power of Music ABSTRACTS

The 34th National Conference of the Musicological Society of Australia and the 2nd International Conference on Music and Emotion

Hosted by The University of Western Australia

30 November – 3 December 2011 A Colourful Conference

The ‘Power of Music’: Joint MSA/ICME Conference, 2011 stitches together a dynamic program of scholarship across a broad spectrum of disciplines. The vibrant colours of the conference program and bags illustrates the diversity of music’s power and high- lights the variety of scholarship and delegates attracted to this seminal conference.

Bazura Bags are made by a women’s cooperative using non-biodegradable juice con- tainers recycled from the landfills, fields and streets of the Philippines. The ‘Power of Music’ conference is pleased to support these efforts in cooperation and sustain- ability.

Conference program cover design: Rebecca Taylor

Published by: The University of Western Australia, Crawley, Western Australia, November 2011. power of Music ABSTRACTS

The 34th National Conference of the Musicological Society of Australia and the 2nd International Conference on Music and Emotion

Hosted by The University of Western Australia

30 November – 3 December 2011

Contents MSA President’s Welcome p2 About the Conference p4 Forums p8 Abstracts A - Z p10

Acknowledgments p3 Keynote Speakers p6 Collaboratories p9 List of Delegates p130

power of Music p 1 MSA President’s Welcome

Welcome from Jane Davidson, Conference Director and President of the Musicological Society of Australia

Welcome to The University of Western Australia (UWA) and nous bursaries; and the SEMPRE international travel awards this conference which joins together The 34th National Con- which have supported the attendance of some twelve col- ference of the Musicological Society of Australia and the leagues and students from many parts of the globe. Special 2nd International Conference on Music and Emotion. It is a thanks go to the Vice-Chancellor of UWA whose support has pleasure to host this international gathering on this beautiful facilitated venue use and whose discretionary funding has campus which is situated on Noongar land. We acknowl- generously offered support to twenty student delegates and edge that Noongar people remain the spiritual and cultural contributed to conference running expenses. Also, the Aus- custodians of their land, and continue to practise their val- tralian Research Council Centre of Excellence for the History ues, languages, beliefs and knowledge here. We hope you of Emotions is to be thanked for its support of two sessions enjoy this land and the experiences available from a stroll within this conference and the presence of one of our key- along Matilda Bay to Kings Park and beyond. note speakers. The Perth Convention Bureau has provided funding for some of our guest speakers and The University Music is a crucial technology used to regulate moods and Club of Western Australia has kindly opened its doors to our actions of both self and others. Its ‘power’ is experienced delegates during their stay. The Co-op Bookshop (UWA) has as a pervasive and crucial form of human communication coordinated the trade display from a range of local, national and expression. At this conference, music’s many different and international publishers and we also acknowledge the contexts are to be explored and investigated. Delegates from School of Music at UWA which has generously allocated ad- more than twenty-nine countries are in attendance, repre- ministrative support to this event. senting many sub-disciplines of music scholarship including music perception and cognition, sociology of music, ethno- This conference has been in preparation for some twelve musicology, music education, music therapy, music analysis months and would not have been possible without the hard and historical musicology. We are delighted to have keynote work of the MSA Executive and the MSA Awards Chair, sup- presentations from Professor Nicholas Cook (University of ported by the unerring work of the local conference teams. Cambridge), Professor Andrew Lawrence-King (Australian Research Council Centre of Excellence for the History of Special gratitude goes to Kaye Hill for her meticulous man- Emotions, Guildhall School of Music and Drama, Royal Dan- agement of the entire program of events, for without Kaye ish Academy of Music), and Associate Professors Dorottya this conference simply could not have happened. Final Fabian and Emery Schubert (both from The University of thanks go to Michael Spitzer (University of Liverpool) for New South Wales). having developed and hosted the First International Confer- ence on Music and Emotion at Durham University, United This conference could not have happened without the gen- Kingdom, in 2009. erous support of: the MSA Student and Indigenous Travel Grants Scheme which has funded some thirty-five Australian I hope you enjoy your time in Western Australia. and New Zealand student delegates, including two indige-

MSA President’s Welcome p 2 Acknowledgments

Conference Conference MSA Awards Committee Technical Chair Team John Phillips. Kaye Hill (Manager), Kaye Hill (Manager), Patricia Alessi, Jesse Stack, Mary Broughton, Sponsors and Pip White. Jane Davidson, Supporters Brian Dawson, Vice-Chancellor, Andrea Emberly, UWA School The University Robert Faulkner, of Music of Western Australia Jonathan McIntosh, Administrative Esmeralda Rocha, Support School of Music, Victoria Rogers, Sarah Brittenden, The University David Symons. Karen Sainsbury. of Western Australia Academic Selection ARC CHE Australian Research Panel Administrative Council Centre Support of Excellence for the History of Emotions Jane Davidson, Pam Bond, Andrea Emberly, Erika Von Kaschke. SEMPRE: Jonathan McIntosh, Society for Education, Jon Prince, Music and Psychology Esmeralda Rocha, Conference Research Victoria Rogers, Helpers David Symons. Joshua Bamford, Perth Convention Conference Selena Clohessy, Bureau Administrative Elsie Gangemi, Team Trevor Hill, The University Nikki Man, Club of Western Freya Petersen, Australia Kaye Hill (Manager), Laura Pitts, Brian Dawson, Amanda Probst, The Co-op Sophie Field, Thea Rossen, Bookshop Rebekah Prince. Janelle Terpstra, (UWA) Ruth Thomas, Olivia Thorne, Ruth Wise, Sharon Wong.

Acknowledgments p 3 About the Conference

The ‘Power of Music’, hosted by The University of Western Venues Australia (UWA) brings together The 34th National Conference of the Musicological Society of Australia (MSA) The historic and picturesque Crawley and the 2nd International Conference on Music and Emotion campus of The University of Western (ICME). This unique three-way partnership has resulted Australia is home to the conference. in a program that is wide in scope and diverse in activity, The University and its gardens are featuring events which otherwise would not be available in ideally positioned on the shores of the a single location: Swan River, overlooking Matilda Bay • The prestigious 2011 Callaway Lecture which serves and in close proximity to the city of as the opening keynote address and which honours Perth. the late Sir Frank Callaway (1919-2003), a leading international figure in music education in the second The conference venues, all with mod- half of the twentieth-century and the Foundation ern facilities, are distributed across Professor of Music at UWA; three buildings within easy-walking • More than 200 conference presentations from a broad distance from one another: the Arts range of disciplines with strong international, national building, the Social Sciences building, and local content, including fifty poster sessions; and the Music building. More detail, • Two collaboratories emanating from the Australian including maps, can be found in the Research Council Centre of Excellence for the History Program booklet. of Emotions at UWA;

• Two participatory forums – the Gender and Sexuality Forum, and the Indigenous Music Think Tank – both hosted by the MSA.

More information on these events can be found in this Ab- stracts book.

About the Conference p 4 Hospitality Computers, Internet, Using the Conference and Printing Abstracts and Program Conference registration includes morning and afternoon teas as well Delegates requiring access to comput- Information about this conference is as lunch. Dietary requirements nomi- ing facilities are invited to use the Arts presented in two publications: the nated at the time of registration have computer laboratory 1.54 in the Arts Abstracts book; and the Program been catered for. Delegates wishing building. Please note that printing is booklet. to purchase coffee, refreshments and not available from these computers, meals from the modern café facilities but can be accessed through our on- The Abstracts book presents all of the neighbouring University Club campus commercial printing service, abstracts in alphabetical order by the have been granted complimentary UniPrint (www.uniprint.uwa.edu.au or surname of the first-named author of membership for the duration of the phone 6488 4289). the presentation. For a schedule of conference. Access is also available session times, refer to the Program to the Club Restaurant, but bookings For those with laptops Wi-Fi access is booklet and index. are essential (phone: 6488 8770). A available in two ways: temporary Club membership card is • Eduroam, a federated-service included in each conference pack. allowing personnel from TIP: where authors are participating institutions to represented in two or more Two special events are available to connect to the internet via UWA’s presentations, taking note of delegates who nominated attendance wireless network using their the ID number in the Abstract at the point of registration: the Wel- credentials from their home book will help find the correct come Reception immediately after the institution; session in the Program booklet Callaway Lecture/Opening Keynote on • Access to the University’s and its index. Wednesday evening, 30 November; conference Wi-Fi network using a and the Conference Dinner at nearby temporary login. St. Catherine’s College on the evening The Program booklet provides an of the conference conclusion, Satur- Further details on computers, Internet overview of the conference sessions, day 3 December. and printing is available from an infor- together with information on venues, mation sheet in the conference pack. and a comprehensive index to Information about local eateries is in- identify the session times of specific cluded in the conference pack. Assistance presentations that interest you.

Team members wearing Conference T-shirts will gladly assist you during your time at the conference.

About the Conference p 5 Keynote Speakers

The ‘Power of Music’ conference is delighted to welcome Nicholas Cook four esteemed scholars to deliver the program’s keynote University of Cambridge, United Kingdom sessions. Professor Nicholas Cook from the University of Cambridge delivers the opening keynote address for the Nicholas Cook took up the 1684 Pro- conference, the Callaway Lecture. Proudly supported by the fessorship in the Faculty of Music, Callaway Family this annual lecture series honours The Uni- University of Cambridge in 2009. He versity’s Foundation Professor of Music, Sir Frank Callaway. was formerly Professorial Research Fellow at Royal Holloway, University of Renowned Harp virtuoso, Professor Andrew Lawrence- London, where he directed the AHRC King, launches the first full day of sessions with the sec- Research Centre for the History and ond keynote address, and the final day of the conference Analysis of Recorded Music (CHARM), program begins with keynote addresses from internationally and before that taught at the universi- recognised musicologists, Associate Professors Dorottya ties of Hong Kong, Sydney, and South- Fabian and Emery Schubert. ampton, where he also served as Dean of Arts. A musicologist and theorist, he holds separate degrees in music and in history/art history. His articles have appeared in leading British and Ameri- can journals, and cover topics from aesthetics and analysis to psychology and pop. A former Editor of the Jour- nal of the Royal Musical Association, Nicholas Cook was Chair of the Music Panel in the Higher Education Funding Councils’ 2001 Research Assessment Exercise. He is a Fellow of the British Academy and of the Academy of Eu- rope.

Date: Wednesday 30 November 2011

Times: 6.30pm

Venue: Social Sciences Lecture Theatre

Session #: 1A

Keynote Speakers p 6 Andrew-Lawrence King Dorottya Fabian Emery Schubert Guildhall School of Music and Drama, The University of New South Wales, The University of New South Wales, United Kingdom Australia Australia The University of Western Australia, Australia Dorottya Fabian is a musicologist re- Emery Schubert is Associate Profes- Royal Danish Academy of Music, searching the stylistic history of mu- sor in the School of English, Media Denmark sic performance as evidenced on and Performing Arts at the University Early Harp virtuoso, imaginative sound recordings. She was born and of New South Wales in Sydney, Aus- continuo-player, Baroque opera and educated in Hungary, graduating from tralia and Co-leader of the Empirical orchestral director, Andrew Lawrence- the Ferenc Liszt Academy of Music in Musicology Group. His research in- King is one of the world’s leading per- 1984. She moved to Australia in 1986 terests are concerned with the ‘sci- formers of Early Music and the most and obtained post-graduate qualifica- entific’ study of aesthetics, including recorded harpist of all time. He has tions at The University of New South measuring and predicting emotional directed opera and chamber mu- Wales where she currently lectures responses to music continuously. He sic at La Scala, Milan; Sydney Opera in music history and research meth- is on the Editorial Board for Empirical House; Casals Hall, Tokyo; Berlin, ods and serves (from 2012 onwards) Musicology and Journal of New Music Vienna and Moscow Philharmonics; as Post-Graduate Co-ordinator of the Research and is a founding member of New York’s Carnegie Hall and Mexico School of English, Media and Perform- the Australian Music and Psychology City’s Palacio de Bellas Artes. Ac- ing Arts. Recently she spent a year at Society (AMPS). colades include a UK Gramophone Cambridge University as Visiting Fel- Award, German Echo Prize, Dutch Edi- low to Clare Hall where she worked Date: Saturday 3 December 2011 son Award, US Noah Greenberg Prize on two forthcoming books: an edited Times: 9.00am and the 2011 Grammy for ensemble volume on expressiveness in music Venue: Social Sciences Lecture Theatre performance directed by Jordi Savall. performance (co-edited with Renee Session #: 4A Senior Research Fellow at The Uni- Timmers and Emery Schubert) and versity of Western Australia, Professor a monograph on studying music per- at London’s Guildhall School, and at formance and recent trends in playing the Royal Danish Academy of Music, solo Bach on the violin. In 2010 she Andrew investigates and teaches early was elected Fellow of the Australian harps, medieval music-drama and ba- Academy of Humanities. roque opera. His ensemble, The Harp Consort, combines period detail with Date: Saturday 3 December 2011 stylish improvisation and entertain- Times: 9.00am ing stage presentation. Together with Venue: Social Sciences Lecture Theatre dancer/guitarist Steven Player, he has Session #: 4A founded Il Corago, a production team for early opera.

Date: Thursday 1 December 2011

Times: 9.00am

Venue: Social Sciences Lecture Theatre

Session #: 2A

Keynote Speakers p 7 Musicological Society of Australia Forums

MSA’s forums and think tanks are Gender and Sexuality Forum Indigenous Music Think Tank sites of open discussion in which all ‘The socially transformative power of music’ Chairs: Katelyn Barney and Aaron Corn Chair: John Phillips delegates are welcome to share their The Indigenous Music Think Tank will experiences and insights on an aspect The purview of ‘gender studies’ has provide the opportunity to discuss cur- of our discipline in a characteristically been redefined in recent years in rent research practices and issues Australian, informal atmosphere. light of the growing realisation that relating to the study of Indigenous gender and sexuality are only two of Australian music. The Think Tank will the many components involved in the also explore ways to further improve performance of personal identity. A Indigenous participation in MSA con- moment’s reflection reminds us that ferences and will provide a forum to music can play a huge role in these consider funding avenues and col- performances. This year’s Gender and laborations between Indigenous and Sexuality Forum will take as its theme non-Indigenous music scholars. All music’s power to create sites of radi- conference attendees with an interest cal, yet safe social interaction that can in Indigenous music making are wel- transcend and transform potentially come. divisive representations of identity such as sexuality and gender, but also Date: Friday 2 December 2011

race, class, age, etc. If it is true that Times: 6.00-7.00pm

‘music gives us a real experience of Venue: Music – Tunley Lecture Theatre what the ideal could be ... constructs our sense of identity through the direct experiences it offers to the body ... de- fines space without boundaries’ (Frith, 1996), we may all be aware of musical representations, ‘ideal yet real’ spac- es, that bring people together across boundaries of otherwise divisive class, race, gender. All are welcome to con- tribute to the broad discussion theme of music’s power to socially transform.

Date: Thursday 1 December 2011

Times: 7.30-9.30pm

Venue: Music – Tunley Lecture Theatre

Musicological Society of Australia Forums p 8 performance Collaboratory

The ARC Centre of Excellence for the History of Emotions presents:

“The power of music” Date: 1 December 2011 Date: 2 December 2011 Time: 14:00 Time: 09:00 Venue: Alexander Lecture Theatre, Arts Faculty, Venue: Alexander Lecture Theatre, Arts Faculty, University of Western Australia University of Western Australia

Music and mourning Text, rhythm, gesture: emotional meaning and communication in sacred and theatrical In this one and a half hour collaboratory, participants will discuss the role of music in mourning rituals across time and culture. Key European music, 1600-1750

questions include: How do we use music to modify our thoughts Presented in two parts, this three hour session is based on the and feelings about loss? How did we do it in the past and how we collaboratory practices adopted in Science. European vocal will do so in the future? This collaboratory will investigate the use of music (specifically Italian, French, German and English) created music in a variety of ceremonial and formal contexts as well as more for sacred and theatrical contexts, spanning the period 1600- family-oriented and personal contexts that surround mourning. This 1750 is investigated focusing on practices for conveying emotion discussion is timely, considering the following: i) Our knowledge of through musical means. Inevitably, this project reassesses previous the strong emotional use and function of music in previous times views on ‘authentic’ meaning and performance practices in and cultures; and ii) The power of music in everyday experiences light of new insights from readings of historical documents on across cultures to generate as well as regulate intense emotional philosophy, the science of music, performance etiquette, gesture experiences – offering the opportunity for expression as well as and poetry. The central focus will be to investigate what sorts of social affiliation between peer groups. The discussion will include communication were intended for affective outcomes at the point historical investigations to explore the use and function of music of composition and how these intentions were realised. Discussion for mourning across different periods and places (1600 to present will go on to explore the means through which contemporary day) focusing mainly on European heritage. It will also include twenty-first-century performers can achieve convincing emotional presentations drawing out the relevance of music to mourning in communication of the repertoire, making it meaningful to contemporary Australian Society by looking at Indigenous and contemporary audiences. In this session, there will be formal migrant cultural groups through anthropological investigations. contributions from top international researchers and practitioners: The session will also explore experimental approaches that have Emeritus Professor David Tunley; Dr Andrew Lawrence-King; employed several kinds of survey techniques and are based on Dr Rosalind Halton; Dr Janice Stockigt; Dr Alan Maddox and Dr psychology research paradigms. Samantha Owens. performance change shaping the meanings modern www.emotions.uwa.edu.au

Emotions make history Hallgjerd Aksnes University of Oslo, ABSTRACTS Norway Svein Fuglestad A-z Oslo University College, Norway

Client vs. control imagery in GIM: can music therapy research teach us about everyday music listening?

✢ ✢ ✢

The paper is based on a comparative study of transcrip- tions from 58 GIM (Guided Imagery and Music) sessions – a music-therapeutic method in which clients listen to selected music programs, focusing upon the imagery evoked by the music. We have established a linguistic corpus to facilitate the comparison of the transcriptions, which contain a vast amount of data. In this sub study the imagery reported by clients who have sought GIM to alleviate psychological dis- tress, is compared with the imagery of a control group par- ticipating in GIM sessions without therapeutic aims. (Prob- lems pertaining to the demarcation of musical images are to be discussed in the paper.) All of the subjects – 5 clients, 5 controls – listened to the same order of GIM music pro- grams, being offered 6 GIM sessions each; all conducted by the same GIM therapist, following the same procedure. This study is a follow-up on several earlier findings that clinically depressed subjects tend to focus more upon dark, sad, or sinister imagery than healthy subjects. Another aim of the study is to investigate how relevant GIM transcriptions are to the understanding of everyday music listening. In earlier studies we have found that when invited to focus on visual imagery, higher level music and musicology students (who are often taught to refute visual associations as ‘naïve’) have reported elaborate, ‘GIM-like’ visual imagery also within neutral, non-GIM listening contexts. Thus, although the GIM setting is more focused upon imagery than non-therapeutic music listening, we believe that ‘GIM-like’ visual imagery also plays a significant role in many everyday musical ex- periences.

Keywords: GIM (guided imagery and music); musical imagery; linguistic corpus; cognitive metaphor theory; GIM imagery vs. everyday musical experience

Format: Single paper (#110)

Conference Abstracts p 10 A. Bulent Alaner Christopher Alomes Anadolu University, University of Tasmania, Turkey Australia

The role of Turkish modes used in musical Do as I do, not as I say: the influence therapy: a document analysis in terms of musical recordings on learning of historical musicology ✢ ✢ ✢ ✢ ✢ ✢ The power of musical recordings to influence learning and Throughout history people have used music for various pur- interpretation of musical works can clearly be shown in the poses such as religious rituals or the expression of emotions following paper, with findings that have a potentially large such as anger and happiness. One of the fields where mu- impact on even the most rudimentary aspects of the music sic has been used successfully is in the therapy of mentally learning process. Understanding the influence that musi- handicapped people. The use of music this way, especially cal recordings have on music students can help to shape with children, was an approach used in the Ottoman Em- and inform practice and teaching methods. As recordings pire. The modes (makams) that were used played an im- have increasingly become an indispensible part of the music portant role since each mode might have a different effect learning process, it is surprising that there has been little to on the specific malfunction. Thus, the aim of this paper is no research done in this area, specifically on the degree of to present how the Turkish musical modes were used in the their influence on tertiary music students and the learning therapy of mentally handicapped children during the Otto- process. Examined is the extent to which musical record- man Empire. This presentation will focus on an analysis of a ings influence the way music is learned and reproduced, document by Gevrekzade Hasan Efendi, who was the head specifically the impact that listening to a recorded version Doctor of the Ottoman Palace during the reign of Sultan Se- of a piece of music has on the student asked to learn and lim III. In order to reflect the power of music in the therapy of perform it. It was hypothesised that listening to errors and mentally handicapped children, 23 Turkish musical modes non-notated rubato in a piece of music would influence the identified in the document are presented together with their learning process of the student and the features of their purposes and fields of treatment. Through this analysis the subsequent performance. An experiment was designed and researcher aims to contribute to the understanding of the undertaken to test this, with the results highlighting a new role of music in the therapy of children as well as present- level of importance of musical recordings in the learning ing a viewpoint about the power of music in the therapy of process. The ideas and findings of this work have important mentally handicapped children. implications for music educators, students, and the institu- tions they inhabit. A change is needed in the way we listen Keywords: music therapy; musicology; Turkish modes; music therapy in to musical recordings, bringing to bear a more well-informed children; power of music in therapy and objective filter. This finding alone may have a significant Format: Single paper (#57) impact on the learning process – an impact that has not been analysed until now.

Keywords: musical performance; neuroscience; musical recordings; tertiary- level learning; performance creativity

Format: Mini-presentation (#260) and Poster (#260P)

Conference Abstracts p 11 Lucy Bailes Jane Balme The University of Newcastle, Sandra Bowdler Australia The University of Western Australia, Australia

Getting it together: an examination of The archaeology of music, performance and co-artists’ body language in performances the earliest expression of emotion of ‘Morgen’ by Richard Strauss ✢ ✢ ✢ ✢ ✢ ✢ Music is common to all historically and ethnographically As a singer, I am acutely aware of a performer’s need to known human societies. Where musical instruments are use reflex and intuition to relate to co-performers on stage. simple or even lacking altogether, humans sing and dance. But we often fail to notice the intricacies of how we per- This universality in itself suggests the significance of mu- form and how we relate to other co-artists. By analysing our sic to our species, and its power in our lives. Anatomically gesture, breath, stance, gaze and expressions we can be- modern humans (AMHs) appeared in Africa sometime be- gin to explore the symbiotic relationship between co-artists tween 200-100,000 years ago and then spread throughout on stage. I plan to highlight and examine these behaviours the world from about 80,000 years ago. While the precise in both their intuitive and rehearsed forms within ‘Morgen’ timing of this is controversial, less controversial are the sug- by Richard Strauss. The genre of Lieder itself implies an gested dramatic behavioural changes that emerge with equal performance partnership and the exquisitely difficult, AMHs. Prime amongst these is the earliest incontrovertible interwoven melodies of ‘Morgen’ require highly developed evidence for symbolic behaviour represented by, for exam- communication and ensemble in both performance and in ple, personal ornament, art, trade networks and deliberate rehearsal. To deconstruct these behaviours, I will film and burial. We have previously argued that some of this symbolic compare a sequence with five different pianists. Each se- evidence demonstrates the emergence of social institutions quence will be made up of an unrehearsed performance, a such as gender and kinship systems. Here we suggest fur- rehearsal and finally a rehearsed performance of ‘Morgen’. ther that such social institutions not only have to be able to I will highlight key behaviours in the observed performance be described but have to be supported with symbolic com- of both the pianists and myself that will develop our under- munication by ritual performance in all present day socie- standing of successful co-artist partnerships. ties. We argue that one of the characteristics of music is, by its very nature, performance, as sounds can only be ‘music’ Keywords: performance; rehearsal; gesture; partnership; stage craft when they are in the context of performance. We link the Format: Mini-presentation (#103) and Poster (#103P) earliest evidence for music with the earliest evidence for rit- ual and argue further that, as early AMH burials provide evi- dence for emotional response to the dead, the emergence of music is associated with the earliest evidence for emotion.

Keywords: archaeology; anatomically modern humans; antiquity of music; antiquity of evidence for emotion; music and ritual

Format: Single paper (#164)

Conference Abstracts p 12 Daniel Bangert Nicholas Bannan Dorottya Fabian The University Emery Schubert of Western Australia, The University Australia of New South Wales, Australia

Inside intuition: a case study of musical The evolution of psalm singing in western decision-making liturgy: case studies in the invention of a performance practice tradition ✢ ✢ ✢ ✢ ✢ ✢ The interpretation of a notated score involves a complex process of musical decision-making. When asked to explain Psalm singing and the solution of musical problems associ- these processes, musicians often refer to concepts such ated with the liturgies based upon it have played a central as musical intuition in contrast to more analytical, deliber- part in the development of Western Art Music and Judaeo- ate methods of decision-making. Through a case study of Christian religious observance as these have spread across a professional period cellist, this paper examines the na- the world, especially in the globalising migrations of the ture and role of intuitive and deliberate processes of musical last two centuries. Traditional accounts of the continuity of decision-making in historically informed performance. Con- the chant traditions of the early church have begun to be ducted over two years, the case study traces the develop- revised as forensic musicology has assembled documen- ment of a musical interpretation of the Suites for Solo Cello tary evidence of the development of the varying practices by J.S. Bach. Retrospective think-aloud data were collected through which psalmody has retained a function in the lit- through a process of repeatedly viewing video footage of urgy over the last two thousand years. Two choirs have been performances. These data were coded using interpretative formed in Perth during the last five years that have had to phenomenological analysis (IPA) to identify intuitive and establish from scratch the capacity of their members to sing deliberate methods of decision-making. Overall, deliberate psalms within the traditions of Anglican chant. This poster decision-making accounted for approximately two thirds of illustrates, with reference to the often contentious debate all musical decisions raised by the performer, although de- in the church music literature, the issues of performance liberate decisions directly informed by historical information practice that need to be addressed in order for a living chant were only identified in a small number of cases. Intuitive tradition to become established. Additionally, consideration processes were categorised as being responsible for the re- is given to the pedagogical function that chant performance maining one third of musical decisions, and a proportion of may play in the formation of a choir’s distinctive sound as a these decisions described the use of procedural knowledge, form of collective creativity. suggesting that the performer had assimilated or built-in various aspects of their interpretation through practice. The Keywords: chant; psalm; choir; pedagogy; performance paper defines intuitive and deliberate methods of decision- Format: Poster (#45) making through recent psychological literature on intuition and dual process theories of cognition, and compares this literature with writings by performers.

Keywords: music performance; Bach; decision-making; intuition; phenomenology

Format: Single paper (#276)

Conference Abstracts p 13 Nicholas Bannan Linda Barcan The University Edith Cowan University, of Western Australia, Australia Australia

John Blacking’s Te Deum : revealing the Mozart tenor arias and tessitura creative voice of an academic ✢ ✢ ✢ ✢ ✢ ✢ Tessitura is a term used to define the prevailing range of The social anthropologist John Blacking trained as a Cathe- notes in a vocal line. It may be used in reference to a singer’s dral chorister and piano soloist prior to pursuing the career voice, a song or a role. Tessitura is distinct from range, which in ethnomusicology for which he is best known. Research describes the entire compass of a voice or piece, from low- into the archive he bequeathed to The University of West- est note to highest. When assigning repertoire to a student ern Australia has revealed a small but significant corpus of of singing, it is advisable for a voice teacher to match the Blacking’s compositions, on which it appears he continued tessitura of the singer with the tessitura of the song. Modern to work during his period of residency in South Africa prior technology may aid the voice teacher in making appropriate and subsequent to his fieldwork with the Venda. Outstand- repertoire choices using the tessiturogram, a computer-gen- ing amongst these works is the a cappella setting of the Te erated graph which displays the frequency and duration of Deum, assumed to be written for the choir at the University note occurrence within a piece. Inspired by Titze’s analysis of Witwatersrand. The work proved difficult to perform: a of the tenor aria from Don Giovanni, ‘Il mio tesoro intanto’, hand written note on one copy in the archive tells of the this research uses the tessiturogram to analyse key Mozart need to provide an organ part. This session aims to pre- tenor arias and to rate them according to degree of difficulty. sent Blacking’s Te Deum through analysis supported by live Many of these arias lie in the passaggio zone, an area of reg- performance with the intention both of illuminating stylistic ister transition which requires advanced technical skills to features of the work itself, and of illustrating questions of ed- negotiate. The advisability of giving such arias to young male itorial judgement and performance practice that have arisen tenors in their original key is therefore explored. Using this in preparing the work for publication. The presentation will analysis as a basis, a light-hearted hypothesis is formed as conclude with a complete performance of Blacking’s work to why Mozartian tenor roles are considered to be ‘boring’! by The Winthrop Singers led by Associate Professor Nicho- las Bannan. Keywords: tessitura; passaggio; tessiturogram; repertoire choice; Mozart tenor arias

Keywords: performance; Blacking; Te Deum ; choir; style Format: Poster (#145)

Format: Performance (#212)

Conference Abstracts p 14 Katelyn Barney Kerry Fletcher Arya Bastaninezhad The University of Queensland, Songwriter, Monash University, Australia Australia Australia Julie Rickwood Australian National University, Australia

Singing sorry: performing emotion and Acquiring competence in learning to reconciliation in Kerry Fletcher’s Sorry Song perform a new piece: the traditional Iranian and the modern Lotfian methods compared ✢ ✢ ✢ ✢ ✢ ✢ Musician and songwriter Kerry Fletcher wrote Sorry Song in 1998 and since then it has been performed by many choirs This paper focuses on the use of the modern Lotfian peda- across Australia. The song has become an anthem for rec- gogical method used in teaching students to learn to play a onciliation in Australia because it calls for a formal apology new piece in the Music School of Tehran Arts University. It to Indigenous Australian people for the injustices suffered compares the Lotfian method with the mainstream tradition- through colonisation. Both Aboriginal and non-Aboriginal al method which is based on the master-pupil relationship. musicians describe the powerful emotions they experience The Lotfi’s method aims at greater efficiency in acquiring when performing the song. After the National Apology to the musical competence. However, some modern teachers and Stolen Generations occurred in 2008, Fletcher added a new performers regret the associated decline in the students’ verse to the song to celebrate the Apology. This roundtable ability to learn the Radif (Persian music repertoire). A dem- explores how Kerry Fletcher’s Sorry Song captures the emo- onstration of the two methods applied to learning a new tions surrounding the Apology and how the song attempts piece played on the Ney, a Persian flute, will illustrate the to enable and strengthen healing processes for Indigenous merits and demerits of the two methods. and non-Indigenous Australians. We also consider the ways the song provides a platform for recognition and education Keywords: Iranian; traditional; Lotfian; pedagogy; compared about Australia’s colonial history and the ways the song Format: Single paper (#12) makes space for relationships and collaboration between In- digenous and non-Indigenous Australians to occur. Facilitat- ed by Barney and Rickwood, the roundtable will begin with a performance of the song by choir Madjitil Moorna, and will be followed by short presentations by members of the panel and conclude with a participatory element. Fletcher will reflect on the process of writing Sorry Song and her own emotional experiences performing it; Barney will discuss how the song is being used as an educational tool for teach- ing people about the Stolen Generations; Rickwood will ex- plore how Sorry Song facilitates reconciliation through com- munity music making; and Indigenous and non-Indigenous members of Madjitil Moorna will discuss their experiences of singing the song. Finally we will open up discussion between the panel and the audience about the emotional power of music and the ways songs like Sorry Song (www.sorrysong. com.au) can promote healing and break the silence about the history of Stolen Generations.

Keywords: community singing; reconciliation; Stolen Generations; healing; music and politics; race relations

Format: Roundtable (#19)

Conference Abstracts p 15 Nena Beretin Laura Bishop University of New England, Freya Bailes Australia Roger T. Dean University of Western Sydney, Australia

‘I want to be a soldier too’: the power of opera Musical expertise and the planning as propaganda during the cultural revolution of expression during performance

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In China during the Great Proletarian Cultural Revolution Expert musicians are precise but flexible in their use of per- from 1966 to 1976, under the dictatorship of Mao Tse-Tung, formance expression and better able to communicate their opera and all the arts were primary vehicles for the dissemi- intentions than non-expert musicians. They often say that nation of political, social and moral attitudes to a nation of the ability to imagine a desired sound is integral to expres- 800 million people. Mao’s cultural policy commanded that sive performance. Research suggests that musical imagery art and literature should serve the proletariat – the workers, abilities improve with increasing musical expertise and that peasants, and soldiers. In keeping with this policy, Mao op- online imagery may guide expressive performance when posed the elaborate and grand productions of the traditional sensory feedback is disrupted. However, both the effects Peking Opera and denounced this art form as feudalistic of sensory feedback disruption on online imagery and the and bourgeois. Mao’s wife, Jiang Qing, a former professional relationship between online imagery ability and musical ex- stage and screen actress, was one of the driving forces of pertise remain unclear. This study tests the hypotheses that the Cultural Revolution. Madame Mao’s reformation of tra- imagery can occur concurrently with normal performance, ditional Peking Opera was seminal to the modernisation of that imagery ability improves with increasing musical exper- Chinese popular culture and the dissemination of ideas ap- tise and that imagery is most vivid when auditory feedback proved by the regime. The transformation of Peking Opera, is absent but motor feedback present. Auditory and motor a national genre, was of particular significance because the feedback conditions were manipulated as pianists per- modernisation of this extremely popular art form would lead formed two melodies expressively using the score. Dynamic to the transformation of China’s literature and visual arts. and articulation markings were periodically introduced into This paper focuses on the interactions between Communist the score and pianists indicated verbally whether the mark- ideology, art and politics in the construction of a new art ing matched their expressive intentions while continuing to form. By selecting thematic examples from traditional Pe- play their own interpretation. MIDI pitch, duration and key king Opera, I will discuss the significant changes in the five velocity data were collected for comparison against baseline operas, two ballets and one symphony personally approved performances, given under normal feedback conditions us- by Jiang Qing. For ten years, these approved operas were an ing scores devoid of expressive notation. Preliminary analy- integral part of a revolutionary and modernising project pro- ses suggest that, as expected, expressive profiles are most moted by the Communist Party. It was propaganda as art. accurately replicated under normal feedback conditions, but that imagery is most vivid in the absence of auditory Keywords: great proletarian cultural revolution; Jiang Quing; communist feedback. The improvements to online imagery ability ex- ideology; model operas; propaganda pected to co-occur with increasing musical expertise, if ob- Format: Single paper (#187) served, will support the idea that enhanced imagery abilities contribute to expert musicians’ extraordinary control over expression.

Keywords: musical imagery; expertise; sensory feedback; expression; planning

Format: Single paper (#134)

Conference Abstracts p 16 John Bispham David Bollard Macquarie University, University of Tasmania, Australia Australia

The human motivation for music Human distress and suffering: a musical perspective ✢ ✢ ✢ ✢ ✢ ✢ This paper explores the question of what motivates us to make music. Within a framework of evolutionary theory a It is difficult, if not impossible, to describe, explain or ex- broad comparative perspective on ‘musical motivation’ is press the direct musical experience, simply because there presented with a particular emphasis on the predominantly is no true equivalent to that experience, whether in terms social and interactive nature of musical engagement world- of composing, performing or listening. Charles Baudelaire wide. Arguing against views of music as being primarily compared music to the sea in one of his poems (La Mu- functional in expressing emotion, the functionality of music sique) from his masterpiece Les Fleurs du Mal: the free is instead seen to be rooted in individual, interactive and rhymed and scanned translation by Professor Laurence group emotion-regulatory processes. In accordance with Lerner skilfully captures the spirit of the original, revealing previous comparative approaches on ‘musical pulse’ and in the final couplet the exact connection between human ‘musical pitch’, areas where the motivation for music ap- distress and this particular utterance. The oft-stated view pears psychologically and/or functionally distinct from other that music has the power to express a wide variety of human human and animal communicative behaviours are high- emotions, and differs from the other arts in the directness lighted. The view is presented that ‘music’ delineates itself and simplicity with which it moves us, leads us to conclude from other communicative behaviours in that it is intrinsi- that perhaps the latter utilise more cerebral processes in cally motivated towards achieving a group convergence of their transmission than does music: ideas rather more than context-appropriate affective states. Finally, the relevance of emotions. There follows a select list of 20 composers who all this perspective to debates on the evolutionary and modern- experienced profound distress and suffering in their profes- day functionalities of music is briefly discussed in terms of sional – and especially personal – lives, ranging from Bach an individual’s ability to function within a group and in terms and Handel to Bartók and Shostakovich. They are presented of the biological costs of emotion regulation and social en- in chronological order of birth dates, and details of their in- gagement. dividual situations are provided. During the presentation I introduce pertinent musical examples which illustrate the Keywords: music; motivation; emotion; emotion regulation; evolution ways whereby three vastly contrasted creators expressed Format: Single paper (#262) their feelings about human distress and suffering. The com- posers represented are Enrique Granados, Franz Schubert and Anton Bruckner; the historical background and context place the music in an appropriate setting.

