatisfied withthe closingbars, asisevident schillings andhad the pleasureofhearing her text performed onthe radio bythe station’s magazine, under the Mahler; Mary pseudonym Mader also received 100 emerged asthe winner. Her award-winning text was printed in Ring cycle. The Decline of the Art of Composition Radio Wien (c. 1905–7)—a , the and editorial pursuits. and nevermusicologist, abandoned his vision of the unity of historical, theoretical as the greatest musictheorist ofhisday didnot give uphisbroader remitasa Together they demonstrate that the manwhom manycontemporaries regarded for which they were intended and of Schenker’s life and work in hisfinalyears. My paper willexplorethese little-known writingsinthe context both ofthe journal Rinn and made extensive notes for a fifth—on Haydn—which he never completed. Hermann Rinn.Between 1931 and1934Schenker wrote four more articles for a long-established journal,had ledto Germancultural afriendshipwithits editor, progress. Anarticle ontext-critical problems inSchubert (1929)for When he felt well enough to resume work, other commitments interrupted which reached back into the 1910s. projects to becompleted, the of Education in Berlin by his pupil Hans Weisse. There were now only two major timed to coincide withanimportantlectureonhistheories given at the Ministry was the month that saw the publication of the Eroica Symphony monograph, In December 1930Heinrich Schenker lay illinbedfor about afortnight. This William Drabkin (University ofSouthampton) latewritings The warden:HeinrichSchenker’s exposure to musicover the finalyears ofhislife. will show inthispaper, thisdemocratising technology became hismost dominant too, offered ofhisimmediate littlesign andenduringinterest inradio. But,asI by enmeshing itintheofeveryday humdrum life. Inhispublications, Schenker, reception among Vienna’s elite, manyofwhom cultural claimed itdevalued music offered for professional musicians, presentingastrikingcontrast to its ambivalent habits andimpressions offers remarkable insight into the potential that radio on over 1,000broadcasts over the next ten years. Thisrichrecordofhislistening Schenker listener remained a regular for the rest of his life, commenting in his diary that he had previously encountered onlyviascoresandreviews. he couldnow samplethe breadth ofmusicallife, listening to performers andworks concert life: itwas aradically new way ofconsuming music.With the flickofaswitch, repertory. Yet this‘quietself-education at the radio’ was no surrogate for hisdiminishing of the masterworks as well as bolstering his knowledge of contemporary and lighter Schenker listened broadly to what was broadcast, critiquingabundant performances steadily declining, radio quicklybecame animportantconnection life. to cultural of Austria’s firstofficialstation, Radio Wien. Atatime when hisconcert-goingwas Heinrich Schenker boughtaradio inOctober 1924,justdays after the inauguration Kirstie Hewlett (BritishLibrary/University ofMusicandPerforming Arts) culture ininterwarVienna A ‘quiet at the radio’: Heinrich Schenker self-education and radio denied into entry hiscanon ofmasterworks. Schenkercircumstances came to shape hisviews onagenrethat he ultimately In thispaper Iwillinvestigate these sourcesto discover under what cultural Art ofPerformance and Free Composition Der Kunstwart , bothof , 47 Sunday 4 September 48 Sunday 4 September 1788 and1792—among the bestinthe Empire.Yet despite their distinction, which staged over 430 performances of sixty-nine different operas between contemporary criticsconsidered the elector’s Hofkapelle andNationaltheater— that onceflourished inthiskey electorate ofthe Holy Roman Empire.Indeed, Mainz. Thisevent the ofthe signalled beginning endfor the musicalensembles On 21October 1792French Republican troopsmarched into the Residenz cityof Austin Glatthorn(DalhousieUniversity) the FrenchOccupationofMainz,1792–93 Out with the Old, in with the New: Music and Regime Change During thatargue for musicitself was crucial the development ofmechanist philosophy. explain this significant momentexplain thissignificant inmusic history. That summer members ofthe A collectionofletters written byMainzmusicians inthe autumnof1792helps to new lightonmusicallife at the crossroads ofthe OldandNew Regimes. investigates courtmusicin Mainzduringthe French occupation of1792–3 to shed Mainz’s ensembles in the years of revolution remain almost unknown. Thispaper towards the underlying causesofmusic’s affective power, suchasthe workings of The effects primary ofmechanist philosophywere twofold. First,itshifted attention understandings ofmusic’s affective force inthe early eighteenth century. philosophical histories, this paper that argues mechanist philosophy transformed but rather bypriorevents intime. Weaving together musical,medical, and with the spread ofEnlightenment thought, events are causednot byfinalpurposes, According to thisnew philosophy, whose dissemination was virtuallysynonymous life ofthisperiod:the emergence andascendanceofmechanist philosophy. Such subtlety isinvaluable, butrisks overlooking abroader inthe intellectual rupture whilst allowing nuanced examination of changes in their relation to that tradition. underpinnings ofsuchtheories, thusconnecting them to avenerable tradition affect Scholars haslongbeenrecognised. have stressedinparticular the rhetorical That eighteenth-century musicalthought was dominated bytheories of musical Tomas McAuley (University ofCambridge) EnglandandScotland in earlyeighteenth-century Hearing theEnlightenment:Musicalaffectsandmechanistphilosophy 2H TheLongEighteenthCentury the power ofphilosophy. Rather, Iconclude byusingNewton’s This isno story, however, ofthe absent-minded submission ofmusicalthought to Medicina Musica especially its laws ofmotion, for Malcolm’s Specifically, Iuncover theof Newton’s significance specific medical orethicalgoals.Myexamples are fromEnglandandScotland. power. Second,justifications for usingthispower became increasinglyfocused on the humannervous system, asopposedto the practical means ofachieving such David Charlton (Royal Holloway, University ofLondon), chair Rehearsal Room3,11am (1729). Treatise ofMusic Principia Mathematica (1721) andBrowne’s Opticks (1704) to (1687), through sound. Schaeffer’s work andSteven inacoustic ecology Feld’s acoustemology, orknowing contribution withinmusicology. Also relevant is R. Murray to thisdiscussion excellent compilation ofessays specific practices have beenextensively theorised, andrecentlyGeorginaBorn’s taking music-making and listening outside the concert hall. In the visual arts site- philosophical, social,political, acoustic andenvironmental questions raisedby art to electroacoustic composition.Inthissessionwe to willbegin address the temporal, phenomenon isfamiliar fromavariety ofpractices frominstallation which to understand the world. The awareness of sound as a spatial, as well as our understanding object, butasaprocessby ofmusic,not simplyasacultural and its context. They will presenttheir work its implications anddiscuss for engaged in investigations into the nature of the relationship between sound This session brings together four practice-based researchers who are currently Space (Panel) Explorations of Music and 2I Site and Sound: Practice-Based performance. illustrate some ofthe more importantvariant texts andtheir implications for in establishing textual transmission throughcollections andwill oranthologies, to Farinelli. Thispapersome importantmethodological willdiscuss issuesinvolved that liebehindandinsome casespredate the ‘official’,royal collections entrusted Venice, Parma andthe Esserciziandgive a glimpse ofthe kindsofcompilations in the 1980s.The thirty-nine sonatas in this MS offer variants significant from he published c.1905andwas thought lostuntilrediscovered byMaría Ester-Sala Catalunya was usedbyEnriqueGranados for the two volumes ofpiano transcriptions textual transmission throughout the peninsula. MSM1964inthe Biblioteca de being identified inSpanisharchives andthese pointto amore complexpattern of challenged byeditors andperformers. Butagrowing number oflessersourcesare and Parma. These sourcestower over allothers withanauthority that israrely published inLondon in1738–9andthe two great MScompilations now inVenice The texts ofDomenico Scarlatti’s keyboard sonatas are dominated bythe Essercizi Barry Ife (Guildhall School ofMusic&Drama) Scarlatti MSSinSpain:BibliotecadeCatalunyaMSM1964 Mainz under the OldRegime. a musical(e)migration andthe collapse ofthe ensembles that onceprosperedin European history, installation the abrupt ofanew democratic government ledto now-absent court.Ireveal how, duringthisseminalperiodoftransformation in the French occupation ofMainzonmusicians whose livelihood depended onthe elsewhere asthe enemy approached their city. Thispaper exploresthe effects of Mainz’s musicians were now faced withthe choice to remainorseekemployment infavourhad swung ofthe French, whose troopsadvanced into the Rhineland. coronation ofFranz II.Atthe height ofthe company’s renown, the tide ofwar Mainz Nationaltheater enjoyed the prestige of having performed at the imperial Jan Hendrickse (GuildhallSchool ofMusic&Drama),convenor andchair Concert Hall,2.30pm Music, Sound andSpace (2013)hasmade amajor 49 Sunday 4 September 50 Sunday 4 September or engaged with,the site insome way. There was apublic event inthe OldPolice Deptford asastudiofor sixdays. The briefwas to make awork that responded to, were each given one ofthe disusedmaledetention cellsinThe OldPolice Station composition andinstallation practice. Inthisprojectfour composers/soundartists Drama, which investigates the creative use of urban space as a component of sound Isolations isaresearch project,supported bythe GuildhallSchool ofMusic& Jan Hendrickse (Guildhall School ofMusic&Drama) Isolations settings fromdisusedspaces to trains to the natural environment. considering the ways that audiencesreceive andunderstand musicindifferent of the creative challengesofworking andlogistical inthese contexts, aswell as the sessionisto stimulate questioninganddebate. The sessionincludes discussion The four projects approach the theme fromdifferent perspectives, andthe aimof of these experiences invarious forms. Icreate recordsofintimate interventions performance using organic materials insituandthe subsequent re-presentation practice exploresthe perceptionofthe natural environment throughsound on the one hand, and rethinking practice-led research on the other. My research experience asadistinctive kindofknowledge; asameans of countering reductivism paradigms (Barrett andBolt,2009,2012;Haseman,2006). Both foreground (Ingold, 2006;Kohn, 2013) andrecentthinkingonperformative research connections between studiesofanimicpractices andcultures anthropological This presentation considers myrecentarts practice throughwhich Iexplore Nell Catchpole(Guildhall School ofMusic&Drama) Interventions: landscapeandmateriality presenting work. such asconservatoires andconcerthalls,informal orimprovised spaces for Implicit inthissubject are the contrasts between officiallysanctioned art-spaces, punishment, andthe ways that ourperceptions ofsoundare mediated byits context. isolation inmusicalpractice, ascontrasted withthe idea ofimposedisolation as from the creative engagement withthe space. These include the roleofvoluntary In particular, Iwillbeconsidering the new perspectives andquestions arising artists and audience. This presentation will focus on the nature of these discussions. Station at which the work was shared, followed byafacilitated with discussion ( thing-like, continuallyandreciprocallybringone another into existence.’ of relations withinwhich beingsofallkinds,more orlessperson-like or ‘Animacy …isthe dynamic,transformative potential ofthe entirefield (Kwon, 2002,p.12) to the actuality ofthe site.’ experience…. Allthese imperatives came together inart’s new attachment from anoldCartesian model to aphenomenological one oflived bodily contingencies ofits context; the ofthe radical subject restructuring ‘…the challengeto relocate meaning fromwithinthe art object to the Rethinking theAnimate,Re-Animating Thought , Ingold,2006) in Natural Environments’ (2012–14).The introductioncovers the project’s eco- research project‘Landscape Quartet: Creative Practice andPhilosophical Reflexion This presentation the arts discusses practice that emerged duringthe AHRC-funded Matthew Sansom (TheUniversity ofSurrey) In themaking:insightsgainedfromecologicalsound artspractice of that geographical space into something approaching alandscape again. then perhaps Sonorama, throughsound,willtransform the traveller’s experience a ‘…transformation oflandscape into geographical space…’ when itfirstappeared landscape that istravelled throughandusastravellers. Ifthe railroad represented between-ness, suggestingapossiblere-establishment ofarelationship between the of By proposingaquasi-sonicreading ofthe passingview the composedepisodes it no longertouches uslike a‘real’experiencedspace, butrather like afilmicspace. between space to us.Strippedofits soundsaswell asits smells andtactile sensations, The landscape we seepassing byinbetween ourstation stops becomes akindofin- to ruminate whilst gazingoutofthe window into the silentlypassinglandscape. a meaningful experience.Itcouldbecome anopportunity to daydream, to ponder, order to reach the desired destination, butthat being inthismoving space mightbe that the train carriage does not necessarily have to be a non-space to be endured in they inhabit, andtheir journey, i.e.their movement throughlandscape. Itsuggests is achallengeto the ‘disconnect’ between the traveller andthe space onthe train work for the trainjourney between London St.PancrasandMargate. Sonorama and landscape inmycompositionalpractice byconsidering In thisshort presentation Iwillintroducesome themes relating to space, location Claudia Molitor (CityUniversity) Sonorama concerning their representation inother contexts. of these sonic‘re-wilding’practices andthispaper examines the parallel questions also exploresmyuncertaintiesaround the meanings andtransformative potential other-than-human sentienceandother modes ofinterconnectivity. The research interested inhow andifthese investigations mightcrossthe peripheries ofhuman/ the interface or‘work space’ for interacting withthisplace andmoment. Iam and purpose.The physical connection withfound organic materials exists as in the natural environment—feral, asto their ritualised,butambiguous source site andasmore-than-representational, onthe other. subsequent artefacts, performances andinstallations removed fromthe original artsecological practice, directly, as an in-situ performer on the one hand, and with Attention is given to the multifaceted ofexperiences ontological significance expand andclarify the argument for participative environmental arts practice. how non-representational theory and Tim Ingold’s concept of ‘dwelling’ help to practice-led research inthiscontext. Abroader then theoretical outlines discussion experimentation andimprovisation), andthe particular epistemological value of critical basis,practical methodologies developed during it(includingthe rolesof Sonorama liberate the outside space (outside the traincarriage) fromits in- Sonorama , anaudio 51 Sunday 4 September 52 Sunday 4 September investigated byOlive Baldwin andThelma Wilson, part oftheir ground-breaking be reconstructed. Arne’s role asaninnovative teacher andinfluentialsinging is important late work, drawing attention to anew sourcethat enables more ofitto out ofhiswork for the Cambridge BenJonson edition,throws lightonan modern performances. John Cunningham’s paper on Arne’s outputandthe history ofthe Englishoratorio, andmakes the casefor Conference. Their paper outlines the complexhistory ofthe work, situates itin series (which was started bythe RMAin1951),andwillbelaunched duringthe by Simon McVeigh andPeter Lynan for The impetusfor the sessionisthe publication of Arne’s oratorio stimulating interest inthe composer, particularly among younger scholars. cross-section ofnew work onArne fromavariety ofperspectives withthe aimof by modern scholarship. This proposedthemed sessionaims to bringtogether a Yet manyaspects ofhislife, theatrical career andmusicare virtuallyuntouched musical identity, ifonlyfor ‘Rule,Britannia!’andafew Shakespeare settings. middle ofthe eighteenth century, andhasretained aspecialplace inournational Thomas Arne (1710–78)was the most importantEnglishtheatre composerinthe 2J ThomasArneRevisited (Panel) vocal idioms andarichorchestral palette inthismost ambitious work. Exalted by to appeal to elite and popular audiences alike, Arne advanced a wide variety of Certainly, inseekingto asserthimself asaworthy British successorto Handel and oratorio framework inahighlydistinctive way. the new musicaldirections with which Arne sought to energise the Handelian the 1769 Shakespeare Jubilee; and in so doing it will offer some perspectives on to avariety fromplayhouse ofmilieus, oratorio seriesto provincial festivals and history ofthe oratorio, the paper willdemonstrate how the oratorio was adapted the very first year of the new king’s In outlining the reign. early performance was indeedApocrypha one achallenging inview ofthe political uncertaintyof the libretto byIsaac Bickerstaffe. The choice ofthisparticular storyfromthe musical andtextual sources,andonthe andpoliticalbackground to religious the oratorio inabroad perspective that draws onnew research into the complex 2016 asvol. 100of Arne’s sole surviving oratorio, Britannica Trust) Simon McVeigh (Goldsmiths, University of London) and Peter Lynan (Musica contexts musician’: Arne’soratorio ‘One ofthemostnoblecompositionsthateverstamptfameona acceptance ofthe writingsofCharles Burney, hisformer apprentice. his modern reputation asa man andacomposerstillsuffers fromanuncritical identity, respondingto earlier Englishcomposers,while Peter Holman that argues critical reception.Suzanne Aspden exploresthe ways he created apatriotic musical research into singersineighteenth-century England.Two papers tackle Arne’s Peter Holman (University ofLeeds),convenor andchair Rehearsal Room1,2.30pm Musica Britannica Judith Judith . Inthispaper the editors willseekto position (1761), will bepublished inthe summer of initswidermusicalandsocial Musica Britannica The Fairy Prince, . Itisvol. 100inthe Judith arising , edited own place inthe compositionalcanon. Inthe process, Iwillalsoaskhow Arne suchasPurcell and Handelof canonical asameans figures ofestablishing his output to show that he (like others) employed not justthe musicbutalsothe idea In thispaper, Iwillexplore thisphenomenon by examiningexamplesfromArne’s with new. variation was framed andeffectively narrativised, oldentering into adiscourse a deliberate historicising strategy is evident from the process by which stylistic forebears. That this was not simply part of ongoing musical ‘development’, but demonstrated anactive andcriticalengagement withthe legacy oftheir musical the longevity ofhisinterest: throughout the eighteenth century, British composers earlier generations. Inthisregard, Arne was not unusual for anythingother than musical idioms, consciously appropriating andadapting the musicalstyles of did he work onnational narratives, however; at times Arne also exploited national based on indigenous literature or history, or concerning patriotic themes. Not only (1745) to consistency. From from the 1730sto the 1770s,displays muchvariety, butalsosome remarkable Thomas Arne’s longcareer, composingfor the London theatres for over four decades Suzanne Aspden(University ofOxford) Arne the‘affectedimitator’? concerts he mounted. Arne promoted his pupils, both in his dealings with theatre managers and in the careersordinary on the London stage andelsewhere. Itwillalsolookat how with hispupils,boththe famous ones andthose who were to have shorter ormore Arne’s teaching methods and consider what can be deduced about hisrelationship This paper willexamine the limited frustratingly number of anecdotes about the taxingroleofMandane inArne’s opera She sangthe titleroleinthe premiereof him was Charlotte Brent,whom he trained to beaspectacular Italianate soprano. written for her inEnglishoperasandafterpieces. The pupilmost associated with became muchadmired asMacheath in her powers actress. asatragic Avery different lower-voiced pupil,Margaret Farrell, as MrsCibberbecame renowned for her emotionally moving contralto voice andfor female singers.Hisearliest pupilwas hissister Susannah, four years hisjunior, who he ever lessons, had anysinging buthe trained anumber ofvery successfulEnglish Weller were alltaughtby the composer. Arne was not a singer and it is unlikely that Baddeley, Barthelemon Mary (née Young), andthe eighteen-year-old Elizabeth church duringDavid Garrick’s Shakespeare Jubilee the threefemale soloists, Sophia When Arne’s oratorio Olive Baldwin(IndependentScholar) and ThelmaWilson (IndependentScholar) Thomas Arneasateacherofsingers today.fuller public recognition literature, butseldom experiencedinperformance, the oratorio surelydeserves Charles Dibdininthe eighteenth andwidely century praisedinmodern critical Elfrida (1772), he showed aninterest inwriting‘national’ works—works Rosamond Judith was performed in1769Stratford-upon-Avon parish (1733)to The Beggar’s Opera The Prophetess Judith Artaxerxes , at Drury Lane in1761,andcreated, at Drury (1758), . and in male roles specially andinmalerolesspecially The Temple ofDullness 53 Sunday 4 September 54 Sunday 4 September opera well into the nineteenth century. influential reinvention ofthe ballad opera,settingthe pattern for Englishcomic and held the London stage untilthe 1830s,while padrona all-sung comicoperainthe style ofItalianintermezzi suchasPergolesi’s in threekey works ofthe early 1760s. and was clearly blindto Arne’s achievement asatheatrical innovator, particularly galant style while welcoming it in the music of Italian and German composers, standards and hidden agendas. Thus Burney criticised Arne for adopting the assessment ofArne asacomposer, ostensibly impartial, isriddledwithdouble the professional musicalworld represented byhisteacher. that Iargue Burney’s and above allbyhisdesire to distancehimself fromhisown humble origins and by hisown positionasapropagandist for modern ItalianandGerman music, It was coloured by professional rivalry, factors, by murky personal and religious thatI argue Burney’s account ofArne and hismusiccannot betaken at face value. writings ofCharles Burney, hisapprentice between 1744and1748.Inthispaper has beenbasedonanuncriticalacceptance of the account of himgiven inthe For more thantwo centuriesThomas Arne’s reputation asamanandcomposer Peter Holman (University ofLeeds) Thomas ArneandCharlesBurney 1770s. rediscovery, that arguing Arne’s creative powers were asstrongever inthe early this periodare rare. Thispaper willre-examine unknown recitatives aswellpart; performing asachorus parts for actors of actors hasrecentlybeendiscovered, which suppliesagooddeal ofthe previously and the seccorecitatives were omitted. Aperforming part usedbyone ofthe main keyboard arrangements ofthe overture andthirteen dances,butthreechoruses theatre works. Avocal scoreof Indeed the lossofsuchsourceshasgreatly inhibited afullre-evaluation ofArne’s full, the musicisofahighqualitysoitunfortunate that no fullscoresurvives. for thirty-sixnights over the season.Although the operawas never revived in with passages fromShakespeare, Dryden andGilbertWest. is ahotchpotch, mostly basedonBenJonson’s masque elaborate entertainment, enlisting Arne to compose the music. Colman’s libretto Covent Garden Theatre, George Colmanconceived asimilarly patriotic and Lane, Garrick’sAt Drury entertainment was setto musicbyCharles Dibdin;at captured the public’s imagination andinspired two theatrical entertainments. them KingGeorge III’s eldest sons. The spectacular ceremony at Windsor Castle In the summer of 1771 ten nobles were invested with the order of the Garter, among John Cunningham (Bangor University) New lightonThomasArne’ssettingof avoiding servile imitation ofhisapparently ‘matchless’ forebears. negotiated the uneasy task of demonstrating his genuinely ‘English’voice, while . Artaxerxes (1762) was aboldattempt to AngliciseMetastasian operaseria The Fairy Prince Thomas andSally The FairyPrince was published in1771;itincludes The Fairy Prince Love inaVillage (1760) was the firstEnglish Oberon The Fairy Prince butinterspersed inlightofthis (1762)was an La serva La serva ran professionalisation ofthe samba-schools andcarnival. tension that arises fromsocial andfinancialdevelopments andfromanew kindof samba-enredo andbalancethe composers between their passionfor samba anda andexternalcircumstances conditions that influence the way ofcompositionin present the practical working techniques ofcomposition in results ofcase-studiesonthe Samba-School GRESUnidos de Vila Isabel, Iwill Based onmyfieldwork inRio de Janeiro from2012to 2016,usingespeciallythe followed inBrazilandallover the world. carnival parade inthe Sapucai, which hasbecome aninternational event andis for one season and is presented to an audience of 90 000 people in Rio’s famous of the year’ isselected. The winningsamba becomes the Samba-School’s ‘hymn’ untilOctober),in the inwhich composers’competition(fromAugust the ‘samba schools. Every year, various groups of composers prepare new sambas to take part the composers’collectives (so-called‘ theThis article practical discusses processofcompositionsamba-enredo in Friederike Jurth (University ofMusicFranz Liszt) fromRiodeJaneiro composers’ collectivesofthesamba-schools From the idea tosamba:practice and aesthetics of compositionin in the firstplace. sources which had inspired Sposobin etal.to compose itfor hisfellow-countryman Uchebnik garmonii exercises contained in it. But it remains to be asked what exactly the impacts of conservatories, andreputable musictheorists have published model answers to the institutions up till now. It is listed in the entrance examination syllabi of notable in Chinaandhasbeenused,ifsometimes onlynominally, invirtuallyallmusic Shimin was then published in1957–58.The booksoonattained canonic status Uchebnik garmonii the CentralConservatory inthe 1980s,took the lead to publish achapter from Zuqiang, who studied at Moscow Conservatory in the 1950s before he headed elements that are considered ethnicallydistinctwithfunctionalharmony. Wu posed bythe ethnicisation ofharmony should besolved bycombining musical meetings held at the CentralConservatory ofMusicinChinathat the problem by manymore musicians inaforeign land.In1955–56B.A.Arapov decreed at of the ‘scientificallybasedfunctionalharmony’, thisbookwas destined to beread schools ofthe Soviet Union’ (Protopopov, 1960).Characterised byits promulgation came to beadopted as‘the basictextbook for coursesonharmony inthe music garmonii In 1937–38 I. V. Sposobin et al. at the Moscow Conservatory published University ofHong Kong) Hong Ding (Soochow University School of Music) and Cheong Wai-Ling (Chinese Soviet harmonytextbook inChina B. A.Arapov, I.V. Sposobin,and 2K UsesofMusicalObjects Keith Howard (School ofOrientalandAfricanStudies),chair Rehearsal Room2,2.30pm . Thisisthe firstofficiallyapproved harmony textbook inthe USSR,which in1955.The firstChinese translation ofthe whole bookbyZhu are inChina,andhow far they mighthave diverted fromthe parcerias Uchebnik garmonii ’) ofRiode Janeiro’s famous samba- parcerias : the Legacy of a : theLegacy aswell asthe Uchebnik 55 Sunday 4 September 56 Sunday 4 September sonic registers shape voter sentiment. Crucially,the author evaluates music’s candidates andvoters, inferring that throughrepetitive performance andlistening, musicagency,campaign the author exploresthe complexdynamicsbetween encompassing four presidential elections held from1953to 1998.Ingranting elections withthe aidofmusic.The order, inchronological casesare discussed on four casestudiesofpresidential candidates who went onto wintheir respective of Richard Dyer, Thomas Turino, Nicholas Cook,andTimothy Taylor, itfocuses for themselves. Basedonatheoretical andanalyticalframework invoking the ideas utilised songsinorder to to voters sendcues about the images they seekto project and Library, thispaper investigates how Philippine presidential candidates have oftheLibrary Philippines, andthe Republic ofthe Philippines Presidential Museum recordings andnewspaper clippingssourcedfromonline archives, the National Through the analysis music,aswell ofcampaign asthe examination ofaudio-visual James Gabrillo (University ofCambridge) 1953–98 The soundandspectacleofPhilippinepresidentialelections, enredo. conditions, which form part of and affect the process of creative work in samba- techniques ofcompositionaswell and asinquestions about surroundingrules The framework ofthe presentation willconsist incentralaspects ofaesthetics and paper examines arangeoffilms about Chopin andLiszt,including Charles Vidor’s and TVlibrary, the Margaret Herrick inLA, andthe Library BFI archives, this biopics: Chopin andLiszt.Drawing onarchival material fromthe USCCinema scholarship andthe filmictreatment oftwo composers who frequentlyappear in the popular imagination. Itdoes thisbyanalysing the relationship between This paper assessesthe influenceofacademia onthe position ofcomposersin trace the relationship between biopicsandscholarship. examining issuessuchasthe ofgenius andcensorship, construction butdoes not Tibbetts’ of sourcesusedandthe ways inwhich they are employed are yet to beestablished. of popular multimedia biography typically draw on scholarship. However, the types understandings ofcomposersandtheir music. Researchers, writers, andproducers many forms: audio,visualandwritten. Accordingly, they influencepopular Composer biographies have afar-reaching influenceandare accessible in Joanne Cormac(University ofNottingham) Composer biopics:interfacesbetweenresearchand popularculture 2L MusicandMusiciansonScreen public servants, butalsoascelebritiesandentertainers. songsinPhilippinecampaign presidential elections casts politicians not onlyas serve. Thisleads to the paper’s argument: most that significant the tradition of the relationshipin turnreconfigure between statesmen andthe societythey asserting the capability of songs to ‘star construct narratives’ of politicians, which forrepercussions the image-formation andbrand-buildingofthe presidents, Carlo Cenciarelli (Cardiff University), chair Rehearsal Room3,2.30pm Composers intheMovies provides ausefuloverview ofcomposer biopics, (2015), humour. Examplesmay include useful starting pointfor anexamination ofaudio-visualinteractions that generate ‘musicality’ offilm,particularly oflinear the disruption temporality, provide a an awareness of its existence) andDanijelaKulezic-Wilson’s ofthe discussion aesthetics’ ofaudio-visualsynchronisation (which candissipate inthe face of Recent theoretical perspectives, suchasKevin Donnelly’s notion ofthe ‘occult particular, andtimingofthe the ‘punchline’ musicalstructure willbeexamined. punctuation, andphrasingcanhave astrongimpact oncomedic effect. In will exploresome ofthe ways inwhich the musicalcontrolofrhythm, gesture, basic understanding ofwhat hastraditionally beencalledmickey-mousing. I aspects of audio-visual interaction and synchronisation that move beyond a recent examplesfromfilm,television, andYouTube which highlightseveral withinthe literature.been discussed Inthispresentation Iwillexploresome music ingenerating, supportingoreven contradicting comictiminghasrarely The secret to comedy is timing, or so the adage goes. Yet curiously, the role of Miguel Mera (CityUniversity London) musicality The comedyofaudio-visual this typeof1920scinema project. reception, thispaper exploresthe various contradictions ofmodernity inherent in Meistersinger between silent-eraWeimar cinema andopera.Focusing onthe largely unknown of high art. Taken together, these two films illustrate the uneasy relationship collaborated, to the consternation ofthose who regarded itasavulgarisation of of opera. hostility onthe part ofnumerous Weimar commentators towards the filming Meistersinger vonNürnberg von Nürnberg Capitol Cinema inBerlin; directed byLudwig Berger (1892–1969), On 5 September 1927, asilent film with orchestral accompaniment opened inthe Áine Sheil(University ofYork) 1920s Germany From opera to film: engagement withbiography. points ofcontact between academia informed andpopular culture, bytheir mutual highlights potential routes for public engagement with scholarship by exposing exigencies, examiningtensions between academic inputanddirectorial vision.It biopics, andthe relationship between scholarship andmedia ornarrative The paper identifies the typesofscholarly sourcesusedbyproducers ofcomposer (1960), Ken Russell’s A Song toRemember Der Rosenkavalier W1A Der Meister von Nürnberg (2015),and filmasaparticularly complexcaseofpoliticisedoperaadaptation and was butfreelyadapted, arecognisable, version ofWagner’s (1945),Charles Vidor andGeorge Cukor’s , on which Richard Strauss and Hugo von Hofmannsthal Lisztomania Cameron’s Conference Rap Die Meistersingervon Nürnberg . The storm ofprotest itprovoked revealed significant Paddington (1975) andJames Lapine’s followed in the wake of a 1926 film version (2014), (2014). Cucumber Impromptu (2015), Song withoutEnd on screen in Der Meister Masterchef (1991). Die