Keywords: suffering; description; literature; mourning; communication

Format: Single paper (#44)

Conference Abstracts p 17 Sophie Boyd-Hurrell Mary Broughton The University of Melbourne, The University Australia of Western Australia, Australia Catherine Stevens University of Western Sydney, Australia

Two ‘torn halves’: understanding Adorno’s Deconstructing solo marimbists’ bodily critique of popular music expression through effort-shape analysis

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We all know what’s wrong with Adorno. He is a left-wing As a sonic phenomenon, the power of music to communi- elitist, an ill-informed snob and a champagne-sipping pessi- cate and connect within, and across cultures is well estab- mist. Within both musicology and the social sciences Theo- lished. However, musicians’ expressive bodily movement, dore Adorno’s ideas have served as a convenient scapegoat as the silent aspect of musical performance, can powerfully against which an apparently more progressive engagement influence our perception of musical attributes, and commu- with popular culture can be neatly juxtaposed. Within Ador- nicate performers’ expressive and emotional intentions to an no’s vast output of music sociology, it is his essays on jazz audience. Decoding the communicative mechanics of per- and popular music that have attracted the most critical at- formers’ expressive bodily movements has proved a com- tention. Despite the fact that Adorno’s work on jazz is both a plex issue. In this paper Laban Movement Analysis, specifi- tiny and methodologically uncharacteristic slice of his work, cally effort-shape analysis, is offered as a system to study it is nonetheless presently the main point of entry into his musicians’ bodily expression. It proposes others’ intentions writing on music. This paper argues that Adorno does not are manifest in expressive bodily activity and understood seek to patrol the border between the popular and high arts. through shared embodied processes. Sixteen audio-visual Rather, for Adorno, the traditional separation of high and low excerpts of marimba pieces performed by two professional arts no longer carries any meaning, as the separation of gen- solo marimbists’ (female and male) served as stimuli. In- re is now driven by the culture industry and represents little ter-judge reliability for effort-shape analyses was assessed more than marketing innovation. Art music’s autonomous through three different tasks: 1) verification task, 2) inde- status is, for Adorno, paramount, as it is only autonomous pendent analysis task, and 3) signal detection yes/no task. art that is able to forge a creative space outside the reach Professional musicians, two percussionists, a violinist, and of instrumental reason. This paper explores Adorno’s char- a French hornist, acted as raters. High inter-judge reliability acterisation of ‘high’ and popular forms as the ‘torn halves was observed for transformation drive and shape, but not of an integral freedom, to which, however, they do not add basic effort action, components of the system. Mixed inter- up’, offering some Adornian speculations on the possibility judge reliability results for basic effort actions and, differ- for popular music to signify something other than capital’s ences between frequency observations, point to differences triumph over human experience. in observer’s embodied expertise, task implementation, and training issues. Effort-shape analysis may potentially drive Keywords: Adorno; aesthetics; popular music; jazz; capitalism comparative and predictive research of a fine temporal grain Format: Single paper (#250) regarding musicians’ bodily expression maintaining ecologi- cally-valid performance sequences.

Keywords: bodily expression; music performance; embodied processes; Laban movement analysis; inter-judge reliability

Format: Single paper (#136)

Conference Abstracts p 18 Reuben Brown Pamela Bruder The University of Sydney, The University of Melbourne, Australia Australia; and Emmy Monash Aged Care, Australia

Singing and dancing them into the ground: Ageing, attunement and transformation: the role of kun-borrk song in facilitating the role of song in changing states the repatriation of bones to Kunbarlanja of consciousness and enabling meaningful (Oenpelli), 2011 human connection

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In 1948, American anthropologist Frank Setzler took bones My PhD research investigates individual transformation for from Injalak Hill during his stay at Kunbarlanja (then known people living in a residential aged care institution, through as Oenpelli) as part of the American-Australian Scientific their participation in a community choir, approached here Expedition to Arnhem Land. 63 years later, the spirits of as a ritual performance. The themes of stigmatisation, mar- the bones were finally returned to their country through a ginalisation and bodily and cognitive decline are explored re-burial ceremony that I took part in, as part of my field- within the physical and phenomenological context of the work returning digital copies of film, photographs and musi- institution. Film is a key ethnographic method used to ex- cal recordings taken during the same expedition. Drawing plore communal singing, to understand the complexity of on recordings of the ceremony and subsequent interviews selfhood, and the factors that threaten to destabilise or sus- with the musicians about the significance of the event, this tain it. The film will demonstrate how visual methods have presentation examines the crucial role of song and dance in captured the phenomenon of individual and group unifica- mortuary ceremonies in Western Arnhem Land. Known in tion within the choir context, including vital spontaneous in- Kunwinjku, the main language spoken in the area, as kun- teractions between people. This is perhaps the only way to borrk, these songs are sung until the final stages of inter- explore the embodiment and meaning of communal singing ment of the bones, in order to manage the safe passageway for this group of socially excluded individuals, a good pro- of the spirits of the dead back home to their country. portion of whom are now struggling for coherent articulation, yet articulate through means such as facial expressions, Keywords: repatriation; traditional Aboriginal music; kun-borrk; ceremony; gestures, spontaneous interactions, and most beautifully, West Arnhem Land; spirits; deceased; 1948 American-Australian Expedition to Arnhem Land (AASEAL) through song. Film forms the narrative for these marginal- ised people, taking them from a place of community exclu- Format: Single paper (#258) sion, to the centre of a research framework, to explore an alternative to the reality of their current social roles, to a site where this status is suspended and clinical classifications are neutralised.

Keywords: stigmatisation; marginalisation; choral-articulation; transformation; inter-connectedness

Format: Film (#22)

Conference Abstracts p 19 Susan Buchan Mary Buck Victoria University, University of New England, Australia Australia

Marimbas, children and well-being – Why music? what’s the connection? ✢ ✢ ✢ ✢ ✢ ✢ In this paper the aim is to explore the relations between a Teaching practices in some Australian primary schools have theory of music listening that employs the cognitive emo- responded to contemporary research which emphasises tions, and the challenges of listening to absolute music. The the value of music education in enhancing children’s de- cognitive emotions are emotions that frame and motivate velopment and in contributing to their well-being. However, cognitive processes. As such, they are employed in the ac- the majority of children in Australian government primary tivities of thinking, remembering, and the senses. These are schools have no access to music education. Teachers often critical functions in listening to music. The cognitive emo- lack the confidence or skills to make music with children, tions are also closely related to the notion of expression and resulting in the perpetuation of a cycle of non-participation expectation. The cognitive/emotive content of listening to in music-making. This paper will discuss the responses of absolute music is affirmed to be a dynamic of space and children to playing specially designed marimbas (large Zim- place. The paper will conclude with an examination of P.F. babwean-style xylophones) and non-conventional instru- Strawson’s philosophical account of hearing sounds in alter- ments in a primary school setting with Artist-In-Residence, native dimensions. Jon Madin. It is an approach which is participatory, acces- sible and inclusive. It differs from a presentational approach Keywords: cognitive emotions; absolute music; space; philosophy to music education which is more likely to place greater Format: Single paper (#270) value on the creation of a finished artistic product. Although under-researched, the approach of Jon Madin is known and valued by a comparatively small number of practitioners in Australia and New Zealand. Data will be presented about the personal, social and cultural meanings that children make of their involvement in marimba and non-conventional instru- ment playing, and about the processes of social interaction and synchrony inherent in a non-scripted, aural approach to music-making. The paper will discuss the potential of such an approach to facilitate powerful music-making experienc- es. The implications of the participatory nature of the artist’s work for the musical development and social well-being of the participants and the community will be discussed.

Keywords: children; marimbas; participatory; music-making; meaning

Format: Single paper (#34)

Conference Abstracts p 20 Music is an outburst of the soul. Frederick Delius

Conference Abstracts p 21 Mindy Buckton Sarah Butler University of Victoria, The University of Sydney, Canada Australia

Poetic and metrical complexities Music inside the walls: a case study in ‘Letzte Hoffnung’ from Schubert’s of Mapuche expressive culture and identity Song Cycle Die Winterreise in a boarding school in southern Chile

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Franz Schubert’s song cycle Die Winterreise contains many This paper examines the role of Mapuche music and dance interesting and complex compositional techniques that in- in nurturing a sense of cultural identity among Mapuche stu- tensify the inherent meaning of Wilhelm Müller’s poems. As dents at the boarding school Liceo Technico Guacolda, Chol the title suggests, the storyline of the poems describes the Chol, in the Temuco region of Chile, South America. The pa- winter’s journey of a man, forced to leave the town of his per examines the place and significance of expressive cul- beloved in the dead of night. As the poetry unfolds, we come ture in the broader school curriculum, and the impact this to understand both the physical and emotional trials the curriculum has on students over their six-year residence, character faces. Schubert’s musical setting exploits and ac- that is, how participating in an indigenous inspired program centuates the subliminal meanings of the words. Using theo- contributes to the students’ sense of ethnic identity and their ries developed by Harald Krebs in his book, Fantasy Pieces: understanding of what it means to be Mapuche. Mapuche Metrical Dissonances in the Music of Robert Schumann, this indigenous expressive culture is to date under-researched. paper develops the ways in which Schubert uses displace- Based on data collected during recent fieldwork, the paper ment and metrical dissonances within ‘Letzte Hoffnung.’ discusses the effects of integrating expressive culture with This song represents one of the emotional breaking points educational policy. of the protagonist’s hopes and dreams during his journey. With the use of metrical complexities, Schubert is able to Keywords: Mapuche; indigenous; education; expressive culture; identity directly represent and create physical events that happen Format: Mini-presentation (#32) within the poem, including the wind in the trees. Schubert further enhances the poetic meaning of Müller’s poem by deviating from the basic rhythmic declamation. This paper uses terms and processes found in Yonatan Malin’s Songs in Motion: Rhythm and Meter in the German Lied. By com- paring the natural stresses of the poem with the musical setting, we see how Schubert exploits the meaning of the words. ‘Letzte Hoffnung’ is a representation of the complex nature of rhythm and meter that can be found throughout Die Winterreise. Schubert’s uses of metrical dissonances il- lustrate his powerful enhancement of the poetry of Wilhelm Müller.

Keywords: Franz Schubert; Die Winterreise; metrical dissonance; declamation; rhythm and meter

Format: Single paper (#70)

Conference Abstracts p 22 Genevieve Campbell Julianna Chan The University of Sydney, The University of Sydney, Australia Australia

Ngariwanajirri – The Strong Kids Song: Mental gymnastics and ‘rainbow messes’: Awarra pupuni ngirramini. Awarra a case study of a young musician with wurraningurimagi. This important culture. synaesthesia Wherever they go it’ll be with them ✢ ✢ ✢ ✢ ✢ ✢ The neurological phenomenon known as chromaesthesia is The Strong Women’s group from the Tiwi Islands, northern a form of synaesthesia (cross-modal perception) in which Australia have been singing all their lives. A collective sense sounds elicit a coloured, visual experience. This study seeks of identity through their custodianship of songs keeps them to understand the implications synaesthesia poses on mu- strong and proud. As elders in their community they have sical learning experiences by exploring the chromaesthetic become increasingly concerned that young Tiwi people are idiosyncrasies of a 17-year-old music student, ‘Audrey’, straddling two cultures while losing their own language and who plays the viola da gamba and majors in composition. are finding it difficult to engage with ‘western’ methods of Through a series of interviews and observation sessions, it knowledge transmission. This has led to a renewed deter- became clear that Audrey possesses multiple forms of sy- mination to preserve the song practice of the ancestors naesthesia that evoke a complex interplay of shapes and and connect the younger generation with their elders. The colours when she interacts with music. Preliminary analysis Strong Women believe song is the way to teach messages of the data has found significant themes that suggest cross- of empowerment while inspiring pride in Tiwi culture and modal perception holds the potential to serve as creative language. The Strong Kids Song is the result. Together the inspiration, and act as an aid for memorisation, pitch and in- women and their grandchildren have composed lyrics with terval recognition, tuning, and textural understanding. Whilst positive messages for life as well as concepts of ancestry the educational advantages outweigh the disadvantages in and connection to country. English has been translated this participant’s case, the issue of poor concentration and back into Tiwi song language and old Tiwi melodies have additional cognitive confusion was also apparent. This study been incorporated into new musical styles. A hip-hop dance set out to explore the implications synaesthesia poses on mix samples a recording made in 1912, bringing together music education, but in doing so, has also found that music Tiwi voices that span a century. In this presentation the Tiwi education has clear implications on the participant’s syn- Strong Women will share and sing their story of producing a aesthesia. Audrey has perceived auditory information visu- song that speaks across generations. ally her whole life, and she describes the experience as a ‘rainbow mess’. However, when she is analytically aware of Keywords: Tiwi; song; preservation; culture; language what she is hearing the colours become less ambiguous; Format: Performance (#224) thus her knowledge of musical concepts has helped clarify what she experiences visually. Audrey has a keen interest in the creative arts and has a particularly powerful connection to music that is mediated through her synaesthesia.

Keywords: synaesthesia; music education; perception; multisensory processing; learning aids

Format: Mini-presentation (#74) and Poster (#74P)

Conference Abstracts p 23 Ian Chapman Jade Chen University of Otago, Nanyang Technological University, New Zealand Singapore

David Bowie looks a scream – hang him ‘You’ve got such great/horrible taste in music!’: on my wall a sociological analysis of music taste

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Pictures convey information to a viewer at several levels of We all have our favourite music; the CD-rack containing an cognition, ranging from shallow and obvious to deep and eclectic mix of punk, soul and classical or perhaps a rare subtle. Twelve-inch, 33rpm record covers offer performers a collector’s treasure trove of vintage jazz albums. We dis- unique canvas through which they can visually communicate play them lovingly, proudly, proclaiming silently to fortunate themes central to their music. This paper is an iconographi- visitors: this is my personal collection of music, my musi- cal analysis of the cover of David Bowie’s third album, The cal taste, and this is who I really am! Often, an emotional Man Who Sold The World. The carefully contrived image, reaction to the music we love, or come to love, is reason created in 1971, one year prior to the artist becoming estab- enough. But just what is considered a good or bad ‘taste’ lished as a bona fide (glam) rock star via his breakthrough in music? It is precisely because emotional impulses can album The Rise and Fall of Ziggy Stardust and the Spiders be so arbitrary that musical likes (and dislikes) can become from Mars, was pivotal in the initial development and early somewhat impervious to conscious thought. Musical taste establishment of the artist’s now widely celebrated method- as conceptualised here runs contrary to popular belief that ology. As has often been the subject of scholarly debate, the one’s taste is a stylised expression of uniqueness. Instead, image of the artist reclining in a dress confronted head-on I hope, through a sociological perspective, to transcend the the heteronormative gender image of rock stars of the day. subjective realm and demonstrate that this ‘taste’ is at once In addition, however, and providing the primary focus of this personal and social. paper, it visually situated the artist within a specific context borrowed from art history, Pre-Raphaelite art. My analysis of Keywords: music; sociology; taste; context; consumption Bowie’s parodistic picture considers its adherence to and/ Format: Mini-presentation (#248) or deviation from the conventions of Pre-Raphaelite art and also aligns it to the iconic femme fatale figure as represented within art history. I seek to determine to what degree the borrowed context preloaded Bowie’s image with inferences that, while historical, were nevertheless still pertinent to his cause. In addition, I explore the notion that the true power of the album cover lies in the interplay between the front cover image and the seldom-regarded photograph that appears on the rear of the cover.

Keywords: iconography; art history; rock; David Bowie; Pre-Raphaelite

Format: Single paper (#1)

Conference Abstracts p 24 Tan Chyuan Chin Andrew Cichy Nikki Rickard University of Oxford, Monash University, United Kingdom Australia

Emotion regulation as a mediator of the relation Music, martyrdom and metamorphism: between music engagement and well-being the transforming power of music in a seventeenth-century English seminary ✢ ✢ ✢ ✢ ✢ ✢ Music is increasingly recognised for its positive effects on health and well-being. In our earlier study, high levels of For students at the College of St. Alban in Valladolid, pass- music engagement and listening were associated with fa- ing by graphic paintings of their martyred classmates in the vourable and adaptive emotion regulation strategies. This College’s corridors – and sometimes also receiving their follow-up study further examines the relationship between dismembered remains – must have made them very con- active music engagement and well-being, and whether scious of the horrors that awaited them on their return to the emotion regulation mediates this relationship. Music en- English Mission. Martyrdom – gruesome and confronting gagement was assessed via the 32-item Music USE (MUSE) when cast in purely human terms – was reconceptualised Questionnaire, which measures both quality and quantity in the College as a result of its association with music, which dimensions of active music production and reception. Par- served as both the crucial adornment in solemnising litur- ticipants also completed a battery of well-being measures gical ceremonies and, in the hands of the College’s Jesuit which comprised of the World Health Organization Quality administration, as a special tool for teaching the students of Life – BREF, a measure of physical and psychological to internalise and meditate upon particular religious texts. health, environmental and social relations; Mental Health Music was also used to inform, condition and reframe emo- Continuum – SF, a measure of emotional, social and psycho- tional responses to representations of martyrdom in ways logical well-being; Depression Anxiety Stress Scales, as well that aligned closely with privileged discourses on suffering as the International Positive and Negative Affect Schedule and death. The musical aspects of the College’s devotion Short-Form and the Satisfaction With Life Scale. The Emo- to La Vulnerata – a statue of the Virgin defaced by English tion Regulation Questionnaire assessed both self-regulatory troops at Cadiz – demonstrate how images of suffering can strategies, Reappraisal and Suppression. It is predicted that be transformed into objects for veneration and emulation. high levels of music engagement would be positively corre- Research on music in English seminaries has often been lated with the various measures of psychosocial well-being, reduced to a catalogue of musicians employed with some and that these relationships would be mediated by adaptive speculation about the kinds of music that they played. Tak- emotion regulatory strategies. Data collection is currently ing the influence of music on life at St. Alban’s College, Val- ongoing and findings will be discussed at the conference. ladolid, during the sixteenth and seventeenth centuries as The results of this study can further elucidate how active en- its point of departure, this paper will critically evaluate the gagement with music, as a means of regulating mood, may role of music in preparing seminary priests emotionally and be able to promote positive health and mental well-being. spiritually for the English Mission. Furthermore, the findings may provide more support for the value of active use of music in community and therapeutic Keywords: reformation; diaspora; martyrdom; art; education settings. Format: Single paper (#37)

Keywords: music engagement; emotion regulation; well-being; mental health; music listening

Format: Mini-presentation (#131) and Poster (#131P)

Conference Abstracts p 25 Eric Clarke Sue Cole University of Oxford, The University of Melbourne, United Kingdom Australia

Music, virtual space, and subjectivity: R.R. Terry and the revival of early music an auditory proxemics at Downside Abbey: a reassessment

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The microphone and recording studio have made possible a Richard Runciman Terry is widely recognised as one of the powerful acousmatic domain of virtual spatial relationships driving forces behind the revival of early English sacred mu- between performers and listeners. These relationships have sic at the turn of the twentieth-century. While Terry’s most obvious consequences for the ‘staging’ of recorded music, important contribution was at Westminster Cathedral (1901- but more significantly are a means of conveying or con- 1924), he revived Byrd’s Mass for Five Voices, Tallis’s Lam- structing a range of subject positions for the listener that entations and other similar works while he was music mas- have powerful psychological consequences. A number ter at Downside Abbey. Hilda Andrews, in her Westminster of other authors have discussed the impact of perceived Retrospect, a source still heavily quoted in most studies of spatialisation, with a particular focus on the human voice, Terry, tells how the pile of editions of early music that Terry including Nicola Dibben, Serge Lacasse, Allan Moore, and prepared at Downside ‘mounted higher and higher’, and re- Trevor Wishart. Framed within an ecological approach to ports revivals not only of the works already mentioned, but perception, I outline a theory of ‘auditory proxemics’ – based of ‘Taverner’s Western Wynde, the Gradualia and Cantiones on the theory of proxemics developed by Edward Hall, but Sacrae of Byrd and Philips, motets by Tye, Shepherd, etc.’ which has so far not been developed in an auditory or spe- Yet a careful examination of contemporary reports of Terry’s cifically musical domain. The paper combines principles of activities at Downside presents a rather different picture. proxemics with ideas derived from conceptual metaphor He published relatively few editions of early English music, theory to illustrate and explain the ways in which the relative which are heavily dependent upon the work of others, par- position in virtual space of a musical source (often the voice, ticularly William Barclay Squire. Similarly, the Downside rep- but not only the voice) can create powerful psychological ertoire, although unarguably extremely adventurous for the effects. Focusing on a number of specific sound examples, time, is less extensive than was later claimed. In this paper, the paper will make the case for auditorily perceived spatial I will present a less flattering and more realistic assessment proximity as not the symptom, but the cause, of a range of Terry’s revivals of early repertoire, both at Downside and of powerful intersubjective psychological phenomena. It is in his early years at Westminster Cathedral. In the process, particularly the technologies of the modern recording stu- however, I hope to give a clearer sense of just how foreign dio that make these effects possible, and which constitute and difficult this music was, and, paradoxically, of the sig- a new, powerful, and increasingly imaginatively exploited nificance of Terry’s contribution to its revival. musical resource. Keywords: Tudor music; church music; early music revivals; English music; historiography Keywords: virtual space; subjectivity; proxemics; metaphor Single paper (#138) Format: Single paper (#208) Format:

Conference Abstracts p 26 Alisabeth Concord Nicholas Cook University of Victoria, University of Cambridge, Canada United Kingdom

Victoria’s sacred spaces: musical events and Beyond hidden persuasion the shaping of community in a late-nineteenth- century Canadian frontier town ✢ ✢ ✢

✢ ✢ ✢ Following an Adornian approach that was already obso- lete in the social sciences, the ‘New’ musicologists of the In many societies, musicians have functioned as mobile 1990s saw social meaning as encoded within scores. As a cultural capital, defying boundaries of race, ethnicity, and result, their enlarged disciplinary agenda did not do justice background to make music together. A perfect example to music’s ability to construct social relationships. There are of this phenomenon can be found in the musical life sur- various ways in which music does this. For example it can rounding religious institutions in colonial Victoria, located create contexts within which community can be forged; it in present day British Columbia. Late-nineteenth-century can act as a symbol of community; and it can enact com- Victoria was a relatively new and fairly cosmopolitan British munity in the real time of performance. The last of these outpost struggling to define itself within the context of North is a particularly appealing idea, because it implies a direct America and against the backdrop of the British Empire. cross-mapping of musical and social relationships, and this While churches, temples, and synagogues could be places is the vision that underlies such utopian projects as the of separation, many of their public events served to bring South Oxney Community Choir or the West-East Divan Or- together disparate members of the community, particularly chestra. In my paper I develop this idea through exploring through the medium of music. This paper will scrutinise two the parallels between music and two other environments musical events connected to Victoria’s religious institutions: within which social relationships are constructed. The first the 1863 consecration of the Congregation Emanu-El Syna- is virtual worlds, within which real-life behaviours, sociali- gogue and the dedication concert of the Church of Our Lord ties, and meanings are reconfigured in contrafactual ways in 1876. After briefly setting the scene of both events, this for purposes of personal or collective discovery. The second paper will unpack the impact that each had upon the crea- is the built environment: architecture and urban planning tion of community within the racially plural town of Victoria, can be seen as scripting social interactions in much the as evidenced by the attendees, participating musicians, same way as musical scores do. Yet a sober assessment of repertoire, and reception in local newspapers, lore, and dia- projects for conflict resolution through music reveals more ries. This presentation will conclude by taking a look at the woolly optimism than concrete achievement: the musical different ways in which the modern congregations of these enactment of community may be of less significance in its institutions are currently displaying, talking about, and using own right than for the symbolic capital it brings to social ac- this musical history to define their place in Victoria’s joint tion in the real world. community history. This talk will uncover fascinating musical events, while at the same time raising issues of cultural con- Keywords: social relationships; virtual worlds; built environment; community sciousness, intermixing, and community within the context Format: Keynote paper (#281) of Victoria’s late-nineteenth-century soundscape.

Keywords: musical events; Victoria; nineteenth-century; religious institutions; community

Format: Single paper (#120)

Conference Abstracts p 27 Georg Corall Imogen Coward The University University of New England, of Western Australia, Australia Australia Ann Coward Independent scholar, Australia

The ‘Sonsfeld Collection’ – music for ‘The heart that feels music will feel people’: ‘Hautboisten’ rethinking the concept of the transformative power of music in the writings and practices ✢ ✢ ✢ of Shinichi Suzuki

‘Hautboisten’ are known to be one of the most important ✢ ✢ ✢ groups supplying musical and ceremonial entertainment in German speaking countries at the beginning of the In the 2011 film,Mrs Carey’s Concert, by the Australian eighteenth-century. Derived from the name ‘hautbois’ award-winning documentary maker Bob Connolly, Karen (=oboe), which in France was used for any high double- Carey is driven by a belief that music has a transformative reed instrument during the centuries before and after the power, a widely held notion that can be traced to the writ- baroque era, the term ‘Hautboisten’ has often been trans- ings of Plato some 3,000 years ago. One of the twentieth- lated by contemporary researchers as ‘oboe band’. Indeed, century’s greatest music educators, Shinichi Suzuki, is of- when musicians started focusing on one instrument alone at ten quoted as saying that it was through music that children the end of the eighteenth-century, these groups developed might attain sensibilité and that this was linked to his desire into wind bands known as ‘Harmoniemusik’; however, in to develop ‘character first, ability second’ in the education earlier periods ‘Hautboisten’ were trained to play a number of children. These features, and the centrality of music to of different wind instruments as well as string instruments. his aspirations, are directly linked to Suzuki’s own education The investigation of music for ‘Hautboisten’ – particularly and the period in which he lived. Yet, given that many ex- the ‘Sonsfeld Collection’ – and the study of the employment amples may be found of ‘great’ composers and performers situations for these broadly educated musicians, will pro- who are worthy of admiration musically, but are of dubious vide insights into the functional and representative music merit in other facets of their lives, one should perhaps ques- at courts, in church, in the battle field and at any other oc- tion whether and in what way exposure to ‘fine’ music might casion where music was required. A distinction between facilitate transformation. If, for example, pedagogues such ‘Hautboisten’ and musicians of the ‘Capelle’ or the ‘Stadt- as Suzuki had been as familiar with Mozart’s scatological pfeifer’, for example, is often difficult to discern as their songs as he was with his other works, would he have hoped work fields overlapped and on many occasions they played that by studying Mozart’s music one might ‘catch his heart’? together. Analysis will draw conclusions on the balance of Through engaging with Suzuki’s writings, the paper will ar- instrumentation showing that the modern view of a ‘typical gue that the difficulties in reconciling the goal and approach Baroque Orchestra’, that is a string orchestra of possibly derives from an incomplete picture of Suzuki’s view of the eight violins, three violas, two violoncellos and one double role and power of music. bass, with a harpsichord for the Basso continuo and two oboes and one bassoon added for tone colour, was the ex- Keywords: high art; transformative power; Suzuki; philosophy ception rather than the norm. Format: Single paper (#196)

Keywords: Hautboisten; Sonsfeld Collection; oboe band; orchestration; military music

Format: Single paper (#102)

Conference Abstracts p 28 Leon Coward Kelly Curran Imogen Coward Jonathan Paget Taliesin Coward Edith Cowan University, University of New England, Australia Australia

Alice in Wonderland: from nonsense Off the pedestal: an exploration of to nonsensical postmodernism and the string quartet

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It has taken Carroll’s Alice in Wonderland a little over a cen- There is something powerful about the string quartet as a tury from being regarded as nonsense, to become nonsensi- genre: encompassing the four ranges of the human voice, cal, as is so vividly highlighted by the book’s songs/poems. and like an orchestra in miniature, it offers unique flexibil- Kenneth Rothwell, in his History of Shakespeare on Screen, ity and expressive possibilities. Indeed, many of the great lists seven kinds of derivatives a film may take when a lit- composers have written their most seminal masterpieces for erary work is adapted for the screen, none of which pre- this idiom. But the very prestige of the string quartet is also supposes ‘accuracy’ with the original text. While the Disney its potential undoing. Symbolic of the elitism of a passing adaptation may take credit for much of the confusion in the era, many professional string quartets in the late twentieth- modern mind (even to the point where David Crystal accred- century restricted their repertoire to canonical works, refus- its the Mad Hatter with the concept of a Happy Unbirthday), ing to engage with new music, and facing the growing reality we need to look further afield to understand the failure of of ever-dwindling audiences. In recent decades, however, a present-day audience’s to connect with the aesthetic of Car- small number of professional string quartets have dared to roll’s book. Adaptation for subsequent generations of a book be different, bringing the string quartet ‘off the pedestal’ (so Carroll wrote for an audience who were well-versed in the to speak) to experiment with alternate performance venues, songs he was parodying, and who were informed about the embrace technology and multimedia, and explore improvi- people and events to whom references were being made, sation, or cross over into popular musical genres such as demands interpretation. While visually, iconic images from jazz and rock. Following in the wake of Kronos, a host of Alice may still be employed to satirise people and events, new quartets, from Balanescu to Turtle Island or Fourplay, the power of the songs/poems has been lost in transmis- have taken the string quartet into new realms of musical sion, such that they now bemuse rather than amuse. The postmodernism. These groups have reinjected new life into paper draws upon resources outlining the reception of Car- the string quartet, garnered new audiences, and ultimately roll’s book in his time, and attempts to examine the failure of contributed to the continued viability of the idiom. the songs to resonate with today’s ‘audiences’, while other works written at the same time, notably those of Gilbert and Keywords: string quartets; postmodernism; relevance; genre-mixing; genre-defying; technology Sullivan, have continued to be relevant. Format: Single paper (#189)

Keywords: Alice in Wonderland; song; interpretation; parody; Victorian era

Format: Mini-presentation (#190) and Poster (#190P)

Conference Abstracts p 29 Mudzunga Junniah Jane W. Davidson Davhula The University University of Pretoria, of Western Australia, South Africa Australia

Indigenous music healing: a case study of Music and mourning Vhavenda musical practices in South Africa ✢ ✢ ✢ ✢ ✢ ✢ In this one and a half hour collaboratory, participants will The presence of ancestral spirits is widely acclaimed discuss the role of music in mourning rituals across time amongst the Vhavenda, a culture group in the northern re- and culture. Key questions include: How do we use music to gion of Limpopo province, South Africa. Among the Vhaven- modify our thoughts and feelings about loss? How did we do da, it is believed that the ancestral spirits of the chiefs trans- it in the past and how will we do so in the future? This col- migrate, that the soul of the dead pass on to occupy other laboratory will investigate the use of music in a variety of cer- living bodies. The state of being possessed by the ancestral emonial and formal contexts as well as more family-oriented spirits provides individuals with the highest socio-political and personal contexts that surround mourning. This discus- and religious status. Among the Vhavenda the ancestral sion is timely, considering the following: i) Our knowledge of spirits are believed to exert a great influence on the living. the strong emotional use and function of music in previous The ancestors protect the interests of their descendants and times and cultures; and ii) The power of music in everyday possess special powers which they can wield to bring about experiences across cultures to generate as well as regulate illness and misfortunes to their descendants who fail to ven- intense emotional experiences – offering the opportunity for erate them. Such a close relationship between the living and expression as well as social affiliation between peer groups. the dead is demonstrated through a number of rituals. One The discussion will include historical investigations to ex- such ritual is called malombo, a dance which is only per- plore the use and function of music for mourning across formed by the non-royal kinship groups within Vhavenda. It different periods and places (1600 to present day) focusing is indisputable that the current engagement with the dance mainly on European heritage. It will also include presenta- is as old as the origins of the Vhavenda tradition. Although tions drawing out the relevance of music to mourning in con- malombo is a common practice amongst Vhavenda, there is temporary Australian Society by looking at Indigenous and no sufficient understanding of its fundamental relationship migrant cultural groups through anthropological investiga- to music. This paper will demonstrate that indigenous Vhav- tions. The session will also explore experimental approaches enda music (an integrated form of dance, music and drum- that have employed several kinds of survey techniques and ming) plays a significant role in the malombo ceremony, are based on psychology research paradigms. and that music in traditional healers’ religious ceremonies affects the patient both spiritually and physically, transform- Keywords: mourning; emotion; history; psychology ing a person’s spiritual state. Format: ARC Centre of Excellence for the History of Emotions Collaboratory

Keywords: Vhavenda; South Africa; possession; healing

Format: Single paper (#38)

Conference Abstracts p 30 Jane W. Davidson Brian Dawson The University The University of Western Australia, of Western Australia, Australia Australia

Text, rhythm, gesture: emotional meaning Peter Stone (1930-2003) and the book and communication in sacred and theatrical of the American musical European music, 1600-1750 ✢ ✢ ✢ ✢ ✢ ✢ The American musical stage has a tradition stretching back Presented in two parts, this three hour session is based on to the beginning of the eighteenth-century. Its popularity the collaboratory practices adopted in Science. European has never waned, and in 2008/09 the Broadway League re- vocal music (specifically Italian, French, German and Eng- ported sales of 9.6 million tickets followed by a further 14.2 lish) created for sacred and theatrical contexts, spanning million tickets when those shows toured nationally. Despite the period 1600-1750 is investigated focusing on practices this popularity, or perhaps because of it, studies in musi- for conveying emotion through musical means. Inevitably, cal theatre have been slow to emerge, restricted mostly to this project reassesses previous views on ‘authentic’ mean- history, musicological analysis, sociological scholarship (es- ing and performance practices in light of new insights from pecially gender and race studies), and some performance readings of historical documents on philosophy, the science analysis. A comprehensive study of the field has not been of music, performance etiquette, gesture and poetry. The undertaken, due in part to the absence of scholarship on a central focus will be to investigate what sorts of communi- key element – the libretto, or the book as its writers prefer to cation were intended for affective outcomes at the point of call it. Peter Stone (1930-2003) was one of the few writers composition and how these intentions were realised. Dis- who maintained a living by writing books for the American cussion will go on to explore the means through which con- musical theatre. The son of movie producer John Stone, his temporary twenty-first-century performers can achieve con- early success in television and film led to Emmy and Oscar vincing emotional communication of the repertoire, making Awards (1962 and 1964), before Broadway gained his full it meaningful to contemporary audiences. In this session, attention. With the Tony Award success of 1776 in 1969 he there will be formal contributions from top international became the first writer to hold all three prestigious awards. researchers and practitioners: Emeritus Professor David This mini-presentation is built on archival research of the Tunley; Dr Andrew Lawrence-King; Dr Rosalind Halton; Dr Peter Stone papers, recently made available at the New Janice Stockigt; Dr Alan Maddox and Dr Samantha Owens. York Public Library, and it chronicles the career of one of Broadway’s leading exponents of book-writing. Significantly, Keywords: voice; text; gesture; historical performance practices it provides insight into the role of the book, and suggests this Format: ARC Centre of Excellence for the History of Emotions Collaboratory overarching structure may provide explanation for the suc- cess of many works of musical theatre that do not generally withstand musicological scrutiny.

Keywords: musical theatre; book; libretto; Broadway; Peter Stone

Format: Mini-presentation (#202)

Conference Abstracts p 31 Craig De Wilde Roger T. Dean National University of Singapore, Freya Bailes Singapore University of Western Sydney, Australia

Finding the Singaporean groove: The Quests Influences of intensity and other acoustic and the rise and fall of the local rock music and structural features on perception industry from 1963-1971 of musical affect

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Prior to the 1960s, the performance of both folk and popular We have recently applied in depth time series analysis music in Singapore was dominated by a variety of ethnic techniques to show that the continuous profiles of musical musical traditions, including Chinese, Indian Malays, and intensity and to a lesser degree spectral flatness are signifi- Tamil. In particular, the Peranakans – Chinese immigrant cant predictors of the perceived affective qualities of several merchants who were loyal to Britain and among the more works studied. We followed this up by a causal perturbation elite classes in Singapore from the sixteenth-century on- study, in which the predicted impact of intensity on per- wards – were especially notable for their use of English lan- ceived affect (notably arousal) was confirmed (in collabo- guage verses in Malay-inspired folk tunes. It was not until ration with Emery Schubert) when the profile of a Dvorak 1963 that a local music industry started to emerge, with Slavonic Dance was inverted, and when the original profile young Singaporean musicians inspired by the recordings of was applied to three other stylistically heterogenous pieces. Chubby Checker, The Ventures, The Blue Diamonds, Neil We describe some of this work together with subsequent Sedaka, Paul Anka, Pat Boone, and especially Cliff Richard developments. The latter concern differences in percep- and the Shadows. What these young local musicians lacked tion with varying musical expertise; time series studies on in technical musical skills they more than made up for with a wide range of pieces, including music from non-Western their enthusiasm, and a number of guitar-based bands were traditions, improvised music, and performance text works formed throughout Singapore. By far the most successful (in collaboration with Hazel Smith); and a comparative as- of these bands was The Quests, consisting of the standard sessment of the role of spectral centroid. Our studies of Tre- rock quartet of lead / rhythm / bass guitars and drumkit. The vor Wishart’s classic electroacoustic work Red Bird show an Quests was the first Singaporean rock group to compose important impact of specific categories of animistic sounds; and record the country’s first number one hit, ‘Shanty’, as these operated as musical agents in the perception of affect. well as recording the first ever long-playing record produced These studies are followed up by our new work in relation to in Singapore. This presentation will look at the history and possible agency of soloist-orchestra protagonist roles, and development of this group and their influence on Singapo- of formal large-scale structural features. The power of the rean rock music of the period, as well as examining the per- analytical approach to reveal empirically assessable poten- ceived threats and later official pressures brought to bear tial causal relationships is demonstrated. on the local rock music industry by government sanctions in the early 1970s. Keywords: affect; acoustic properties; music; performance text; time series analysis

Keywords: Singapore; rock music; The Quests; guitar band; music industry Format: Single paper (#162)

Format: Single paper (#230)

Conference Abstracts p 32 Helen Dell Cynthia-Louise Dellit The University of Melbourne, The University of Newcastle, Australia Australia

The voice of the past: the power of song The building blocks of artistry: does auditory for nostalgia biography influence a musician’s perception of patterns of emphasis in live music ✢ ✢ ✢ performance?

My paper will consider the power of music, in particular vo- ✢ ✢ ✢ cal music, to evoke nostalgia in listeners, even when the past to which the music belongs has no bearing on their per- A musician’s ability to express and communicate emotional sonal past. The singing voice calls to an unidentified other- nuance in solo and ensemble contexts is a major contributor time, when, we feel, we were at rest. The theoretical frame- to performance success. If one accepts that these aspects work for the paper is psychoanalytic theory. Jacques Lacan occupy a significant role in the practice of music perfor- added two more to Freud’s objects of the drive: the gaze mance, it becomes essential for musicians to develop the and the voice. Lacan called them ‘object-causes of desire’, ability to execute micro-expressional nuances and have the referring to the duplicitous nature of the supposed object. auditory acuity to perceive and adapt to them with other in- What lures desire in the form of an object is really its cause, strumentalists in ensemble contexts. There is much anec- what drives desire on. No real object can ever satisfy desire dotal evidence connecting the instrument genre and pitch and so desire is eternal. Nostalgia, as a longing for the past, family of a performer’s instrument of specialisation with is necessarily unsatisfiable. Yet, listeners (myself included) their auditory acuity. This study is investigating accenting keep heeding the call, listening to particular recordings or emphasis as an interpretive tool for the performer, as well many times over, and each time re-experiencing the sense as forms of involuntary and perceptual accenting that can of something missing, a loss that cannot be made good. For compromise a performer’s artistic intention and efficacy of those of us afflicted in this way something draws us back, communication in ensemble contexts. The perception of ac- we keep looking for something that cannot be explained in centing patterns is being investigated using live instrumental terms of any tangible aspect of the song. There is, for me, a performance of complex music as the trial stimuli and expert continuing puzzle; the song is always more than the sum of listeners as trial subjects. Data gathered will be analysed to its parts and that something more eludes comprehension. see if there is an affect discernable for the instrument played My paper will explore, through the lens of Lacanian theo- by participants, or the pitch family of instrument played risations of the voice as object-cause of desire, the intense (high pitch vs. low pitch), ensemble experience and length power of the singing voice to evoke a lost past. of study. Previous trials investigating accent perception have mainly been conducted in clinically controlled environments Keywords: nostalgia; psychoanalysis; voice; song; desire using synthetically generated sound events as the musical Format: Single paper (#277) stimuli. The current model seeks to capture perceptual data using ecologically valid stimuli resulting from an acoustic en- vironment of live instrumental performance, a novel aspect which brings with it all the complexities and variables of a natural performance setting as well as the possibility of find- ings that are relevant to practising musicians.

Keywords: auditory biography; accenting; perception; emotional nuance; communication

Format: Single paper (#279)

Conference Abstracts p 33 Louise Denson Andrew Deruchie Griffith University, University of Otago, Australia New Zealand

Bittersweet salsa: living in between jazz and Saint-Saëns, eclecticism, and the Latin music communities Third Symphony

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This presentation will feature an original composition which Documentary evidence and contextual factors suggest that reflects my involvement with jazz and Afro-Cuban music. It behind Saint-Saëns’s Third Symphony (1886) lurked French will serve as a springboard for an examination of my experi- Wagnerism, then at its apogee. Although the composer ad- ences playing in Latin dance orchestras in Montreal in the mired much in Wagner, he considered the Wagnerian rigid 1990s, and the enduring effect this has had on my musical dogmatism and restrictive historicism to be despotic. In this identity. Using personal memory as a primary data source paper, I argue that the symphony polemically countered this and an autoethnographic method, I seek to understand my with an aesthetic of eclecticism, manifest in its form and experience within the context of the jazz and Latin music narrative, which embodied a more inclusive aesthetic rooted communities in which I lived and worked. While many jazz in French intellectual tradition. Critics have often noted the musicians worked in salsa and merengue orchestras, these symphony’s use of ‘thematic transformation’. I show that were usually regarded as ‘money gigs’ and as separate from Saint-Saëns underpinned the large-scale form of the sym- jazz, the musicians’ main area of interest. There was also phony with another technique which he derived from Liszt’s a clear social divide between the two communities. My in- symphonic poems. In this process, the formal and tonal volvement with the Latin community went far beyond playing premises of the syntactically incomplete first movement de- a few ‘money gigs’ as I learned to speak Spanish, musically velop through the inner movements and resolve in the finale. directed a number of bands and projects, and counted sev- The four movements of the cycle thus express a sustained, eral of my band mates among my close friends. Afro-Cuban overarching form. The symphony’s narrative similarly hinges music is a key influence in my music today. But straddling on the assimilation of difference. Throughout, transforma- these two professional and personal worlds was sometimes tions of the main theme alternate with passages featuring uncomfortable and often confusing as I experienced vari- timbres traditionally foreign to the genre – organ and piano ously both inclusion and isolation. – or ‘anachronistic’ pastiches of baroque idioms (which historically antedate the genre) and Wagner’s (putatively Keywords: autoethnography; jazz; Latin music; identity; community post-symphonic) Tristan style. In the finale, the main theme Format: Single paper (#119) assimilates these eclecticisms to bring about a spectacular apotheosis in the tonic major, the symphony’s telos. I juxta- pose Saint Saëns’s work with the thought of Victor Cousin, the influential father of French eclecticism. Cousin sought to transcend particular viewpoints by recognising a broad range of philosophical positions, with an eye to providing a basis for unity in a divided nation. The symphony advocates a similarly inclusive cultural politics by way of its genre-mix- ing form and its narrative (in which Wagner became but one stylistic element among many), which together celebrate plurality and allegorise its transformative potential.

Keywords: Saint-Saëns; Third Symphony; form; eclecticism; narrative

Format: Single paper (#109)

Conference Abstracts p 34 Samantha Dieckmann Cheryl Dileo The University of Sydney, Temple University, Australia United States of America

Filipino, Sudanese and Anglo-Australian Cochrane reviews concerning music musical identities: community music, interventions social capital and acculturation in Blacktown ✢ ✢ ✢ ✢ ✢ ✢ This presentation offers information on emerging evidence- Various studies have identified the power of music in the based clinical practice and research concerning music re-establishment of individual and collective identity post- interventions with individuals who have heart disease, are migration. In particular it has been found that music has receiving mechanical ventilation, have cancer, have ac- the ability to: provide a metaphorical space for the socially quired brain injury, are terminally ill or who are awaiting sur- displaced; facilitate emotional expression as a coping mech- gery. This information comes from the findings of six new anism; and enable the construction of imagined ethnically- Cochrane reviews co-authored by the presenter. Cochrane based communities. Building on this body of literature, this reviews examine research evidence on interventions using paper draws on acculturation theory to examine the power agreed upon criteria for quality evaluation. The steps in- of music in identity formation during resettlement. Accul- volved in Cochrane reviews will be described briefly. Pro- turation considers the changes enacted in (initially) cultur- cedures for the analyses will be described, and a summary ally distinct communities as a result of cultural exchanges, of the results of the reviews will be presented. A distinction and the various strategies that the host and migrant com- will be made regarding the two main categories of music in- munities can use in response to migration. The strategy terventions for medical patients found in the reviews: music either group chooses is dependent on two primary issues: medicine and music therapy. Recommendations for future the extent to which maintaining heritage culture and iden- research, via a research agenda, will be presented. This tity is prioritised; and the extent to which the groups seek agenda will include important topics and areas for future relationship with one another. This paper investigates the research that have been neglected in the literature thus far. role of music in the acculturation of the Filipino, Sudanese In addition, considerations for future research methodology and Anglo-Australian communities in Blacktown, New and designs will be emphasised to enhance the evidence- South Wales. In what contexts do these communities prac- base in the field. tice music of their heritage culture and identity, and in what contexts do they engage in musical experiences with each Keywords: Cochrane reviews; clinical application; music therapy other? In what ways do these musical experiences inform Format: Themed panel (#214) their preferred acculturation strategies? Can music be used as social capital to address the economic, numerical or po- litical power differences that identify these communities as either ‘dominant’ or ‘non-dominant’? This paper addresses these questions in the preliminary findings of a qualitative multi-case study conducted in 2011.

Keywords: community music; identity; migration; acculturation; social capital

Format: Single paper (#167)

Conference Abstracts p 35 Cheryl Dileo Steve Dillon Temple University, Queensland University United States of America of Technology, Australia Andrew R. Brown Griffith University, Australia

The power of music at end of life Applying meaningful engagement theory to music making and well-being ✢ ✢ ✢ ✢ ✢ ✢ In this presentation, the emotional power of music within a music therapy context will be described as it contributes in This paper examines the development of theory that sup- a unique way to the achievement of a ‘good death’. Start- ports observation, description and measurement of mean- ing from a scientific perspective, the results of a recent ingful engagement with music making. A research tool Cochrane review (co-authored by the presenter) concerning called the meaningful engagement matrix was devised by the outcomes of music therapy interventions for hospice pa- combining research that studied the creative engagement of tients are reported. Following, a description and conceptual professional composers (Brown) and children’s experiences model of the various functions of music to both evoke and of meaning in music activity (Dillon). This analytical tool has contain emotion is presented. The role of music in eliciting been refined and tested in multiple contexts in twelve coun- and enhancing the identification and expression of emotions tries through a large CRC funded project over a four-year pe- relevant to ‘relationship completion’ is emphasised, as these riod. This has been primarily achieved through embedding are considered essential tasks at end of life. Specifically, the the theory in the experience design of generative audiovisual power of music in illuminating one’s identity, relationships, performance software called jam2jam. The theoretical mod- spirituality and legacy are suggested. Also discussed are el influenced the design of the software and of user experi- the functions of music in maintaining emotional connec- ences to enable increased participation and accessibility for tions with loved ones prior to and following death and in young people and the disabled. New perspectives on data facilitating the dying process. Time permitting, a brief case collection and analysis emerged that were made possible study will be presented. Implications for future practice and by eData mining, improvised performance data logging, and research are suggested. audiovisual recording that document creative choices and interactions between players. When combined with exist- Keywords: music; terminal illness; palliative care; music therapy; emotion ing musicological and ethnomusicological methods these Format: Single paper (#21) approaches provide an increased capacity to examine the phenomenon of meaningful engagement that has emergent implications for music learning and well-being. This paper suggests that the use of this theoretical model lays in the capacity to identify meaning and engagement that leads to flow which in turn provides the opportunity to maximise participation, understanding and well-being. Insights gained from data analysis assist in iterating experience design to better target the effect upon well-being for participants and the structure and pedagogy of learning or therapy.

Keywords: jam2jam; generative systems; meaningful engagement; improvisation; eData mining

Format: Single paper (#240)

Conference Abstracts Conference Abstracts p 36 p 36 Performing and listening to great music allows us a few moments to walk with the gods. Emeritus Professor David Tunley

Conference Abstracts p 37 Joanna Drimatis Roslyn Dunlop The University of Sydney, The University of Newcastle, Australia Australia

Exploring melody in Symphony No. 1 Music from the ancestors: the traditional music by Robert Hughes of East Timor, a hidden culture. Can it survive?

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When we listen to a piece of music for the first time what do The traditional music of East Timor is a hidden culture we hear? What key element in music can affect our emotions whose survival is precarious after decades of occupation and the way we come to understand a new musical work? under the Indonesians – and prior to that the Portuguese. For Australian composer Robert Hughes (1912-2007), it The influence of these occupiers has had some influence was the creation of melody that inspired his compositional on the music that is identified as the traditional music of approach. There is richness and vitality in Robert Hughes’s East Timor. During the past decade of rebuilding the country compositions, and this is evident in his exploration of form, from ground zero, there is a desire to homogenise with the thematic ideas and understanding of tonality. The music rest of the world, particularly by the youth of East Timor. of Hughes inhabits a tonal realm where chromaticism and The influence of the new set of foreigners in East Timor, modal ambiguities cause subtle twists of aural expectation. the UN and hundreds of NGOS from all over the world, is His melodies are driven by short motives and unrelent- also impacting on the traditional culture of East Timor. Dili, ing ostinato figures. These are key elements found in the the capital, is a city on steroids, noisy, dusty and hot, in music of Bartók, Prokofiev and Roussel, and they hint at which the only music heard in abundance seems to boom a symphonic tradition outside the realms of the more ob- at a deafening volume from the cheap speakers of the taxis, vious Austro-German convention. Symphony No.1 (1951, microlets and Chinese run shops – pop music of a dubious rev.1971) by Robert Hughes is a work that could be seen as quality from various parts of the world. Dili’s occupants are a major contribution to the Australian orchestral repertory. fast losing touch with their traditional culture, to the dismay The work was written for the Commonwealth Jubilee Com- of elders in remote villages. These remote villages are rich petition in 1951, was awarded second prize and received in traditional music and culture, albeit hidden and difficult attention from such distinguished conductors as Sir John to get to. The youth of East Timor do not appear to be inter- Barbirolli and Sir Eugene Goossens. The purpose of this talk ested very much in this culture, to the dismay of their elders. is to explore the use of melody in Hughes’s first symphony, Is there a way forward for the traditional music and culture with special attention to the application of modal influences, of East Timor? Can it survive or will it eventually die out, or pitch construction and phrase structure. This discussion will be morphed into another style of music which assimilates provide a deeper understanding of an important Australian with the western world and all that the young impoverished symphony and contribute to preserving and promoting Aus- Timorese aspire to? tralia’s musical heritage. Keywords: East Timor; traditional; music; survival

Keywords: symphony; Australian; twentieth-century; musicology; analysis Format: Single paper (#78) Format: Single paper (#63)

Conference Abstracts p 38 Prudence Dunstone Jane Edwards Wesley Institute, University of Limerick, Australia Ireland

Schumann’s Gedichte der Königin Maria Motivational states and music choice Stuart, op. 135: emotional power in small packages ✢ ✢ ✢

✢ ✢ ✢ Many people consider music listening as an essential of everyday life. For many more music listening occurs Schumann’s Gedichte der Königin Maria Stuart, op. 135 was frequently whether deliberately or through circumstances composed in December, 1852, and was a Christmas gift to such as driving in the car and choosing a radio station, or in- Clara. The composition of this, his final song cycle for voice cidentally such as through hearing music in the background and piano, represents a moment of clarity in a year other- when engaged in shopping or socialising in public places. wise clouded by illness. This same illness was eventually This paper presents findings from a Grounded Theory study to see him admitted to a private sanatorium in Endenich, of music listening. The first data in this project was collected where he remained for the rest of his life. This paper exam- from 37 people who responded to an online request to de- ines Schumann’s setting of the poems, and how his com- scribe why they listened to music. Responses were analysed positional techniques have interpreted and heightened the using Grounded Theory Method. Respondents’ motivational powerful emotions contained therein. It also looks at paral- states and the influence of these in music selection emerged lels between the poems supposedly penned by the doomed as a core category of the research. Further categories that queen, and Schumann’s situation with his deteriorating emerged in analysis of the responses, and theorising about health. This analysis takes a performer’s perspective in the music listening will be presented. search to honour the composer’s intention. The succinct- ness of these songs, with their intense use of motives and Keywords: music listening; motivational states in choosing music to which to listen dramatic use of text, stands in strong contrast to the lyricism of the ‘year of song’, 1840, and especially to Frauenliebe Format: Single paper (#272) und Leben, the most obvious work for comparison. There are no comforting postludes here, and yet the part for the piano certainly acts as a commentary. Whilst the structural forms used are often very simple, within this framework the motives and text are used very sensitively and with a great deal of craftsmanship.

Keywords: Schumann; lieder; performance; analysis; text

Format: Single paper (#86)

Conference Abstracts p 39 Vahideh Eisaei Andrea Emberly The University The University of Western Australia, of Western Australia, Australia Australia

Techniques and articulation of Radif of Persian Performing the ‘rainbow nation’: exploring the music on Kanun, a Persian musical instrument impact of local, national and global media on children’s musical cultures in South Africa ✢ ✢ ✢ ✢ ✢ ✢ Persian classical music repertoire (radif ) is organised in modal structures (dastgah) as a whole, which are subdivid- Music is indicative of the continuing and powerful social ed into smaller pieces (gushehs) that are non-rhythmic but transformation in South Africa and the manner in which have an internal metric nature. A clear understanding of the children create, disseminate, and consume music repre- set of short melodies, motifs and variants, repetition, melody sents the significant impact of media on the musical lives sequences, phrases, pauses, and other features is essential of children in both rural and urban South Africa. The songs, in performing the radif. The basis of teaching, learning and games and musical lives of South African children embody improvising radif comprises creating interrelationships of the social, cultural and political landscapes of the world materials in a gushe and in a dastgah. Radif is monophonic around them. In particular, children articulate a need for which emphasises unity as well as minutiae. It is founded poly-musicality, that is, the ability to engage with a mul- upon ornamentation and phrasing. The radif has been titude of musical styles that centre them within their own handed down to children and students by the nineteenth- communities, the rainbow nationhood of South Africa and century master of the setâr and târ, Mirza Abdollah. There the globalised musical world. Within South Africa, where are also different expressions and performances of radif on the celebration of the ‘rainbow nation’ stands central to the other Iranian musical instruments such as santur. Although success of the country, the representation of race, class, radif has been performed on kanun, there is no solid record- culture, and ethnicity is distinctly approached in children’s ing or performance as a reference for kanun. This paper musical worlds. In addition, the representation of the na- attempts to present an introduction to radif of Persian music tion can be found in ‘edutainment’, television and radio and its origins. It also aims to demonstrate how to play radif programming produced for local broadcast that attempts on kanun. This is a unique approach because nobody has to overcome barriers of language, race, culture and class. ever attempted to perform the exact same techniques and Furthermore, ideas, thoughts, and newsworthy information articulation of radif on kanun. In doing so, the author will are filtered into children’s musical languages as they attempt conduct a comparative and analytical study on recordings to situate themselves as global musical citizens. Based on of radif played by a technically similar instrument (santur). my research with young children in the Limpopo province of The focus of the paper will be on a main dastgah in radif South Africa, this paper is indicative of how children identify called Shur. Selected sections of radif will be played on ka- with the idea of South Africa as a nation and how media nun along with many examples of other Iranian instruments impacts children’s use of music as an educational tool to performed for the audience engage with their social and cultural identities.

Keywords: Radif; Persian music; oral tradition; articulation; improvisation Keywords: children; South Africa; media; ‘rainbow nation’

Format: Mini-presentation (#81) and Poster (#81P) Format: Single paper (#36)

Conference Abstracts p 40 Paul Evans Gary McPherson Michael Ewans The University The University of Melbourne, The University of Newcastle, of New South Wales, Australia Australia Australia Jane W. Davidson The University of Western Australia, Australia

Music, learning, motivation, and achievement How music illuminates drama in opera: in children and adolescents a case study from Janá ek’s The Makropulos Secret ✢ ✢ ✢ ✢ ✢ ✢ Music is important in the lives of adolescents, and musical skills are highly regarded. Why is it that some people are The emotional power of music is particularly open to analy- able to persist through difficult, boring practice and acquire sis in opera, because in this medium music is played simul- impressive and rewarding musical skills, while others do not, taneously with words and actions. It is therefore possible to but wish they had? This paper examines some of the ma- ask in what ways the music illuminates the drama, including jor explanations for sustained motivation in music, as well especially the emotions of the characters onstage. Out of the as providing empirical foundations for a theoretical frame- eight main ways in which music complements stage drama work based in self-determination theory. A study of children in opera (outlined in the taxonomy which I presented in my and adolescents over a 10-year period is described. The plenary address at the 2009 MSA conference), I shall focus approach to the study was pragmatic, taking data that had in this paper on the use of music to illuminate a monologue. previously been gathered, studying the potential to explain The example for musico-dramatic analysis will be the scena music education further, and developing research ques- sung by Emilia Marty/Elina Makropulos at the conclusion of tions according to the kind of data that could be gathered Janá ek’s Ve Makropulos (The Makropulos Secret). from the sample. Results supported some of the previous findings in the study, namely that commitment and practice Keywords: opera; drama; scena; Janacek; Makropulos are key ingredients for ongoing success in music learning. Format: Single paper (#26) The study also found that greater feelings of fulfilling three basic psychological needs – competence, relatedness, and autonomy – appeared to result in ongoing motivation, while participants who ceased experienced less of these feelings and more of the feelings of being thwarted around the time they ceased learning. For those who continued to engage in music throughout adolescence, music learning became a deeply psychologically rewarding experience.

Keywords: motivation; music; self-determination; psychological needs; education

Format: Single paper (#213)

Conference Abstracts p 41 Dorottya Fabian Robert Faulkner The University The University of New South Wales, of Western Australia, Australia Australia

Performance style and expressive power: Fathers and daughters: musical identity evolving taste in playing and listening to Bach’s and communication solo violin works ✢ ✢ ✢ ✢ ✢ ✢ Within the context of the nuclear family, mothers most of- An analysis of a century of recordings of Bach’s Solo So- ten appear responsible for the supervision of homework natas and Partitas for Violin provides insight into changing and music practice. Nevertheless, fathers may still play sig- beliefs regarding how to best convey the power of this mu- nificant roles around the emerging musical identity of their sic. The notion of aiming to fulfil the composer’s intention children. Research has considered the impact of father- has a different meaning from generation to generation. In daughter relationships on emotional and social development the 1930s to ‘50s there is concern to make the violin sound and has shown how motives of pleasure and relaxation are like an organ, to play the polyphonic textures in as sustained significant to communication between teenage daughters a style as possible, even if it means to create a new type of and their fathers. This paper reports on accounts of musi- bow, known as the Bach- or curved-bow. The belief that this cal transactions with fathers that emerge in teenage girls’ music should sound ‘grand’ in order to create the powerful- narrative accounts of their musical lives. These visual, auto- monumental emotional impact the composer ‘must have ethnographic stories and subsequent conversations about intended’ continues to rule during the 1950s-70s period. them formed part of an idiographic study of 16 girl’s (aged Tempi slow, vibrato is intensified, most movements gain an 15-16) stories, experiences, values and beliefs about music air of seriousness. During the last quarter of the century and everyday life, in and out of school. Following the emer- there is a gradual rediscovery of the importance of dance in gence of father-daughter music stories in this study, the Baroque music and with it comes an emphasis on rhythmic researcher engaged in further inquiry around musical rela- gestures and vitality. Emotional depth and variety across the tionships with his 16-year-old daughter. Together, these data movements are highlighted through greater and more de- provide interesting insights into the role that music plays in tailed musical characterisation and diverse tempo choices. father-daughter communication, emotional and social devel- The celebration of Bach’s playful invention rather than sol- opment and emerging musical identity. emn transcendence is further evidenced in increasing use of added ornaments and embellishments during the first Keywords: narrative inquiry; emotion; learning and teaching; composition; musical identity decade of the twenty-first century. In this paper I explore these interpretative changes in relation to their perception Format: Themed panel (#251) and evaluation in published reviews and listeners’ responses to tease out the implications for the power of this music, how and why it affects us generation after generation.

Keywords: performance; affect; violin; baroque music; J.S. Bach

Format: Keynote paper (#16)

Conference Abstracts p 42 Robert Faulkner Sam Ferguson Gary McPherson Jane W. Davidson David Taylor The University of Melbourne, The University Emery Schubert Australia of Western Australia, Natasha Farrar Australia The University of New South Wales, Australia

The power of syzygistic influences Emotion locus in continuous emotional on musical engagement responses to music

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For the individual generating a musical performance, a high Music can both induce or express emotions. Previous re- level of physical and mental control and fluency is demand- search by Schubert has found that preference is correlated ed: perhaps the strength, suppleness and dexterity of a bal- with the strength of the emotion felt by listeners in response let dancer combined with the mental acuity and precision to a musical stimulus, and therefore the distinction is impor- of a chess player. In addition to the execution of the music, tant. This study investigated the time course of emotional there is an expressive meaning that needs to be communi- responses to musical excerpts and its relationship to emo- cated from the performer to the audience. These different tional locus. Participants listened to seven excerpts from a layers of skills require much refinement through focused pool of nineteen and made emotional responses by moving practice. The musical expertise literature suggests that a mouse as quickly as possible to point to one of six facial systematic as well as informal learning is crucial to learning representations of emotions. The difference in responses by and development. The variance in achievement is often ex- locus – internal (felt) and external (expressed) – was inves- plained through theories based on genetic predispositions. tigated to see how often positive relationships between loci By contrast, in this paper we explore the role of syzygies were found. We found positive relationships in 90% of cases – the processes of how conditions come into alignment to (that is, good matching between internal and external locus produce a unity of direction or purpose – in determining in- emotional responses), as opposed to a previous study by vestment and development for musical engagement. Many Evans and Schubert which found only 74%. The results of elements contributing to syzgistic alignments are inter-relat- this investigation are discussed in the context of previous ed, often having a gravitational connection to one another research findings. that are not products of chance, but rather outcomes of the systems and structures we inhabit in our social world. To il- Keywords: emotion locus; emotional response; preference luminate the role of the syzygies in operation, we shall draw Format: Single paper (#180) upon famous cases of powerful musical engagement from recent musical history including Erich Korngold and Louis Armstrong. We shall also draw on data from young adults we have interviewed and whose lives are strongly invested in musical activity.

Keywords: syzygies; musical engagement

Format: Single paper (#246)

Conference Abstracts p 43 Thomas Fienberg Anne-Marie Forbes The University of Sydney, University of Tasmania, Australia Australia

‘Reconciliation’ in Australian art music: In the service of shadows: music and the a consideration of collaborative liturgy of Tenebrae models for co-composing with Indigenous music and musicians ✢ ✢ ✢

✢ ✢ ✢ The power of music to enhance religious ritual and spiritual contemplation has been recognised from the earliest times, Australian art music composers have long felt a need to and over the history of the Christian church has inspired respond to Indigenous music, which has provided inspira- some of the greatest masterpieces of Western choral mu- tion and even a general framework for some at least to con- sic. Many of these works, however, have subsequently been textualise their works in search of an ‘authentic’ Australian divorced from their attendant liturgy, becoming concert sound. While much criticism has been made of white artists pieces performed by secular choirs in concert halls rather ‘borrowing’ Indigenous material, some composers have ac- than cathedrals. While the sheer beauty of the music may tively pursued more ethical bases for aesthetic interaction. move performers and audience even yet, this paper consid- This paper focuses on recent instances of such initiatives ers the role of liturgy in providing a context for the recep- by art music composers and Indigenous musicians through tion of religious choral music and explores the symbiotic conversations with key composers and performers. From relationship between liturgy and music that may result, with colonial arrangements of Indigenous songs and imitations each deepening the experience of the other. The Holy Week of Indigenous soundscapes, increasingly composers have Tenebrae liturgy provided the authentic context for works sought greater participation of Indigenous musicians in en- such as Allegri’s famed Miserere and Tallis’s Lamentations of deavours. In the past decade several projects have attempt- Jeremiah the Prophet. The role of music within this Service ed to meaningfully engage Indigenous performers within of Shadows will be outlined, exploring how polyphonic set- the actual compositional process. Through analysis of the tings may contribute to the liturgy itself, particularly through works of William Barton, Iain Grandage, and the Australian the opportunities afforded for emphasis and heightening the Art Orchestra, a case is made for the value of reconciling the expression of the text. Examples will be drawn from Mis- contributions of Indigenous and non-Indigenous musicians erere settings by Antonio Lotti, providing insights into early towards the creation of an Australian art music that conveys eighteenth-century Venetian practice and enabling reflec- a new sense of what it means to live together as members tion on how the Tenebrae liturgy, with its profound symbol- of the same nation. ism of darkness and light, framed by the space in which it is enacted, may in turn contribute to a deeper sensory Keywords: Aboriginal music; Indigenous music; Australian art music; co- engagement with the music. composition; reconciliation

Format: Single paper (#273) Keywords: music; liturgy; symbolism; miserere; Antonio Lotti

Format: Single paper (#259)

Conference Abstracts p 44 Catherine Foxcroft Mace Francis Rhodes University, Edith Cowan University, South Africa Australia

The performers’ experienced emotions while Music in site performing: interviews with five professional concert pianists ✢ ✢ ✢

✢ ✢ ✢ Large ensemble jazz or ‘big band’ music conjures up pre- conceived ideas of the 1930’s and the music of Glenn Miller Do professional pianists always engage emotionally with the but like all other art forms it has evolved and progressed, music they are performing in concert? And if so, is this the influenced by other musical and artistic innovations. As a key to an emotionally expressive performance? Research on composer using the large jazz ensemble as a creative ve- performers has shown that musicians in general recognise hicle outside of these preconceptions, this author is always the need to connect emotionally with the music they perform searching for innovative ways of creating and presenting in order to play it expressively. Research has also shown that new music. Site-specificity is one such area that jazz en- performers experience different kinds and degrees of emo- sembles have rarely experimented with. There are challeng- tions when preparing for an emotionally expressive perfor- es in taking this art-form on site which raise the following mance. But whether professional performers engage emo- questions. Is it possible to successfully integrate elements tionally with the music they are performing during a concert of the performance site into the compositional process? Can performance, has not yet been researched. Designed as an the performance site be just as integral to the ensemble as exploratory study for a DMus research project, the aim of the musicians? Can performing on a specific site affect the the present research was to explore pianists’ perspectives emotional responses of the listener, composer and the musi- on whether they experience emotional engagement with the cians? This paper examines three performance sites accord- music they are performing, and whether this contributes to ing to what they can offer: a natural outdoor environment, an emotionally expressive performance. Four professors in a man made environment and a pre-existing, site specific piano from the University of Cape Town, Wits and the Uni- sound art installation. Each site has unique acoustic and versity of Pretoria (South Africa) and one from the University physical qualities as well as challenges which require nec- of Michigan (USA) were interviewed in open-ended inter- essary pre-compositional experimentation to control and views at the 2010 International Piano Symposium held at the incorporate these qualities into successful compositions. University of Stellenbosch (SA). All the research participants Composing music this way requires a very different creative had established careers as soloists and teachers. Findings process to what the author, and many other composers in from the study revealed that the pianists sometimes expe- the genre follow when creating music for traditional perfor- rienced emotional engagement with the music during an mance spaces. These processes and experiments have led expressive performance. However, not one of the pianists to a variety of ideas for new musical works. The background considered experiencing emotions during the performance to such works, including some of the author’s, will be dis- a necessity (or desirable) for an expressive performance. cussed. Rather, the pianists were unanimous in emphasising the need for strict emotional control throughout a performance. Keywords: composition; site-specificity; large ensemble; jazz; interaction Format: Mini-presentation (#165) and Poster (#165P) Keywords: performance; emotional engagement; felt emotion; expression; control

Format: Mini-presentation (#178) and Poster (#178P)

Conference Abstracts p 45 E. Kamala Friedrich Kiyoshi Furukawa Takayuki Hamano Stephan Bongard Tokyo University of the Arts, Japan Science and Emily S. Frankenberg Japan Technology Agency, Goethe-University Frankfurt, Japan Tomasz M. Rutkowski Germany RIKEN Brain Science Institute, University of Tsukuba, Japan Japan Tamagawa University, RIKEN Brain Science Institute, Japan Japan

The emotions while learning an instrument – Music performance with ‘imagery instrument’ scale (ELIS) by real-time categorisation of brain activities

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Children are emotionally influenced by learning an instru- We introduce a new musical performance system based on ment. Feeling joy and pride while learning an instrument the brain-computer interface (BCI) technology which trans- is as well reported as feeling anxiety or stress, for example forms the brain-wave patterns of musical-chords-imagina- while performing in front of a group. Until now, no stand- tion into structures of music, and presumably, of musical ardised questionnaire has been published to measure these emotion. ‘it’s almost a song...’ is a live performance piece kinds of emotions in children. In total, 537 German 2nd and demonstrating this new instrument. 3rd grade pupils completed 23 items asking for emotions while learning an instrument. The mean age of the children Much previous brain-wave generated music converted EEG was M = 7.63, SD = 7.38. Ten months later, participants signals to sounds directly, which gives the least control of completed 21 items of the original questionnaire again and musical context. However, in our system, we control and six new items. Additionally, they completed the Positive and play music by imagining musical chords sequentially. We Negative Affect Schedule (PANAS), a questionnaire meas- have developed a new music performance system which uring stress and coping in children (SSKJ), and a question- maps the categorised patterns of the human brain activity naire measuring emotional and social school experiences to a set of basic elements of music and musical chords. The (FEESS). At both assessment times the items of the Emo- piece is based on the structured chain of musical chords, tions while Learning an Instrument – Scale (ELIS) showed a an arrangement of the chords in time so that they relate to two-factor solution with 37.4% of variance being explained each other. Our performance is based on this chain, which by the two factors. The first factor describes positive emo- is a fundamental music structure. We believe that the es- tions while learning an instrument (PELI), the second fac- sence of music, such as emotion and expression, emerges tor includes negative emotions while learning an instrument out of this chain. (NELI). Internal consistency was a = .81 (NELI) and a = .87 (PELI). Retest reliability was r = .36 (PELI) and r = .13 ‘it’s almost a song...’ is performed by a Brain Player (BP) (NELI). Construct validity seems to be good, as can be seen with EEG system and a Clarinet player (CP) on the stage. by correlations with subscales of SSKJ, PANAS and FEES. The BP wears an EEG-measurement cap with electrodes, These results show that children are emotionally affected by imagines a chord at a time to play one of three sound cat- learning an instrument. The ELIS seems to be a reliable and egories without physical movement, and produces sound valid questionnaire in measuring these emotions in children. from speakers using the system. The system extracts and

Keywords: music; children; psychology; emotions; psychometric

Format: Mini-presentation (#160) and Poster (#160P)

Conference Abstracts p 46 Hidefumi Ohmura Hiroko Terasawa Sandra Garrido Japan Science and University of Tsukuba, The University Technology Agency, Japan of New South Wales, Japan Japan Science and Australia Technology Agency, Reiko Hoshi-Shiba Waldo Garrido Japan The University of Tokyo, Macquarie University, Japan Kazuo Okanoya Australia RIKEN Brain Science Institute, The University of Tokyo, Japan Japan Japan Science and Technology Agency, Japan Music and grief: a case study from Chile

✢ ✢ ✢ categorises individual brain activity patterns for each sound Grief at the death of a child is amongst the most poignant category using a machine-learning algorithm. The sound is experiences suffered by humankind. This article considers generated in real-time by Max/MSP. The performers play the interesting case of the ‘cantos de angeles’, a particular music by repeating this sequence of tasks. The EEG data of song form used for the funerals of small children in various the BP is also visualised on the screen in real-time. During parts of Chile. The songs were originally brought by Spanish a training period preceding each session, the performers Jesuits during the colonisation of South America. The ritual practice to produce stable brain activity patterns for three has thus been followed for centuries in parts of the coun- sound categories. Performers for this presentation are Tak- try in various forms. It will be argued that the belief by the ayuki Hamano (brain player) and Nobuaki Motohama (clari- parents that they are aiding the child’s ascension to heaven net), with sound operator, Kiyoshi Furukawa. makes the ritual a ‘task-based’ coping activity. The psycho- logical function of such rituals within the grieving process Keywords: brain-computer interface (BCI) technology; real-time will be discussed along with the loss of such strategies with- categorisation of brain activities; machine-learning algorithm; a structured chain of musical chords; imagery instrument in the growing secularisation of Chilean society.