57 Sunday 4 September 58 Sunday 4 September Culture andPolitics author of Power, 1917-32 Jonathan Walker) of (Yale, 2007),co-author (with Nationalism fromGlinka toStalin is the author of and Fellow ofClare College.She Music, University ofCambridge, Professor ofMusicat the of Faculty Marina Frovola-Walker again divided? inclusive in a world and fair culture that picture of 20th- and 21st-century is once is fullofthe rhetoric ofColdWar II.How do we maintainthe desire to buildan to rejoiceinsweeping away the finalremnants ofCold-War prejudices,the media We a paradoxical will also discuss situation: as scholars in the humanities continue modernist andisolationist mindsets respectively. West and inpost-Soviet Russia, and the resistance these have encountered from ‘conservative’ styles. We shalllookat various models that have emerged bothinthe committed populistmusic,andspreading outto abroad rangeofmore withSocialistRealismmarginalized trends,beginning andother socially- narrative musicby rehabilitating of 20th-century and including a range of This paper willassessrecentscholarly efforts to revise the dominant modernist Marina Frolova-Walker (University ofCambridge) An InclusiveHistoryforaDividedWorld The EdwardJ. DentMedalPresentationandLecture Mark Everist (University ofSouthampton, President ofthe RMA),chair Marina Frovola-Walker (University ofCambridge) Concert Hall,4.30pm Stalin’s MusicPrize:Soviet (Boydell, 2012), and Russian Music and (Yale, 2016). Music and Soviet FBA is existed in several royal courts around the same time, namely the use of folk instruments. al-Tae, contemporary musichistories byandlarge another ignore phenomenon that musichasbeenwell-documentedcentury byscholars Hunter suchasMary andNasser Entführung ausdemSerail Janissary influencesare Haydn’s instruments inorchestral musicandopera.Among the best-known works that exhibit The late eighteenth saw century anincreasedinterest inthe useofpercussion Sam Girling (University ofAuckland) Europeancourts eighteenth-century Exoticinstruments tastes:theappearanceofBohemianfolk inlate 3B TheCimbalominArtMusic contempt lesslikely to prevail infuture. will focus onpossiblereforms inthe modern musicsector to make suchself- Beyond controversial facts presented earlier inthe paper, the concludingsection this compulsive self-denigration inthe fieldofmodern musicinternationally. socio-economic phenomena and conclude withconcrete proposalsfor remedying and illustrated the seriousness of its consequences, the paper willtrace its sourcesin today bothinits compositionandreception.Having demonstrated self-contempt be demonstrated. These will be shown to extend into the present, affecting music music, andlong-term policiesofbodiescharged withpromoting thismusic,will The dramatic consequences ofthisbehaviour inpublic perceptions ofmodern to denote art musicfromthe past80years upto andincludingthe presentday.) time ofthe 1973OilCrisisonwards. (The term ‘modern music’ isemployed here amongst composers,performers andpromoters ofmodern music,dating fromthe observations of‘nemestic displacement’), thispaper willillustrate similar behaviour workers, prostitutes andothers –aconceptadapted frompsychologist JCFlugel’s groups in UKsociety (including Jews, socialworkers, Fire Brigade Auxiliary psychologists Margaret Phillips and Hans Keller in the 1940s amongst social to support. Drawing on the phenomenon of ‘group self-contempt’ observed by denigrating andotherwise attempting to devalue the musicthey are supposed This paper willexplorethe problem ofprofessionals involved inmodern music Julian Anderson (Guildhall School ofMusic&Drama) contempt inthemodernmusicsectorsince1973 Selling Ourselves Short: Inturned aggression andgroupself- 3A Composersand‘GroupSelf-Contempt’ Monday 5September Gillian Moore MBE(Director ofMusic,Southbank Centre),respondent Arnold Whittall(KingsCollegeLondon), respondent Mieko Kanno (SibeliusAcademy, University ofthe Arts Helsinki), chair Julian Anderson (GuildhallSchool ofMusic&Drama),convenor Concert Hall,9.30am Shay Loya (CityUniversity London), chair Rehearsal Room1,9.30am (1782).Whilstthe ofTurkishness significance ineighteenth- L’incontro Improvviso (1775)andMozart’s Singspiel Die Die 59 Monday 5 September 60 Monday 5 September Hyun Joo Kim (IndependentScholar, New York) cimbalomplaying Hungarian-gypsy representations of Interpretive creativity: Liszt’s fidelity togypsy folk tunes that begins to permeate agreat deal ofmusicinthe nineteenth century. represent aturningpointaway fromTurkish exoticismto the increasinginterest in order to indulgethe unusual musicaltastes oftheir patrons, orwhether they infact This paper considers whether these works acted composedin asmere curiosities, was dedicated to the EmperorandEmpress. Schweigl (c.1735–1803),whose Pastorale also incorporated bysome composersinto extended works, among them Ignza for. Although clearly regarded asnovelty instruments, these instruments were peasant xylophone (known asthe ‘Hölzernes Gelächter’) was frequentlycomposed use offolk instruments even extended to the imperialcourtinVienna, where the instruments suchasthe tromba marina, trombe aTiroli andthe tudlsak.The popular instrument amongst Bohemian aristocrats) andHungarian folk wind wrote several orchestral works that also include parts for the cimbalom (a employment at the courtofCardinal Batthyány inRechnitz, Georg Druschetzky and thispaper considers two casestudiesinorder to demonstrate this.Duringhis not uncommon inAustria,Bohemia inthe andHungary late eighteenth century My recent research suggests that a taste for incorporating folk instruments was his inventive pianisticsolutions. skilful coalescenceofhissensitive attention to the integrity ofthe instrument and instrument’s distinctive soundsand techniques. The resultof hisreworkings isa of notation andhow convincingly hisreworking methods approximate the Lisztexpresseseachmeticulously technique andeffect withaparticular type (4) cimbalom improvisation. Allofhiscimbalom evocations illuminate how (3) the uniquetexture of the cimbalom when itinteracts withthe violinist, and (1) visuallystunningcimbalom trills,(2)reboundinghammers onthe cimbalom, evoke five salientfeatures associated withthe instrument’s timbres andtechniques: essential techniques ofthe cimbalom inasystematic manner. Liszt’s renderings [ from The contemporary articles about the cimbalom evocations, ‘Die Musikder Ungarn’ providemakers, andpedagogues context for hisconnections to the instrument. Des bohémiens his creative pianistic renderings. Liszt’s own remarks on the cimbalom in his effectively captures the distinctive soundsandeffects ofcimbalom playing in midst ofthese highlybrilliantpiano pieces?Throughout his bands. Then what is the meaning of his fidelity musicin the to gypsy-band nevertheless, Lisztfaithfully emulates the elements ofHungarian popular gypsy display oftechnical brilliance.Atthe other ofhis endofthe spectrum to the pianist-composer’s in showmanship indulging through the predominant Liszt’s Cimbalom School Neue ZeitschriftfürMusik Hungarian Rhapsodies (1859) andhiscontinuousrelationships with cimbalom players, ] (1889)byGézaAllaga provide usefulexamplesto exploreseveral I–XV(1846–53)draw ourattention immediately (1852),aswell asthe method book Duetto Concertofor violinandxylophone Rhapsodies Cimbalom iskola Rhapsodies , Liszt ,

Kristeva’s thoughts ontrauma,grief andmelancholia. agency (withparticular focus motion oncircular andstasis),interms ofJulia Cumming’s method, Iwillanalyse patterns ofmusicaldeclamation, gesture,and to similar features inMahler’s the protagonist’s subjectivity (especially byjuxtaposition ofoppositionalmoods) to Haas’s 1938opera (symmetrical ‘mirrors’,parallel ‘shadows’, enharmonic ‘doubles’) withreference inbothlyricsandmusic ofuncannyimagery the significance symbolic discuss landscape, the protagonist’s subjective mood, andspecific musicalfeatures. Iwill quasi-Symbolist reading, I will point out correspondences between images of not onlywhat the work butalsohow signifies thismeaning isconveyed. Inmy My analysis ofPavel Haas’s music, arts, andculture. author’s previous œuvre, aswell asto the broader intertextual universe ofWestern text andconsider its affinityto styles, genres,topics, andtechniques relevant to the disregarding the historical context) must start with the musical and/or literary thatGilbert). Iargue asatisfactory interpretation ofeach particular work (without coupled withpre-conceived ideas suchas‘spiritualresistance’(criticisedbyShirli are often interpreted onthe basisofhistoriographical evidence about the camp, hermeneutical and analytical methodological background, works fromTerezín Terezín (Theresienstadt). Since much of the existing scholarship lacks sufficient hermeneutical studyofthe musiccomposedinthe concentration campof The traumatic context ofthe Holocaust challengesto posessignificant Martin Haas’s ‘Grief, melancholia,uncannyreflections and viciouscircles in Pavel (Re)visiting theArchiveofGideonKlein-Terezín, 1941-1944’ 3C MusicinTerezín under adversity. the issueofhow we mightdefine Klein’s musicbeyond the discourseofcreativity and how it might be referenced to Klein’s Jewish background. It will also raise paper willexplorerecentresearch surroundingKlein’s finalwork, the StringTrio, when evaluating the ofwhat complexcircumstances took place inTerezín. This the thisview circumstances, isnonetheless somewhat simplisticandproblematic almost totally referenced byhisimprisonment. Though understandable given fellow-internees, some ofthem Czechoslovakia’s finest musicians, Kleinhasbeen deported to fromPrague the Terezín (Theresienstadt) ghetto. Working alongside Moravian-born composerandpianistGideon Kleinwas just22when he was David Fligg(University ofLeeds) Stephen Muir(University ofLeeds),chair Rehearsal Room3,9.30am ˇ C Four Songs urda (CardiffUniversity)urda fromTerezín’ Charlatan Four Songs onChinesePoetry The Song oftheEarth. . Iwillcompare Haas’s portrayal ambiguous of Finally, following Naomi (Terezín, 1944)questions 61 Monday 5 September 62 Monday 5 September in context with historical gendering of keyboard instruments. Traditionally largely In thispaper, performance Iwilldiscuss practice onportable keyboard instruments Xenia Pestova (University ofNottingham) Pocket Pianos:workingwithportablekeyboards whichstyle willbepart way structure between aconcert and aconference session. gap between research presentations and practice presentations in a lecture-recital inclusion withinthe wider musicalresearch environment. Itattempts to bridgethe under-represented at academic conferences,their topromote andthissessionaims line for ofenquiry performer-researchers. Performers’ perspectives are often processesarising fromresearch imperativesof structured represents animportant in contemporary music-making.Asaresult,the treatment ofperformance asaseries Music and its creative processes represent a wide research approaches range of current interpretation ofscores,andpractice-led orpractice-as research. incorporates two ofits majorareas ofinterest: the creative processesinvolved inthe This sessionishosted bythe RMAMusicand/asProcess StudyGroup, and Performance ProcessesasResearch (Panel) 3E RMAMusicand/asProcess Study GroupPanel: Creative are placed onaconventional five-line staff,mighteasilybeassumed to represent Common Practice pitch notation, in which twelve chromatically spaced pitches Mira Benjamin(University ofHuddersfield) for stringquartet Exploring asystematicapproach tointonationinJohnCage’s whether unusualtechniques, instruments orelectronics are involved. documented work onthe DukasPiano Sonata inthisrespect),independently of most fundamentally beingaform ofsophisticated research (mentioning myrecently to write about them withsome for criticaldistance,andargue musicalinterpretation ofmaintainingacloseworkingdifficulties relationship withcomposers andbeingable engagements withhistorically-informed performance andperformance studies,the worlds without subsuming either withinthe other. Inthistalk,Ispeakbrieflyabout my period attempted to findsome possibilitiesfor dialecticalunitybetween these two whose written work isnot directly related to performance—I have over anextended Working inroughlyequal measure asaconcertpianistandmusicologist—some of Ian Pace(CityUniversity London) reflections fromaperformer-scholar methodological and audiences:somecritical Between academia instruments andkeyboard performers throughcontemporary composition. musical examples,demonstrating theroleandperceptionofkeyboard changing harmonium willbesupplemented instruments. anddigital Discussion by historical andtraditionaldiscussing repertoire for the toy piano, portable will examine recent ideas in instrument development and instrumental writing, non-portable, keyboards have beenassociated withthe home andthe feminine. I Richard Glover (University ofWolverhampton), convenor andchair Concert Hall,11am Four arrangements, andthe problems ofkeeping lunatics inpoorhouses. Aswithall werecentury intended to combat the unregulated assortment ofprivate Large, publicly-funded institutions founded inthe firsthalfofthe nineteenth The Victorian lunatic asylum hasajustly-deserved reputation for unpleasantness. Rosemary Golding (OpenUniversity) Out ofmind,outearshot: musicintheNorfolkCountyAsylum And are they synonymous? Whatof music‘itself’. does itmean to bemusical?What does itmean to be well? only about the effectiveness of music in health settings but also about the ontology in which to perceive and act’ (Clarke, not 2011, p. 205). This opens up discussion round table offers perspectives onmusicas‘anendlessly“multiple”environment Approaching notions ofmusicandhealth perspective, fromanecological the mode ofpresentation throughmusicaldramatisation. approaches to health critiqueofhealth andwellbeing, institutions acultural anda stimulus for response. The sessioncovers musicasamode ofinteraction, abasisfor trope’, participants willpresentmusicasasite for change,rather thansolelyasa health. Seekingto lookbeyond what DeNora (2013)calls‘the “power ofmusic” This sessionexploresaspects ofhow musicgives usameans ofperforming 3F MusicasaMatrixforActioninHealthcareSettings(Panel) across various approaches to notation. based understanding ofintonation caninform andenrichperformative decisions in performing openscoreworks for strings,anddescribe how amicrotonally- over another. Itwillexplorethe benefits ofasystematised approach to intonation in This paper willexplorehow aJustIntonation-based analysis ofthe pitch material players’ intentions andthe imperatives oftheir instruments. throughout aperformance, to suchanextent that disparities arise between the toward relational tuningsmay causethe ensemble to modulate microtonally performers. Without appropriate preparation, a stringquartet’s natural tendency with durational time brackets, creating auniquekindofintonational challengeto John Cage’s may encounter additional challenges. score environments, where suchhierarchies are either modular orabsent, aplayer voices, creating a sense of harmonic consistency across a performance. In open notated scores, intonational hierarchies are often established among instrumental relationships withinasurroundingmusicalcontext. Inthe caseofconventionally A stringplayer develops apractice ofintonation throughunderstanding pitch that, while left unspecified byCPpitch notation, isunderstood implicitly byplayers. flexible pitch, the practice ofintonation ofmicrotonal reveals nuance aspectrum twelve-tone equaltemperament. However, for stringsandother instruments of Four Hilary BracefieldHilary (University ofUlster), chair Rehearsal Room1,11am can expose structural patterns canexposestructural that may lead aplayer to privilege one tuning Four for stringquartet (1989)projects CPpitch notation incombination 63 Monday 5 September 64 Monday 5 September efficiency andisalsoaplatformefficiency to ordifficulties exploreinterpersonal struggles established format withinthe profession. Group work offers benefits suchascost- This studyaddresses groupmusictherapy clinicalpractice, which isawell- Irene PujolTorras (Guildhall School ofMusic&Drama) in amentalhealthsetting The useofgroupvocalimprovisation as amusictherapytechnique treatment for insanity. the meaning ofmusicwithinthe asylum andits roleinthe development ofmoral asylum life. Together withevidence fromthe nearby CityAsylum, Iwilladdress modern sense, musicnevertheless took of onimportantrolesinthe structure by patients andstaff.Whilerarely considered adeliberate part oftherapy inthe investigating the different locations andforms inwhich musicwas encountered public asylum, the CountyPauperLunatic Asylum at Thorpe, near Norwich, part ofthistreatment. Inthispaper Iwillconsider the roleofmusicinone large and the occupationandentertainment oflunatics beganto form animportant standpoint. Patients were aproblem that mightbesolved, rather thanjustremoved, thecentury treatment ofinsanity beganto beconsidered fromamoral andmedical time attitudes towards the insane wereandfromthe changing, late eighteenth hygiene, together withpatient care implemented onamassscale.Yet at the same large institutions ofthe time, asylums were characterised bypoorsafety and spotlight music therapy as an emergent site both of aesthetic theory (Aigen, 2008) develop the role of aesthetic theory within arts & health practices. The paper will account ofthe development ofanew musicalonthe subject ofcare, itseeksto illuminated by“Care”, aPractice-based Research project.Using adocumented This paper explorespresence andrepresentation (Nancy, 2008; Ross, 2007)as Stuart Wood (Guildhall School ofMusic&Drama) research practice-based ‘Care, The Musical’: exploring presence and representation through the richandprolificworld andthe ofimprovised singing world oftherapy. Therapy discipline. Thisprojectwillalsoattempt to buildsome bridgesbetween contributing insight and new methods to the growing field of research in the Music The aims ofthisresearch are to provide abenefit for the participants whilst the useofvoice mightoffer adifferent potential thaninstruments to the therapy. might bebeneficial for the service users.Ithasbeensuggested in the literature that improvisation mightprovide different therapeutic processesanddynamicswhich This studyaddresses thisarea of interest fromthe perspective that groupvocal the literature. improvisation and voicework in a group setting does not appear in significantly music therapy, especiallyincommunitychoirs. However, the combination of has been an increasing interest to address the voice as an important element in in improvising with a range of available instruments. In the lastdecade there The standard useofgroupmusictherapy inmental health settingsconsists mainly a mental health illness. that mightbeveryrelevant for the everyday functioningofpeoplesuffering from artistic creativity, thusfindingnew meanings in‘official’artistic objects. productively exploited the multipletensions between governmental controland developments. However, recent studies of music under authoritarian regimes have as propaganda spectacle, peripheral to mainstream nineteenth-century aesthetic period—in particular state-censored theatrical ones—have often beendismissed about French musiccomposedduringthe FirstEmpire(1804–14):works fromthis Beethoven’s ‘Eroica’ Symphony. Yet have musicologists beenlessready to write important consequences for musichistory, featuring endlesslyinaccounts of In 1804Consul Bonaparte became EmperorNapoleon. The moment would have Theatre (Panel) Propaganda: MusicandPolitics3G Beyond intheNapoleonic training impacts onmusictherapists’ formation. which provisionally isconcerned withhow the musicalcontent ofmusictherapy forms part ofthe author’s Ph.D. research into musicaltraininginmusictherapy, regarding musicalskilldevelopment processesinmusictherapy training.This to the musicalcontent oftrainings.Potential lines ofresearch are suggested from the perspective ofbothtrainers andtrainees to identify themes relating training andpractice. Thisisrelated to literature about musictherapy training critically how the conceptof‘musicianship’ isunderstood inmusictherapy the kind(s)ofmusicianship expected oftrainees at admission asaway to explore requirementsabout entry and training orientations. The study sets out to identify programmes inthe UKare compared, using the publicly available information The musicalauditionrequirements ofseven Masters-level musictherapy training considered importantinmusictherapy. requirements for trainingasone way ofidentifying aspects ofmusicianship of musical/therapeutic development, thispaper investigates the musicaladmission practice. Aspart ofinvestigating how musictherapy trainingsfacilitate the process musical skills, or ‘musicianship’ generally, in relation to music therapy training and as yet beenlittlecriticalinvestigation oftheattributed significance to practitioners’ improvisation). These skillsare alsofurther developed duringtraining.There has musical skills as well as skills specifically related to music therapy practice (e.g. specialist training.Admissions criteria for training emphasise conventional Practitioners are normally already trained musicians who undertake further Music therapy hasbeenaprofessional discipline inthe UKfor over forty years. Donald Wetherick (Guildhall School ofMusic&Drama) requirements forUKmusictherapytrainings The musicianshipofthemusictherapist:exploring musicaladmission rehearsal, workshop andperformance stages ofthe project. translation andperformativity inform illustrated the discussion, byextracts from and ofinnovative performance (Stigeetal,2010).Underlying themes ofbecoming, Benjamin Walton (University ofCambridge), chair Katherine Hambridge (Durham University), convenor Rehearsal Room2,11am 65 Monday 5 September 66 Monday 5 September of experimentation andmeta-theatrical reflection. By showing the way inwhich continuities withrevolutionary practices andideals, andbyrevealing itto beasite The panel thusreinserts Napoleonic theatre into musichistory, bothbypursuing these years, includingaspate ofpiecesinwhich genreswere personifiedonstage. consciousness’ in the production and reception of musico-theatrical works from did not gounchallenged;the thirdpaper considers the phenomenon of‘genre- the revolutionary period,thistop-down ofgenresandinstitutions regulation to Napoleon’s reorganisation ofthe theatres in1806–7.After the freedom of audience anddrama. The legacy ofthe revolution canalsobeseeninreactions quite different effect, reinforcing rather than collapsing the distinctionbetween Spontini’s audience and spectacle. The innovative musical andscenic effects created in exploration ofaesthetic continuities,focusing onthe evolving dynamicbetween the new practices installed under the revolution. The secondpaper extends this Le Sueur’s commitment to the unification ofthe different arts—as inthe dream scene of political display. Yet, asthe firstpaper willshow, they owe asmuchto anaesthetic propaganda, andspectacular events there have often beeninterpreted asmere Opéra—as Paris’s theatre—was most prestigious central to the regime’s theatrical responses fromcreative agents andaudiencesto Napoleon’s politics.The cultural This panel exploresthe demands andlimits ofgovernmental controlbylookingat impressive effects, perhaps leading directly to the extravagant tableaux ofgrand the institution’s vast resourcescreated acompetition for scenes withever more between the Opéra’s various creators). The dream scene’s innovative of reunion reflected inreorganisations around 1800that encouraged closer collaboration andits ambitionvisual luxury to beacentrefor the fine reuniting arts (anambition capitalised onthe institution’s former reputation for unparalleled musicaland in decline since 1789.Consecutive revisions of opportunity to reassertthe Opéra’s prestigeandartistic prowess, which had been Ossianic poems (1760–5)—the principalsourceof Opéra’s artistic agenda. the Staging rich visual and musical world of Macpherson’s In contrast,thispaperthe ‘total discusses spectacle’ in been treated to Wagner’s asaprecursor Gesamtkunstwerk. linked to Napoleonic propaganda, andLeSueur’s operatic aesthetics have often combined effect ofmusic,dance,costumes andstage sets hastraditionally been the most astounding spectacle ever staged at the Opéra. Critics raved about the dream scene inLeSueur’s accompanied by eight harps, 111 singers and dancers lamented Ossian’s fate. On 10July1804anenormous aerial palace appeared onthe Opéra’s stage, and, Annelies Andries,(Yale University) Bardes Dreaming ‘Opéra deLuxe’: spectacleinLeSueur’s creative practice andpoliticalpower. the panel also contributes to broader considerations of the relationship between Napoleon’s prescriptions were cultural obeyed, negotiated, andat times ignored, Fernand Cortez Ossian , aforerunner ofWagner’s musicdramas—which originated in built on achievements of the previous decade but to Ossian, Ossian oulesbardes, Ossian especiallythe dream scene, Ossian Ossian —provided the ideal asaproductofthe ’s relianceonthe Ossian ou les callingit what extent, categories ofgenreshaped the useandreception ofmusicasadramatic bureaucratic processofdefining genrecharacteristics. Ithen explorehow, andto the political andfinancialmotivations for the 1806retrenchment, andthe Using surviving administrative documents, my paper beginsbyreconstructing dance. basis of subject matter and the role and proportion of spoken word, music and particular genres to particular theatres. Genre divisions were again asserted on the and genrespost-Revolution, Napoleon re-introducedstrictregulations assigning the theatrical economy: in1806–7,after fifteen years ofproliferating institutions meta-theatrical productionwas one ofseveral staged responses to recentchangesto pantomime, mute characters, laughter andbattle scenes to her court. Thisknowing, petit vaudeville’ and ‘le mélodrame’, along with the admission of dance, song, from opéras-comiquesto debate the qualitiesofher competinggeneric suitors ‘le the institution ofthe Théâtre de laGaîté usesvaudeville techniques andmelodies In Martainville’s Katherine Hambridge (Durham University) Genre ConsciousnessintheNapoleonicTheatre intherecognition grandoperasofthe Restoration andJulyMonarchy. aesthetic development that was rooted inthe 1790s,andthat found wider critical paper seeksto situate it—andEmpireoperamore broadly—in the continuityof Rather thanunderstanding the operaasanemptyexampleofpropaganda, this effect was lostonaudiences.Itwas withdrawn after justthirteen performances. previous decade—was now badly andtoo executed pervasive, andthat the intended reception suggests, however, that overwhelming spectacle—so admired inthe to focus attention onCortez/Napoleon rather thanthe people.The opera’s critical and perspectival effects) contributed to adistancingeffect onaudiences,designed (includingsheerstaging numbers andnoise of personnel, innovative among its multitudinous cast.The spatial expansion achieved bythe musicand celebrating heroism andsacrifice, andfamously featuring seventeen live horses height ofthe Peninsular War, inthislight.Itwas essentiallyanextended battle piece Spontini’s the dynamicbetween audienceandspectacle was shifting. Thispaper examines Spectacular tableaux enjoyed continuing popularity during the Empire, but Robespierre had prompted thereafter. that politicaloratory promoted inthe firsthalfofthe decade, andthat the fall of revolution. Animmersive aesthetic meshed withthe discourseofshared experience buildings seemto have captured something ofthe overwhelming experienceof On the operatic stage volcanoes ofthe 1790s,tableaux oferupting andburning Sarah Hibberd(University ofNottingham) ‘L’épique enaction’: developments rather thanperceive them asmere propaganda spectacle. paper seeksto unearth the roleofthese operatic productions inlarger aesthetic opéra. Byexaminingthe artistic andinstitutional prompts behindsuchscenes, my Fernand Cortez Le Mariage du mélodrame etdelagaîté Fernand Cortez , commissioned for the OpérabyNapoleon in1809at the and theaestheticofspectacle (1808),apersonification of da lontano