Format: Performance (#155) Keywords: grief; music; grieving process; funerals; rituals

Format: Single paper (#54)

Conference Abstracts p 47 Sandra Garrido Mark Gasser Emery Schubert Edith Cowan University, The University Australia of New South Wales, Australia

Rumination and sad music: the anomaly Ronald Stevenson and the lost art of of maladaptive listening habits transcription – from John Bull to Wozzeck

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While many people exhibit a preference for music that will Scottish composer and pianist Ronald Stevenson is the diminish a bad mood or sustain a good mood in accord- most prolific transcriber for piano of the twentieth century. ance with mood management theory, others show a distinct However, for much of his lifetime the art of transcription and attraction to sad music. Most proposed solutions to this arrangement has been much maligned, its emotive power paradox, including that of ‘catharsis’ by Aristotle, argue that undervalued. As Busoni noted, there is a sort of double- there are benefits to be gained from listening to sad music. standard in practice: ‘the arrangement is not good, because While some listeners may derive such benefits, this paper it varies the original; and the variation is good, although it presents the argument that people with a tendency to ru- arranges the original’. Furthermore, Busoni argues that minate have maladaptive methods of mood regulation and composition itself is ‘a transcription of an original idea’ and may therefore choose music which perpetuates dysphoria. therefore arrangement should not be morally inferior when Qualitative data were gathered in an online survey as part it re-clothes the original abstract idea in new and innova- of a larger study into the enjoyment of sad music. Of the tive ways. This paper argues for a re-evaluation of the tran- 59 participants in the initial study, 31 reported listening to scriber’s art through an investigation of the genius of Ronald uplifting music. Of those who reported being attracted to Stevenson, described by Malcolm MacDonald as ‘the great- sad music, 9 believed they had derived some benefit or en- est transcriber, notwithstanding Beethoven, since Bach’. As joyment. In contrast, for 11 other individuals who listened a virtuoso pianist of the highest calibre, Stevenson has an to sad music, it was unclear whether the experience was intimate knowledge not only of the repertoire but the instru- pleasurable or if the music resulted in an improved mood. ment itself, its capabilities, its inherent strengths and weak- One such participant was therefore invited to be the subject nesses, and the multitudinous possibilities of texture and of an in-depth case-study to investigate this anomaly. The sonority. His intimate knowledge of piano technique (asso- subject completed a psychometric measure of rumination ciated with his philosophy of’ ‘three hands’, ‘three pedals’ and was interviewed as to listening habits and preferences. and ‘twelve fingers’), his innovative figurations, his desire to The results support the hypothesis that the trait of rumina- use the piano to emulate the human voice, and his ability to tion may be connected to a tendency to make psychologi- orchestrate symphonic textures on the keyboard, make him cally maladaptive listening choices. a virtuoso of the transcribers art in the lineage of the great Romantic pianists. This research will include many unpub- Keywords: rumination; mood-management; sad music; depression; listening lished manuscripts that have been made available by the preferences Ronald Stevenson Society and live performance of selected Format: Poster (#53) works.

Keywords: transcription; emotion; composition; emulation; salutation

Format: Single paper (#149)

Conference Abstracts p 48 Kirsty Gillespie Gerald Ginther The University of Queensland, University of Canterbury, Australia New Zealand

Stories, songs and emotion: exploring The power of music: ballet in the the power of the sung refrain in Lihirian oral Soviet Union 1917-36 literature ✢ ✢ ✢ ✢ ✢ ✢ The performing arts were a significant vehicle in the battle The people of the Lihir Island Group (New Ireland Prov- for hearts and minds after the 1917 Revolution in Russia. ince, Papua New Guinea) are the custodians of significant Initially modernism, no longer restrained by Tsarist censor- oral traditions which encode their culture and their history. ship, was allowed free reign but this was constrained by These oral traditions include songs and dances, and sto- the advocates of proletarian art. Soon after the end of the ries. One particular genre of story is the genre known as pil. Russian Civil War in 1923, rival organisations the RAPM These stories are part mythological and part historical – in (Russian Association of Proletarian Musicians) and ACM straddling this space between fiction and experience the (Association for Contemporary Music) were formed. Music stories both entertain and educate. Pil provide information soon became a battle of rival ideologies. Of the performing about places, people’s relationship to the land, and what arts, ballet was the least affected, with its traditions largely is important for correct moral behaviour. While all pil have remaining intact, but there was a growing anxiety amongst spoken narrative as their essence, many feature a sung re- the Bolshoi in Moscow to commission a revolutionary bal- frain at pivotal moments in the story. These songs serve to let. It seemed that it was impossible for the Soviet Union to enhance the text by providing a kind of musical illustration. recreate the splendour of the Tchaikovsky ballets first per- But what kind of illustration? Why do some pil feature these formed in Imperial Russia. Eventually in 1927 a ballet was songs and others not? Why is there only one song per narra- commissioned which rivalled the popularity of Tchaikovsky tive, sung several times, rather than a variety of songs? Are – The Red Poppy by Reinhold Glière. This paper examines those pil which feature song more valued than those that do the initial steps in the formation of The Red Poppy, and the not, and if so, why? What is the nature and function of song response by the young Shostakovich – the unsuccessful Age that add value to narrative? This paper presents Lihirian pil of Gold and the relationship between the two works. Shos- to an academic audience for the first time, and attempts to takovich’s third ballet The Quiet Stream and its shattering answer these and other questions about the genre in order denunciation by Pravda in 1936 is often overshadowed by to contribute to a broader understanding of the power of ‘Muddle instead of Music’, the editorial written as a response music across cultures. to the opera Lady Macbeth. Of great significance though is the fact that Shostakovich did not attempt another ballet af- Keywords: ethnomusicology; orality; narrative; song; Papua New Guinea ter The Quiet Stream and instead concentrated on the sym- Format: Single paper (#39) phony and string quartet.

Keywords: ballet; Soviet Union; Glière; Shostakovich; The Red Poppy

Format: Single paper (#263)

Conference Abstracts p 49 Denise Grocke Annette Guillan Sidney Bloch Sultan Idris The University of Melbourne, University of Education, Australia Malaysia David Castle St Vincent’s Hospital, Australia

Songs for life: group music therapy for people ‘Arrrghhh..ku’: an exploration of angry emotions with severe mental illness. A controlled study as explored in a contemporary Malaysian composition ✢ ✢ ✢ ✢ ✢ ✢ People who live with severe and debilitating mental illness often experience social anxiety that impacts on their integra- Maconie in his book entitled The Concept of Music writes tion into the wider community. Group therapies are known ‘music is a field of human expression which has successfully to foster social interaction skills. Additionally, by engaging resisted analysis in terms of conventional theory’. Human in creative endeavours, participants enjoy greater quality expression comes in many forms and is revealed in different of life. The aim of our study was to determine the effect of situations. In our daily life we deal with people who express group song-writing on the quality of life (primary measure), themselves in a way that can result in others feeling mis- symptoms, social integration, self-esteem, and spirituality, treated or hurt. These negative emotions may not be able of people living with severe and enduring mental illness. to be verbalised or expressed clearly. To purge ones anger, The study was designed as a randomised controlled trial, some people resort to other forms of expression such as and was funded by the Australian Research Council. Ethics stomping, crying, shouting and punching. ‘Aaaarrghh..ku’ is approval was granted by the University of Melbourne and an expression of anger using many parts of the human body four associated hospital ethics boards. Participants gave as a medium of sound. Sounds that are produced by each written informed consent to be involved in the study. This part of the body deliver a particular message of anger. Mak- paper reports on our project, which ran for 12 weeks and ing music here is a fundamental channel of communication comprised 11 weekly group music therapy interventions of – it provides a means by which people can share emotions, song singing and original song-writing. In the final week the intentions and meanings (Miell et al.). Some feelings just original song/s was/were recorded in a professional studio, cannot be expressed through words. Therefore, unspeak- and participants were engaged in a focus group interview able, unexplainable feelings can be shown through action designed to capture qualitative data about the experience of (body language) and sound. ‘Arrrggghhh..ku’ is an experi- the project. There were 14 groups in the study, with an aver- mental concept music group that highlights the use of body age 3-4 people in each. Forty-five participants completed percussion, using feet, hands, eyes and voice to deliver the study; all participants had been living with mental illness the message. This group was formed in April 2011 by Mr. for more than 2 years. The measures taken pre and post the Kamarulzaman lecturer in the Sultan Idris Education Univer- 12-week intervention, and at a 3-month follow-up, indicate sity. ‘Arrgghh..ku’ means a sighing in the Malay language. significantly improved quality of life. Themes from focus Hence, we express anger in our native language to show group interview data and lyric analysis of the songs will also the variety and the richness of our Malaysian culture. We be presented, and brief samples of the songs will be played. also included traditional, well-known Malaysian percussion instruments such as kesi (used in shadow puppetry), kom- Keywords: songwriting; music therapy; mental health pang (also known as tambourine), and many more. In 2011, Format: Single paper (#95) a group of Malaysian students called NoStand Experimental group explored anger to develop a new composition. The fifteen students worked on layers of sound, form, and struc- ture to produce a fifteen minute piece called ‘Arrrggghhh... ku’. Through the use of body percussion and instruments, they developed a musical work that displayed anger from the perspective of Malaysian youth.

Keywords: emotion; anger development

Format: Poster (#241) Conference Abstracts p 50 Take a music bath once or twice a week for a few seasons. You will find it is to the soul what a water bath is to the body. Oliver Wendell Holmes

Conference Abstracts p 51 Aaron Hales Catherine Hallett The University University of New England, of Western Australia, Australia Australia

Glitter and be glee! Secondary school musical Music in Kamigata Rakugo performance theatre education in Perth, Western Australia ✢ ✢ ✢ ✢ ✢ ✢ Rakugo is the Japanese tradition of staged comic storytell- The 1980s witnessed an educational development in West- ing associated with small urban variety theatres called yose ern Australia with regard to the way in which performing arts found in the Osaka-Kyoto (Kansai or Kamigata) and Tokyo were taught in secondary schools. There began a trend to (Kanto or Edo) regions. This mini-presentation examines the ‘hot house’ students that displayed potential in their cho- music and musicians in rakugo performance of the Osaka- sen field of performance be it dance, drama, or music, by Kyoto region, specifically the role of ‘theme songs’ known as designating particular schools around the metropolitan area debayashi which are played before professional storytellers as specialist schools for the study of the performing arts. (hanashika) come on stage. Every storyteller acquires, se- One school that was earmarked for such developments was lects or composes their own theme song upon qualifying as John Curtin College of the Arts (JCCPA) a secondary school a professional, and in earlier times audiences were familiar located in the port city of Fremantle, south of Perth, West- with the lifelong association between a specific tune and an ern Australia. The school has had much success with its individual storyteller. While research suggests that this is no gifted and talented programs and has since instigated fur- longer the case, these theme songs continue to be an indis- ther courses of study in areas such as sport and academic pensable part of rakugo performance. All apprentice story- excellence. One specific program developed by JCCPA is tellers are required to learn to play percussion or flute in the that of musical theatre, and it is this genre of performing arts variety theatre’s off-stage music ensemble called hayashi, – as a separate subject to that of conventional western art and most professional storytellers openly tell of the power music, dance and drama – that is the main focus of this pa- and importance of the accompanying ensemble’s rendering per. Drawing on the various theories of Foucault, Gagne and of theme songs for their own performance practice. While Connerton, this paper examines how visibility, surveillance the majority of theme songs derive from traditional Japanese and memory are used as learning devices in the teaching music genres, in recent years some Osaka-Kyoto region of the musical theatre genre. The theories provide insight storytellers have chosen to use tunes from modern popu- into the power and ongoing popularity of the musical thea- lar music and western music as their individualised song, tre genre in society, especially within secondary institutions. despite there being only traditional Japanese instruments in The paper considers the impact of the genre on students the off-stage ensemble. currently enrolled at the school with an aim to understand why the music theatre genre is such a marketable and com- Keywords: Japan; rakugo; storytelling; theatre; theme song petitive area of study. The themes for this paper are drawn Format: Mini-presentation (#62) from fieldwork undertaken at JCCPA in 2010.

Keywords: musical theatre; secondary education; Foucault

Format: Single paper (#235)

Conference Abstracts p 52 Rachel Hallett Rosalind Halton Alexandra Lamont The University of Newcastle, Keele University, Australia United Kingdom

Age, music preferences and exercise: ‘The power of harmonical combinations’: does the music matter? emotional response at the Handel Commemoration of 1784 ✢ ✢ ✢ ✢ ✢ ✢ Most existing work on the motivational effects of music has explored the effects of tempo and preference on exercise The festival of five concerts in Westminster Abbey and the ability mainly amongst under-25s with above average lev- Pantheon that made up the 1784 Commemoration of Handel els of fitness. The research suggests that music provides a in London has been described as ‘the most important single powerful motivational boost to exercise adherence, improv- event in the history of English music’. An outstanding aspect ing exercisers’ affect, skill acquisition and output. Older and of the Commemoration was the extraordinary emotional re- less fit populations are rarely studied; these groups form sponse of both performers and listeners, as documented in the sample for the current research. This paper tackles the reports of the concerts. What new factors of performance important issue of how music can improve affect and out- and audience interaction produced this unprecedented comes in older gym-attendees, using an exercise-setting to level of response? Can the festival be seen as a turning point explore attitudes towards music in exercise and then ma- in the history of physical and emotional reactions to public nipulating different types of music in an experimental study. musical performance? The paper will look at some of the in- Data from interviews highlights that music may play less of gredients described by eyewitnesses as powerful and mov- a role in exercise routines for older participants, with the ing. The discussion includes analysis of two choruses from social elements of gym attendance emphasised in prefer- Israel in Egypt, known as The ‘Hailstones Chorus’ and ‘The ence to exercise goals. However, this is partly due to the fact Horse and his Rider’; and consideration of the solo singing, that gyms tend to play music which older participants have above all the ‘grace and power’ of Madame Mara, who had less connection with and often actively dislike. An experi- been en route from the Berlin court of Friedrich der Grosse, ment is currently being conducted to compare a range of reaching London just in time to make her name as principal performance-related variables as well as perceived mood in soprano soloist. With Haydn’s visits to London just a dec- two music conditions; more moderate tempo music which ade after the Commemoration, the element of the ‘atten- relates more closely to participants’ preferred music, and tive audience’, prepared to withstand physical discomforts the up-tempo music which tends to be used in a range of and crowded venues to reach sublime experiences, may be exercise settings. Results will be available at the conference seen as an emerging phenomenon that links the two eras in and will shed light on how emotions evoked by music listen- London’s musical experience. As the vehicle through which ing play a role in motivation for exercise. we learn about this newly emotive impact of musical perfor- mance at public concerts, press reportage and eyewitness Keywords: music listening; motivation; exercise; music preference; older accounts in late eighteenth-century England form a central population element of this study. Format: Poster (#7)

Keywords: emotional response; Handel Commemoration; eyewitness accounts; singing; turning-point

Format: Single paper (#94)

Conference Abstracts p 53 Kathryn Hardwick-Franco Scott Harrison Independent scholar, Griffith University, Australia Australia

The power of Slovenian folk music over the Welcome aboard the emotional rollercoaster: migrant memories and identities experiences of research higher degrees in music ✢ ✢ ✢ ✢ ✢ ✢ Slovenian folk music is a powerful cultural element for those Slovenians who migrated to Port Lincoln, South Australia. The doctoral experience has been described as an emo- The music enables the migrants and their children to main- tional rollercoaster. From the moment of the ‘ah-ha’ idea, tain a sense of belonging to a Slovenian cultural commu- through proposal, admission, confirmation, data genera- nity despite a small number of Slovenians living in a small tion, analysis and completion phases, the highs and lows of regional town. The music has a powerful influence over engagement with a research program are one of the most the emotional connection these people have towards their fulfilling, yet emotionally challenging life episodes. To some cultural heritage. The connection is so powerful that these extent, these peaks and troughs are exacerbated when the people do not need to listen to the music when using the project has, as many do in the musical domain, a personal music to reconfirm their cultural heritage. Instead, these component. Using examples from student projects being people need only to remember instances of Slovenian folk supervised by the author, the paper explores the interplay music performances in order to reconnect with their cul- of student emotion in aspects of project design, method, tural heritage. They call on memories of performances of write-up and dissemination. The paper includes reference to Slovenian folk music that were performed in both Australia practice-based examples, including Ph.D. by composition, and Europe. It is through remembering the music that these as well as more standard text-based project. It aims to inter- people are empowered to reconfirm their membership with rogate the role of emotion in the research higher degree in an imagined Slovenian community. Memories of Slovenian music where content and life experience collide, sometimes folk music, therefore, are powerful enough that they enable with fascinating musical and academic outcomes, at other Port Lincoln residents with Slovenian cultural heritage to re- times with devastating personal impact. The project has connect with an imagined Slovenian community in which been undertaken with full co-operation of the participants, they reconfirm their membership with their Slovenian cul- each of whom willingly shared his/her journey. The voice of tural heritage. the author/supervisor and his engagement with the candi- dates is also documented and reported on. The paper aims Keywords: ethnomusicology; identity maintenance; imagined community; to illuminate this often-obscured aspect of the music learn- cultural heritage; musical memories ing, teaching and research, in anticipation of improved prac- Format: Poster (#18) tices and outcomes in research higher degrees in music.

Keywords: postgraduate; research; pedagogy; relationships

Format: Single paper (#112)

Conference Abstracts p 54 Alan Harvey Brooke Hendry The University Susan West of Western Australia, Australian National University, Australia Australia

Music, reward and human survival: Minima maxima sunt (The smallest things a brief review of neuroimaging studies are most important): a student perspective of school music learning environments ✢ ✢ ✢ ✢ ✢ ✢ Functional magnetic resonance imaging (fMRI) and other imaging methods allow an analysis of areas of the human This poster is focused on school music learning environ- brain that are active when particular tasks are being per- ments and the differential effects on individual students’ formed. I will review recent studies from a number of labora- learning capabilities and concentration. As a child I was tories around the world that point to an overlap in regions of diagnosed with high level learning difficulties. As a result I the human brain that are active when (i) listening to music have a heightened sensitivity to, and interest in, learning en- appreciated by an individual, (ii) carrying out tasks that are vironments both in terms of physical spaces and emotional pleasurable and rewarding, and (iii) performing socially in- climate. This interest has been fuelled by my work as an in- teractive behaviours. The comparisons suggest strong links tern with the Music Education Programme at the Australian between such activities and support the view that, as univer- National University’s School of Music after completing my sals, music and dance were of fundamental importance in Year 12 Certificate in 2010. The Programme works with nu- fostering social cooperativity in early Homo sapiens. There is merous schools in the Australian Capital Territory (ACT) and no reason to suggest that music is of any less importance to with many children who have problems similar to my own. the well-being of human society in the twenty-first century. This poster will explore not only the ways in which learning environments affect ‘mainstream’ students’ capabilities, but Keywords: reward; social cooperation; brain imaging; neurochemistry; music more specifically the extent to which they may exacerbate Format: Mini-presentation (#227) learning difficulties. The research will be carried out through a number of case studies of selected schools in the ACT including new P-10 ‘super-schools’ and more traditional ‘K- 6’ primary schools. Students from each school will be taken to various locations including within their own schools, with each group experiencing each environment through singing and group discussion. Whole group surveys will be conduct- ed as well as filmed interviews after each singing session with selected students. Interviews will focus on their indi- vidual opinion of the various learning environments in terms of physical space and emotional climate. Data will be ana- lysed with the aim of identifying further areas of research in terms of improving school environments for greater student learning outcomes.

Keywords: music; education; environment; learning disabilities; singing

Format: Poster (#49)

Conference Abstracts p 55 Thomas Hillecke SRH University Heidelberg, Germany

A heuristic working factor model for music therapy

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Although empirical studies underpin the effectiveness of model is arbitrary. But theoretical models in music therapy music therapy (Dileo and Bradt, Gold et al., Argstatter et al.) are extensive. Many theories of psychoanalytic therapy, hu- and basic research sheds more light upon the mode of op- manistic approaches and behavioural therapy models as eration, music therapy practitioners are in danger of losing well as medical treatment theories were applied to music the track of things or are confronted with severe translational therapy during the last decades. All of them broadened problems of empirical results into therapeutic action. This the music therapy perspective but also transported many leads to the problem of a growing gap between science and incommensurable basic assumptions and contribute to the practice. Therefore the question arises as to how to bridge the danger of confusion. What is really necessary is a heuristic gap between science and practice in music therapy. Some model which is more specific to music therapy and allows approaches possibly deliver answers: (1) therapy manuals; relating (empirically supported or hypothetical assumed) ef- (2) differential therapy research; (3) education of scientist- fects of music to practical treatment requirements. Such a practitioners; (4) defining specific working ingredients. All heuristic model would have the additional advantage that it four are necessary on the way to an empirically supported might be a step on the way to a specific music therapy the- music therapy but each contains pros and cons. Therapy ory. The heuristic model we have been working on for eight manuals (Hillecke and Wilker) contain the advantage of years consists of the definition of five working ingredients of describing concrete actions in defined areas of application music therapy (Hillecke et al., Hillecke and Wilker): (1) At- and usually are justified by empirical results. However, they tention Modulation; (2) Emotion Modulation; (3) Cognition are limited to the defined field of application and therefore Modulation; (4) Behaviour Modulation; (5) Communication strictly restricted to generalise. Differential therapy research Modulation. Most music therapeutic interventions integrate as the use of comparative empirical studies helps to make all of the factors but with different goals or main foci. If a decisions in the context of indication and application, but practitioner is confronted with a clearly defined practical it is useless in treatment planning. The education of mu- problem the model may help to choose or develop a spe- sic therapy students as scientist-practitioners supports the cific treatment strategy. Using the heuristic model means personal competencies of practitioners to translate research to bring order to empirical results in relation to the practical results into practical strategies, to recognise limitations of use. It is not thought to be a well formulated theory but a results, to reflect therapeutic action within the light of sci- starting point to develop an interface between empirical re- entific perspectives, and to formulate treatment strategies sults, clinical requirements and musical phenomena. as scientific hypothesis. At first sight there is no problem. But teaching scientist practitioners means to teach treat- Keywords: clinical application; music therapy; working factors ment theories, which leads to the problem that theoretical Format: Themed panel (#214) assumptions are as necessary as empirical results. Without reflected theoretical frameworks the scientist-practitioner

Conference Abstracts p 56 Holly Holmes Katherine Honeybun University of Illinois The University of Melbourne, at Urbana-Champaign, Australia United States of America

‘With a voice like a gun’: Brazilian popular ‘A complex of tendencies’: the evolution of the music, censorship and strategies of resistance tritone and its use in the music of Wagner, during the military dictatorship, 1964-85 Debussy and Bartok

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While military leaders and politicians plotted to overthrow In medieval times the tritone was known as diabolus in the Goulart administration, a youth collective of popular mu- musica or ‘the devil in music’. However, as harmonic lan- sic composers was coalescing on the street corners of Belo guage changed it became increasingly permissible to use Horizonte, Brazil. Led by Milton Nascimento, the Clube da the tritone in freer ways, particularly during the nineteenth Esquina began to use music as a form of protest against and twentieth centuries. This paper investigates how the tri- the military regime (1964-85), its policies of censorship and tone was used in Wagner’s Prelude to Tristan und Isolde, suspension of civil rights. The regime censored a majority Debussy’s Prélude à l’après-midi d’un faune and the third of Nascimento’s Milagre dos Peixes (Odeon). When he re- movement of Bartok’s Music for Strings, Percussion and Ce- solved to release the album without lyrics – featuring rich lesta, and aims to compare the use of the tritone in order wordless melodies, anguished shouts and a soaring falsetto to better understand the changing definition of consonance – the censors condemned the ‘aggressive’ sound of the and dissonance. By using the music analysis software Me- voice. The release went ahead, and Nascimento described lodicMatch, the location of melodic and harmonic tritones the impact of the voice como uma arma (‘like a gun’). Us- was found; this information was then used to focus the in- ing ongoing ethnographic data and archival research, this vestigation on particular sections of the music that indicated paper explores the Clube da Esquina’s contribution to Bra- interesting tritone use. zilian canção de protesto (protest song) and how musical sound, song text, and individual action communicated po- Keywords: tritones; MelodicMatch; dissonance; harmonic language; analysis litical messages during the harshest years of the dictator- Format: Poster (#252) ship (1968-78). The Clube da Esquina used textual themes as allegories to communicate political dissent in combina- tion with regional, national, pan-Latino, and international musical styles. Heard in the historical moment of radical clandestine movements, disappearances and torture, and divisive debates about musical authenticity, the collective constructed a diverse set of symbolic expressions relevant to the socio-political concerns of youth audiences. By em- phasising the roles of individual actors within the collective, various manifestations of the balance between artist and social activist come to the fore and broaden the definition of what is protest song.

Keywords: censorship; dictatorship; protest song; resistance; political music

Format: Single paper (#210)

Conference Abstracts p 57 Made Hood Cat Hope The University of Melbourne, Edith Cowan University, Australia Australia

Defending the dialect: Cologne Carnival and Sensuality as sound object: the possibilities the Loss Mer Singe song contest of drone music

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Loss Mer Singe is a locally produced song contest in the As Edgar Varèse pointed out, music must live in sound. Kölsch dialect held annually in conjunction with Cologne Sound is the very fabric of music, yet it has only been sin- Carnival, one of the largest festivals in the German calendar gled out for its own sake in the last century, through the year. Major record labels, national broadcasting companies, development of electronic music, spectral composition and and local artists and musicians promote Loss Mer Singe (Let the development of audio technologies that have led to de- me sing), as well as the city’s many bars and pubs that host tailed comprehension of the physics of sound. As musicolo- the competition. From over 400 song entries, twenty ad- gist Joanna Demers points out, we can use technical lan- vance to the final voting round held over thirty intense eve- guage to pinpoint measurable data about sound, but once nings of drinking, singing and dancing leading up to the Car- we begin to talk about the feelings and thoughts invoked by nival. Crowds of pub patrons receive copies of song lyrics, sound itself, we rely on metaphors. While it is common to voting ballots and a chance to sing along with recorded mu- discuss sound’s role in music as a sign (a means of com- sic. The song receiving the most votes becomes the official municating bigger ideas) or an object (an autonomous set of ‘Song of Carnival’ for the year. While the competition sup- sounds pointing to nothing, sometimes flagged as providing ports local songwriters’ use of the Kölsch dialect, its focus ‘reduced listening’), this binary excludes so many other pos- also upholds the commercial agenda of its organisers who sibilities. This is most obvious in drone music, where the ob- promote the Carnival as a regional and national festival in ject of sound is the originator of a kind of sensual meaning. order to attract increasingly larger numbers of non-Cologne Drone music is perhaps one of the most under-examined patrons to the city. Many local musicians see this as a point areas of contemporary music practice, and it provides chal- of contention and reject both the competition and the ‘hits’ it lenges to composers and listeners alike. Drone music tests produces. Using ethnographic interviews, sound recordings our idea of duration and musicality. This paper discusses and public documents, this paper explores the dichotomy some significant developments in drone music over the last between local musical identity and regional/national festival fifty years, as well as different possible approaches to its promotion. By referencing the many viewpoints surrounding comprehension. the competition, I will argue that despite various tensions that arise, it serves as a catalyst for constructive discourse Keywords: new music; drone; sensuality; composition; philosophy between promoters, patrons and musicians who embrace Format: Single paper (#158) Cologne’s dialect, the Carnival and its music.

Keywords: participatory performance; competition; festivals; Germany; dialect; carnival

Format: Single paper (#268)

Conference Abstracts p 58 Paul Hopwood Anita Hoyvik Edith Cowan University, University of Oslo, Australia Norway

Dr Summers v Rev. Duff: a case of music Music listening as therapy copyright in the Supreme Court of Western Australia, 1900-1902 ✢ ✢ ✢

✢ ✢ ✢ How and with what emotional force is music felt in the body of a listener undergoing severe medical and social challeng- Joseph Summers (1839-1917) was a church organist, con- es? In my paper I present results from one year of anthropo- ductor, music educator, composer, mining speculator and logical fieldwork exploring this question in the specific site of all-too-frequent litigant. He emigrated from England to Vic- Rivington House, a residential facility for people living with toria in 1865, lured by the potential wealth on the Ballarat AIDS in New York City. During my fieldwork I studied the goldfields. After an eventful and largely successful three emotional effects of the Bonny Method of Music and Guided decades in Melbourne, Summers moved to Perth in 1897. Imagery (BMGIM), a music therapy method based on music Notwithstanding that he intended to retire to semi-rural Sub- listening, among Rivington Residents. My paper pays spe- iaco (now a bustling inner-city suburb), Summers remained cial attention to how the listening subject imagines his or her remarkably active, and to follow his activities over the years body during the BMGIM session. Closing their eyes and ly- from 1897 to his death in 1917 is to gain a unique and enter- ing in a seemingly inactive state on a bed in their temporary taining insight into Perth’s fledgling musical life. He played home at Rivington House, the participants in my study ex- a significant role in the early years of Perth’s Philharmonic perienced vivid imagery locating their bodies in landscapes and Liedertafel Societies, and argued publicly for a chair and places most often far outside the walls of Rivington in music to be established at The University of Western House. What are these spaces and how are the resident’s Australia from its inception in 1911. While surveying briefly bodies imagined to be moving in them? Who, if anyone, is these activities, this paper will focus on his involvement in imagined to be watching the subject in his or her musically a legal dispute concerning copyright in music he composed induced imagery? I explore these questions through a num- for a sacred oratorio based on Milton’s ‘Paradise Lost’ enti- ber of interviews and music listening sessions with Rivington tled Two Worlds. The case was widely reported, and involved residents. More generally, I discuss how music scholars and a fascinating cast of characters including a musically literate medical professionals alike can view these experiences in judiciary, luminaries from Perth’s legal fraternity, the promi- the context of researching the agency of music in sustaining nent Perth clergyman Rev James Duff and – perhaps most and protecting vital, individual health. colourful of all – Summers himself. While interesting from a legal standpoint, the case is perhaps even more signifi- Keywords: therapy; listening; bodily unconscious; health; reverie cant as an example of the important place music held in the Format: Single paper (#59) hearts and minds of such a wide variety of people in such a small, isolated outpost of the British Empire.

Keywords: colonial; copyright; Dr Joseph Summers; Perth; federation

Format: Single paper (#117)

Conference Abstracts p 59 Chih-Fang Huang Mary Ingraham Yuan Ze University, Michael MacDonald Taiwan University of Alberta, Canada Wei-Po Nien Hsiang-Pin Lu National Chiao Tung University, Taiwan

An automated composition system based Negotiating belonging, performing reciprocity: on music power-level selection Kwakwaka’wakw ritual performance as practice

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An automated composition method based on the music Central to the heritage of the Kwakwaka’wakw in Canada’s power level section has been proposed. In this algorithm, a Pacific Northwest, the potlatch asserts history, family, and in- music piece can be generated by changing the power level. dividual status, and provides the context for the ritualisation The power levels will be mapped to various music param- of all stages of life as community-building through belong- eters; those parameters include tonality, chord, pitch inter- ing. From the point of view of Kwakwaka’wakw performativ- val, rhythm and tempo. Analyses of the power effects on ity, it is also possible to consider the negotiation of belonging those parameters have been made. The detailed formula that takes place in ‘potlatching’ as reflecting intercultural ex- is then constructed to coordinate each generated parts. change between the coloniser and the colonised. This paper Experimental results demonstrated that thousands of gor- examines Kwakwaka’wakw performativity in the potlatch as geous pieces can be easily made without the necessity of a a site for negotiating belonging by considering two versions music database. This algorithmic composition method can of Edward Curtis’s documentation of the Kwakwaka’wakw be easily applied to portable music devices such as mobile potlatch: his 1914 film In the Land of the Head Hunters with phones, notebooks or mp3 players. an original orchestral score by John Braham; and a 1972 reconstruction of this footage by anthropologists Holm and Keywords: automated composition; music power level; music parameters Quimby, with a new soundtrack (retitled In the Land of the Format: Mini-presentation (#96) and Poster (#96P) War Canoes). Repeated Kwakwaka’wakw engagement with this seemingly colonialist project bears close consideration, with the enactment of material and social exchange in the potlatch providing the means for understanding the uneven reciprocity of intercultural exchange. Negotiating belonging through such exchange took place on two separate occa- sions some sixty years apart, as the Kwakwaka’wakw de- fined their relationship with successive generations of film- makers. Simply accepting a colonial critique of these films disempowers the Kwakwaka’wakw. In this presentation, we suggest a response that examines belonging and per- formativity from the Kwakwaka’wakw perspective as a step towards an indigenous oriented post-colonial theory of ritual.

Keywords: ritual; Kwakwaka’wakw; film; Canada; belonging

Format: Single paper (#80)

Conference Abstracts p 60 Stuart James Phillip Johnston Cat Hope The University of Newcastle, Edith Cowan University, Australia Australia

Gesture and music composition: The polysynchronous film score: traversing matrices as a means of generating the relationship between narrative and notated scores music in the contemporary scores for silent film of Phillip Johnston ✢ ✢ ✢ ✢ ✢ ✢ The use of the matrix in pitch class theory has been wide- spread not only in music analysis, but also a major influ- The ‘synchronous’ film score (presently the dominant model ence on compositional practice. A pitch matrix is commonly in both commercial and independent films) describes a used to derive all inversions, retrogrades, and retrograde- relationship between music and image/narrative whereby inversions of a 12-tone row in all of its various permutations. whatever is on the screen is being echoed by the music. Other relationships such as combinatoriality and row invari- The ‘asynchronous’ model involves music which appears to ance were explored by Schoenberg and Babbitt, and We- contradict the image/narrative. Examples might be Stanley bern respectively. When total serialism emerged, Messiaen, Kubrick’s use of Samuel Barber’s Adagio for Strings in the Stockhausen, and Boulez used these systematic processes opening of Platoon (1986), or Francis Ford Coppola’s use to not only determine pitch structures, but also rhythm, dy- of Cavalleria Rusticana in the final murder scenes of The namics, timbre, tempo, and articulation. Due to the system- Godfather, Part III. This too has become a cliché. The ‘poly- atic nature of this process, many later developments in this synchronous’ film score is one which is not limited to one or area involved the use of computers. Peter Maxwell Davies the other, but chooses freely between these two approach- also explored other extensions of the use of pitch matrices es, and includes a third category which assumes, first of in his compositional practice by using plainsong melody as a all, that music does not clearly express a simplistic point of source of melodic material in his Ave Maria Stella (1974) and view (happy vs sad, safe vs threatening), but is rather more A Mirror of Whitening Light (1976-77), as well as the use of complex and open; and second, that the film score is free magic squares to transform these pitch matrices in Davies’ to make more playful juxtapositions between music and im- Third and Sixth Symphonies. Along with the development age/narrative, including such elements as irony, historical of the micro-computer, algorithmic processing, and various reference, puns, asides, parallel narrative and other forms gestural interfaces, such as the Kinect 3D, iPad, and move- of subtext. Using video projection of scenes from my work ment and motion sensors, this poster investigates ways in as a composer of original scores for silent film over the last which to explore these relationships in pitch, rhythm, dy- 20 years, this paper will discuss the ways in which my work namics, timbre, and articulation by generating music scores interrogates the relationship between music and image/nar- through a process of traversing these matrices by physical rative in a more complex way than the synchronous/asyn- gesture. It is intended to explore some of the many varied chronous dichotomy. tonal and atonal relationships that exist in a way that re- sponds in realtime. Keywords: silent film; original score; music for film; polysynchronous; music and image

Keywords: matrix; composition; computers; algorithmic; gesture Format: Single paper (#68)

Format: Poster (#132)

Conference Abstracts p 61 Daniela Kaleva Jan Kane University of South Australia, Australian Catholic University, Australia Australia

Representation of intense emotions in the The emotional power of musical performance earliest extant melodramas to mediate perceptions of musical learning and ability ✢ ✢ ✢ ✢ ✢ ✢ Combined spoken text, music, acting and visual effects (melodrama) has been used in ritual and theatre since an- The experience of performance is a powerful tool for change tiquity to denote departures from reality, to bring attention in perceptions of musical learning and ability. Confidence to the inner world of characters and to depict supernatural and competence in performance can be influenced by events. Regardless of the genre, the function of melodrama deeply held attitudes and beliefs about musical ability. is to intensify the expression of emotion, typically vehement These beliefs are often formed from two interlinked compo- passions, and to manipulate the emotional state of the lis- nents of self-judgement of musical talent and comparative tener or spectator. Being the earliest extant examples of no- judgement with others. However, a co-operative group-cen- tated melodrama, the melodrama passages in Johann Ernst tred approach to musical performance can have a mediat- Eberlin’s Benedictine school drama Sigismundus Burgun- ing effect and can promote positive feelings about musical diae Rex (1751) are of central importance to music research abilities and learning. The key factors of performance prepa- concerned with techniques of musical encoding of human ration, collaboration and creative contribution can have a emotions. Excerpts from the drama have been preserved in powerful influence on participants. While the strength of a manuscript held in Kremsmünster, the music having been self-efficacy related to musical ability may fluctuate during published in Denkmäler der Tonkunst in Österreich Vol. 55 the preparation stages, it can be transformed into positive in 1960. However, the dramatic and technical aspects of perceptions as a result of the experience of the performance Eberlin’s melodrama writing have not been investigated itself. This paper will discuss this emotional power of perfor- so far. The paper analyses the earliest extant example of mance in music through an examination of two sets of data melodrama, its function in the dramatic narrative and the taken from pre-service primary teacher education students. particular micro- and macro-structures of text and music. These students participated in a compulsory performance The incorporation of number melodrama as an autonomous component in their teacher education program which re- number and as a transitional number within a scene as well quired them to teach their peers about music through per- as the employment of episode melodrama within an aria and formance. The data was gathered through written reflective stage effect melodrama, exemplifies melodrama functions responses and small group interviews taken after the per- and techniques used in opera and incidental music much formances. The subjects revealed positive changes in their later. The melodrama writing of Eberlin demonstrates the perceptions of musical knowledge and teaching skills, but German melodrama writing style evident in the works of G. more importantly they reported powerful feelings of pride Benda, L. van Beethoven and C. M. von Weber. and accomplishment which directly affected the percep- tions of their musical abilities. This paper will examine these Keywords: melodrama; analysis; dramaturgy; J. E. Eberlin; L. van Beethoven; findings and discuss the educational implications of the C. M. von Weber emotional power of music to influence musical perceptions Format: Single paper #23) and learning.

Keywords: performance; perceptions; musical ability; musical learning; accomplishment

Format: Single paper (#88)

Conference Abstracts p 62 Zubin Kanga Sally Kester Royal Academy of Music, The University United Kingdom of Western Australia, Australia

Negotiating authority, sharing authorship: Psychopathology in opera an exploration of integrative composer- performer collaboration in Alex Pozniak’s ✢ ✢ ✢ Interventions Human nature has always been fascinated by its own ex- ✢ ✢ ✢ tremes and aberrations, as may be seen through its trans- mutation into art as, for instance, in the canon of classical In the past five years the collaborative relationship between Greek tragedy. Arguably the most Dionysian of the arts, op- composer and performer has emerged as an important field era provides – especially in its Romantic and post-Romantic of enquiry. Challenging the assumptions of distinct roles manifestations – a reasonably comprehensive textbook and creativity in solitude, recent research publications by of the shadow side of the psyche, the DSM-IV psychiatric Östersjö, Hayden/Windsor and Heyde/Fitch have examined manual in exotic guise. Psychosis is represented in various their own creative practices to explore many different mod- ‘mad scenes’ from Lucia, through Wozzeck, to the schizoid els of collaborative relationships. This conference presenta- disintegration of Peter Grimes, while sexual pathology is se- tion describes and analyses a recent collaboration under- lectively created in Don Giovanni, Tosca, Carmen and Sa- taken by the author with Australian composer, Alex Pozniak, lome. Using brief musical examples, this paper will consider with a view to examining how, in certain circumstances, the how clinical psychodynamics are recreated in the power and boundaries between the roles of the composer and per- passion of text plus music in opera. former can dissolve and an integrated approach to compo- sitional authorship emerges. In 2009, the author, a concert Keywords: opera; psychopathology; passion; madness; sexuality pianist, commissioned Australian composer, Alex Pozniak to Format: Single paper (#274) compose a new work combining a virtuosic pianism with theatrical elements. The work, Interventions, was created in close collaboration between composer and performer. This is a rare case where almost all facets of the composition process – the generation of material, the honing and editing of this material and the notation – were all enacted collabo- ratively in workshops with the performer. This paper exam- ines how the traditional authority (power) of the composer over creative space of his compositional work was removed, allowing authorship to be shared and creating new issues for performative authenticity for the collaborating performer. Using film footage of the workshops, compositional sketches and film of the premiere performance in Sydney in 2010, this paper introduces the concept of site-specific perfor- mance practice as a tool for understanding the complexities of composer-performer collaboration in the creation of new music.

Keywords: collaboration; authority; authorship; composer; performer

Format: Single paper (#249)

Conference Abstracts p 63 Melissa Khong Jan-Piet Knijff The City University of New York, University of New England, United States of America Australia

Composing emotions: decoding Guillaume Giuseppe Martucci’s piano transcriptions Lekeu’s Meditation in g for String Quartet of old masters, especially J.S. Bach

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Guillaume Lekeu (1870-1894) was the James Dean of In addition to symphonies, oratorio, chamber works, and his generation, a darling of the Parisian artistic elite head- piano music, the Italian composer, conductor, and pia- ed for imminent success, were it not for his inopportune nist Giuseppe Martucci (1856–1909) – championed by death. Propelled by the philosophy of Schopenhauer and Arturo Toscanini – left transcriptions for solo piano of mu- the poetry of Baudelaire and Mallarmé, the young Walloon sic by (mostly) eighteenth-century masters such as Lully, composer’s fascination with the tragically morbid brought Rameau, Handel, Glück, and Mozart; yet his most remark- a heightened emotional intensity to his works that has re- able achievement in this field is surely the transcription of mained characteristic of his musical language. While schol- J.S. Bach’s Orchestral Suites Nos 1-3. The study of Martuc- ars have striven to unveil extra-musical connotations behind ci’s transcriptions offers valuable insight in the appreciation these compositions, substantiating a narrative is often a dif- and interpretation of the music of these old masters in the ficult and inconclusive task, as Lekeu seldom divulges his late-nineteenth-century. Other than his near-contemporary intentions overtly. However, a neglected early work written Feruccio Busoni, Martucci steers clear from changing har- before Lekeu’s move to Paris provides a valuable testimony monies and adding ‘niceties’ to Bach’s music, translating that demonstrates Lekeu’s musical concretisation of his Bach’s orchestral works into a refined post-Lisztian piano expressive thoughts. The Meditation in g for String Quartet idiom. Dynamics are added, trills often spelled out; in ad- (1887) is an emotionally- charged work accompanied by a dition, Martucci’s detailed fingering, pedalling, and tempo decadent yet explicit commentary, allowing a direct corre- indications are an invaluable source for late-nineteenth- lation to be drawn between the described intentions and century performance practice. With the notes themselves their musical equivalents. In a close reading of both the and the technical indications as point of departure and con- score and commentary, I illustrate how extreme emotions stant frame of reference, the paper will focus on Martucci’s including despair, salvation, and suffering are individually tempo indications, including his metronome marks. While encoded into the musical themes, rhythmic profile, and har- some of these are obviously correct (indicating a substan- monic nuances of the work. Further investigation into the tially slower tempo than is customary today), many others narrative context provided by the commentary reveals the are apparently inconsistent with the Italian tempo indica- nascent stages of Lekeu’s distinctive manipulation of form tions and the musical text itself: when taken literally, they and phrase lengths, stylistic features that will emerge more would make Martucci’s sophisticated transcriptions utterly fully in his later works. The analysis of Lekeu’s Meditation in unplayable. An explanation using the ‘metric’ or ‘variable’ g breaks the enigmatic barrier between composer and lis- use of the metronome proposed by Talsma and others helps tener, contributing significantly towards a more enlightened to reveal the beauty of Martucci’s arrangements and, it is understanding of Lekeu’s expressive intentions. hoped, the power of Bach’s music.

Keywords: Guillaume Lekeu; emotional language; fin-de-siècle; analysis; Keywords: Bach; Martucci; performance practice; tempo; transcription aesthetics Format: Single paper (#234) Format: Mini-presentation (#137)

Conference Abstracts p 64 Julian Koenig Alexandra Lamont Thomas Hillecke Keele University, SRH University Heidelberg, United Kingdom Germany

Music therapy and the treatment ‘Making music makes me a real person’: of chronic pain the power of music across the lifespan

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Since the early nineties various approaches for the treat- Involvement in music-making has many demonstrated ben- ment of pain with music therapeutic interventions have been efits for health and wellbeing, and making music is a popu- developed. Besides receptive music therapy techniques to lar leisure activity for many adults. This paper addresses treat acute and chronic pain (Spintge), some rather activity- the psychological foundations of continued motivation to oriented concepts (Müller-Busch, Risch) were developed. take part in music, exploring how the musical identities In 1999 an interdisciplinary research group in Heidelberg of amateur music-makers change across the lifespan and started to develop the so-called ‘Heidelberg Model’ of mu- exploring how music has the power to support long-term sic therapy for the treatment of chronic pain syndromes. sustained involvement amongst non-professionals. It draws Music therapists, psychologists and physicians investi- on evidence gathered from key adult transitions, focusing gated these concepts in various studies using standards of on leaving education, entering the workplace, having a fam- evidence-based research for different groups of patients. ily, and retirement. Data from online surveys and follow- Three therapy manuals concerning the results have been up interviews will be presented, including a wide range of published: chronic non-malignant pain (Hillecke), migraine amateur participants from across the world. Preliminary in childhood (Leins) and malignant pain (Wormit). A manual analysis reveals that adults’ self-expressed motivations for for music therapy and the treatment of migraine and tension music-making strongly emphasise the love of music for its headache in adolescents is in progress (Baumgarth and own sake, both in childhood and later in life, although the Hillecke). The paper will present the ‘Heidelberg Model’ of secondary goals of discovery about music and improving music therapy for patients suffering from chronic pain ac- technical skills are also emphasised later in education. Two cording to the phase model of psychotherapeutic treatment. patterns of engagement are emerging: adults who continue Each published manual will be presented by its specificity making music throughout their lives, and those who stop for according to the treated spectrum of diagnoses or patient a period of time and return, who report having missed it. characteristics. Some interventions will be shown by video Having the ability to make music is seen as a resource which sequences of case examples. The research design of the can be drawn on for emotional benefit throughout life, unlike past and present studies will be presented by method and some other leisure activities, and respondents comment on criteria of outcome. Perspectives for research and practical the immense and intense emotional benefits they gain from application of music therapy in pain care will be discussed. music making. The final results will explore the process of developing, maintaining and resuscitating a sense of musi- Keywords: music therapy; pain; evidence-based; manualised music therapy cal identity, providing insight into the power and importance Format: Themed panel (#214) of music-making alongside other life pressures.

Keywords: participation; motivation; biography; identity; positive psychology

Format: Single paper (#5)

Conference Abstracts p 65 Bernadette Lannen David Larkin The University of Newcastle, The University of Sydney, Australia Australia

From soundwaves to brainwaves: Liszt’s Mephisto and the seductions investigating the effects of choral singing on of virtuosity stroke rehabilitation and quality of life ✢ ✢ ✢ ✢ ✢ ✢ Since at least the time of Plato, music’s ability to influence Arts/Health is a rapidly developing domain in modern medi- human behaviours has evoked both wonder and fear. This cine, with music and singing widely recognised as powerful uncanny power has itself been explicitly celebrated in a wide tools for enhancing mood and well-being. A growing body of range of musical works, the most obvious instances of which research has also highlighted the benefits of music therapy are the numerous treatments of the Orpheus legend. In this and singing for people living with chronic illness. Further- paper, I will explore a work in which the demonic powers more, recent evidence suggests that singing in a choir may of music are given full reign: Liszt’s First Mephisto Waltz, provide benefits to the speech fluency and intelligibility of also known as The Dance at the Village Inn (1861). In the stroke survivors. Stroke is the second leading cause of death excerpt from Lenau’s Faust which prefaces the work, the in Australia and a major source of disability, costing Australia fiddle-playing of the eponymous Mephisto so works on the over $2 billion every year. The effects of stroke can be pro- protagonists that they lose all restraint and are engulfed in found and long term and it is understood that these effects ‘a roaring sea of desire’. The commonplace idea of music as cannot be rehabilitated completely within the first year post- an aid to seduction is given a more sinister cast here: the stroke. With the ever-increasing weight of community reha- devilish tune has the effect of inducing involuntary compli- bilitation needs on the health care system, there are growing ance in its hearers, subjugating the rational side of man to challenges to develop creative means of improving health the animalistic. I will examine this work against the backdrop in cost effective ways. This poster is based upon current of Liszt’s own career as a pianist, in which he was regularly research into the effects of singing upon psychological out- reported to have cast a spell over his hearers, leading to comes, social integration and communication. The poster scenes of unbridled enthusiasm, even frenzy. The waltz thus analyses results of a pilot study conducted in Newcastle, serves as a kind of meta-reflection on the potency of virtuos- New South Wales in collaboration with Hunter New England ity, and the way in which it can sway audiences. Given the Health and the University of Newcastle’s School of Medicine continued popularity of the work as a showcase for pianists and Public Health and School of Drama, Fine Art & Mu- (and to a lesser extent, orchestras), it is clear that these is- sic. The study explores the effects of choral singing on the sues are as relevant today as they were 150 years ago. quality of life, mood, community participation and commu- nication skills of community-dwelling stroke survivors. This Keywords: Liszt; seduction; virtuosity; Mephisto Waltz; involuntary response study is the first phase in a continuing project, assessing Format: Single paper (#225) the feasibility of a choral treatment program for the growing population of stroke survivors.

Keywords: stroke; choir; singing; rehabilitation; brain

Format: Poster (#139)

Conference Abstracts p 66 A painter paints pictures on canvas. But musicians paint their pictures on silence. Leopold Stokowski Andrew Lawrence-King Yvonne Leung Guildhall School of Music and Freya Bailes Drama, United Kingdom Catherine Stevens University of Western Sydney, The University Australia of Western Australia, Australia

Royal Danish Academy of Music, Denmark

‘Play this passionate’: gestures of emotion Playing with melodies: schematic and veridical circa 1600 expectations in melody recall and recognition

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Muovere gli affetti – how do we measure the heart-beat of Meyer (1956) suggested that musical expectations have seventeenth-century Italy’s ‘new music’? Amidst poets’ and a direct impact on our emotional response to music. The composers’ experimental Art (new genres of music-drama, current study investigates the interface between schematic new ways to embody expressive roles, new compositional and veridical expectations in memory for melodies. In the techniques for dramatic musical expression) and philoso- first experiment, we investigated the effect of familiarity and phers’ theories of Nature, by what practical power did per- structural similarity on melody recall. Distracters were intro- formers set about ‘to move the passions’? Seventeenth-cen- duced during a melodic contour recall task, by the presenta- tury sources prioritise rhythm, guided by the regular pulse tion of a different melody. It was expected that participants of tactus. Even large-scale ensembles were not conducted. would be more distracted by a familiar melody than a less Peri’s recitar cantando is built upon a rhythmic structure familiar melody. Melody that was more structurally similar to comparable to Shakespeare’s iambics. The mix of structure the test melody was also predicted to be more distracting. and freedoms offered by tactus and Caccini’s sprezzatura Results showed that participants recalled familiar melodies is radically different from today’s post-romantic rubato. But as well as the less familiar melodies, and were not signifi- nowadays, performers abandon rhythm in a search for cantly distracted by a familiar melody or melody that was expressivity, and productions of ‘early opera’ are routinely structurally similar to the test stimulus. It seems that partici- conducted. Historical rehearsal methodologies and evi- pants had developed a certain level of veridical expectations dence-based pedagogy can equip performers with skills for for even the less familiar melodies. In order to elucidate the tactus-led performance. But the presence of such glaring establishment of veridical expectations in memory, a second anachronisms as nineteenth-century rubato and twentieth- experiment investigates different levels of veridical expecta- century conducting under the aegis of Historically Informed tions evoked when we listen to melodies. It is hypothesised Practice is rooted deeper, in non-musical functions fulfilled that participants best recognise melodic changes in a rec- in other ways in the seventeenth-century (and with clear ognition task for melodies that are familiar and conform parallels in today’s popular culture!) Rhythm – the dramatic to Western musical structures than melodies with a sche- timing of music-theatre – builds a platform for the singing- matically unfamiliar structure based on microtones. After actor’s highest priority, telling the story. ‘Action’ is embodied increasing the possible level of veridical expectation (that and viewed in gestures, coded and ‘natural’. To be powerful, is, familiarity from repeated hearings) for melodies with an historical gestures must also be personally authentic, sup- unfamiliar structure, participants are expected to recognise ported by the entire body, synchronised with poetic flour- changes to these better than changes to unfamiliar melodies ishes and with the composer’s musical gestures. In Renais- with Western musical structures. sance theory, Visions accompany performers’ response to the material and audience’s response to the performance. Keywords: expectations; memory; familiarity; musical structures; melody Basso continuo can provide a Vision for twenty-first-century Format: Mini-presentation (#150) practice.

Keywords: gesture; emotion; performance practice

Format: Keynote paper (#282)

Conference Abstracts p 68 Sonya Lifschitz David Lockeridge The University of Melbourne, The University of Newcastle, Australia Australia

A musical dialogue: creative collaboration and Exploring the diversity of contemporary co-construction of new work in contemporary western classical percussion repertoire: performance practice preparation techniques and how they influence performance ✢ ✢ ✢ ✢ ✢ ✢ As an art form based upon sonic impulse and its perception, music is a complex web of relationships between various The marimba is one of the oldest instruments in existence, systems of signification: sound, notation, emotion, embod- with its concept and method of sound production stemming ied gesture and meaning. The most intangible of arts, music from a history of thousands of years in Africa. Despite this, can nonetheless speak to us in most profound and inexpli- percussion repertoire in western classical music has devel- cably compelling ways. The sustainability of art music and oped only over approximately the last 60 years, making it its relevance to contemporary societies largely rests on ways one of the newest genres in western classical music. My in which we engage with music making and the kinds of per- research looks at the diversity of western classical percus- formance environments we create for music to inhabit. Ar- sion repertoire, as well as the diverse and virtuosic nature guably, contemporary composition and performance prac- of percussive techniques. This includes issues such as the tices will have an indelible impact on the longevity of this four-mallet marimba grip and how it can be extended and art form. Gleaned through rigorous reflection of the author’s used to perform repertoire of earlier periods. My current re- own creative practice, this paper examines the many factors search is based on four contrasting recitals: two solo recit- that feed into creation, interpretation and performance of als, a chamber music recital and a concerto. By keeping new work. I propose that construction and transmission of a journal and personal reflection on the preparation before contemporary work largely draws on dialectic and embodied each recital, I can look for common themes occurring in interplay between composition, improvisation and interpre- different performances, and whether there is a generally ap- tation. In this model, the performance is a result of a shared plicable method that can be adopted. Gerard Brophy is a musical thinking in which the performer is not a mere re- well-known Australian composer who is currently compos- producer of the written artefact – the score – but an equal ing a concerto which I will premiere in 2012. This research agency in a musical dialogue. Drawing on contemporary will highlight the process of performing alongside a com- theories of collaborative creativity the paper will explore the poser and how understanding the diverse techniques can notion that co-creative engagement between contemporary push the range of both the performer and the repertoire. performers and composers yields artistic and expressive By using personal journals and resources, I aim to work out outcomes far greater than the additive power of individual different methods of preparation, how they can be used in skills and has profound implications of artistic identity, lo- rehearsals and performances, and ultimately whether they cus of creativity, notational practices and interdisciplinary do make a difference. interface. Keywords: percussion; rehearsal; composition; technique; repertoire

Keywords: creativity; expression; collaboration; artistic identity; performance Format: Single paper (#92) Format: Single paper (#142)

Conference Abstracts p 69 Karlin Love Stephen Loy Margaret Barrett Australian National University, The University of Queensland, Australia Australia

The first rehearsal: hearing from initial Beethoven and radicalism: socio-political encounters of emerging composers engagement and awareness of tradition with a professional orchestra at the time of the 1970 Bicentenary

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Workshops with professional performance ensembles are The high incidence of compositions of a radical persua- significant events along the pathway from student to profes- sion that interacted with the music of Beethoven between sional composer. In this study, the ensemble was a sympho- 1968 and 1977 reflects both the close relationship between ny orchestra. Emerging composers brought pre-composed aesthetic and radical socio-political currents of the period, works into the orchestra’s environment for rehearsal and and the prominence with which Beethoven was used as an performance. The composers describe the first rehearsal emblem of tradition in such radical works. Often implicit in experience as terrifying, exhilarating, sickening, overpow- these compositions, as in the radical social and political ering, numbing, deeply disappointing, and ‘just what I ex- movements themselves, was a need to interact with ele- pected’. Accompanying them in this crucible were several ments of tradition as a means of simultaneously acknowl- established composer-tutors and a composer-conductor. edging a debt to, and rejecting and developing from the This narrative is presented as an interrupted description: past. Louis Andriessen’s Nine Symphonies of Beethoven, researcher observations are interrupted and commented Mauricio Kagel’s Ludwig van, and Karlheinz Stockhausen’s upon by the emerging composers, tutors, conductor, play- Kurzwellen mit Beethoven are among several compositions ers, and voices from expertise, learning community, and of the period which, as part of an engagement with con- creativity literature. The resultant counterpoint suggests in- temporary social and political issues, made reference to sights into the questions: What are they learning? How are Beethoven through techniques of collage and stylistic jux- they learning? How does this intense experience engage for- taposition, combining a radical aesthetic with musical ma- mal, informal, intuitive, self-regulatory, and impressionistic terial that invoked the Western European classical canon. kinds of knowledge? What does this experience contribute Whilst the occurrence of the Beethoven bicentenary in 1970 to their journeys? provided a focus, it will be argued that dual perceptions of Beethoven, as having an affinity with both the revolution- Keywords: narrative inquiry; emotion; learning and teaching; composition; ary movements of the time, and the established bourgeois musical identity social structures against which they were rebelling, was a Format: Themed panel (#251) significant motivation for the use of Beethoven as a figure of traditional reference for compositional considerations of cultural, social and political issues of the period.

Keywords: Andriessen; Stockhausen; Kagel; Beethoven; collage

Format: Single paper (#242)

Conference Abstracts p 70 Geoff Luck Geoff Luck Suvi Saarikallio Suvi Saarikallio University of Jyväskylä, Birgitta Burger Finland University of Jyväskylä, Finland

Adolescents’ recognition, experience, Influence of the Big Five on synchronisation and bodily expression of emotion in music with music

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Music, movement, and emotion are intimately connected. Music has the power to move us. Literally. Everywhere we Previous research has demonstrated that even young chil- look, listeners are tapping their feet and swaying their body dren are to some extent able to identify basic emotions ex- to parse musical structure, using different types of move- pressed by music and display those emotions through bod- ments to embody different metrical levels of the music. ily movement. Movement to music has also been shown to Recently, personality has been shown to affect the types be influenced by the mood and personality of the listener. of movements people make. Here, we examine relation- Adolescents often feel strong emotional experiences to ships between personality and the accuracy with which music, but little is known about bodily expression of mu- such movements are synchronised with the music. Thirty sical emotion in this particular age group. Here, we inves- rhythmic music excerpts representing six genres (pop, rock, tigate how adolescents convert basic emotions expressed Latin, jazz, techno, and funk) were presented to 60 adult by music into bodily expression, how their movements are volunteers. Movements to the music were recorded using influenced by their perception as compared to their experi- an optical motion capture system. Personality was assessed ence of the music’s emotional content, and how movement using the Big Five Inventory. For each excerpt, periodicity of characteristics are affected by mood and personality. Ado- seven body parts (neck, right shoulder, left hip, wrists, and lescents aged 14-15 were presented with 15 short excerpts ankles) was derived using autocorrelation, and synchronisa- of music selected to represent five basic emotions: happi- tion error relative to four metrical levels (half, one, two, and ness, sadness, tenderness, anger, and fear (three excerpts four times the beat period) calculated. Subsequent analy- per emotion covering a range of musical styles, including ses were based on the beat level with the smallest differ- rock, pop, classical, and soundtrack). Body movement was ence. Positive relationships between high vs. low personality recorded with an optical motion capture system. After each scores and synchronisation accuracy (lower synchronisation excerpt, participants stated the emotion they perceived, the error) were identified for Openness (ankles, wrists, shoulder, clarity with which it was expressed, the strength of the emo- and neck), Conscientiousness (ankles, shoulder, and neck), tion they experienced, and ratings of preference, movability, and Agreeableness (ankles and right wrist). Negative rela- and familiarity with the excerpt. Mood and personality were tionships (higher synchronisation error) were observed for assessed with PANAS and TIPI, respectively. Data collec- Extraversion (left wrist) and Neuroticism (ankles). The clear- tion is ongoing, with half of the planned 50 participants so est pattern of results was observed for Openness, with body far recorded. Preliminary analyses suggest relationships parts being synchronised along multiple planes of move- between movement characteristics and perceived emotion, ment. We conclude that personality not only influences the felt emotion, mood and personality. Detailed results will be types of movements people make while listening to music, presented at the conference. but also the degree of synchronisation achieved.

Keywords: basic emotions; adolescence; mood; personality; motion capture Keywords: personality; corporeality; periodicity; metrical level; motion capture

Format: Poster (#166) Format: Single paper (#220)

Conference Abstracts p 71 Geoff Luck Sally Macarthur Suvi Saarikallio University of Western Sydney, Birgitta Burger Australia Marc R. Thompson Petri Toiviainen University of Jyväskylä, Finland

Nonlinear effects of music preference on The power of the virtual in music scholarship: amplitude of dance activity composing a women’s musical future as a ‘becoming-other-than-itself’ ✢ ✢ ✢ ✢ ✢ ✢ Bodily movement, such as foot-tapping, body-swaying, and dancing to a musical beat is a ubiquitous human activity. The feminist research endeavour in music, among other The precise characteristics of these movements will likely be political agenda, aimed to improve the visibility of women influenced by a number of factors, including preference for composers in the concert hall. In the 1990s, a wealth of re- the music being listened to. Music is an effective emotion- search became available. In the first decade of the twenty- inducing medium, and other emotion-inducing stimuli have first century, however, all that had been previously achieved been shown to have a U-shaped relationship with the level faded away: scholars seemed to lose interest in women’s of physiological arousal: neutral stimuli elicit low levels of music destined for the concert hall. Any number of reasons arousal and both highly liked and highly disliked stimuli elicit might be given, including the resistance of some research- higher levels. Amplitude of human movement, meanwhile, ers to aligning themselves with music that emerges from the is driven by level of physiological arousal. Consequently, we elitist concert hall tradition and/or to the threat of extinc- predicted a similarly U-shaped relationship between music tion facing classical music writ large. Overriding any single preference and arousal, as reflected in amplitude of quan- factor, however, as I will argue in this paper, is the static titative movement descriptors. Sixty adults (17 male, mean way in which the research on women’s ‘new’ music has age = 24, SD of age = 3.3) were presented with 30 musical been conducted. The paradox of this work is its unavoid- stimuli (each 30 s in length), five from each of the following able replication of the past by envisioning the future from the genres: pop, rock, Latin, jazz, techno, and funk. Movement standpoint of the present. Such work inevitably reinforces was recorded with an optical motion-capture system. Partic- the status quo. While acknowledging that it is impossible to ipants were recorded individually, and were asked to move generate new ways of thinking that are entirely disconnected or dance in a way that felt natural with regards to the stimuli from the old, I will draw on Deleuze, and feminist-Deleuzian presented. After presentation of each excerpt, participants scholarship, to offer new possibilities for thought and ac- rated it as being highly liked, highly disliked, or neutral. Sub- tion. In particular, I will explore the power of the ‘virtual’, sequent analyses confirmed a nonlinear U-shaped effect of suggesting that some women’s music might be understood preference on music-induced dance activity. Specifically, as a ‘becoming-imperceptible’, in Braidotti’s interpretation, range, speed, and jerkiness of motion, as well as estimated as the process of ‘becoming-other-than-itself’, suspended energy expenditure were low for neutral music, and higher between the no-longer and the not-yet. I will illustrate the to both highly liked and highly disliked music. paper with examples of recent analytical work on women’s ‘new’ music, showing that the notion of ‘becoming’ allows Keywords: emotion; physiological arousal; music-induced movement; motion me both to direct my thinking toward imperceptibility and capture; musical taste toward differentiation and actualisation. Format: Poster (#170)

Keywords: Deleuze; feminist theory; art music; women’s ‘new’ music; music scholarship

Format: Single paper (#231)

Conference Abstracts p 72 Alan Maddox Jeremy Marriott The University of Sydney, Curtin University, Australia Australia

Rhetorical decorum and the performance Music, arousal and self-injurious behaviour: of identity in eighteenth-century dramma a 3-stage mediating model for children with low per musica functioning autism

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The rhetorical tradition, which lay at the heart of ideas of Research suggests that music can reduce arousal and that communication in early modern western Europe, identified reducing arousal can reduce Self-Injurious Behaviour (SIB). four Virtues of Delivery which defined the desirable charac- The intention of this poster is to detail three studies designed teristics of performance: puritas (correctness), perspicuitas to test a 3-Stage Mediating Model investigating whether (clarity), decorum (appropriateness) and ornatus (speak- arousal mediates the relationship between music and SIB ing with distinction). Chief among these was the principle among children with Low Functioning Autism (LFA). Study 1 of decorum, or ‘aptness’, which dictated the parameters for involves the selection, performance and provision of music embodying and presenting ideas in ways that would con- performed by David Helfgott in Rondo, Theme and Varia- vey them most effectively in delivery. Decorum can also be tions and Sonata forms rated by primary carers of those with understood more broadly as an ‘encompassing concept’ of autism from most to least calming. In Study 2, music rated classical rhetoric which provides a framework for decod- as most calming from Study 1 will be used in a laboratory ing the multiple and overlapping identities which singers based randomised control trial designed to test the ability of of eighteenth-century Italian opera, because of their spe- Receptive Music Therapy (RMT) to reduce both arousal and cial public and private status, performed both on and off SIB among children with LFA whilst watching video footage the stage. In this broader sense, the concept of decorum of a school bus journey. In this study, the footage forms a clarifies what constituted ‘appropriate’ (and inappropriate) modified version of the Trier Social Stress Test (TSST) to performance not only in relation to musical and dramatic de- assess the effect of RMT on arousal via salivary cortisol and livery, but in the complex constructions of gender and sexu- SIB frequency via observation. Then, within a six partici- ality, social and economic class, ethnicity, and personal and pant single-case design, Study 3 replicates the assessment state power which singers of dramma per musica uniquely of arousal and SIB in Study 2 when exposed to the most embodied, and which permeated the production and recep- naturally occurring TSST; an actual school bus journey. It tion of settecento opera. is hypothesised that salivary cortisol and SIB frequency will reduce as a result of the RMT in both Study 2 and Study Keywords: decorum; identity; dramma per musica; embodiment; 3. Further, it is suggested that the music selected in Study performance 1 then applied in Study 2 and Study 3, will provide the di- Format: Single paper (#188) rection for identifying and/or composing music for specific clinical purpose. Results have the potential to assist children with LFA and SIB, primary carers and teachers whilst mak- ing a substantial contribution to the body of knowledge.

Keywords: music; arousal; self-injurious behaviour; low functioning autism

Format: Poster (#275)

Conference Abstracts p 73 Philip Matthias Eldonna L. May The University of Newcastle, Wayne State University, Australia United States of America Robert Harris Northwestern University, United States of America

Choralography – the embodiment of sound for Brazeal Dennard’s Legacy and the Cultural choirs with the integration of cross-over genres Impact of Spirituals into choral music ✢ ✢ ✢ ✢ ✢ ✢ Brazeal Dennard (1929-2010), who worked tirelessly to There is a widespread trend in music for the integration of promote and preserve the works of African-American mu- diverse styles and creation of cross-over styles (for exam- sicians through coalition building and social entrepreneur- ple, compositions for traditional orchestra which incorporate ship in the arts, left behind a rich musical legacy in Detroit rock music styles). This integration has not fully reached the including the founding of the Brazeal Dennard Chorale in traditional choral music platform as the lines drawn between 1972, and the co-founding of the Detroit Symphony Orches- choral styles are usually distinct. The demarcation between tra’s Classical Roots concert series in 1978. Both entities choirs questions whether it is possible to create a choral are steeped in the traditions of African-American music sound and compositions that can stylistically accommodate and evidenced most notably in the spiritual. When speak- a wide variety of genres and be in line with mainstream mu- ing of spirituals Dennard remarked, ‘I am two generations sical trends. Vocal sound is informed by embodiment, as removed from slavery’. In an interview published in The De- can be seen and heard in African choral styles, Kodaly and troit Free Press in 1997 he stated, ‘I grew up listening to the Dalcroze Eurhythmics. Pop-styled choirs traditionally involve music that expressed our hopes and soothed our sorrows. movement, but contain styles and/or harmonies which the It became a part of me. So in a sense [it] is the link to our ‘traditional’ choirs frown upon as banal or simplistic. Break- past’. Both in performances of traditional works and in his ing these demarcation lines can be confrontational for sing- own compositions, Dennard was most sensitive to embod- ers, conductors, as traditionally, choirs do not borrow physi- ied meaning in spirituals, along with their ability to commu- cal gestures usually found in popular music and musical nicate emotions through sound and structural devices. Den- theatre. Research has shown that movement combined with nard’s activities also perpetuated the Harlem Renaissance singing improves tone quality and expression (Peterson). ideal by promoting the music of African-American compos- The choral arrangements often necessitate an understand- ers and fostering the heritage of the Negro spiritual. In addi- ing of many styles. Examples given will include combination tion to serving as a series editor for Alliance Music Publish- of textures associated with Baroque split choirs and tradi- ers, Inc., Dennard’s own compositions and arrangements tional blues, and choral allusions to the musical theatre gen- of spirituals further preserved this rich legacy. Through his re; these necessitate a performance style plausible enough work as a music educator, composer and arranger, choral to embrace multiple styles and genres in performance. This conductor and founder of the Brazeal Dennard Chorale, paper investigates the increasing use of choreography in he fostered the genre of the spiritual, along with works choral performances and its empowering effect on sing- by contemporary black composers and masterpieces by ers and audiences alike, and how the resultant crossing of Bach, Beethoven, Brahms and others. Dennard built The stylistic boundaries can increase musical engagement for Brazeal Dennard Chorale into a nationally recognised choir present day audiences. admired for its professionalism and wide repertoire. One

Keywords: choir; movement; choreography; cross-over; style; empower

Format: Single paper (#91)

Conference Abstracts p 74 Katrina McFerran Lucy Bolger The University of Melbourne, The University of Melbourne, Australia Australia Daphne Rickson New Zealand School of Music, New Zealand

The power of musical relationships in schools: reflecting on the possibilities through the lens of community music therapy

✢ ✢ ✢ of his greatest achievements was the preservation of spir- ituals, the religious folk songs of African-American slaves, Community music therapy discourse has provided a new which he championed through performances, recordings, lens through which the traditional practice of music therapy workshops, guest conducting, published arrangements, ar- can be re-viewed. A far greater emphasis is placed on re- ticles, historical research and the dialogue he maintained flexivity than on treatment within this approach, and there is for decades with choral directors and singers throughout a particular focus on the contexts where music helps. This the country. This project explores the musical significance, supplements the more traditional approaches of behav- contribution to diversity in Christian traditions, power, and iouralism, humanism and psychodynamic practice within cultural impact of the spiritual through critical and rhetorical music therapy and provides a richer palette for considering analysis of selected musical works by Brazeal Dennard, in- the value of music-making with young people in schools. cluding: ‘Hush, Somebody’s Calling My Name’, ‘Lord, I Want This roundtable discussion will draw on community music To Be A Christian’, and ‘Fare Ye Well’. therapy theory to examine the power of music to foster re- lationships within the school context – between students, Keywords: musicology; spirituals; composition; analysis; African-American teachers and the community. The consideration of relation- music ships will also extend to those between professionals who Format: Single paper (#8) use music within the school system, delineating the possible contribution of music therapy theory in relation to wellbeing. Expert panel members will draw on their own research in schools to illustrate how music has contributed to psychoso- cial wellbeing, the promotion of identity within the context of diversity, and encouraged greater recognition of the whole child within the school system. From this empirical basis, we will propose innovative uses of music within schools with an emphasis on the ‘wellbeing’ agenda that has been in- corporated into policy internationally. A range of possibilities will be discussed that will be relevant to music therapists, music educators and those with an interest in how music fosters belonging, and can thus underpin development and learning.