67 Monday 5 September 68 Monday 5 September that pre-dated recording. sparse anddisparate evidence ofthe voice typesandperformance styles ofsingers operatic works ofthe early nineteenth century. We are left, frustratingly, with the century, to thewas beginning capture recordingindustry the singersofthe of men’ (p.248).Stendhal’s to wishcame some true extent; before the endof years’ time [her] sublime talents willhave adistinctphysiognomy inthe memory to ‘describe withexactness’ the talents ofMme Pasta,andthat ‘inone hundred In his Anna McCready (Royal College ofMusic) ‘A MmePasta andtheRossini distinctphysiognomy’: 3H SingingPractices generic experimentation, andtop-down, Napoleonic policy. cultural opens upnew ways withestablished ofengaging narratives ofnineteenth-century consciousness among institutional committees, creative agents andaudiences to certainmusicalvocabularies, forms oreffects. Suchanexamination ofgenre of generic andinstitutional boundaries, andofthe generic associations attached medium. ’80s, when there were few practical attempts to recordopera, but when adiscourse nineteenth-century history. The firstpart ofthe paper willfocus onthe 1870sand In this paper I will offer the first sustained account of opera and soundrecording’s and soundrecordinghad arelationship too. phenomenon ofthe nineteenth andthat, century inthe nineteenth century, opera What hassofar attracted lessattention isthat a soundrecordingwas originally from the inthe recordsofEnricoCaruso 1900sto today’s YouTube clipsandmp3s. sound andaudio-visualrecordingsthanthat oflive, in-the-theatre performance, the twentieth andtwenty-first centuriesengaged withoperamore inthe form of Scholars of opera are becoming interested in the fact that we have for a large part of Karen Henson (FrostSchool ofMusic,University ofMiami) the nineteenthcentury opera andsound recording in Of inventors and studio-laboratories: ‘authentic’ performance ofRossini’s vocal music. axiom of Rossinicurrent performance. It opens a window onto a very different, heroines ofRossini’s day. This studyhasramifications for singersborninto the take us closer to a ‘distinct physiognomy’ of one of the most celebrated belcanto memoirs inorder to create avocal biography ofMme Pasta.Itwill,therefore, work ofthese writers, thispaper willpresentmaterial fromtreatises, reviews, and describing the individual voice typesandcharisma ofsingers.Buildingonthe tend to isolate vocal techniques andidentify broad stylistic rather currents, than Austin Caswell, William Roger Crutchfield, Freitas, John Potter, andJames Stark, coloratura, portamento, andvibrato. chiaroscuro, Writers inthese areas, including Current research into vocal-performance history examines issuessuchasthe useof Robin Bowman (BirminghamConservatoire), chair Rehearsal Room3,11am Vie deRossini Le mariage (1824)Stendhal expressedhishope that away mightbefound , for example,reveals anawareness bothofthe artificiality bel canto style traditions, includingelectronic music, improvised music,indeterminate music, knowledge andaresourcefor action inavariety ofhistorical periodsandmusical This sessioninvestigates the roleofmusicnotation asasourceofcreative Materials (Panel) 3I Performing Notations:Relational ApproachestoMusical works. performance ofthe that requirethe interpreter to undertake research. There willbeacomplete Joachim’s playing. There are problems inbothscores,even of inaccuracy today, consider what the Romances and others. Clara Schumann’s two chamber works, the Piano Trio op.17andthe in facilitating the development andrevision ofworks bySchumann,Mendelssohn series inDresden, andassessingthe importanceofsuchahighlygifted performer looking at her rolewithinher musicalcircle,her foundation ofachamber concert also focuses onthe contributionClara Schumannmade asachamber musician, of Clara Schumann’s career after It 1854 has been given sufficientrecognition. Joachim, askingwhether theofthisrelationship significance to the development partnership between the two performer-composers, Clara SchumannandJoseph by the arrival ofJoseph Joachim. Thislecture-recitalexploresthe collaborative famously overwhelmed withadmiration, butwas inspired several months earlier to her firstmeeting withBrahms, when Robert andClara Schumannwere after agap ofseveral years came not, asmightseemmore likely, inresponse of her finest works within the space of two months. This sudden burst of activity productive periodinthe summer of1853when Clara Schumanncomposedthree The ClaraSchumann’sLecture-Recital: sound recording’s later history. more imaginative andmulti-faceted thanthe one that would dominate operaand share anapproach to soundrecording,one that, Iwillconclude was byarguing, Opera. Although clearly very different, these early written and practical efforts associated operatic asNew withsuchdistinguished milieux York’s Metropolitan made in the 1880sand ’90s by amateur technicians, though amateur technicians part ofthe paper willfocus onthe firstattempts to recordopera,which were technical innovators ofthe period,Thomas EdisonandEmileBerliner. The second explore thisdiscourse,includingcontributions bytwo ofthe most important emerged about the potential that the new technology had for the art form. Iwill Amarins Wierdsma, violin Laura Roberts (GuildhallSchool ofMusic&Drama) David Milsom(University ofHuddersfield), chair Concert Hall,1.30pm co-convenors/chairs) Emily Payne (University ofLeeds)andFloris Schuiling(UtrechtUniversity), Concert Hall,2.30pm Romances op.22show her fine understanding ofthe genre;itisfascinating to op. 22for violinandpiano were written duringacreatively Romances Romances might alsotell usabout the qualitiesshe admired in (9mins.) andshort illustrative extracts fromother Romances Op.22 69 Monday 5 September 70 Monday 5 September process, as opposedto the predominant view that understands notation asasite The sessionwillexplorethe positive functions ofnotation withinthe creative • • • • and willaddress the following questions: performance? Presentations willdraw onthe speakers’ respective areas ofresearch, opposition, does ittoo readily accept the characterisation ofscoresas‘determining’ to musicalnotation isinhibitingacomplete view on the creative process?Inits of notation have coulditbethe inmusicology casethat beencrucial, thisopposition Though the deconstruction of the musical ‘work’ and the critique of the centrality musical practitioners engage with notation in a variety of real-world settings. as verb. Inthissessionwe wishto soften suchoppositions byinvestigating how in terms oftext versus act, productversus process,ormusicasnoun versus music fundamental assumptions ofthe discipline. Thisdevelopment isoften phrased entailed more thanjustachange ofsubject, buthasinvolved arethinkingofsome and historically informed performance. The ‘performative has turn’inmusicology Through interviews with surviving members, and archival research on original to fulfilobligations untilthe endofthe Expo. reached acrisispointandleft the ensemble withimmediate effect, staying ononly accompanying text instructions. Inthe middleofthe Expothreekey members several text pieces, andothers that usedpredominantly +,-,and=signswithsome of Karlheinz Stockhausen. As well as traditionally notated piano pieces, there were auditorium ofthe West Germanpavilion by many musicians ofthe compositions The 1970World’s FairinOsakafeatured dailyperformances inthe spherical Sean Williams (IndependentScholar) Stockhausen Ensemble notationandthe collapse ofthe Creative agency innon-standard constraint, anddiscipline. how the dynamics of such negotiations complicate notions of creative liberty, how issues of authorship and authority are negotiated in such interactions; and notation canbeanobject ofantagonism anddisagreement aswell ascollaboration; notational styles andtheir associated practices. Indifferent ways, they show how The performative contexts that the case studies explore exemplify the diversity of and justwaiting to bereleasedbythe performer’ (Cook,2013,p.338)? means out something bringing that is already there in the score, composed into it avoiding the discourseof‘reproduction’andits associated ‘idea that performance how notation canfunctionas asourceofcreative knowledge for performers, while permanence to performed and/orimprovised transience. Isitpossibleto describe of negation ofagency, inorder to move beyond aparadigm that opposesnotated How do notations mediate performers’ relationships to their instruments? performance? What role do notations play in the socio-musical interactions that characterise How do particular forms of notation trigger performers’ musical imaginations? one ofthe materials withwhich musicians work? How mightnotation beunderstood, not primarily asaformal model butas (that the thirteen instrumental parts canbeplayed inanycombination, including most complexandabstract that he ever wrote; andthe piece’s formal instructions described byCage as‘awork indeterminate ofits performance’, are among the The graphic notations of John Cage’s Emily Payne(University ofLeeds) conundrum? Performing Cage’s ofcreativeecology behaviour. repertoire as technologies (Gell, 1998; Suchman, 2007) that form part of awider and technology asmuchonmusicscholarship, Idescribe the piecesinthe ICP to reconsider thisbinary. Drawing ofmaterial onthe media anthropology culture, been phrasedinterms oforality versus literacy. The practice ofthe ICPrequires us The growth inresearch into musicalperformance andimprovisation hasoften musical structure. of creative possibilities,andbecome participants inthe improvisatory creation of than homogenise their performances, the pieces contribute to the heterogeneity music inadvance, butmay beusedpreciselyto subvert the musicalsituation. Rather to the particular performance practice ofthe ICP, these piecesdo not determine the pieces mediate the socialandcreative agency ofthe musicians inperformance. Due object ofmuchthe musicians’ interaction witheach other. Inaddition, these material for culture the group,asitiscentralto the ICP’s identity anditisthe This repertoire hasbeenthe subject primary ofmyresearch. Itconstitutes a different possibilitiesfor improvisation andcreative interaction inperformance. member Mengelberg composedadiverse repertoire ofpiecesthat construct music. Influencedbyfreejazz,experimental music,andperformance art, founding performing, isone ofthe longestconsistently performing groupsinimprovised in 1967byMishaMengelberg, HanBenninkandWillem andstill Breuker improvising collective the Instant ComposersPool Orchestra. The ICP, founded This paper presents results ofanethnographic studyofAmsterdam-based Floris Schuiling (Utrecht University) of theICPOrchestra Music notationastechnologyandmaterialculture in theperformances notation isalsoexamined, asisthe impact oftechnology. social elements described above, the of pieces usingsuchnon-standard ontology balanced assessment ofthe archival andethnographic material. Inaddition to the different provides circumstances, an additional perspective that is essential for a My own experienceofhaving played anumber ofthese pieces,albeitinvery more electronicinstruments didnot leave the ensemble. for whom these questions became irreconcilable. performers Intriguingly, using who self-identified more asbeingcomposersrather thanperformers were the ones conceptions ofwhat itmeant to interpret thisnotation, andtellingly, the musicians practices that were requiredto play these scores.Different musicians had different Key were points problems ofdiscussion ofcreative ownership, andthe kindsof back inpart to the musicians’ different relationships withthese kindsofscores. correspondence, the reasons behindthe break-upofthe ensemble are traced Concert forPiano andOrchestra Concert for Piano and Orchestra : acreative (1957–58), 71 Monday 5 September 72 Monday 5 September notations, performer realisations, andrecordings. project, ‘John Cage and the aspect ofthe creative draws process.Mydiscussion onoutline findingsof the AHRC whether the Concertoffers anexampleofwhere notational ‘discipline’ isacrucial assumptions offreedom andconstraint inindeterminate performance. Iconsider creative negotiations that the notations afford, and thus drawing out the tacit This paper untangles some of these problems and contradictions, exploring the the performer, the Given these contextual andthe circumstances apparent adherence requiredfrom shaped understandings ofCage’s musicalmost asmuchthe composer himself. (Lochhead, 1994,2001),influencedinpart byDavid Tudor, whose practices have accompanied byatightlydefined performance aesthetic of1950sexperimentalism response from the performer. Moreover, Cage’s indeterminate works were realization’ (Thomas, 2013, p. 102), necessitating a rigorous and ocularcentric the notations’ complexitiesconceal‘acomparatively straightforward method of Despite the apparent performative libertiessuggested bythe sometimes deliberately subverting conventional means ofperformance. do not necessarily prescribetheir soundingresultnor their method ofrealisation, with other pieces)offer seeminglyendlessperformance possibilities.The notations expressive prescription. away fromamore performer-orientated notational apparatus to greater levels of instrumental technology,changing and a shift in his compositional career alongside broader issuesofearly nineteenth-century performance practice, quartets. Inparticular Iwillcontextualise hisown idiosyncratic useofnotation of historical data exploringBeethoven’s relationship withthe firstplayers ofthe repertoire asaprofessional periodinstrumentalist, andcomplemented byabody instrumental playing. This will be informed by my own experience of playing the notation, and its dependence upon the kinaesthetic and embodied aspects of semiotic theory, I will highlight the intrinsically social nature of Beethoven’s Drawing onRoland Barthes’ distinction between ‘Text andWork’ andPeircean an emergent network ofsocialrelationships rather thaninadefinitive source. and even depends upon,socialinteraction, enabling meanings to belocated within by conceiving ofthe notation asasocialartefact. Notation asamedium prompts, challenge tendencies to treat Beethoven’s markings asauthoritatively prescriptive the mindofthe composerrather thaninthe bodyofthe performer. Thispaper will However, thisobservation highlights atendency to locate notational meaning in described as‘agraphic representation ofthe way he heard musically’(1992,p.226). notation inthe quartets. Lewis Lockwood observes that couldbe suchidiosyncrasies audiences andcritics alike. lies inhiseccentricuseof One sourceofdifficulty works, andhave beenasourceoffascination to performers, (anddifficulty) Beethoven’s late stringquartets are amongst hismost andelusive extraordinary Rachel Stroud(University ofCambridge) Beethoven’s latestringquartets notationandperformance in ‘Notation associalnetwork’: Concert posessomething ofaconundrum. Concert for Piano and Orchestra ’, including analysis of Concert , some of Toynbee, Simon Frith, andauthors writingfromthe music‘scenes’ perspective. in Bristol—users ofEktoplazm—as Jason well as theAnderson, writingsofTim doing business? Itwilldraw onmyown ethnographic musicians study ofpsytrance their music‘out there’? What makes the scene psytrance sowell adapted to thisway of motivations ofits curator-webmaster. What draws musicians to this way ofgetting This paper willexamine Ektoplazm’s freemusicdistributionmodel andthe music’with overfree (andlegal)psytrance 50milliondownloads to date. a personalblog,Ektoplazm hasgone onto become ‘the world’s largest distributor of labels around the world, isaimed squarely at scene participants. Founded in2001as curated collectionoffreemusicfor download, representing psychedelic artists and a radical distributionservice for producers,labels, DJsandfans Hisvast ofpsytrance. Operating within the esoteric global psychedelic trance scene, DJ Basilisk hascreated revolution hasbeentakingplace within musicalnetworks far fromthe mainstream. Pandora have experimented withfreemiumandad-generated revenue, aquiet within the musiceconomy. digital Whilststreaming services suchasSpotifyand distribution costs approach zero,freemusichasbecome atantalisingpossibility for new music business models in the Indeed, 21st century’. as reproduction and at the dawn of the internet era, finding that ‘[f]ree is arguably the dominant concern Tim Anderson (2014)hasgiven aconcise account ofthe trialsofthe musicindustry Christopher Charles (University ofBristol) Ektoplazm.com -FreeMusicandthePsytranceScene conference. Musicians’ History The paper serves to the asprecursor book way ofunderstanding musicians’ lives from1893to the presentday. accounts that andarguing foregrounding musicians asworkers provides the best its failures. We provide examplesofkey battles, showing the limitations ofprevious The varied nature ofthe musicalworkforce canexplainboththe MU’s successesand provides key insights in to the issues which the MUhasfaced and continues to face. We that argue ineach caseunderstanding musicians asparticular sorts ofworker technology, competition,relations withthe musicindustriesandequalitiesissues. the key issueswhich the Union hasfaced duringits history, includingchanging Based onafour-year research project(www.muhistory.com), thispaper outlines vision. the Union Williams forged, the Musicians’ Union, isstillattempting to fulfilhis employersunscrupulous andourselves’. One hundred andtwenty-three years later the formation ofamusicians’ trade unionto protect its members from‘amateurs, In 1893atwenty one year oldclarinettist inManchester, Joe Williams, proposed Martin Cloonan(University ofGlasgow) years oftheMusicians’Union Protecting MusiciansFromThemselves?CriticalReflections on123 3J TheMusicIndustrythenandnow Richard Witts (EdgeHillUniversity), chair Rehearsal Room1,2.30pm (Manchester University Press), which will belaunched at the and Workers’ PlayTime: AHistoryoftheBritish John Williamson (University ofGlasgow) 73 Monday 5 September 74 Monday 5 September our fictionfilmgoing. without completely abandoning the narrative shape we’ve become familiar within film embraces the verynature ofits own form assomething caughtonthe hoof, and between hearing andlistening. Inthisway, sonically-elongated documentary thatI argue suchmoments relyon aconfusionofreal-world soundsandmusic; nonfiction aesthetic. With reference to several recentdocumentary feature films, foot inthe image, thusallowing the filmto retainaloosegriponthe traditional Sonic elongation fromsoundto music,however, allows the soundtrack to keep one directors, dramatic musichasno place inthe ‘reality’ of the documentary world. real-world noises pass freely between sound and musical composition. For many been treated more creatively than the captured image; in particular, instances when investigates moments when real-world soundcaptured fromthe location shoot has parametersdistinguishing ofdocumentary become more porousstill.Thisarticle interpretation. When adocumentary includes creative sounddesign ormusic,the responses to begin close the gap between the aesthetics of observation and those of unguarded view pavea truly the way for imaginative responses to reality. Such what liesinfrontofthe camera, others believe that ofpresenting the difficulties While manynonfiction filmdirectors strive for anunmediated representation of Holly Rogers (Goldsmiths,University ofLondon) Documentary Film in Hearing Music andListeningtoSound:ExtendedAudiovisuality adaptation, not onlyfor the composers’own works butalsothose oftheir teachers Hubert Léonard. These sourcesprovide aglimpse into performance techniques and from the personal collections offormer teachers suchasAndré Robberechts and holds focusing onthose fromthe early nineteenth century, includingmanuscripts In thispaper Iwillpresent the uniqueviolinsourcesthat the conservatory’s library worldwide, who inturn spread their teachings to further generations ofviolinists. Henri Vieuxtemps, Henryk Wieniawski andEugène Ysaÿe attracted students nineteenth century. Well-known teachers suchasCharles-Auguste de Bériot, conservatoryThe Brussels was ahotbed ofviolinactivity throughout the Richard Sutcliffe (Royal Conservatoire ofBrussels/University ofBirmingham) the BrusselsConservatory Violin PerformanceSources of EarlyNineteenth-century Practice in 3K SourcesforPerformance PracticeStudies and, perhaps most significantly, the documented andthe document. the presented, real-world soundandmusic,objective andsubjective representation coherent space for audio-viewers to navigate the tensions between the recorded and explore the ways inwhich attentive listening to thiselongated realityopens upa becomes hypersensitive andheightened, itpermeates andenlarges it.Here, I away fromthe representation ofunmediated ‘reality’:rather, asnatural sound When the creative flow ofsoundoutstrips that ofthe image, documentary moves This simultaneity gives riseto impressionofthematerial. atransfigured original Andy Fry (King’s CollegeLondon), chair Rehearsal Room2,2.30pm singularities inthe performancesingularities history ofthe preludes. Certainways ofexpressive on the analyses, the researcher formulated hypotheses concerningtendencies and artistic decisions andprovides insightofperformance inacentury history. Based data analyses, results inamapping ofthe differences andsimilarities inthe pianists’ the recordingsusingacombination ofauralanalysis methods, software tools and Scriabin’s early piano preludes between 1910and2010.Acomparative analysis of My doctoral research examines tempo andrubato inrecordingsofAlexander order to resultinaperformance: the performer’s creative space. requiringacreativeand even ambiguities, artistic decision-making processin representation ofthe musicitself. Incomplete information introducesuncertainties ideas? Despite its level ofdetail, the musicalscore only provides averyincomplete makers, photographers). Do they ‘re-create’ or ‘co-create’ the composer’s musical rather specificroleandpositioncompared to other artists (e.g.composers,film When itcomes to the act ofcreation, performing musicians seemto claima Stijn Vervliet (LUCASchools of Arts,KULeuven) Alexander Scriabin’s EarlyPianoPreludes Mapping Performances: Tempo andRubatoin Recordings of which hadin acountry only recentlybeenfounded. closely. These sourcespresentavibrantpictureofflourishingschool ofvirtuosity and memoires published byteachers, former students andamateurs who followed it wasthriving frequentlycommented violinculture oninthe pressofthe period and études as well as the exam pieces performed by the students of the time. This the nineteenth inits extensive century collectionofnineteenth-century methods also offers aglimpseinto the technique andrepertoire taughtbythe teachers of and mentors includingViotti andMendelssohn. The conservatory’s collection white demand. Iaskwhy these particular images found such zealousadherents active personification of difference driven by a lucrative fantasy on the terms of revivalism coercedAfricanAmerican musicians into assuming black masks––an Strategically inverting Fanon’s notion of‘white that masks’,Iargue blues performative aspects ofracialised spectatorship. and 1964to trace transatlantic attitudes toward black musicandto explorethe This paper willusetwo broadcasts staged byGranada Television between 1963 Ross Cole(University ofCambridge) Transatlantic BluesandthePerformance ofAlterity traditions. more ofinterpretations grounded positionwithin thisspectrum andperformance relation to those ofothers, and,therefore enable them to take awell-informed and interpretative choices more consciously anddeliberately, fullyaware ofandin On the other hand, insights into the performance history enable them to make and incorporate these playing techniques andenrichtheir personalplaying style. For today’s pianists thisknowledge opens upopportunitiesto ‘relearn’, assimilate been gradually falling into disuseover time. playing, suchasspecifictypesofrubato playing or‘microtiming’,seemto have 75 Monday 5 September 76 Monday 5 September have now gained substantial experienceofworking withthisarchive. works byReich written between 1974and1981,presented byBritishscholars who of the rangeandscopeofresearch now beingdone there, viathreepapers basedon Stiftung inBasel,Switzerland in2009.Thissessionaims to demonstrate something acquisition ofthe composer’s sketchbooks andother materials bythe PaulSacher The studyofSteve Reich’s musichasbeenadvanced inanumber ofways bythe Materials (Panel) 3L NewPerspectives onSteveReich viatheStudyofhisSketch African American artists unable to fullyevade the preordained maskofalterity. contact ofintercultural whilesyncretism acknowledging the lived experienceof marginalisation. The challengefor isthusto heed musicology the relational via sungperformances that onthe obliquely signified coordinates oftheir own Subaltern musicians caught within this regime were nonetheless able to ‘speak’ of colonialistdisplay choreographing exoticisedbodiesfor Europeanconsumption. among post-war youth, situating their privileged positionwithinlongerpatterns heard at andendisresponsible its beginning for new asignificantly approach to earlier pieces’hasfrequently beentaken that as asignal the ‘cycle of11chords’ that ‘harmonic movement plays amore importantrolehere thaninanyofmy found ten years later, in Western classicalassociations. Yet what ofthe approach to pitch organisation to be materials themselves so reduced that little remained left in them of their possible departure inthe mid-1960sfromthe purgingpower ofrhythmic repetitiononpitch through radicalisation rather thancompliantre-absorption’ took its pointof branches of“mainstream” Europeanmusic,arealignment achieved, however, What Ronald Woodley hascalledSteve Reich’s ‘gradual realignment withcertain Keith Potter(Goldsmiths,University ofLondon) sketchbooks tellus the composer’s Tonality and harmonyinSteveReich’s perspectives onhismusic andthe contexts ofits creation. are deployed on aspects of this now seminal composer’s output to offer fresh methodologies—including history— sourcestudies,musicanalysis and cultural Taken together, these three papers present new research in which arangeof use ofspeechmaterial increating identity. geographical repositioningofReich’s music,andcasts new lightonthe composer’s third paper exploresthe lesswell-known work, the mid1970s,onthe work known originally as extent of the influence of Hebrew cantillation, which the composer studied in tonal andharmonic organisation. The secondpaper addresses the nature and large-scale work suchas focus, the first paper examines the evidence concerning how Reich planned a Given order inchronological with respectto the compositions onwhich they Ross Cole(University ofCambridge), chair Keith Potter (Goldsmiths, University ofLondon), convenor Rehearsal Room3,2.30pm Music for 18Musicians Music for 18Musicians Music for18 Musicians Mein Name Ist (1974–6)?Reich’s own assertion (1974–6), especiallyinterms of Octet , composedin1979.The (1981), to provide a : what 1983 revision as Premiered in Frankfurt inJune 1979, Pwyll apSiôn(Bangor University) Steve Reich’s ‘From resulting patterns to extended melodies’:understanding aim ofthe present paper. considered thusfar writinginEnglish.Suchconsideration bymusicologists isthe Name Is of a composition aswell as itsstructure melodic lines, this German trope of As well asestablishing the principlethat speechmaterial cangenerate the harmonic The matter andidentity oflanguage cannot bequite soeasilydismissed,however. in which Iuserecordingsofspeech,willAmerican English’. which Ispeak,andunderstand fluently, Ihave decided that inallmycompositions reasons centreonmatters identity: ‘Since Englishisthe oflinguistic onlylanguage this piece,Ihave’—appears to forbid further scholarly investigation. Reich’s stated subsequently deleted, andReich’s later correspondence withGeorg Sachse—‘Forget My Name Is. Name Ist... by Gottwald in 1960, the Stuttgart Schola The Cantorum. resulting piece, Despite thisunpromisingstart, Reich later producedawork for the ensemble founded with Reich’s contributionbeing translated. published entirely in German inthe pages of triggered awide-ranging debate withthe composer. The correspondence was the effect of working on an industrial production line—his criticisms immediately of Reich’s musicrelate specificallyto correspondence withthe composerin1975.Although Gottwald’s observations Clytus Gottwald’s polemicalviews of Reich’s musicgenerated public John Pymm(University ofWolverhampton) 1981) linguistic identity in English istheonlylanguagewhichIspeak:Gottwald,Reich and • • • toQuestions beaddressed include: observations onthe composer’s approach to tonality andharmony inthiswork. This paper willdraw onthe sketch materials for thiswork to make some fresh these slow chordal statements. harmony that isalsoapplied inthe forty-five minutes ofmusic‘bookended’ by illuminating methodologies to interrogate thismusic’s ‘new harmony’? what assistancedo these sketch materials provide the analyst seekingthe most approach to the organisation ofpitch materials inthiswork? what new evidence isrevealed bythese sketchbooks regarding Reich’s process behind what role, exactly, did this ‘cycle of 11 chords’ play in the compositional fashions identity anew for linguistic Reich’s music,which hasnot been (Portrait der Schola 1981),derives Cantorum, froma1967composition, Yet the Bayer Records recordingof Octet Eight Lines Music for 18Musicians through hissketches Mein NameIst... ) hasremained one ofReich’s most important middle- Drumming Octet ? (now better known inthe titleofits (Portrait der Schola Cantorum, Mein Name Ist Melos/Neue Zeitschrift fürMusik, (1970–1)—which he compared to , releasedin1993,was Mein My My