Keywords: community music therapy; music; schools; collaboration; identity; wellbeing

Format: Roundtable (#218)

Conference Abstracts p 75 Jonathan McIntosh Brett McKern The University Australian Institute of Music, of Western Australia, Australia Australia

Singing the dance: moving to mouth gamelan Emotion as it enhances the power in a Balinese dance studio of liturgical music

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In Bali, traditional dance positions and movements are al- Liturgy, or services of the Church, are times at which people ways coordinated with – and dependent upon – the musical are engaged at their core levels. They are developing their accompaniment provided by a gamelan orchestra, whether core values, and trying to access their God. Liturgy has been supplied by a live ensemble or via a recording. During dance referred to as a drama, and in order to be completely ab- lessons, teachers frequently sing instructions to students sorbing for those taking part, it uses all five senses. In sound in time with musical recordings. This manner of singing is and sight we use music. In music and the drama of the lit- commonly referred to as ‘mouth gamelan’ (gambelan mu- urgy, emotion is inherent, but in order to make the liturgy its lut). The vocal instructions and corrections used as part of most powerful, the choice, performance and composition of this teaching technique impart important information con- music for the Church must be very aware of mood and emo- cerning the names of positions, changes from one position tion. This presentation will look at the composition of music to another, locomotive transitions, facial expressions, details for the liturgy and how music must be appropriately emo- concerning the musical accompaniment, as well as the tionally charged and its mood suited to its place in the struc- particular emotional qualities of a performance. During the ture of liturgy in order to impact at its most powerful on the early stages of learning, mouth gamelan allows children to congregation. The services of choral Evensong and Mass musically and kinaesthetically navigate their way through a will be used as primary examples. By analysing the structure dance. Once having gained a certain level of performance of the liturgy, the shape of moods intended to be created proficiency, however, this approach enables children to ex- can be identified. With years of experience in the field, the ecute a teacher’s instructions quickly and efficiently in the presenter’s theory on the importance of mood in liturgy and appropriate style. By drawing upon research concerning thus liturgical music has been honed. Examples will be giv- the imparting of knowledge through mnemonic practices en of where the mood of the music has been appropriately associated with the body, this paper examines how mouth matched to the liturgy and enhances it and where they are gamelan serves to articulate restrictive movement patterns mismatched. Furthermore, the aim of giving music the op- that inform the practice of teachers and students in a dance portunity to be its most effective liturgically cannot be sepa- studio (sanggar tari) in south-central Bali. rated from a study of the so-called postmodern paradigm of present-day worshippers. This has been studied through Keywords: ethnomusicology; Balinese music and dance; children’s expressive the writings of liturgiologists in theological and liturgical pub- practice lications as well as in numerous present day worshipping Format: Single paper (#157) situations, and will be briefly discussed and related back to the theory of the importance of mood in liturgy and thus the appropriate choice of liturgical music.

Keywords: church; liturgy; music; emotion; mood

Formats: Mini-presentation (#13) and Poster (#13P)

Conference Abstracts p 76 Gary McPherson Dean Merlino The University of Melbourne, The University of Melbourne, Australia Australia

Emotion in the lives of performing musicians Soundlines: aural navigation of the contemporary environment ✢ ✢ ✢ ✢ ✢ ✢ Because music is often regarded as the ‘language of the emotions’ it makes sense to explore emotion in the lives of Recent ethnographical enquiry has recognised the capacity performers – those musicians who are charged with the for Indigenous knowledge systems to articulate epistemolog- responsibility of communicating composed or improvised ical, ontological and eschatological realities. The songlines music to listeners and of doing so in ways that bring to life of Indigenous Australians is a case in point. Here, articula- an aural experience that can be deeply emotive for them- tions through song and music represent multiple layers of selves and for those of us who are the recipients of their meaning concurrently. The songlines are a method of navi- efforts. Such emotional responses during the act of per- gating topographical, social and temporal space simultane- forming and perceiving music seem especially important ously. This paper proposes a retelling of the songlines as given the amount of time and effort musicians invest into soundlines in an attempt to recast aural perception systems refining their craft, and the difficulty many have in acquiring in the modern environment. Beginning with Walter Benja- virtuosic technique. This presentation will cover a number min’s contention in ‘The Storyteller’ that the eschatological of specific aspects of emotion and music performance: the has been lost to contemporary culture, this paper looks at role of practice and gaining expertise, the generation of ex- the Cartesian optic fixation which has dominated cultural pressive performance, and the off-stage emotional issues expression into the twenty-first century. By recognising the of performers. The key messages to be conveyed are that capacity of sound to break up and disembody spatial and emotions play an important part in the lives of performers, temporal relationships this paper hopes to show the pos- and that any explanation of the art of music performance sibilities of sound and music to reconnect us with the time- must involve more than a description of mere technical ac- lessness of our collective stories. complishment. In my view, a more complete account of the art of performance should include an explanation of the Keywords: soundlines; songlines; eschatology; sound and meaning; perception emotional climate in which the musician works and per- forms. The elements of this explanation and the research Format: Single paper (#163) into these mechanisms form the basis of this presentation.

Keywords: emotional communication; motivation; self-efficacy; music performance anxiety

Format: Themed panel (#175)

Conference Abstracts p 77 Eva-Marie Middleton Daniel Milosavljevic The University University of Otago, of Western Australia, New Zealand Australia

Powerful performances of the past: recordings The power of pibroch: emotion and the as a means of investigating the development classical music of the Scottish highland of the twentieth-century early music movement bagpipes

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Recorded archives, which now look back on more than In Gaelic, the term piobaireachd (anglicised as pibroch) lit- a century of music history, are an invaluable resource for erally means piping, or what pipers do. However in recent musicologists today. They provide a unique opportunity to times the term has come to represent the classical mu- explore how modes of performance practice and the musi- sic of the Scottish Highland bagpipes, traditionally known cal tastes of audiences have changed over long stretches of as Ceòl Mór. Today pibroch still holds its literal meaning, time. Researchers have only in the past two decades come but is widely used in bagpipe culture to refer to Ceòl Mór. to avail themselves of these resources, investigating the de- Pibroch has a hazy history, but is thought to have been a velopment of instrumental and solo vocal performance and musical style for the Scottish Highland bagpipes for over often focusing on recordings of romantic repertoire. But the 500 years. Pibroch was a music historically written for and possibilities of these archives are far greater. This paper performed within contexts of celebration, mourning, victory, turns to the resources of the British Library Sound Archive or warfare (amongst others). As a result individual pieces to see what it can tell us about the development of the twen- have associated stories that allow people to interpret emo- tieth-century early music movement, with a particular focus tion during a performance, and some of these stories come on the field of English a cappella choral music. While some to be seen by some as highly emotional and ‘moving’. To- writers of the time dismissed a cappella choral performance day, significant changes have affected pibroch: where the as impossible for ensembles of the early twentieth-century, highland clan system no longer exists; where there are now a view reiterated by later writers and performers who saw international enclaves of pibroch performance; and where themselves as improving on earlier faults, other contempo- romanticisation, editorialising and ‘empire’ have led to di- raries praised the achievements of the likes of R.R. Terry verse interpretations of bagpiping and pibroch. As a result, and The English Singers. By reflecting on recordings of simi- the performance contexts of pibroch in contemporary so- lar repertoire from the pioneering ensembles of the first half ciety have also changed. Today pibroch is a music mostly of the twentieth-century and comparing them with those of maintained in competitive performance cultures, especially established early music groups of the late twentieth-century, strong in Scotland, the United Kingdom of Great Britain and this paper will explore the development of the early music Northern Ireland, Canada, the United States of America, movement and its attitudes and values towards perfor- Australia, and New Zealand. This presentation will focus on mance practice. the interpretation of emotion in association with pibroch per- formance, and the role that this process plays in maintain- Keywords: recordings; early music; choral music; musical tastes; ing pibroch cultures, particularly within Australia and New performance practice Zealand. Format: Single paper (#64)

Keywords: pibroch; piobaireachd; bagpipe; emotion; Ceòl Mór

Format: Single paper (#265)

Conference Abstracts p 78 Kazuma Mori Stephen Mould Hiroshima University, The University of Sydney, Japan Australia

Lyric contents especially influence the Fidelity to Fidelio emotional valence of low arousal segment in high arousal music ✢ ✢ ✢

✢ ✢ ✢ Baerenreiter-Verlag are currently undertaking a historical- critical complete Beethoven edition in association with the The majority of everyday listening contains lyric content. Beethoven Archive, Bonn. To date both a full score and vo- Earlier research showed that lyric content more strongly cal score of Fidelio have been published, though a Critical influenced the emotional valence of low arousal music in Report it still in preparation. The published vocal score con- preference to high arousal music. However, high arousal tains a Preface, which focuses almost exclusively upon the music contains low loudness segments which are perceived incorporation of unwritten appoggiaturas in the vocal parts as low arousal. The present study examines whether lyric and an explanation of the traditions which inform and deter- content influences the emotional valence of low arousal (low mine these practices. In association with the information in loudness) segments in high arousal music. We set M condi- the Preface, a number of appoggiaturas (both upper note tion in a high arousal foreign song (for example Swedish) and lower note) are indicated in the body of the score. The where Japanese participants could not recognise its lyric preface makes clear that these are suggestions, but that the content. We also set ML condition where the foreign song notion of adding unwritten appoggiaturas is a natural out- with happy or sad text lyric was translated into Japanese. come of the performance practice of the time. Performers Using computer technology, participants continuously rated working with this edition are further encouraged to add fur- musical emotion as happy or sad during M or ML condi- ther appoggiaturas according to what is described as ‘these tion. We compared time series rating between M and ML rules of singing declamation’. I investigate the argument condition using fANOVA, and found that a significant result which advocates the incorporation of unwritten appoggiatu- occurs in a time series. The results showed that the happy ras in this work. I examine performances and recordings of text lyric strengthened the happy emotion of a foreign song Fidelio by some of the conductors of the twentieth-century only when the loudness segment was lowered. In such seg- whose readings of this work have come to be considered ments, the sad text lyric also strengthened the sad emotion revelatory or iconic. I look for evidence of traditions of this of foreign songs, suggesting that the low arousal segment in practice in scores and performance treatises and guides. I high arousal music was especially influenced by lyric con- consider the suggestions of this edition in relation to some tent. Generally, emotional valence is more difficult to deter- of Beethoven’s other works which incorporate vocal parts. mine in low arousal music than high arousal music as the I conclude by considering the concept of Werktreue in this lyric content may affect emotional cues and strongly influ- regard. I question exactly what is the work Fidelio which ence the listener. Beethoven composed, and draw some conclusions about how that work might best be represented in a vocal score, Keywords: emotion; music; lyric contents; arousal; time series rating meant for practical study and use, within the context of a Format: Poster (#76) Critical Edition.

Keywords: fidelity; Werktreue; performance practice; extemporisation; critical editions

Format: Single paper (#278)

Conference Abstracts p 79 Katharine Nelligan Kathleen Nelson The University of Melbourne, The University of Sydney, Australia Australia

Popular music and the female singer- The power of the Spanish Exultet songwriter: self reflexivity as the means to empowerment ✢ ✢ ✢

✢ ✢ ✢ The Easter vigil chant, ‘Exultet iam angelica’, is part of a potent symbolic moment in the liturgy of the Roman rite. The concept of ‘female empowerment’ in popular music In Spain during the late Middle Ages a melody type which is sometimes measured according to industry recognition, is sometimes referred to as the Spanish Exultet melody be- prestigious awards, sales, popularity or even the artist’s ca- came widespread for this chant and appears to have be- pacity to influence consumers or the general public. While come dominant in Spanish churches. Its rise to prominence these factors are valid criteria for measuring empowerment, however followed a period of remarkable melodic diversity thinking of it in these terms often describes high-profile art- for the text as is recorded in its earlier Iberian sources. This ists who have enjoyed wide-spread exposure and financial paper will discuss the move from a remarkable diversity to gain, rather than accounting for local Australian singer- the dominance of the Spanish melody. songwriters (such as Holly Throsby, Laura Jean, and Clare Bowditch) who do not necessarily enjoy a great deal of Keywords: Exultet; Spain; chant; medieval; Easter prominence, but are nonetheless deserving of the ‘empow- Format: Single paper (#186) ered artist’ label. This paper re-negotiates the term ‘empow- erment’ from external through to internal factors: external, including popularity, sales, awards and industry recognition; internal, embracing a self-reflexive concept that is realised from within the artist’s own consciousness. Based on the theories of Anthony Giddens, I present a model that can be applied to local artists who are considered marginal to mainstream popular music discourse. While this is not the only way female agency can be realised in popular music, the model presented in this paper can be considered one of the many ways female ‘empowerment’ is constituted.

Keywords: empowerment; popular music; feminism; agency

Format: Single paper (#256)

Conference Abstracts p 80 If music be the food of love, play on. William Shakespeare Marian Nelson Shaun Ng The University The University of Sydney, of Western Australia, Australia Australia

The role of music in surviving poverty Performing the trill in Marin Marais’ in the Philippines Pièces de viole

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This presentation investigates Filipinos’ engagement with It is generally assumed in modern performances of Baroque music as an adaptive approach to survive poverty. Accord- music that all trills should begin on the upper auxiliary note. ing to the 2009 statistics report by the Philippine Overseas This idea is often supported by a quote by the harpsichord- Employment Association (POEA), there is a total of 1,990 ist Francois Couperin from his L’Art de toucher le clavecin, composers, musicians, and singers employed outside the which states: ‘Trills of any considerable length have three country. The highest deployments are in Asia, followed parts, which are not the same thing in execution as their by the Middle East. Two groups of band members work- appearance. 1. Stress (dwelling upon) [appuy] which should ing in Singapore and another two groups of band members be placed on the note above the main note. 2. Repercus- working in the United Arab Emirates will be interviewed to sions [reiterations]. 3. The stopping-point.’ These words by verify that working outside their country as musicians brings Couperin are also cited in Grove Music Online to define the about earnings that will meet the poverty threshold in the general anatomy of the trill or tremblement. After further Philippines as indicated in the 2009 official poverty statis- study of the evidence pertaining to ornamentation in French tics. Complementing this data, the presentation examines Baroque music, I realised that this issue is not a straightfor- the Filipinos’ musical behaviour. Using questionnaires, it ward one. I discovered that violists of the Baroque era had seeks answers to questions such as: Are Filipinos geneti- slightly different ideas about ornamentation. Almost every cally musical or are their talents nurtured by their social, violist used a different name for the same kind of ornament. economic, and cultural conditions? Considering its music This is further complicated by their irregular use of symbols. history being heavily influenced by Spanish and American Fortunately, for the tremblement, there was some uniformity culture, do Filipino band members consider themselves to as far as the symbols used; however, most violists, includ- have a distinct musical style of their own? The conclusion of ing Marin Marais, did not discuss its execution. This paper this study prompts reflection on possible revisions to music will discuss and analyse both historical and modern sources curricula in the Philippine education system. If the role of that discuss the tremblement in an effort to better under- music assists in surviving poverty in the Philippines, then stand this ornament and attempt to explain its usage in the every Filipino citizen should be given a chance to learn and context of the viol pieces of Marais. participate in music-making as a step towards encouraging and supporting one of the abilities that can become useful Keywords: Marin Marais; baroque; viola da gamba; ornamentation; trill to the economic growth of the country. Format: Single paper (#232)

Keywords: musical behaviour; adaptation; poverty; history; economic growth

Format: Poster (#69)

Conference Abstracts p 82 Le-Tuyen Nguyen Jessica O’Bryan Australian National University, The University of Queensland, Australia Australia Salil Sachdev Bridgewater State University, United States of America

Vietnamese gong culture in contemporary ‘Oh oh oh, be still my beating heart!’ compositions Narratives of singing teaching and learning

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Vietnamese Gong culture was recognised by UNESCO as The process of mediating emotion in one-to-one singing a Masterpiece of Intangible Heritage of Humanity in 2005. lessons is complex. It includes the development of musi- Music is considered to have a sacred power and is used in cal expression; the pedagogical and personal relationship various rituals of Vietnamese community life. Gong ensem- between student and teacher; song texts and their contexts; ble music is a divined language for the highlanders to com- and the embodied act of singing itself. Songs and their municate with the gods and the supernatural world. Gui- emotional derivation and impact have been the source of HANGtar is a duo performing contemporary compositions frequent analysis within musicological studies, but rarely inspired by Vietnamese Gong culture. The duo comprises have the effects of emotion on the relationship between guitarist Le-Tuyen Nguyen and percussionist Salil Sachdev. teacher and student been explored within the one-to-one Traditional melodic and rhythmic idioms of the highlands are singing lesson. This paper reports on a case study of a brought to life with a new voice through compositions for singing teacher and her singing student, where the interlac- the guitar. To this are added an array of percussive sounds ing threads of musical expressive development, emotional through instruments from various parts of the world. The features of song texts and the embodiment of singing are lecture-recital demonstrates how Vietnamese musical mate- explored through a narrative account that courses the path rials and cultural contexts are used as a source of inspiration of the student’s singing lessons over one semester. Through in the compositional process. The performance includes semi-structured interviews with the participants, their writ- compositions with influences from Vietnamese melodic and ten reflections on learning and teaching and an analysis of rhythmic features, tone colour of the gongs, the sounds and critical events in the videoed lessons, this account reveals activities of the harvesters, and the ritual rhythms of a high- how emotion is expressed, realised and negotiated over time land festival. within the unique setting of the one-to-one singing lesson.

Keywords: Vietnamese Gong culture; GuiHANGtar; highlands Keywords: narrative inquiry; emotion; learning and teaching; composition; musical identity Format: Performance (#14) Format: Themed panel (#251)

Conference Abstracts p 83 Tom O’Halloran Hidefumi Ohmura Kazuo Okanoya Edith Cowan University, Japan Science and The University of Tokyo, Australia Technology Agency, Japan Japan Japan Science and Technology Agency, Takayuki Hamano Japan Japan Science and Technology Agency, Japan Kiyoshi Furukawa RIKEN Brain Science Institute, Tokyo University of the Arts, Japan Japan Tamagawa University, Japan Gesture as emotion: pre-composition Software for assessments of dynamic with improvisation transitions in musical emotion

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Experiencing the emotional content of a piece can be lik- We present novel software for the psychological measure- ened to identifying and understanding the composer’s ment of musical emotion, which implements an optimised micro and macro musical gestures at play. The technical design to capture its multidimensional and dynamic char- content of musical phrases, their background and context acteristics. There have been many methods proposed for form distinct lines of communication with the listener and quantitative evaluation of musical emotion. In the earliest trigger emotional experiences. Improvisers deal with musi- time, listeners used a dial or a slider in real time to report cal gestures very rapidly and spontaneously, and the most the musical emotion. With recently proposed methods, lis- successful of these exhibit artistic expression freely without teners select a point in a two-dimensional space of musical self-hindrance. It follows then, that improvisation is a useful emotion in real time. Although these methods provide easily tool for formal composition – as it often contains the ker- analysable data for researchers, the framework of the meas- nel of a gesture (in an uninhibited state), which can then urement can be improved to better capture the reactions of be refined, processed with other systems or extrapolated. the musical emotion. In such measurement, listeners are Perhaps musical ideas that are borne through improvisa- demanded to evaluate the music within a pre-defined scal- tion can be said to preserve an innocence or rawness that ing with consistency. Our software instead allows the user to is worth preserving: as it is ideas that occur in unobscured ignore the scale and move around to any direction as they music making that often speak with the most honest emo- wish in the course of the measurement. This software offers tive content. If taken one step further, it is interesting to a graphical user interface of two-dimensional emotion space consider pieces that take advantage of improvisation proper (valence and arousal). The participants listen to music and within a predominately pre-composed work. Therein lies report the movement of mind with mouse or other external the fascinating combination of two compositional styles: the devices such as a touch sensor. They can select a direction contemplated and the playful. A rich musical and emotive from eight directions, and move around to any point in the landscape can emerge through the interaction and synthe- two-dimensional space flexibly just like a driving game. A sising of these practises. Results can be harnessed toward grid-like background helps to indicate where the pointer is a common goal or allude to differing musics. In this pres- located in the space. This software integrates the premise entation, several works by the author that have been com- that musical emotion is a temporal movement of mind, and posed using both organised systems and improvisation as allows the users to report such movements with extended a doorway to gesture and emotion shall be discussed: in flexibility and agility. terms of architecture, instrumentation, influences and their harmonic and rhythmic properties. Keywords: measurement of musical emotion; continuous self-report method; dynamic transitions in musical emotion; response collection interfaces; computer software for self-report Keywords: gesture; emotion; pre-composed; improvisation; synthesising Format: Mini-presentation (#181) and Poster (#181P) Format: Single paper (#169)

Conference Abstracts p 84 Rachel Orzech Margaret Osborne The University of Melbourne, Gary McPherson Australia The University of Melbourne, Australia Jane W. Davidson The University of Western Australia, Australia

Opera and nationalism in the Judaen desert: Creating musical futures in Australian schools a production of Verdi’s Nabucco in Israel, and communities: step 1 – What students think 2010 about studying music at school

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‘Va pensiero’, the famous Act III chorus from Verdi’s Nabuc- Almost no research exists that establishes how and why co, is commonly understood as a musical symbol of the Ital- children develop the desire to pursue music as a school ian nationalist aspirations that preceded the revolutions of subject, and how their beliefs and attitudes about music are 1848. Despite the fact that musicologist Roger Parker has shaped by socio-contextual influences that may differ from disproved widely-held assumptions about the political signif- other school subjects or areas of student engagement. This icance of the chorus and its status as metaphor for the Ital- study draws on an expectancy-value theoretical framework ian people’s political condition, ‘Va pensiero’ continues to be to explore how and why there is significant variation between recognised as a powerful ‘vehicle of nostalgia’ for this period beliefs and attitudes toward music learning (in and outside of Italian history and the nationalistic sentiments with which of school) as compared with other areas of school learn- it is associated. In June 2010, the Israeli Opera, in an incred- ing. Students in grades 6 - 12 were sampled from Austral- ible technical and organisational feat, performed Nabucco ian schools across low, medium and high socio-economic at the foot of Masada, a UNESCO World Heritage protected strata to determine their beliefs and attitudes about music site of ancient ruins on the edge of the Judaen desert. The as compared with other enrichment school subjects (visual performance of this opera, and particularly of the chorus of arts, physical education/health) and so-called core aca- the Hebrew slaves longing for their lost homeland, took on a demic subjects (mathematics, science, English, history). whole new level of meaning in this new context. According Students completed surveys which assessed their motiva- to Israeli national mythology, Masada was the site of a Jew- tion (competence beliefs, values and task difficulty) and ish mass suicide in the first century, and this narrative has perceptions of interest, enjoyment, importance, usefulness provided Israeli society with a nation-building myth since its of each subject and confidence, difficulty, and competence founding as a state. The decision to choose Nabucco, with for and mastery of each subject. Through repeated meas- its story of exiled Hebrew slaves, as an appropriate work to ures analyses, comparisons of the students’ beliefs about perform at this site, was evidently a powerful political state- music (in and outside school) as well as other areas of their ment. This paper will explore the way in which the Israeli learning (both formal and informal) and leisure/recreational Opera’s production at Masada added a new dimension to activities, are examined according to gender, school grade, the reception history of Verdi’s opera. school type, interest and competence perceptions for all ac- tivities, and previous musical exposure. This research aims Keywords: opera; nationalism; Verdi; Israel; mythology to develop targeted strategies to address misconceptions Format: Single paper (#233) about music education and music in everyday life.

Keywords: expectancy-value theory; motivation; music education; school subjects; attitudes

Format: Single paper (#67)

Conference Abstracts p 85 Margaret Osborne Ayako Otomo The University of Melbourne, University of Otago, Australia New Zealand

Managing music performance anxiety – Music, the Longinian sublime and Franco-Anglo research versus practice aesthetics

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The life of a performing musician is intensely emotional. Not By the time of the 1674 re-dissemination of Longinus’s trea- only is the performer required to reconstruct the emotional tise On the Sublime (a new French translation by Nicolas experience of the composition and deliver it faithfully to an Boileau), the concept of the sublime was declining in parallel audience, but they must also overcome their fears and wor- with the power of the French monarchy. As the treatise was ries surrounding the potential for performance failure and used to defend the idea of the ‘Ancients’ in the querelle des subsequent negative evaluation from the audience. Such Anciens et des Modernes, the controversy itself mirrored the cognitions contribute to performance anxiety, which is not anachronistic nature of French Classicism during a period necessarily, but often, experienced negatively. The musi- of transition with regard to monarchic power. Subsequently, cal and psychological research literature frequently recom- however, the treatise was better received in England, as it mends that clinicians working with musicians experiencing was an ideological match for the views of the emergent mid- performance anxiety incorporate cognitive restructuring and dle class of the long eighteenth-century, including the liberal exposure, as per the cognitive-behavioural method. How- arts. This paper examines aesthetic elements of the sublime ever, both scientific and anecdotal evidence continues to be as reflected in the keyboard repertoire of both France and generated indicating that behavioural strategies alone may Britain from the seventeenth-century up to the point of the be all that is required to enhance performance quality for French querelle, when the core concept went in contrary di- performers with mild to moderate music performance anxie- rections in the two countries as the coming century loomed. ty. Furthermore, recent transdiagnostic cognitive-behaviour- Due to the shared scholarship and aesthetics between the al anxiety treatment protocols may have new implications for regions and the artistic dominion of the French court both the conceptualisation and treatment of music performance on the Continent and in the British Isles, this discussion will anxiety. This paper will tease out the individual factors that focus on the interrelation of the ideological and materialistic affect the relative importance of addressing cognitions ver- components of selected repertoires. sus behaviours in managing music performance anxiety. This will be done in reference to the triple vulnerabilities of Keywords: aesthetics; seventeenth-century; France; Britain; music emotion theory (genetic predisposition, generalised psycho- Format: Single paper (#98) logical vulnerability and specific, learned psychological vul- nerabilities), as well as other psychological variables known to be associated with performance anxiety such as attention focus and self-efficacy, pedagogical strategies and musical skill and competency factors.

Keywords: emotional communication; motivation; self-efficacy; music performance anxiety

Format: Themed panel (#175)

Conference Abstracts p 86 Jonathan Paget Eleni Papalexiou Edith Cowan University, University of Peloponnese, Australia Greece Avra Xepapadakou University of Crete, Greece

‘Little tastes of secret marvels’: notation and Revisiting Wagner: the mise-en-scène performance issues in the chitarriglia works of of Romeo Castellucci’s Parsifal Stefano Pesori ✢ ✢ ✢ ✢ ✢ ✢ The proposed paper attempts to explore the relation be- Rhetorical defences of music’s power to move the soul are tween the libretto, the music and the image in the recent fairly ubiquitous in seventeenth-century books for lute or heretical mise-en-scène of the distinguished Italian thea- guitar, and Toccate di Chitarriglia by Stefano Pesori (a rare tre director Romeo Castellucci for Wagner’s opera Parsifal, guitar book) is no exception. Stranger perhaps are his ‘se- which was staged in Brussels Opera in January 2011, under cret’ instructions for delaying the effects of greying hair. Ar- the musical direction of Hartmut Haenchen. Romeo Castel- guments regarding music’s affective power can fall flat (and lucci is well known for his provoking perception of theatre appear as vanity) when the music fails to live up to these and his occupation with major tragic, classical and theo- expectations. Such is the judgement that could easily be logical literary works. In his spectacles every kind of human meted out to Pesori. The chitarriglia, a treble guitar not un- knowledge, science and art, such as music, painting, opera, like the modern ukulele, achieved a remarkable albeit short- theology, history, medical science and philosophy turns to lived popularity. Much of Pesori’s music consists of primi- a scenic image. His aim is to subject the spectator’s gaze tive alfabeto notations (some texted and unrhythmed, some in a new reality that is disclosed by the deep meaning of rhythmed but untexted), whose music we cannot hope to the images presented on stage. Parsifal begins with the pro- fully recreate. Moreover, Pesori’s more complex solo works jection of a giant portrait of Nietzsche. A live white python have been mostly avoided by modern performers and edi- is coiled around his ear to recall the notorious crisis and tors because of their apparent notational ambiguities. This conflict between the philosopher and the musician. Three paper attempts a re-examination of Pesori, the ways that his psychic spaces that follow form a set of metamorphosis. A alfabeti provide glimpses into a popular oral musical culture, dark forest with dense foliage brings us back to our child- and proposes possible solutions to the rhythmic conun- hood and the loci mystici of German mythology. A white drums in his mixed tablatures. As exemplars of later alfabeto sterile space that resembles a chemical laboratory plunges practice, Pesori’s music provides fascinating insights into a us into a world of sorcery and magic. An enormous human musical culture of dancing, singing, improvisation, and the wave in ceaseless movement lures us into the eternal quest glorification of youth. It provides clues to the uses of chitar- and peregrination of humanity. Wagner’s music, like a vio- riglie in serenading, in ensemble and dance performance, lent flow, floods the stage with ecumenical images, creating and many exemplars of different ways of elaborating ground a new visual text. Romeo Castellucci’s personal mythology bass patterns. When re-evaluated in the light of these prac- produces images that impinge on the sub-consciousness tices, his more complex solos can be seen (to quote his own and the imagination of the audience, offering them the po- words) as ‘little tastes of secret marvels’. tentiality to interpret the Wagnerian Gesamtkunstwerk under a multisided philosophical and aesthetic prism. Keywords: guitar; Pesori; Alfabeto; mixed tablature; improvisation

Format: Single paper (#148) Keywords: Wagner; Castellucci; Parsifal; opera; mise-en-scène Format: Single paper (#204)

Conference Abstracts p 87 Tim Patston Priyeshni Peiris-Perera The Peninsula School, University of the Visual Australia & Performing Arts, Sri Lanka

Performance anxiety in musicians – the tyranny Teaching musical expression to music students of perfectionism (piano) utilising twentieth-century piano music

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Music performance anxiety (MPA) is acknowledged as hav- How often have we heard performances that were played ing high levels of prevalence across all populations of musi- with absolute faithfulness to the score but failed to convey cians; however the origins of MPA are poorly understood. the character of the music? Studies conducted on teachers’ Musicians often begin their studies at a young age, which opinions about musical expression showed that teachers makes the understanding of the developmental trajectory of thought that musical expression was one of the most im- critical importance. There has been little research into the portant elements in music making and teaching. However, cognitive mediators of MPA, those particular thinking styles many teachers did not know about tools that could aid in the which trigger feelings of anxiety related to music perfor- development of musical expression. Therefore this presen- mance. The traditional view is that MPA is caused by media- tation will explore and examine recent studies in music and tors such as self-efficacy, level of preparation, and negative emotion in order to develop successful teaching strategies cognitions due to the presence of important others. Recent that can be used to teach expression in piano literature. It findings however suggest that self-oriented perfectionistic will demonstrate why twentieth-century piano literature is a cognitions may be significant predictors of MPA. This paper good vehicle for teaching musical expression to music stu- will support the thesis that musicians demonstrate signifi- dents because the style of the music provides a good plat- cantly higher levels of self-oriented perfectionism than the form for the students to express their feelings. In his study, general population. It is also proposed that, despite high lev- the Five Facets of Musical Expression: A Psychologist’s Per- els of preparation, musicians are dissatisfied with their per- spective on Music Performance, Patrick Juslin constructed formance. In fact, excessively high levels of preparation may the GERMS model, which is used as the foundation model only serve to reinforce perfectionistic beliefs, and generate in this presentation to demonstrate ways to analyse param- high levels of anxiety. It is of concern that despite years of eters in musical expression in performances and to apply training, high levels of practice and performing experience, them in teaching and learning piano repertoire. In the past musicians are anxious individuals who fail to meet high self- two decades or so, many articles on developing musical ex- imposed standards. pression in music students have been published, but unfor- tunately none has specifically dealt with teaching expression Keywords: emotional communication; motivation; self-efficacy; perfectionism; using twentieth-century music styles due to the complexity music performance anxiety and rapid development of a diversity of styles by composers. Format: Themed panel (#175) This presentation will explore the criteria, teaching/learning strategies and musical parameters and cues that can be used to maximise the learning potential of musical expres- sion using twentieth-century piano repertoire.

Keywords: musical expression; music; students; piano; teaching

Format: Mini-presentation (#205) and Poster (#205P)

Conference Abstracts p 88 John A. Phillips Carolyn Philpott The University of Adelaide, University of Tasmania, Australia Australia

The power of music compels you – the The sounds of silence: musical responses numinous in music, and the search for the finale to the Antarctic landscape and experience of Bruckner’s Ninth ✢ ✢ ✢ ✢ ✢ ✢ Since the beginning of the ‘Heroic Age’ of Antarctic explo- Expressly conceived as his last symphony and musical tes- ration in the late nineteenth and early twentieth centuries, tament, Anton Bruckner characterised his Ninth Symphony first-hand experiences and second-hand impressions of as ‘Homage to Divine Majesty’ and dedicated it to ‘the dear the Antarctic landscape and environment have prompted Lord’. Traditionally presented in three movements, its fourth powerful artistic responses from writers, landscape artists, was discounted as mere sketch. Only recently has research photographers, film-makers and composers. In turn, these established that Bruckner completed its conception months artistic interpretations have played a significant role in en- before his death, leaving a partly orchestrated score from hancing our knowledge and influencing our perceptions of which fragments were later ‘souvenired’. The Performing Antarctica, which for many centuries prior remained some- Version of the Finale on which I and my colleagues Nicola thing of an unknown, or even ‘imagined,’ place. This paper Samale, Giuseppe Mazzuca and Benjamin-Gunnar Cohrs will explore various types of musical responses to the Ant- have been involved since 1989, required over twenty years arctic, from a series of ballads and sea shanties composed and innumerable successive revisions to arrive at its present by Gerald Doorly and J.D. Morrison on board the vessel state. It led to the decision by the Bruckner Complete Edi- ‘Morning’ (which was sent to locate and re-supply Captain tion to publish a reconstruction of the surviving fragments Robert Falcon Scott and company aboard ‘Discovery’ in of Bruckner’s autograph score, resulting in the first perfor- 1902), to the soundscape projects of Douglas Quin and the mance of the Finale fragments in Vienna (by the VSO un- Antarctic-inspired symphonic works of Ralph Vaughan Wil- der Harnoncourt 1999). Our Performing Version has been liams and Peter Maxwell Davies. It will also include a dis- documented in over fifty performances and a dozen CD cussion of the contribution of Australian composers, such releases, a journey to culminate next year in performances as Nigel Westlake and Scott McIntyre, to the field of Ant- by the Berlin Philharmonic under Simon Rattle. What is it arctic music and offer insights into their personal visions of about this musical enigma and its compelling character that this unique landscape wilderness and its impact upon their has sustained our interest for so many years? Stylistically creative work. the Ninth marshals musical gestures that Bruckner found prefigured in the first movement of Beethoven’s Ninth and Keywords: Antarctic; Antarctica; music; composers; landscape raised to heights of terrifying spiritual power. How did the Format: Single paper (#140) fascination exercised by this music relate to the ‘numinous’ – the ‘wholly other’, that feeling of awe, mystery or terror that man experiences on confrontation with the divine or transcendent?

Keywords: historical; musicology; philosophy; theology; composition

Format: Single paper (#135)

Conference Abstracts p 89 Georgia Pike Georgia Pike Australian National University, Nicole Mengel Australia Robert Crisp Australian National University, Australia

Altruism in action: Family ties – whole family engagement exploring concepts of excellence through in music making and its effect on student a multi-disciplinary and multi-media analysis of confidence and wellbeing critical incidents in altruistic music making ✢ ✢ ✢ ✢ ✢ ✢ This paper will outline a project undertaken by the Austral- This presentation will focus on the use of film within my doc- ian National University’s Music Education Program (MEP) toral thesis, involving the analysis of critical incidents and in the context of evaluating approaches to encouraging en- case studies documented within the Australian National gagement in music from school to family to community in University’s Music Education Program. My thesis aims to the lead up to Canberra’s 100th anniversary in 2013. The explore the many facets of excellence in music in order to project focuses on the way in which family musical culture re-define and re-conceptualise excellence within a broad impacts on student engagement and confidence in music historical and social context. The Music Education Program making. Schools have been selected to represent a cross- has been in partnership with film production and distribu- section of socio-economic status and ratings on the My tion company, Ronin Films, since 1998, resulting in over School website. There was a time in Australian socio-cultur- 300 hours of archival footage. The footage documents the al history when it was not uncommon for families to share evolution of the Program’s Music Outreach Principle – from time together making music. Nowadays, music is largely its beginnings within a single classroom through to its cur- experienced passively and individually, through media such rent dissemination to over 450 teachers, 28,000 students as iPods, television and the internet. Have we lost the art and countless community members. Selected critical inci- of sharing music as a family? Are the family road trips with dents from the footage will be used to illuminate, analyse, the kids singing in the back of the car now a thing of the evaluate and describe aspects of the Music Outreach Prin- past? Parents and students from a selection of Australian ciple, which, through its alternative priorities and philoso- Capital Territory schools will be surveyed about their musi- phies, offers a unique view of excellence in music. The initial cal backgrounds and their participation in music as a family findings from the film analysis will be discussed in light of an unit. Each school will then host a family singing event, where exploration of the beginnings of formal music making in An- whole families will be facilitated in music making through the cient Greece, and the etymology of relevant terms. The one- MEP’s Music Outreach Principle. The sessions will be evalu- hour presentation will be made up of 30 minutes of footage ated particularly in terms of the effect the sessions have had interspersed with commentary and discussion. on student confidence and level of engagement. This paper will describe the methodology of the evaluation and outline Keywords: altruism; film; excellence; case studies; music the initial findings. Format: Film (#48) Keywords: music; education; family; community; confidence

Format: Mini-presentation (#126) and Poster (#126P)

Conference Abstracts p 90 Rebekah Plueckhahn Tijana Popovi Australian National University, Mladjenovi Australia University of Arts in Belgrade, Serbia

Duut Soum in Concert: stage musical The power of music: the possibility of performances, the power of musical creativity positioning oneself towards the world and time and musical enculturation in Duut, Mongolia ✢ ✢ ✢ ✢ ✢ ✢ Music is universal from a human aspect, but seems to be a The performance of music in Duut Soum, Khovd Province strangely useless activity. Thus, what power does it have to Mongolia, has a causal dimension. The ‘good’ performances be so naturally integrated in us that we cannot be free from of key genres are viewed as having the ability to determine it, even if we wish, or that when we hear music we listen future social outcomes and assist in the creation of good to ourselves through it? Proceeding from the view that mu- fortune. In nairs, celebrations or feasts held at lifecycle sic is the matrix that integrates and embodies the dynamic events such as weddings, the singing of songs is a collec- effects of cultural processes and emotional meanings, the tive responsibility of all members present, where there is an phenomenon of music is treated as the possible monistic expectation that they will sing well and bad singing is not personal world map or delocalised, non-linear, dynamic net- allowed. The practice of this form of musical sociality results work of relationships, personified by a constant structural in young children being enculturated into this musical social and functional flux. For it seems that music finds its place life, where they are encouraged to perform and sing from on the edges of the field of consciousness, penetrates that a young age. Part of this enculturation process are stage consciousness which separates the waking world from the concert performances, which play an integral part of mu- dream one, relies on contemplating in those other dimen- sical and social life amongst the Altai Urianghai people of sions which extend deeper than the relationship between this rural mountain district. Fusing together both communist the subject and the object, and works on the creation of all and post-communist performance processes, these perfor- possible worlds within ourselves, but as the structure, sense mances form an important part of the rich and multifaceted or insignia of the Lebenswelt. In that context of the power of value systems of which music, singing and performance is man’s musical dimension, seeking the truth and the desire now a part in this post-transition context. Through the ex- for the truth are directed to the world which reveals itself in ploration of a stage concert performance and an example front of the work, such as Debussy’s ‘La Puerta del Vino’, in of nair musical sociality, this paper will examine the rela- the processes of condensation, splitting and ambivalence, tionship between this stage performance practice and the as well as in the phenomena of echo, silence and pulses of causal role of musical sociality as it occurs in ritual occa- life and death, or in the process of rendering specific musi- sions and wider Duut social life. I will propose that while cal expressiveness and emotional climate of Debussian mu- not specifically a ritual occasion, these stage performances sic unfolding in time. form a pivotal part in the creation of and enculturation into a form of Duut musical sociality. Keywords: emotional meaning; echo; phantasm of time; split reference and world of musical work; Debussy`s ‘La Puerta Del Vino’

Keywords: performativity; musical sociality; Post-communism; socio- Format: Mini-presentation (#101) and Poster (#101P) economic change; Mongolia

Format: Single paper (#253)

Conference Abstracts p 91 Jonathan Powles Costanza Preti Australian National University, University of London, Australia United Kingdom

Music as discourse of power Live music as a means of managing stress in a paediatric healthcare setting ✢ ✢ ✢ ✢ ✢ ✢ When considering the status of the musical ‘work’ as art, or as the object of analytic inquiry, or as a cultural/historical The literature supports the notion that listening to music, artefact, or as a component of an educational canon, it is and live music in particular, can affect hospitalised chil- common to overlook the fact that such a work (if separable dren, by enhancing relaxation, providing distraction and from any particular realisation) is essentially an instrument helping them to verbalise the hospital experience in order of power and control. A musical score is a set of instructions to cope better with it. Furthermore, seen through the lens in which a composer explicitly inscribes his or her control of Lazarus’s transactional stress theory, music, through its over performers’ actions, body and identity. Think of Be- distracting and soothing qualities and the familiarity of the rio’s score of the Sequenza for solo voice, a demonstration repertoire, may function as a form of ‘social support’ and im- of (male) compositional authority that demands exhibition- pact positively on the coping mechanism of the hospitalised istic and possibly masochistic contortions of the (female) child. Music, therefore, may influence the child-patients’ performer. Such a reading is central, rather than peripheral, perceptions of the hospital environment and, consequently, to the work’s power. But this notion is extensible: the no- of any perceived threat associated with it. This research tion of Beethoven’s Ninth as an instrument of political crowd looks at the impact of live music on children and their car- control, or U2’s ‘One’ as an emblem of totemic separation egivers in a paediatric hospital, in Italy. Observations were (‘them’ and ‘us’) similarly brings to the fore the power of carried out over a period of four weeks involving 162 chil- a musical text, as an instrument of discourse, to control. dren and 146 caregivers. In addition, interviews were con- This is a conception of musical signification that is essen- ducted with 14 children and 22 caregivers. Subsequently, tially Foucaldian: musical as a web of discursive relations thematic analysis and content analysis were performed on between subjectivities; personae as subjects created by four modes of data (observations, videos, interviews, field the musical discourse and subject to the control of that dis- notes) with the support of Atlas.ti software. Results suggest course. This paper explores this notion of musical text as that, in this context, there is evidence that the musical in- discourse of power in music performance (vs prime donne, tervention helps children and their families to focus their at- ‘rank and file’), composition (‘authoritative’ editions) and tention on something that is external to the illness. Through education. the familiarity of the repertoire, children’s perceptions of the hospital environment turn into something more familiar Keywords: power; theory; semiotics; Berio; education and less threatening. Consequently, the music constitutes Format: Single paper (#239) for children and their families a psychosocial space where they can interact without the anxiety and stress elicited by diagnosis-feared perception and illness.

Keywords: active and receptive music approaches in paediatrics; music health and wellbeing; psychosocial music interventions; live music in hospitals

Format: Single paper (#116)

Conference Abstracts p 92 Jon Prince Lena Quinto James H. Sunderland William Forde Thompson Murdoch University, Macquarie University, Australia Australia

Pitch and temporal contributions The contributions of compositional structure to melodic expectancy and performance expression to the communication of emotion and expressivity ✢ ✢ ✢ in music

Research on melodic expectancy has largely focused on re- ✢ ✢ ✢ sponses to single notes following a musical context, however expectancies may occur over a longer time period than sin- In Western classical music, composers use compositional gle notes. Additionally, the role of pitch and time (and how structure (pitch and rhythm) to convey emotion while per- they combine) in forming melodic expectations is unclear. formers use performance expression (changes in dynamics, Therefore this research investigates the relative contribu- tempo, timing and pitch). These two channels are usually tions of pitch and temporal information in judgements of combined but each may contribute differently to listeners’ melodic expectancy. Melodies were split into halves (based perceptions of emotion because composers and performers on complete musical phrases) and the pitch and temporal control different acoustic and structural attributes of music. content of the second half was manipulated independently. This study examined the contributions of each channel by Each dimension could consist of the original sequence (of creating stimuli in which musicians attempted to communi- pitches, or durations), a neutralised sequence (isochronous, cate discrete emotions in three ways: performance expres- or monotonic), or a random arrangement (atonal, or amet- sion, composition and the combination of both. In a series ric). Factorial variation yielded 9 stimulus conditions based of experiments, we examined how composition and perfor- on these manipulations. Participants rated how expected mance each contribute to: a) the ability to interpret intended the second half of the melody was, but with one of three emotional meanings, b) perceptions of emotional dimen- instructions (varied in blocks): attend pitch (ignore time), at- sions (valence and arousal), and c) perceptions of overall tend time (ignore pitch), or attend both. Expectancy ratings expressivity. Results showed that accuracy of emotional de- are examined for effects of pitch, time, and pitch-time inter- coding depended on the emotion and channel of communi- action for each instructional condition. This design allows for cation. Performance was more effective for communicating tests of selective attention failure, and linear or interactive anger and sadness whereas composition was more effective contributions of pitch and timing to participants’ responses. at communicating fear and happiness. Performance was Data collection was ongoing at the time of writing, but pre- also better able to influence perceptions of arousal while liminary indications were that both pitch and temporal con- composition was better able to influence perceptions of va- tent influence ratings in all conditions. Furthermore, the pat- lence. Finally, both channels have the capacity to influence tern of contribution of each dimension should vary across perceptions of expressivity, although there was a slight ad- instructional condition. This research contributes to the lit- vantage for the performance channel. The implications for erature on musical expectancies and pitch-time integration. performance, composition, and emotional communication will be discussed. Keywords: melodic expectancy; pitch-time integration; music cognition; psychology; selective attention Keywords: emotional communication; performance expression; composition; Format: Poster (#66) expressivity; music cognition and perception Format: Single paper (#97)

Conference Abstracts p 93 Will M. Randall James Renwick Nikki Rickard The University of Sydney, Monash University, Australia Australia

Emotion regulation through everyday music Emotional and aesthetic connection with use in adolescence performed music as a motivator for advanced music students ✢ ✢ ✢ ✢ ✢ ✢ Music is an essential part of everyday life for adolescents, and music use is linked to adolescent psychosocial devel- Motivation research among music performance students opment. Adolescence is also a time of emotional unrest, has adapted theories from educational psychology, such with declines in mental health and increased need for self- as self-efficacy, achievement goals, and causal attributions, regulation of emotions. Music use has been established as while musicians’ biographies and presentation in the media an effective regulatory strategy, and can serve as a means tend to emphasise the importance of emotional and aes- for self-therapy. However, previous research investigating thetic self-expression as a key motivator for the hard work music-related regulation has lacked empirical evidence and necessary to build musical expertise. The author’s previous grounding in general emotion regulation theory. The current research with school-age students with moderate levels of study aims to investigate emotion regulation though music commitment pointed to a range of motives lying along an use, and determine the effectiveness of particular strate- intrinsic-extrinsic continuum. The present study sought to gies, in relation to established models of emotion regulation. extend this by focusing on the nature of intrinsic motivation It will do this using a modified experience sampling method, – the motivation to engage in skill development for its own in which data will be collected using a smartphone applica- musical and pleasurable rewards – in a sample of talented tion. Participants will download the application to their own adolescents and young adults committed to advanced train- device, from which it will record data on their natural listen- ing. Semi-structured interviews were conducted with 45 ing patterns over a two-week period. The application will people aged 13 to 31 pursuing advanced training in jazz, collect real-time subjective data on the emotional impact of popular, and classical music in Sydney. Questions focused music, regulatory strategies used, as well as on music and on what motivates the participants to engage in music- social context variables. It will also collect data through long- making and investigated motivational antecedents and con- er psychometric questionnaires, on listener variables such sequences of significant musical experiences. Theoretical as personality, well-being and musical experience. The data concerns were embedded in questions, but interviewees’ are currently being collected and will be presented at the perspectives guided the dialogue. Transcripts were ana- conference. The results will reveal how adolescents use mu- lysed using NVivo software according to grounded theory sic in their everyday lives to self-regulate emotions, and the principles. This paper concentrates on themes that show effectiveness of particular regulatory strategies. This study the tendency for music-making – initially intrinsically and/ will also determine how emotion regulation through music or socially motivated in a recreational context – to take on use relates to established models of emotion regulation. powerful vocational, communicative, and aesthetic motives. The study adds to our understanding of the richness of mu- Keywords: music; emotion; regulation; adolescence; ESM sicians’ motivation across a range of styles and ages, and of Format: Poster (#87) what might assist in nurturing environments for the devel- opment of a healthy artistic engagement in music learning.

Keywords: emotional communication; motivation; self-efficacy

Format: Themed panel (#175)

Conference Abstracts p 94 Adrian Renzo Nikki Rickard The University of Auckland, Tan Chyuan Chin New Zealand Will M. Randall Monash University, Australia

‘I feel love’: questioning the genealogy A physiological assessment of music-based of electronic dance music emotion regulation

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Some scholars have described electronic dance music as Emotions are frequently reported as one of the primary powerful or subversive because (in contrast to much West- reasons for listening to music. Considerable research has ern popular music) dance music eschews verbal meaning. demonstrated that music does appear capable of inducing Rather than foregrounding lyrics, genres such as house and emotions, as indexed both subjectively and physiologically. techno privilege instrumental textures and explorations of Less research has explored how music might enhance the novel timbres. In this paper, I argue that the dominant nar- capacity to regulate emotional responses to other stimuli. rative of electronic dance music is partial, and is supported Surveys of adolescents and older people indicate that music by a selective mode of listening. Critics have perpetuated is used in a variety of ways to enhance emotion regulation, this narrative by treating ‘songs’ as ‘tracks’, de-emphasising although the efficacy of music-based emotion regulation has the music’s pop roots in favour of other elements. Such a not been tested. In this study, we determine whether music strategy has allowed scholars to subsume a range of pop enhances regulation of emotional responses using several records under the umbrella ‘electronic dance music’, while objective measure of emotion regulation. Thirty right-hand- paradoxically pushing ‘pop’ away as dance music’s Other. To ed participants will view aversive or neutral images, and will provide an example, the paper explores ways in which Don- be asked to respond naturally, or to ‘reappraise’ the images na Summer’s ‘I Feel Love’ (1977) has been retrospectively in a more positive light. The event related potentials, P300 constructed as an early example of electronic dance music. and LPP, and the high frequency component of heart rate Various critics have described ‘I Feel Love’ both as a radi- variability, are each sensitive to voluntary emotion regula- cal break from pop’s past (with its use of ‘futuristic’ Moog tion using this paradigm. These physiological indices will be synthesiser sounds) and as a dramatic harbinger of things recorded during multiple trials of this task, either in the pres- to come (foreshadowing dance genres such as trance and ence of calming music, a radio show extract, or silence. The techno). While the critical commentary privileges the song’s data are currently being collected, and will be presented at divergence from pop norms, we can also hear Summer’s the conference. The results should enable changes in these track as a conventional pop song in verse-chorus form. In indices resulting from music-enhanced emotion regulation light of this analysis, the paper argues that critics perpetuate to be distinguished from distraction-enhanced emotion reg- canons not only by adopting a selective view of music his- ulation (via a radio show control), music processing (via the tory, but also by emphasising certain aspects of the music neutral image with music) and emotional response (via emo- at the expense of others. tional response without emotion regulation instruction) com- ponents. The findings have implications for the utilisation of Keywords: electronic dance music; popular music; form; criticism; history music to enhance emotion regulation in everyday events. Format: Single paper (#79) Keywords: heart rate variability; event related potentials; emotion regulation; P300; psychophysiology

Format: Single paper (#33)

Conference Abstracts p 95 Daphne Rickson Anthony Ritchie New Zealand School of Music, University of Otago, New Zealand New Zealand

‘Music... it’s the right thing to do’: The balance of head and heart: issues the power of music to build teacher-student surrounding contemporary composition relationships ✢ ✢ ✢ ✢ ✢ ✢ In the twentieth-century there was a trend away from the Children’s right to participate fully with their peers has been Romantic ethos of self expression and emotion in Western strongly advocated over recent decades. Teachers are now art music and towards an objectification of sound and ways charged with educating large numbers of children with di- of organising sound into compositions. With the breakdown verse abilities, including those who have significant devel- of the conventional tonal system, some composers devel- opment and learning needs. Nevertheless, many teachers oped new systems for creating melodies, harmonies and remain overwhelmed by this task and tend to rely on vis- rhythms in their music. The development of these systems iting ‘experts’, such as music therapists, to provide direct led to a new view of the composer as scientist, creating rig- intervention for students, particularly to those who have high orously intellectual music in which there was little room for levels of need. Despite their desire to include students in spontaneity and emotion. I argue that this development was learning experiences, and their understanding that many responsible for the alienation of audiences from contempo- students with special needs are attracted to music, teach- rary music post World War II. Some composers bucked the ers do not feel as if they have the time or skills to use music trend and remain well loved and widely performed: Shosta- as a tool to promote learning and development. In contrast, kovich and Britten to name two examples. Using examples by drawing on case studies in music therapy consultation, from the last 10 years I make a case that there is still an the presenter will demonstrate how the music therapist can urgent need for contemporary composers to strike a bet- work as a consultant, helping teachers and teachers’ aides ter balance between technique and content in their music, to ‘musick’ throughout the school day. It will be shown that between the intellect and the emotion, between the head empowering teachers to use music, usually in very simple and the heart. ways, enhanced teacher-student relationships and thus improved student potential to participate and learn in the Keywords: self expression; emotion; systems; intellectual; contemporary regular school environment. Music making, and listening Format: Single paper (#25) to music, engaged the children, facilitated their interaction, supported their participation, and highlighted their abilities and strengths. Thus staff members were more motivated to work with the children, and were encouraged to continue to develop their use of music to support student learning and development across the board.

Keywords: music therapy; relationships; school; special education; inclusion

Format: Single paper (#83)

Conference Abstracts p 96 Esmeralda Rocha Stephanie Rocke The University Monash University, of Western Australia, Australia Australia

The dark side of power: opera as a tool of The double life of the mass colonisation in nineteenth-century Calcutta ✢ ✢ ✢ ✢ ✢ ✢ With a backward gaze on Gregorian chant and Renaissance The nineteenth-century was a period during which Euro- polyphony, Pope Pius X issued instructions to church musi- pean powers raced to conquer the world – not only geo- cians and composers in his motu proprio of 1903. His aim graphically, but (more significantly) ideologically and cul- was to clamp down on the grand Masses of the later nine- turally. The British were arguably the most determined and teenth-century which were being composed as much for most successful colonisers of the era, and Calcutta, the the concert hall as for the cathedral. The pious supported ‘City of Palaces’, became the jewel in the crown of British the back pedalling Pope but others such as Camille Saint- high-imperialism. Moreover, due to social, political and eco- Saëns believed that ‘every epoch had the right to express nomic factors (consider the rise of the middle class, politi- the religious sentiment in its own way.’ Thus, rather than cal upheaval in Europe and the Industrial Revolution), the foiling the double life the Mass had begun to lead the Pope’s nineteenth-century saw opera ascend to the zenith of its instruction fortified the division. As the twentieth-century accessibility, influence and prestige. The simultaneity of the proceeded, the power of the Mass form was tapped into by rise of imperialism and the Golden Age of opera produced a range of composers, resulting in the familiar Latin texts a connection which has long been ignored by musicology, being used in conjunction with the music and texts of other yet it is a relationship which illuminates many aspects of faiths and spiritualities, with the first example perhaps be- nineteenth-century music, culture and society. This paper ing the Haitian composer Werner Jaegerhuber’s Messe sur looks at the interactions between the art form, the coloniser les airs vodouesques (1953). Even more radically, the Mass and the ‘other’ in occupied lands, using Calcutta as a case form began to be put to use both politically and as cultural study. This research discusses the role of opera in colonised commentary. The Electric Prunes’ psychedelic rock Mass territories and reveals the ways in which opera and oper- in F minor (1963) and Bernstein’s theatrical piece titled atic performance practice were commandeered as tools of Mass (1972) intentionally encouraged contemplation about colonisation. religion and ritual, while Arnold van Wyck’s Missa in illo tem- pore (1979) subversively protested apartheid. This paper Keywords: historical musicology; colonialism; nineteenth-century opera; demonstrates that the emotional narrative of the Ordinary British Empire; India of the Roman Rite has enabled the musical Mass form to Format: Single paper (#30) transcend both confessional boundaries and the language of the spoken word, to become a powerful vehicle for multi- faith discourse in the twenty-first century.

Keywords: mass; multi-faith; religion; culture; politics

Format: Single paper (#219)

Conference Abstracts p 97 Victoria Rogers Robin Ryan The University Independent scholar, of Western Australia, Australia Australia

John Blacking, composer: a new perspective Waltzing the Wilarra: Indigenous musicals, emotion and power in the politics ✢ ✢ ✢ of reconciliation

John Blacking (1928-90) is well known as a pioneer in the ✢ ✢ ✢ development of ethnomusicology. Less well known are his activities as a composer. Yet between 1947 and 1965 he Romances can be beautiful lies – narratives of imagina- wrote eleven compositions: incidental music for three plays; tion that operate within culture as powerful alternative ver- three choral works; three instrumental pieces; and two sions of the way things actually are. This paper provides a songs for soprano and piano. The very existence of Black- contextual reading of the 2011 Festival of Perth production ing’s compositions raises a number of enticing questions. Waltzing the Wilarra (written and composed by David Milroy, What was the nature of his musical language? How did he director Wesley Enoch, Yirra Yaakin Theatre Company). The navigate the space between the implicitly non-Western na- satire’s script (Currency Press, 2011) recalls the crucial role ture of his ethnomusicological research and the medium of of the Coolbaroo Club (1946-1960) in overcoming the op- Western art music? And, indeed, how did he come to com- probrium of society and the law in mid-twentieth-century position in the first place? This paper explores matters of Perth. In bucking the predictable voicings of difference and context, style, structure and meaning in Blacking’s Te Deum, desire, the first act portrays a black-white romance inextri- an a cappella choral work which was composed in 1963. It cably linked to post-war trauma and the mediation of past is argued that Blacking’s musical thinking is firmly rooted in and present injustice. Leaving the complications of youth the traditions of Western art music, and that his musical pre- behind, the second act moves on four decades to tackle occupations and proclivities lie largely in twentieth-century the club’s tangled residue relationships. The play culminates post-tonal musical practices. The paper concludes with a in a biting spoof on the politically correct ‘Learning Circles’ discussion of the apparent contradiction between Blacking’s formed nationally following the founding of the Reconcilia- work as an ethnomusicologist and his continuing adherence tion Council of Australia (CAR) twenty years ago. Drawing on to the high art traditions of Western culture. It is suggested research into music’s role in the operating notion of reconcil- that the Te Deum can best be understood within the context iation between Black and White Australia, the author draws of Blacking’s ideas on music as a culturally specific form of a corollary concerning song’s political power as a mobiliser human communication. of continuing dialogue and shared vision of the country’s future. The poignancy of the indigenous musical, it is ar- Keywords: Blacking; composition; ethnomusicology; analysis; musicology gued, lies in its encoding and mediation of emotion through Format: Single paper (#152) songs, conversations and theatrical structures that promote informality and hilarious interrogation of the evolving politics of representation. Within the resultant cultural nexus, sound acts as a conduit to spirit, positively impacting the respective surviving Indigenous culture.

Keywords: musicals; emotion; power; indigenous; reconciliation

Format: Single paper (#50)

Conference Abstracts p 98 Scott Ryan Suvi Saarikallio The University of Melbourne, Jonna Vuoskoski Australia University of Jyväskylä, Finland

Soviet Music in the ‘Great Patriotic War’, General emotionality biases adolescents’ 1941-1945 emotion perception in music

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On June 22 1941, the armed forces of Nazi-Germany invad- Both temporary mood states and stable personality traits ed the Soviet Union to begin a four year war that would ul- have been shown to cause biases in emotion perception timately claim an estimated thirty million Red Army soldiers in music. However, not much is known about these effects and Soviet civilians. The ‘Great Patriotic War’ 1941-1945, during adolescence. The current study investigated how as it is known by Russians, demanded full mobilisation of adolescents’ general emotionality is reflected in their evalu- the country’s resources in pursuit of victory, including its ations of emotions expressed by both music and facial ex- people, in which every Soviet citizen, whether at the front or pressions. 14-15-year-old participants listened to 50 music rear, was expected to contribute to the war effort. For com- excerpts and rated them regarding 8 emotions (happiness, posers and musicologists, music as their chosen profession sadness, anger, fear, tenderness, longing, hope, power). In became the primary means of meaningful ‘active service’. addition, they rated 25 facial expressions regarding 5 emo- In the battle for ‘hearts and minds’ toward the nation’s tions (happiness, sadness, anger, fear and neutral), and cause, music served as both a means of personal patriotic filled in self-report questionnaires assessing mood (PANAS), expression and as a tool of state propaganda that reinforced personality (TIPI), and alexithymia (TAS-20). Data collection notions of patriotism, self-sacrifice, duty, courage and is currently under way, and we aim to have approximately heroic celebration of the Soviet people in their struggle. This 60 participants (25 measured so far). Preliminary results paper examines Yury Shaporin’s wartime oratorio Skazanie o indicate clear emotionality-congruent biases in adolescents’ bitve za russkuyu zemlyu (Story of the Battle for the Russian emotion perception. For instance, general difficulty in emo- Land), written between 1942-43 as spontaneous reaction tion identification (alexithymia) relates to a decreased rating to the ‘heat of battle’. Discussion investigates the musical of several emotions in music while the personality trait of discourse created between composer and audience that openness to experience in particular seems to create an op- point toward larger worlds of cultural meaning and experi- posite effect. Both positive and negative mood also appear ences within the Soviet wartime context beyond the music to cause some biases in emotion perception (for example, itself. More specifically, consideration is given toward the the more negative the mood, the more anger perceived musical portrayal of the Russian ‘native land’ (rodina) and in music). More detailed findings will be presented at the the German ‘enemy’ (vrag) as a means to evince culturally conference. The results clarify how adolescents’ general mediated understandings at the time of popular patriotism emotionality directs their affective experience of music and and Soviet nationalist pride that emphasised the twin axioms adds to our knowledge on the role of music as a means for of love of country and hate and ridicule of the invader. Utilis- fulfilling various affective and emotion-regulatory needs in ing topic theory as an underlying framework for interpreta- adolescents’ everyday life. tion, explored are the types of musical gestures employed which carry representations of either heroic euphoria or Keywords: music; emotion perception; adolescents; personality; alexithymia ironic and satirical dysphoria in these wartime compositions. Format: Poster (#177)

Keywords: war; patriotism/propaganda; service; rodina (native land)/vrag (enemy); musical ‘meaning’

Format: Single paper (#125)

Conference Abstracts p 99 Suvi Saarikallio Karen Elizabeth Schrieber Geoff Luck The University Birgitta Burger of Western Australia, Marc Thompson Australia Petri Toiviainen University of Jyväskylä, Finland

Happy listeners throw their hands up in the air, Expressions lost and found: performing in and extraverts shake them like they just don’t care out of Java

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Positive and negative emotional functioning, at both trait Learning to perform allows the ethnomusicologist to gain (extraversion/neuroticism) and state (positive mood/nega- a practical understanding of music (and dance) while also tive mood) levels, has previously been shown to affect mu- enabling the researcher to position herself within a specific sical behaviour and the ways people react to music. Yet, community. Although often advocated as a fieldwork meth- despite both emotions and movement being fundamentally od, few ethnomusicologists become professional perform- related to musical behaviour, little is known about how emo- ers. For over 20 years, and despite being a white Ameri- tionality shapes the way people move to music. Here, we can woman with no training in ethnomusicology, I lived in explore how positive and negative emotionality is reflected Malang, East Java, where I enjoyed a successful career in music-induced movements. Sixty young adults (17 male, as a well known and highly regarded Javanese singer and overall mean age = 24, SD of age = 3.3) danced to 30 music dancer. In 2010, however, I had to leave my home in Malang excerpts, five from each of the following genres: pop, rock, and move to Perth, Western Australia. Nevertheless, shortly Latin, jazz, techno, and funk. Body movement was tracked after my arrival in Perth, I was invited to participate in a new with an optical motion capture system at 120 Hz. Partici- production of Satu Langit (One Sky). Originally performed pants also completed self-report measures of trait positive in 1994 as the culmination of an artistic exchange program emotionality (extraversion), trait negative emotionality (neu- between Western Australian and Javanese artists, the 2010 roticism), state positive and negative affect (PANAS), and revival of the production also coincided with the 20th an- emotional expressivity. Positive mood was found to be relat- niversary of the Western Australia – East Java sister state ed to wider and faster hand movements, while extraversion relationship. My participation in Satu Langit afforded me the induced greater speed and acceleration in both head and opportunity to metaphorically re-connect with Java. In doing hands. Negative emotionality and emotional expressivity so, I was also sensitive to the ways in which others – par- were not related to movement characteristics. These results ticularly those involved in the ‘multi-cultural’ arts scene in enhance our understanding of the ways in which emotion- Perth – viewed my position as a non-Javanese ‘Javanese’ ality shapes music-related behaviour, and offer new view- performing artist. By reflecting upon my experiences as a points on music as a means for emotional self-expression. singer/dancer both inside and outside of Java, in this paper I explore the ways in which I have attempted to re-negotiate Keywords: mood; emotionality; personality; music-induced movement; and re-situate myself as a Javanese performing artist in the motion capture Western Australian context. Format: Single paper (#176)

Keywords: performance practice; Javanese music and dance; identity; ethnomusicology

Format: Mini-presentation (#159) and Poster (#159P)

Conference Abstracts p 100 Emery Schubert Pankaj Mala Sharma The University Panjab University, of New South Wales, India Australia Shreyasi Sharma Postgraduate Institute of Medical Education & Research, India

The structure of affective responses to music Music performance platform in Vedas

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Attempts to define aesthetic, emotion and affect in regard to We smile, we love, we cry, we are the human being that music have left the research community with vague and, at experiences a wide spectrum of emotions in our lifetime. times, almost contradictory definitions. Intuition still appears Some of them are expressed while others die in our minds. to be a powerful force by which we ‘define’ affects resulting From time immemorial, our emotions have been expressed from music listening. This paper attempts to experimentally through music, and Veda is among the most ancient litera- distinguish affect, emotion and aesthetics responses to mu- ture in the world. Among four Vedas Samaveda has a unique sic. It reports on a study in which open-ended responses position as it is the Veda of music and the original source of were sought from 60 participants on a piece of music they classical music. In the singing of Samaveda all seven notes loved and a piece of music they hated. Content analysis of are employed. This is technically known as Samagana. The those responses demonstrated qualitative differences that music needs a platform for its expression and performance; were explained in terms of a distinction proposed by Char- who made the first music and where was the platform? We land between affect valence (attraction/repulsion) and emo- find references in Vedic literature to the performance of mu- tion valence (a contemplative state, often thought of as ‘mu- sic in open-ground. With the start of Yajanas, the Yajanave- sic specific’ or ‘aesthetic’ emotion). Further, loved pieces dis were the platform for performance in the Vedic period. were processed in a ‘dissociated’ state, allowing the activa- These Vedas were made according to special measurement tion and experience of negative emotion valence (sadness and designs. In this paper an attempt has been made to being the most commonly reported) while still reporting a throw light on performance platforms using Vedic literature love of the music. It is this dissociated state that, accord- and ancient treatises. ing to dissociation theory, allows contemplation and expe- riencing of both negative and positive emotions (emotion Keywords: music performance; Vedic music; open-ground stage; designed stage; Yajanas valence). Using this affect-emotion demarcation, a map is proposed that organises ‘affective’ responses to music into Format: Poster (#254) aesthetic (observed) and affective (felt) along one dimen- sion. A second dimension distinguishes across three levels: (1) Affect valence level: attraction to (for example, love, en- joy) /withdrawal from (irritation, hatred, boredom) the mu- sic; (2) Dissociation (awe, profoundness, moving, beauty); (3) Emotion states (sadness, joy, happiness, fear, anger).

Keywords: emotion; music; affect; semantics; dissociation

Format: Keynote paper (#107)

Conference Abstracts p 101 Jennie Shaw Masaya Shishikura University of New England, Australian National University, Australia Australia

Schoenberg’s Herzgewächse at 100: mysticism, Overwhelming love synaesthesia and the power of the miniature ✢ ✢ ✢ ✢ ✢ ✢ This ethnographic film features high school students who In December 1911, over a period of just a couple of days, are about to leave their home of the Ogasawara Islands, Arnold Schoenberg composed one of his most enigmatic Japan. It depicts a love overflowing amongst the islanders works, a setting of Maurice Maeterlinck’s poem Her- within the parting sorrow – following a short-spoken intro- zgewächse (Heart’s Foliage) in German translation by Stefan duction. Withdrawal and farewell are inevitable in this small George. Written for soprano, celesta, harmonium and harp, and remote community; a boat trip of 25.5 hours from Tokyo the work was published in facsimile in the Blaue Reiter (Blue metropolitan area is the only public access to the islands Rider) Almanac in 1912 but not performed until 1923. Dis- with less than 2,500 residents. The life on the islands is missed as a minor work in Schoenberg’s oeuvre, especially challenging without enough employment and social infra- when compared to its companion piece, the monumentally structure so that the people are often transient. Ogasawara influential Pierrot lunaire, the 2-minute chamber song has high school students are also destined to leave the islands gained the attention recently of several scholars who have to seek college education or job training on the mainland. argued that it should be viewed as a more important work. Singing and dancing are the rite of passage towards the im- Julian Johnson, for instance, has argued that this song is pending separation. Affection for those island children turns one of the ‘threshold’ works in Schoenberg’s output. In this out high expectation and pressure for their musical perfor- presentation I will build on the work of Johnson and oth- mances. The process is truly overwhelming, yet provides ers in acknowledging that Herzgewächse is indeed unique the community shared sentiments and memories of their in many ways for Schoenberg in terms of its text and in- beloved islands. The footage includes dance in a festival, strumental resources. While a completely different work, in a gathering at a pier, live music in a bar, and a farewell at many ways, from Pierrot, I argue that it is central not only to the port. The film illustrates delicate emotions by captur- his understanding of the aesthetic of painter Wassily Kand- ing subtle facial and bodily expressions, which cannot be insky, the organiser of the Blaue Reiter Almanac and exhibi- fully described in a written document or verbal presentation. tions, but also to Schoenberg’s own practice of ‘composing With the aid of visual images, it certifies the power of music with tones’. in such a commemorative ceremony.

Keywords: synaesthesia; mysticism; aesthetic; Schoenberg; Maeterlinck; Keywords: island community; parting sentiment; commemorative ceremony; atonality visual anthropology; power of music

Format: Single paper (#255) Format: Film (#129)

Conference Abstracts p 102 John Sienicki Malgorzata Sierszenska- Independent scholar, Leraczyk United States of America The Ignacy Jan Paderewski Academy of Music in Pozna , Poland

‘Dance with me, this is my philosophy’: Stage fright in psychological counselling analysing the disconcerting feeling for specialist music schools in Poland in nineteenth-century Austrian and Czech concert music ✢ ✢ ✢

✢ ✢ ✢ The author of the presentation is both a psychologist and a musician. She is a lecturer at the Academy of Music in This study takes a new perspective on the difficult and Pozna , Poland. She has also worked as a teacher and a much-contested question of the ‘Czechness’ in Czech mu- psychologist in specialist music schools in Pozna for 25 sic, and the related question of why this has been such a years. Since April 2008 she has been a leader of a pro- problem for German-centred musicology, by an investiga- ject which aims at establishing a network of psychological tion of what lies at the boundaries of ‘emotion’ as com- counselling in all kinds of art schools (music, arts, ballet) in monly conceived. Twentieth-century work on West African Poland. This poster contains information about Polish music music-making (Waterman, Chernoff, Erik Davis) has shown schools and the system for teaching musically gifted chil- how music can affect the more philosophical side of one’s dren. The research explores the importance of stage fright feelings: the level of assurance or doubt about assertions, amongst other problems brought up in specialist psycholog- the degree of fixedness of aspects of one’s world view. The ical counselling, the methods of diagnosis and therapy used persistence of animistic folk beliefs among Czech people, for dealing with stage fright in Poland, and if the problems much more than in most of the West, suggests that some are mainly raised by students or rather by their teachers. modes of thinking and feeling about music typically char- acterised as non-Western are not as foreign to Europe as Keywords: counselling; music education; stage fright; musical abilities; psychology of music they seem: for example, Waterman’s term ‘mental dance’ may be equally applicable to Czech music. The writings of Format: Poster (#61) Kundera (Czech philosophers are storytellers) and Deleuze and Guattari (from whom Kundera takes ideas) also point toward this line of music interpretation. I argue that compos- ers such as Schubert (who borrowed melodic ideas from the Czech-born Wenzel Müller) and Dvorak used specific rhythmic devices to subvert the Germanic desire for solid- ity, suggesting the coexistence of multiple views of reality or the possibility of facts not immediately apparent to ordinary perception. Comparable examples of Bollywood film music (‘Dhoom’, ‘Rangeela’), from another culture where ques- tions of appearance and reality are not far removed from everyday experience, will also be explored.