77 Monday 5 September 78 Monday 5 September context ofananalyticalstudythe work informed byarchival research. Hebrew cantillation befound in regions. Ifthisisindeed the case,then where actually mightthe influenceof lines, andb)aconceptionofthe music’s interms macro-structure ofharmonic his technique ofgenerating resulting patterns fromthe combination ofcanonic these extended melodies most likely emerged froma)Reich’s own refinement of However, evidence provided by the study of earlier drafts of the work reveals that 1976–77 ofthe cantillation …ofthe Hebrew Scriptures’( composed ofshorter patterns together, strung hasits roots in…mystudies Reich himself, who stated that ‘[this]interest insomewhat longermelodic lines, The melodic element of works ofthe 1980s. of tonal regions andextended melodic lines lookahead to the post-minimalist Instruments, Voices, andOrgan unfolding canonic processes consolidates methods used in or innovative— Whereas Reich’s musicarguably falls into one oftwo categories—consolidatory successful. period works and one that the composer himself considers among hismost Octet partakes ofbothelements. Its useoftwo simultaneously Octet , inparticular, hasreceived attention, not leastfrom (1973), butits innovative pattern use construction, Octet ? Thispaper addresses thisquestioninthe Writings onMusic Music for Mallet , p.99). Posters

All posters will be displayed on Level 1. Poster presenters will be present for discussion during refreshment periods.

• Samuel Wilson (Guildhall School of Music & Drama), ‘New Music, New Materialisms: Musical Material and Materiality after Adorno and during the New Materialisms’

• Desirée Johanna Mesquita Mayr & Carlos de Lemos Almada (Universidade Federal do Rio de Janeiro), ‘Use of Linkage Technique in Brahms’ Op.78 and Miguez’s Op.14 Violin Sonatas’

• Donald Wetherick (Guildhall School of Music & Drama), ‘The Musical Audition Requirements of UK Music Therapy Trainings’

• Christos Chatzispyrou (Guildhall School of Music & Drama), ’Signal Processing for the jazz electric guitar in developing sonic qualities and improvisation techniques inspired by the jazz wind instruments’

• Georgina Murphy Clifford (Guildhall School of Music & Drama)

• Matteo Dalle Fratte (Guildhall School of Music & Drama)

79 About the Royal Musical Association

The Royal Musical Association was founded in 1874 ‘for the investigation and discussion of subjects connected with the art and science of music’, and its activities have evolved to embrace all aspects of the study of any kind of music, from history, analysis, and ethnomusicology to studies of perception, reception, and practice-based research. It aims to sustain and enhance British musical culture, while fostering international links and recognizing outstanding scholarly and creative achievement by individuals worldwide, and to support the education and training of emerging scholars.

The Association’s chief activities in pursuit of these aims are the publication and dissemination of books, journals, and similar outlets for research of international standing; the promotion of conferences, symposia, study days, and other public meetings; the sponsorship of awards and prizes; the advocacy of musical studies with public and private policy-making bodies, and with repositories of musical resources; and engagement with the student body in the United Kingdom.

Council Members (Council Members are Directors of the company and Trustees of the charity).

President, Treasurer and Past Presidents Mark Everist (University of Southampton), President, 2011–2014 and 2014–2017 Valerie James, Hon. Treasurer Philip Olleson (University of Nottingham), President, 2008–2011 80 John Deathridge (King’s College London), President, 2005–2008 Hugh Cobbe OBE FSA (formerly British Library), President, 2002–2005 Sir Curtis Price (New College, Oxford), President, 1999–2002 Julian Rushton (University of Leeds), President, 1994–1999

Vice Presidents Jan Smaczny (Queen’s University Belfast), to 2016 Rachel Cowgill (University of Huddersfield), to 2017 Chris Banks (Imperial College London), to 2018 Barbara Kelly (Royal Northern College of Music), to 2019 Warwick Edwards (University of Glasgow), to 2020; RMA conferences Coordinator

Ordinary Members of Council Pauline Fairclough (University of Bristol), to 2016 Monika Hennemann (Cardiff University), to 2016 Nanette Nielsen (University of Oslo), to 2016 Justin Williams (University of Bristol), to 2016 Laudan Nooshin (City University London), to 2017 Catherine Tackley (University of Liverpool), to 2017 Simon McVeigh (Goldsmiths, University of London), to 2017 Julian Horton (Durham University), to 2018 Mieko Kanno (Royal Conservatoire of Scotland), to 2018 Michael Spitzer (University of Liverpool), to 2018 RMA Officers and Associates (Those listed below are entitled to attend Council meetings and may take part freely in discussion but may not vote on decisions) Jeffrey Dean (Birmingham Conservatoire), Executive Officer Katy Hamilton, Membership Development Officer Susan Bagust, Student Liaison Officer James Taylor (University of Bristol), Student Representative 2015–17 Nuria Bonet (Plymouth University), Student Representative 2016–18 Simon Keefe (University of Sheffield), Chair of Publications Committee Thomas Schmidt (University of Manchester), Chair of Proceedings Committee Eva Moreda Rodriguez (University of Glasgow), Convenor of the Scottish Chapter Aidan Thomson (Queen’s University Belfast), Representative to Society for Musicology in Ireland

British Forum for Ethnomusicology / Royal Musical Association Conferences Sub-Committee Liam Barnard (University of Kent) Byron Dueck (Open University) Warwick Edwards, Chair Katy Hamilton Michael Spitzer (University of Liverpool) Thomas Schmidt (University of Manchester) James Taylor (University of Bristol)

Future RMA Annual Conferences 81 University of Liverpool, Thu 7 – Sat 9 September 2017 The Edward Dent lecture will be given by Mark Katz (University of North Carolina at Chapel Hill) and the Peter Le Huray lecture by Andrea Lindmayr-Brandl (Universität Salzburg). Call for Proposals Deadline: 17.00 (GMT), Friday 25 November 2016.

The programme committee invites proposals for themed sessions (90 minutes), individual papers (20 minutes), lecture-recitals (30 minutes) and posters (A1 display sheet). For themed sessions, any format – including sound installations, performance- based presentations, composition workshops, and so on – may be proposed, as long as it fits into a 90-minute slot. The committee welcomes proposals from leading scholars and practitioners as well as early-career researchers. It also encourages poster displays, with or without scheduled question-and-answer sessions, on current projects of all kinds. The aim is to represent the entire scope of current scholarly and creative musical research.

Programme committee: Warwick Edwards (RMA / University of Glasgow), Katy Hamilton (RMA), Guido Heldt (University of Bristol), Freya Jarman (University of Liverpool), Marion Leonard (Liverpool), Lauren Redhead (Canterbury Christ Church University), Holly Rogers (Goldsmiths, University of London), Kenneth Smith (Liverpool, chair), Hae-Kyung Um (Liverpool).

Website: https://www.liverpool.ac.uk/music/RMA2017 Contact: [email protected] University of Bristol, Thu 13 – Sat 15 September 2018 Contact: [email protected]

Royal Northern College of Music / University of Mancheseter, provisionally Wed 4 to Fri 6 September 2019 Contacts: [email protected], [email protected]

Future British Forum for Ethnomusicology / Royal Musical Association Research Students Conferences ‘Exploring Musical Practice’: A multidisciplinary conference for students involved in music study, Canterbury Christ Church University, Thu 5 – Sat 7 January 2017 The organisers welcome all postgraduates studying in the UK or abroad to present research in musicology, ethnomusicology, composition, performance, sonic art, sound studies, popular music study, and any areas related to music, in a friendly and supportive atmosphere. The conference will also include a number of performances, workshops, research training, career development sessions, and opportunities to meet and connect with scholars in your area and beyond. Invited speakers include: Dr Kate Guthrie (University of Southampton), 2015 recipient of the RMA’s Jerome Roche Prize; Anna Morcom (Royal Holloway, University of London).

Call for Contributions Deadline: 30 September 2016. Submissions are invited in the following categories: 1. Innovative presentation formats (please contact the Conference Chair by 1 September about any extra information required) 2. Academic papers (10 or 20 minutes, please indicate which) (a) Research (b) 82 Composition/performance work in progress 3. Compositions 4. Themed panel sessions and symposia 5. Posters

Programme Committee: Liam Barnard (BFE / University of Kent), Erica Buurman (CCCU), Byron Dueck (BFE / Open University), Vanessa Hawes (CCCU, chair), Catherine Haworth (Director BFE/RMA Research Students Conference, University of Huddersfield 2017), Robert Rawson (CCCU), Lauren Redhead (CCCU), James Taylor (RMA / University of Bristol), Maria Varvarigou (CCCU), Matt Wright (CCCU). Website: http://www.canterbury.ac.uk/rsc2017. Contact: [email protected] Twitter https://twitter.com/rsc2017

University of Huddersfield Thu 4 – Sat 6 January 2018 Contact: Catherine Haworth, [email protected]

RMA Website www.rma.ac.uk

The RMA is a registered charity (no. 222410) and a UK limited company (Company No. 00081327). List of Exhibitors & Advertisers

• Boydell & Brewer • Brill • Cambridge University Press • Combined Academic Publishers • Liverpool University Press • Musica Brittanica • Oxford University Press • Stainer & Bell • Routledge Publishing • Yale University Press

83 Notes

84 Notes

85 Notes

86 Milton Court Floor Outline

Level 4 Rehearsal Room 3 Meeting Rooms for RMA meetings Toilets

Level 3 Toilets

Level 2 Toilets

Level 1 Milton Court Concert Hall Publisher Exhibition & Posters Refreshments Drinks Reception

Level 0 Entrance / Registration 87

Level -1 Cloakroom

Level -2 Rehearsal Room 1 Rehearsal Room 2 Toilets