Keywords: philosophy; ethnomusicology; Czech; Bollywood; dance

Format: Single paper (#72)

Conference Abstracts p 103 Anthea Skinner Catherine Stevens Peter Dunbar-Hall Monash University, University of Western Sydney, The University of Sydney, Australia Australia Australia Barbara Tillmann University of Lyon, France

The triangle: the greatest war machine Expectations in culturally unfamiliar music: of its day? influences of perceptual filter and timbral characteristics ✢ ✢ ✢ ✢ ✢ ✢ The triangle is a simple musical instrument with a long histo- ry. Dating back to the tenth-century, its origins are shrouded With exposure to a musical environment, listeners become in mystery. In 2002 Jeremy Montagu hypothesised that the sensitive to the melodic, harmonic, and tonal regularities of instrument may have been based on the medieval stirrup, that environment. These acquired perceptual filters likely but his theory remains to be tested. This paper will attempt come into play when novel music scales and tunings are to prove Montagu’s hypothesis by exploring the parallels encountered. We investigated the effect of unfamiliar timbre between the history, design and distribution of the triangle and tuning on judgements of completeness and cohesion and the stirrup. Through an examination of contemporary using Balinese gamelan melodies. We hypothesised that, illustrations, cavalry techniques and migration routes it will when making judgements of musical completeness, nov- show how the stirrup changed the face of medieval warfare ice listeners are sensitive to out-of-scale changes, but not and how the triangle was then made in its image, conjur- in-scale changes, and this interacts with unfamiliar timbre ing up, both visually and aurally, memories of the power of such as ‘sister’ or beating tones of Balinese gamelan. When invading armies. This paper will demonstrate that there was changes are made, we ask how much change – single or an ongoing link between the music of the triangle and Euro- multiple replacements of a tone – disrupts judged cohesion pean musicians’ attitudes towards the Steppes nomads who of the unfamiliar music. Variables manipulated were melo- invented the stirrup and their Turkish descendants. dy line (single, sister), change (in-scale, out-of-scale), and amount of change (partial, total). Thirty adult listeners with Keywords: triangle; percussion; Medieval; cavalry; stirrup minimal musical training and no experience with gamelan Formats: Mini-presentation (#29) and Poster (#29P) rated coherence and completeness of 10 newly constructed gamelan melodies. For completion ratings, the out-of-scale endings were judged less complete than the original gong and in-scale endings. For the novel ‘sister’ melodies, in- scale endings were judged as less complete than the original gong endings. Melodies using the original scale tones were judged as more coherent than melodies containing single or multiple tone replacements; single melodies were judged more coherent than the corresponding sister melodies with their unfamiliar timbral sound. The results suggest that ac- quired perceptual filters as well as timbral features influence the perception of melodies of other cultural systems based on unfamiliar tuning/scale systems.

Keywords: music perception; expectations; Balinese gamelan; tuning; scale

Format: Single paper (#31)

Conference Abstracts p 104 You can’t possibly hear the last movement of Beethoven’s Seventh and go slow. Oscar Levant, explaining his way out of a speeding ticket Janice Stockigt Jason Stoessel The University of Melbourne, University of New England, Australia Australia

‘Anglia plus sumptus quam splendida Dresda Con lagreme bagnandome nel viso: mourning requirit’: Handel and the Reinhold family and music in late Medieval Padua

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On the basis of a Latin poem found in the Sächsisches Musical laments are found in various guises (planctus, planh, Staatsarchiv – Hauptstaatsarchiv Dresden, this paper pro- déploration, complainte) throughout the medieval period, al- poses that a petition signed by ‘Reinholdo’ substantiates the though their cultivation in the vernacular from the second assumption that the Dresden cantor, organist, and compos- half of the fourteenth-century marks a new phase in their er Theodor Christlieb Reinhold (1682–1755) was indeed the emotive content and the cultivation of voices of mourning father of the London-based singer Henry Theodore Reinhold that was to remain a feature of European music for the com- (d. 1751), a bass singer who premiered several operatic and ing centuries. Better known examples like Ockeghem’s Mort oratorio roles composed by George Frideric Handel. When, tu as navré de ton dart (c.1460) and Josquin’s Nymphes des on 7 August 1736, August III and Maria Josepha arrived bois (c.1497/1502) cultivate the public spectacle of mourn- home from Poland, Dresden was splendidly illuminated ing through their no less emotive uses of a liturgical cantus for three nights. Celebrations held to mark their return in- firmi from the Mass for the Dead. On the other hand, earlier cluded an outdoor performance by fifty-two instrumentalists polyphonic laments like Eustaches Deschamps’s Deplora- and sixteen vocalists of a musical composition by Theodor tion on the death of Machaut (set to music c.1377 by F. An- Christlieb. Printed sources give the opening line of his now- drieu) and Christine de Pizan’s Dueil angoisseus, a lament missing work as ‘Nymphen, die die Elbe zeuget’. Reinhold’s for her dead husband (set to music c.1435 by Binchois), panegyric – addressed ‘Ad Potentissimum Regem Augus- evidence the individual voice of the mourner, even if this tum (August III)’ – reminded the King of this performance. relies on conventions observed in a broader cultural context. The poem must have been delivered soon after the event In this paper, by way of putting recent theories concerning because Reinhold appealed the King to supply a deer for a the writing of the history of emotions into practice, I exam- banquet to be given for these musicians. Furthermore, an ine the emotive and musical language of Johannes Ciconia’s annual pension was requested, which Reinhold found to be setting of Leonardo Giustinian’s Con lagreme bagnandome necessary due to the cost of supporting his son, a young nel viso (c.1406?) within the context of late medieval Padua. singer who two years earlier had been sent to London where In examining this lament on the death of one of the last lords he was eagerly learning ‘what our friend Hendel [among of Padua, I draw upon various contemporary documents others] teaches him’ (quae noster amicus Hendelius tradit, including chronicles and funeral orations. Comparison will percipit aure cita). be made with Andrieu’s and Binchois’s musical settings on account of their chronological proximity. In concluding, the Keywords: music transmission; Counter Reformation; Naples; Prague; writings of Barbara Rosenwein prompt me to ask whether Dresden there is a place for a history of musical mourning in the late Format: Single paper (#24) middle ages.

Keywords: middle ages; mourning; Johannes Ciconia; Padua; lament

Format: Single paper (#41)

Conference Abstracts p 106 Matthew Styles Marjo Suominen Edith Cowan University, University of Helsinki, Australia Finland

What’s in a name? Is the term ‘Third Stream Signs of love in Handel´s Giulio Cesare in Egitto Music’ truly representative of the music it is supposed to describe? Would the term ✢ ✢ ✢ ‘Jazzical’ be just as appropriate? By studying metaphors of love in Handel´s opera Giulio ✢ ✢ ✢ Cesare in Egitto, I will introduce how it is depicted by the protagonists´ arias; via Cleopatra´s and Caesar´s musical In a 1957 public lecture given at a music festival at Brandeis relations, as a prevailing message. The atmospheric tone University, Gunther Schuller – American composer, author, paintings set to the musical highlights of the protagonist conductor and scholar – proposed a new classification for arias answer the questions: how is love defined in Giulio musical compositions, ‘Third Stream Music’. According to Cesare? What kind of musical signs of love are there in Schuller, ‘Third Stream Music’ compositions were charac- use and to be found? What will these signs tell us? Love terised by the coexistence of musical elements from Ameri- is an essential theme in Giulio Cesare because the arias’ can jazz and Western classical music (Schuller). While this foci are interlocked by the affectual tensions. These have would seem to be a reasonably sound title given its highly encouraged various performance views of the work: ENO´s experienced and esteemed author, how do we know that ‘epochy’ depiction in 1984; Sellar´s ‘modern’ satirical ver- it fully describes Schuller’s intention, which was to entitle sion in 1990; HGO´s ‘hollywoodian glamour’ in 2004; and a type of music that was influenced by Western classical Glyndebourne`s ‘colonialistic’ perspective in 2005. I apply music and jazz? At the risk of sounding farcical, would a title the theory of affects in music appearing in the writings by like ‘Jazzical’ be just as appropriate? To enable this discus- Handel´s colleague Johann Mattheson (Das Neu-Eröffnete sion as to whether ‘Third Stream Music’ – or ‘Jazzical’ – is Orchestre, 1713) grounded on Classic Aristotelian and Car- a valid and usable term, we’ll investigate the idea of ‘genre tesian ideals (Aristotle´s Rhetoric, Descartes´ Les passions creation’ and if we can identify whether or not a genre of de l’ame). It also relates to the so-called Hippocratic-Galenic music actually exists. After all, naming something doesn’t four elements or humours theory by which I will show the necessarily mean ‘it is so’. different representations of the opera´s characters as a ca- thartic (etic) implication. Keywords: ‘Third Stream Music’; cross-genre

Formats: Mini-presentation (#144) and Poster (#144P) Keywords: eighteenth-century opera; musical analysis based on rhetoric; theory of affects; performance practices; philosophy of love

Formats: Mini-presentation (#4) and Poster (#4P)

Conference Abstracts p 107 David Symons Jula Szuster The University The University of Adelaide, of Western Australia, Australia Australia

Antill after Corroboree: a return to Hermann Heinicke’s orchestras in Adelaide, conservatism? 1892-1914: a contemporary counterpart to Marshall-Hall in Melbourne ✢ ✢ ✢ ✢ ✢ ✢ This paper investigates the widespread perception in much critical comment on the music of John Antill that – follow- December 1892 was an important month for orchestral mu- ing the composition of his famous ballet Corroboree – the sic in both Melbourne and Adelaide, for it was during that composer reverted to a ‘quieter’ and more conservative mu- month that the citizens of both cities first heard concerts sical style in his later output of the 1950s and 1960s. The given by newly formed orchestras. These orchestras were generally negatively-toned criticisms of Antill’s later work are to provide audiences with a rich diet of regular concerts for assessed from two standpoints – that of musical ‘style’ or the following two decades. Hermann Heinicke’s (b. 21 July ‘character’ and that of musical ‘language’ or idiom. While 1863, Dresden. d. 11 July 1949, Adelaide) orchestra gave Antill never wrote another work as ‘barbaric’ or ‘abrasive’ in its first concert on 17 December 1892. Four days later on 21 style as Corroboree, his later works explore a wider expres- December 1892 Marshall-Hall’s (b. 28 March1862, London. sive palette in which there are some examples of the milder d. 18 July 1915, Melbourne) orchestra performed its first English ‘pastoral’ style but the predominant ‘language’ is Special Orchestral Concert in the Melbourne Town Hall. The that of between-the wars neoclassicism or neo-tonality of reason for the coincidence of these two orchestras forming Bartok, Hindemith and Stravinsky. In this respect Antill in late 1892 was the concurrent arrival in Australia of two shares a general stylistic range with the more progressive prominent musicians: Marshall-Hall from England and Hein- Australian composers of the same period such as Marga- icke from Germany. Marshall-Hall arrived in Melbourne on ret Sutherland, Dorian Le Gallienne, Raymond Hanson and 7 January 1891, as the newly appointed Professor of Music Robert Hughes. at the University of Melbourne. Heinicke had arrived in Ad- elaide some seven months earlier, on 12 June 1890, under Keywords: Antill; Corroboree; barbaric; conservatism; neo-classicism contract to Immanuel Reimann, as the violin teacher at the Format: Single paper (#222) Adelaide College of Music which was then the city’s major music teaching institution. The paper investigates the or- chestras formulated and conducted be Hermann Heinicke in Adelaide from 1892 until 1914, and compares their rep- ertoire, community support and management with Marshall Hall’s Orchestra from 1892 until 1912. The paper concludes with a discussion of the impact that these two conductors had on subsequent professional orchestras in Melbourne and Adelaide.

Keywords: Hermann Heinicke; Marshall-Hall; professional orchestra; popular orchestral music; classical canon

Format: Single paper (#223)

Conference Abstracts p 108 David Taylor Gary McPherson Emery Schubert The University of Melbourne, Sam Ferguson Australia The University of New South Wales, Australia

Emotion response time in continuous response task

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An increasing number of studies have shown that judge- ments of music related emotion can be made in very small amounts of time (Peretz, Gagnon and Bouchard; Bigand, Filipic and Lalitte). Although these very fast response times suggest that some basic emotions may not require any cortical mediation, Bigand et al. argue that cognition is re- quired and governed by highly cultural compositional and performance-related features or cues within the music. This paper further investigates the role of musical cues in emo- tion response times to music. 191 participants were played short excerpts of orchestral music and instructed to move a mouse cursor as quickly as possible to one of six faces that best corresponded to a putative emotion. Excerpts were then analysed and the musical cues coded. Relationships between the number and quality of cues and participants’ response times were investigated and reported.

Keywords: emotion; emotion perception; response times; locus of emotion; neuropathway

Format: Poster (#113)

Conference Abstracts p 109 Julian F. Thayer The Ohio State University, United States of America

Music from the heart: emotion, health and individual differences – a neurovisceral integration model of musically induced emotions

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Despite a wealth of evidence for the involvement of the au- show that a standard musical composition can be altered to tonomic nervous system (ANS) in health and disease and produce different discrete emotions. Specifically, by trans- the ability of music to affect ANS activity, few studies have posing the composition up or down an octave and doubling systematically explored the therapeutic effects of music on or halving the tempo the emotions of happiness, sadness, ANS dysfunction. Furthermore, when ANS activity is quan- agitation and serenity can be produced. In Experiment 5 we tified and analysed, it is usually from a point of conveni- show that these altered musical compositions can produce ence rather than from an understanding of its physiological changes in brain electrical activity consistent with the self- basis. After a review of the experimental and therapeutic reported emotions. In Experiment 6 we show that music can literatures exploring music and the ANS, a ‘Neurovisceral produce cardiovascular responses that represent discrete Integration’ perspective on the interplay between the cen- emotion attractors in a state space defined by valence and tral and autonomic nervous systems is introduced, and the arousal. We will describe the neurovisceral underpinnings associated implications for physiological, emotional, and of this model including the link between the auditory nerve cognitive health are explored. Music has long been consid- and the amygdala, and the interaction of medial prefrontal ered the language of emotions. However, few studies have cortex and brainstem outputs to the cardiovascular system examined musically induced emotions in the context of a via the vagus nerve. This comprehensive model of musically comprehensive model of emotion. We have recently pro- induced emotions is able to accommodate the extant litera- posed such a comprehensive model of emotion based upon ture and produce testable hypotheses for future research. dynamical systems theory and here present an overview of Suggestions for future investigations using musical interven- data on musically induced emotions. Much literature sup- tions are offered based on this integrative account. ports the idea that emotions can be described by their loca- tion in a state space defined by the dimensions of valence Keywords: clinical application; music therapy; autonomic nervous system; working factors and arousal. These dimensions can be conceptualised as motivational, control parameters of affective experience and Format: Themed panel (#214) the discrete emotions as attractors in state space. In Ex- periment 1 we show that these dimensions of valence and arousal can be recovered in musically induced emotions. Furthermore, we show that mean pitch level is related to the valence dimension and tempo is related to the arousal dimension. In Experiment 2 using facial electromyography we show that music can produce the discrete emotions of happiness, sadness, agitation, and serenity. In Experiment 3 we show that these same emotions can be recovered from cardiorespiratory responses. Importantly, we show that car- diac chronotropic activity is correlated with the valence di- mension (and mean pitch level) and respiration is correlated with the arousal dimension (and tempo). In Experiment 4 we

Conference Abstracts p 110 William Forde Thompson Joseph Toltz Macquarie University, Independent scholar, Australia Australia

Extending expectancy theory: the Salvage ethnography or political motivation: synchronisation-feedback model Yiddish song in David Boder’s 1946 recordings from the European Displaced Person’s camps ✢ ✢ ✢ ✢ ✢ ✢ Expectancy-based theories of music and emotion have received considerable attention over the past 50 years. In July 1946, Dr David Boder, an American psychologist, However, there is relatively little understanding of the cog- ventured into the displaced camps of post-war Europe. Born nitive-motor processes that underlie the connection be- in Latvia in the late nineteenth-century, Boder had studied tween expectations and emotional responses. In this paper, with some of the founders of Psychology in Europe (in- I present a model of emotion and music that builds upon cluding Wilhelm Wundt and Vladimir Bekhterev), and was expectancy theory. I first review research on the acoustic hoping to document an ‘inventory of trauma’ with as many code used by musicians to express emotionality. I next re- survivors as he could interview. Just shy of 60 years old, view research on the role of visual signals in emotional com- armed with an Armour Wire Recorder and approximately munication, which illustrate the multimodal nature of music 200 spools of wire, and a working knowledge of eight lan- and raise questions about theories of music and emotion guages, the scholar departed for Paris on the same ship as based on acoustic attributes alone. I argue that auditory and those attending the Paris Peace Conference. Once there, he visual signals of music not only constitute a semiotic sys- set to work in DP houses and camps, moving from Paris to tem of emotional communication that can be decoded by Geneva, then Tradate and finally receiving permission to en- perceivers; they also generate experiences of emotion by ter the US occupied zone of Germany, where he concluded engaging with cognitive-motor processes related to human a punishing three-month project. His 130 audio interviews synchronisation. Synchronisation may occur on behavioural with Holocaust survivors and bystanders are among the ear- and cognitive levels in response to any attribute of music, liest extant recordings of testimony. Alongside and at times and it is manifested most directly in the expectancies that embedded in the interviews are examples of songs that the are formed during music listening. Neural mechanisms that survivors heard, performed or even composed in response control the accuracy and maintenance of synchronisation to the traumatic experiences of those years. As well as this, operate continuously to provide feedback to the organism in Boder recorded choral groups and religious services in his the form of emotional responses. This model of emotion and musical collection. My paper today will examine the emo- music – which I call the synchronisation feedback model – tional content presented by the Yiddish song in Boder’s col- focuses on the capacity of musical signals to resonate with lection. Yiddish song is represented in three major forms psychological processes that function in human synchroni- – within selected interviews themselves, and in two special sation, and to elicit emotional effects related to the operation song sessions recorded in Tradate and Geneva, and the and maintenance of this basic biological process. songs carry a wide range of emotional expression.

Keywords: music; synchronisation; emotion; feedback; expectancy Keywords: Yiddish song; Holocaust music; ethnography; folk song; redemptive discourse Format: Single paper (#90) Format: Single paper (#192)

Conference Abstracts p 111 Sally Treloyn Gerhard Tucek The University of Melbourne, IMC University of Applied Australia Sciences Krems, Austria Matthew Dembal Martin Mowanjum Art and Culture Centre, Australia

Moving people and places: perspectives on Music therapy in the clinical context of an the significance ofjunba dance-song from the Intensive Care Unit (ICU) northern Kimberley ✢ ✢ ✢ ✢ ✢ ✢ Music therapy in the context of an ICU is facing the task to Junba is a public performance tradition that is indigenous prove its efficacy. The evaluation model carried out at the to a wide area of the Kimberley region of northern Western University of Applied Sciences in Krems, Austria is orien- Australia. Songs and dances are given to living songmen tated on a combination of video documentation and psy- and songwomen by spirits of deceased relatives and are chophysiological measurements (such as Heart-Rate-Varia- disseminated according to ancestral principles of Wurnan bility) of patients and therapists. The therapeutical concept sharing. Songs and dances relate stories about the creation follows the idea of biological and emotional regulation. The of the landscape, law, and about interactions between liv- goal is to provide medically relevant ‘hard facts’ on the one ing people and their ancestral and deceased relatives. Song hand and individual therapy processes which are intended and dance conception, composition, performances and in music therapy on the other. Video examples of clinical transmission enact these events and interactions. This joint music therapy at an ICU will give an insight into psycho- paper will present two perspectives on aspects of the sig- social needs of the patients and how music therapy may give nificance of junba, that of a practitioner and stakeholder in answers to these aspects. The quintessence of this presen- the tradition and an ethnomusicologist who has conducted tation is that music therapy is not just about performing mu- research on the tradition since 1999. Focusing on Ngarinyin sical art but also how to perform human relations as an art. notions of marrarri (sorrow), dawul (listening/learning), and biyobiyo (following/pulling) that underpin junba conception, Keywords: clinical application; music therapy; video examples of clinical practice performance aesthetics and practices, musical construc- tion, and transmission, we will present perspectives on the Format: Themed panel (#214) local, worldwide and personal significance of junba: the power of junba to move people and places. We will conclude with a brief account of current efforts to sustain the tradition.

Keywords: National Recording Project for Indigenous Performance in Australia; aboriginal music; performance aesthetics; music and emotion; music and place

Format: Single paper (#266)

Conference Abstracts p 112 Sergii Tukaiev Natalya G. Piskorska Sergii Tukaiev Taras Shevchenko Taras Shevchenko Taras Shevchenko National University of Kyiv, National University of Kyiv, National University of Kyiv, Ukraine Ukraine Ukraine Tatyana V. Vasheka Tatyana V. Vasheka National Aviation University, National Aviation University, Ukraine Ukraine

Features of EEG dynamics during listening The relationship of burnout, EEG dynamics and to music depending on the level of emotional musical preferences burnout ✢ ✢ ✢ ✢ ✢ ✢ The objective of our investigation was to determine the rela- Investigation of the relationships between emotional burn- tionship between burnout, brain electrogenesis and musical out, action of the brain and music perception is a very im- preferences. 70 healthy volunteers, aged 17 to 22 years, portant field in neurophysiology. The objective of our inves- participated in this study. For the determination of burn- tigation was to determine the relationship between musical out we used the test ‘Syndrome of emotional burnout’. We preferences and burnout. 70 healthy volunteers (women and estimated the dominant frequency (DF) of all frequencies men) – first-year students studying psychology aged 17 to from 0.2 to 35 Hz. The Speerman rank test was carried out 22 years – participated in this study. For the determination of for the correlation analysis. Psychological testing was per- stages of burnout we used the test ‘Syndrome of emotional formed before the EEG registration. EEG was registered over burnout’ (Boyko). We estimated the spectral power density a period of 5 minutes during the rest state. In those who (SPD) of all frequencies from 0.2 to 35 Hz. The Speerman preferred alternative rock the intensity of the anxiety tension rank test was carried out for the correlation analysis. The stage varies inversely with the DF in theta1-subband (O2) anxiety tension stage was detected in 12 students, the stage and it is directly proportional to DF in theta2-subband (T6) of resistance in 55 students, and the stage of exhaustion and alpha1-subband (Cz). The intensity of the resistance in 22 students. Psychological testing was performed before stage varies inversely with the DF in theta1-subband (F3) the EEG registration. EEG was registered over a period of 5 and it is directly proportional to the DF in alpha1-subband minutes during the rest state and 3 minutes during listening (C4) and alpha3 (Fp1). The intensity of the exhaustion stage to the music (Beethoven’s ‘Fur Elise’; Bloodhound Gang’s is directly proportional to the DF in a1-subband (Cz) and ‘I hope you die’). In 35 participants that preferred classical a3-subband (P4). In those who preferred classical music music to alternative rock (20 participants) the intensity of the intensity of the anxiety tension stage varies inversely with burnout was lesser than in those who preferred alternative the DF in alpha3-subband (T3,P3,P4,O1,O2). The intensity rock. During listening to the classical music we observed the of the resistance stage varies inversely with the DF in theta1- increase of SPD in subbands theta1 (Fp2), alpha1 (Fp2), subband (Fp1), theta2-subband (T4), alpha3-subband (O1). beta2 (O2) and the decrease of SPD in alpha2-subband The intensity of the exhaustion stage varies inversely with (F3). In those who preferred alternative rock we detected the DF in theta2-subband (F4), alpha1-subband (O1,O2), also the increase of SPD in subband theta2 (F4, C4, Cz). alpha3-subband (T3,P3) and it is directly proportional to the Thus, the level of burnout affects the musical preferences DF in beta1-subband (F3). Thus, the level of burnout affects and changes in EEG during listening to music. changes in EEG and musical preferences.

Keywords: burnout; EEG; music Keywords: emotional burnout; EEG; dominant frequency; alternative rock; classical music Format: Poster (#105) Format: Poster (#179)

Conference Abstracts p 113 David Tunley Myfany Turpin The University The University of Queensland, of Western Australia, Australia Australia M.K. Turner Aboriginal cross-cultural consultant, Australia

Three orders of perfection: discipline and Longing: an emotional theme in Central emotion in the airs sérieux of Michel Lambert Australian awelye

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Michel Lambert (1610-1696) was composer and singer at Irrar-irreme is an Arrernte word often glossed as ‘homesick’, the court of Louis XIV, his songs regarded by Benigne de ‘longing’ or ‘pining’ and refers to a strong feeling of miss- Bacilly in 1668 as the model of the air sérieux. Despite the ing one’s country and family. This word, and its equivalent seeming simplicity and spontaneity of these courtly songs in neighbouring languages, frequently occurs in awelye, a they are the result of bringing together the three demanding traditional women’s performance genre or ceremony known disciplines of seventeenth-century French poetry, of music over a vast area of Central Australia. Awelye is owned and and of vocal ornamentation. The early twentieth-century performed by land-owning groups. Each group has their French writer and poet Paul Valéry once likened the rules own unique awelye that relates to the sites and totems as- and strictures placed upon composing classical French po- sociated with their land, which is often called an estate. To- etry to the hardness of marble that confronts the sculptor. tems are the plants, animals and other natural phenomena Those who set the more lyrical verses of poetry were con- created by ancestral beings as they travelled the country fronted with an equally demanding discipline reflecting the giving shape to the land and establishing the Altyerre ‘law’: structure of the poetry with its rules about the placement the estates, rules governing behaviour as well as ceremonies of the caesura and its recognition of the short and long syl- that continue its very existence. In this paper we explain the lables stemming from the late sixteenth-century, particularly emotion irrar-irreme ‘longing’ and show that it is widespread from Baïff’s Academy of Poetry and Music. These three ele- in awelye songs from many estates. We contextualise this ments will be examined in some detail and illustrated by one by considering the other themes that also occur in awelye. of Lambert’s songs from his 1689 collection, the purpose We consider the significance of irrar-irreme in relation to the of which is to indicate that, far from inhibiting emotion, the land-based nature of awelye, contrasting this with genres overcoming of technical challenges can heighten it. that are not land-based where the word is rarely found.

Keywords: seventeenth-century French song; classical French poetry; vocal Keywords: traditional Aboriginal song; semantics of song; ceremonial ornamentation; technical challenges; expression performance genres

Format: Single paper (#17) Format: Single paper (#221)

Conference Abstracts p 114 Shing-Kwei Tzeng Wei-Po Nien Ànnemieke J.M. Kainan University, National Chiao Tung University, van den Tol Taiwan Taiwan University of Limerick, Ireland Chih-Fang Huang Yuan Ze University, Jane Edwards Taiwan University of Limerick, Ireland

An analysis with power of tension for Varese’s A self-regulatory perspective on choosing ‘sad’ flute solo pieceDensity 21.5 music to enhance mood

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Instead of the conventional music analysis method, more Many people choose to listen to self-identified ‘sad’ music perspectives are brought into the analytical process of con- when they experience negative life circumstances. Music temporary music pieces, which lack functional harmony, listening in such circumstances can serve a variety of impor- music scale, and other tonal vocabularies. This presentation tant self-regulatory goals (Saarikallio and Erkkilä; van den attempts an analysis of Varese’s flute solo piece Density 21.5 Tol and Edwards). Listening to sad music can help people using the power of tension as a point of view. The proposed to cope with a problem in the long term through offering analytical method will emphasise the importance of tension, opportunities for reflection, learning, and reinterpreting the including the stability of intervals, the contrast in dynamics, situation. In addition, after listening to sad music, people mystery notes from the 12-tone series appearing in unex- report that they feel better in a range of ways. Based on the pected ways, and the overall structural development. The existing self-regulation research literature and analyses of underlying psychological meaning of contemporary music the data, the critical observation is made that self-identified can be revealed according to the analysis using power of sad music exposure may be able to satisfy a variety of listen- tension. ers’ goals that are not as easily achieved by listening to other types of music. Data is presented in which several strategies Keywords: Varese; Density 21.5 ; power of tension; mystery note are identified that people employ for selecting specific sad Format: Mini-presentation (#104) and Poster (#104P) music, such as, the selection of sad music based on high aesthetic value, or the selection of music based on momen- tary identification/connection with the affective sound of the music or lyrics of the song. These strategies are guided by several distinct self-regulatory goals that self-identified sad music can serve during listening. In an explanatory model we will give an overview of how different factors play a role in self-regulation and of how these can result in affective change. These novel findings provide core insights into the dynamics and value of sad music in coping with negative psychological circumstances.

Keywords: sad music listening; self-regulation; mood enhancement; everyday life; coping

Format: Single paper (#236)

Conference Abstracts p 115 Anemone van Zijl Darrin Verhagen Geoff Luck RMIT University, University of Jyväskylä, Australia Finland

E-motion in performance: the affect of Noise, music and emotion experienced emotions on violinists’ movement characteristics ✢ ✢ ✢

A musical performance can be deeply moving, or boring. ‘Noise’, an extreme form of late twentieth-century Sound Could this have something to do with the performer’s emo- Art, can be viewed as the logical (albeit maximised) exten- tional engagement with the music? To investigate the rela- sion of many trends found in contemporary composition. tionship between performers’ experienced emotions and Noise eschews tonality as an organisational principle and the characteristics of their performances, an experimental shares the interest of genres such as musique concrete in study was conducted. The present presentation focuses sonic texture as a legitimate compositional focus. It increas- on the movement characteristics of violinists. Do perform- es the microstructural instability of styles such as free jazz ers who feel sad move differently compared to those who and, like much electroacoustic music, possesses an internal express sadness? Seventy-two high quality motion capture logic which can often defy immediate expectation. Prefig- recordings were made of 8 violinists (4 amateurs and 4 pro- ured by such antecedents, there are cultural and historical fessionals) playing a melodic phrase in response to three reasons for Noise being labelled as ‘music’. That said, the different instructions. The first instruction was to focus on mechanics and level of its emotional operation may actu- the technical aspects of playing. The second instruction was ally pose a serious challenge to this position. Leaving cul- to give an expressive performance. Before the third instruc- ture and history aside, does the sheer extremity and force of tion, performers were subjected to a Mood Induction task. Noise operate beyond the metaphoric language traditionally Following this, performers played while focusing on their employed by music to manipulate emotion? Is it possible emotions. After each playing condition, performers were that Noise’s characteristic high volume, aggressive instabil- interviewed about their thoughts and feelings. Preliminary ity, and extended bandwidth trigger a far more primal fear analyses revealed that both amplitude and speed of move- response compared to the type of descriptive aural stimulus ment were highest in the Expressive condition, and lower in that we may experience in polite company at the concert the Emotional condition. This suggests that larger and faster hall or wine bar? Can it be said that Wagner’s music simply movements were deemed necessary to convey the musical ‘describes’ a dramatic environment, whilst Noise actually ‘is’ meaning to an (imaginary) audience, while, in the Emotional one? This paper explores the devices music uses to elicit condition, performers were more playing ‘for themselves’. emotional responses, then questions whether Noise simply As regards differences between professionals and ama- extends such techniques, or extracts its power by moving teurs, movements of the former had a smaller amplitude but beyond them. Is Noise music? Is Noise Music noise? higher speed than those of the latter, suggesting that profes- sionals were more efficient in their use of movement. More Keywords: noise; emotion; aggression; fear; environmental sound detailed results will be presented at the conference. Format: Single paper (#114)

Keywords: movement; felt emotions; performance; performing musicians

Format: Single paper (#56)

Conference Abstracts p 116 Victor A. Vicente Lindsay Vickery The Chinese University Edith Cowan University, of Hong Kong, Australia China

Acoustic clash: the politics of a Sufi musical Stockhausen’s Traum-formel (1984) as a performance at Aya Sofia Square, Istanbul microcosm of the ‘formula composition’ methodology of Licht (1977-2005) ✢ ✢ ✢ ✢ ✢ ✢ In August 2009, at the opening of the Muslim holy month of Ramadan, a Sufi music concert was staged in the large Traum-Formel (Dream-Formula 1981) is a short work by Kar- cobblestone square in front of the Aya Sofia in the heart lheinz Stockhausen for solo basset-horn. It is an occasional of Istanbul, Turkey. The Aya Sofia, once the centre of the piece, written in celebration of the birthday of his partner Christian world, was later an important mosque for nearly Suzanne Stephens. Traum-Formel is one of the small num- five centuries, but it became a museum in 1935 when the ber of works written by Stockhausen since 1977 that was secular government attempted unsuccessfully to neutralise not intended to be performed as part of his cycle of operas, the influence of religion in the public sphere. In the decades collectively known as Licht – Die Sieben Tage der Woche since, the adjacent plaza has served as the main public (Light – The Seven Days of the Week 1977-). Traum-Formel performance venue in the old city. Performances here are is constructed, however, using the same techniques em- inevitably charged with the explosive political energies that ployed in large-scale form in Licht: the expansion of a highly reverberate across the ancient cobblestones, for Aya Sofia compressed serial three-part structural framework known Square, lying at the crossroads of opposing Christian, Mus- as the ‘super-formula’. The ‘super-formula’ determines in lim, and secularist ideologies, remains one of the most hotly multiple parameters the large-scale structure, middle level contested public spaces in the world. This paper provides forms and note-to-note minutiae of the whole cycle. The pa- an ethnographic description and analysis of just how volatile per presents an analysis of Traum-Formel outlining its con- this venue has become in recent years by focusing on a struction from six contrapuntal ‘super-formula’ layers which single performance of Sufi music and ritual. As a nexus of are differentiated by registral and timbral variation to create competing agendas, this performance reveals the nuanced an extremely technically demanding work, encompassing ways in which politicians, citizens, tourists, worshipers, and the basset-horn’s entire range of four octaves. The fractal performers vie with one another in their efforts to use and nature of Stockhausen’s compositional concept implies that control public space. Ultimately, in reclaiming sacred space a study of the whole is in some respects also a study of its from secularism, such performances prove to be among the parts and vice versa. It will be demonstrated how an analy- key fronts where the battle to fundamentally transform pub- sis of Traum-Formel, is also a self-contained microcosmic lic life in Turkey is being waged. analysis of the compositional strategies of the Licht cycle in its entirety. Keywords: music as politics; musical performance; public space; Sufi Islam; Turkey Keywords: analysis; Stockhausen; post-serial composition; clarinet Single paper (#115) Format: Format: Single paper (#228)

Conference Abstracts p 117 Jonna K. Vuoskoski Jonna K. Vuoskoski Tuomas Eerola Tuomas Eerola University of Jyväskylä, University of Jyväskylä, University of Jyväskylä, Finland Finland Finland William Forde Thompson Doris McIlwain Macquarie University, Australia

Can music make you sad? Indirect measures Why is sad music pleasurable? The contribution of sadness induced by music and of empathy and openness to experience autobiographical memories ✢ ✢ ✢ ✢ ✢ ✢ People avoid negative emotional experiences in general, but Researchers in the field of music and emotion disagree on in fiction, works depicting grief can be a source of enjoy- whether music can induce genuine sadness in the listener, ment. Many masterpieces of music are decidedly sad, and as music does not have real-life consequences comparable many listeners get immense enjoyment out of such works. to personal loss, for example. Thus, the aims of this study The prevalent emotion theories cannot directly explain the were to investigate whether music can induce sadness pleasurable qualities of sad music, even if the appraisal of comparable to sadness induced by the recollection of sad the situation is considered. We address some of the ques- personal events, and to explore how certain mechanisms of tions posed by responses to sad music. First, what kinds music-induced emotions (namely emotional contagion and of emotional experiences does sad music induce in listen- episodic memories; Juslin and Västfjäll) are involved in the ers? And second, is the tendency to enjoy sad music true induction of sadness. Since emotional contagion is closely for all people, or is it associated with particular personality linked with empathy, it was hypothesised that individuals traits? One hundred forty-eight participants listened to 16 high in trait empathy would be more susceptible to sadness- film music excerpts (4 sad, 4 happy, 4 tender, and 4 scary inducing music. One hundred twenty participants were ran- excerpts) and rated their emotional responses using three domly assigned into four conditions: Participants in condi- different sets of scales representing different theories of tion 1 listened to sad music chosen by the experimenters; emotion (discrete emotions, 3-dimensional model, and the participants in condition 2 listened to neutral music chosen Geneva Emotional Music Scale). Although sadness was the by the experimenters; participants in condition 3 listened most salient emotion experienced (in response to sad ex- to self-selected sadness-inducing music; and participants cerpts), other more positive and complex emotions such as in condition 4 recalled the saddest event of their lives and nostalgia, peacefulness, and wonder were clearly evident. wrote about it. The effectiveness of the emotion induction Overall, emotional responses to sad excerpts were experi- was determined using two indirect measures of experienced enced as positive and pleasing rather than negative or un- emotion: a word recall task, and a judgement task where pleasant, and the personality traits Openness to Experience participants evaluated emotions expressed by facial pic- and Empathy were reliably associated with the enjoyment of tures. In addition, the participants filled in personality and sad music. We conclude that the enjoyment of sad music trait empathy measures, and a mood questionnaire (in the cannot be entirely accounted for by the fact that music can- beginning and at the end of the experiment). Preliminary not threaten one’s well-being, but a more complex process results suggest that music can indeed induce varying levels involving multiple emotional experiences, aesthetic appre- of genuine sadness in the listener, and this effect appears to ciation, and empathetic engagement is suggested. be strongly moderated by trait empathy. Keywords: sadness; music-induced emotions; openness to experience; empathy; preference Keywords: music-induced emotions; sadness; indirect measures of emotion; empathy; mood manipulation Format: Poster (#193) Format: Single paper (#185)

Conference Abstracts p 118 Paul Watt Joshua Webster Monash University, Edith Cowan University, Australia Australia

Bawdy songs in early nineteenth-century The cimbalom: a new voice in Australian music London: musical and social contexts of a forgotten repertory ✢ ✢ ✢

✢ ✢ ✢ Whilst music that sounds familiar may be instantly relatable to an audience, the introduction of new sounds pushes the Published in many forms and editions from the late eight- boundaries of musical expression, emotion and communi- eenth-century to the early nineteenth-century, the Universal cation. The Hungarian cimbalom has been a musical force Songster claimed to be a compendium of popular songs for in Europe for more than 100 years, yet it remains relatively one and all, from military personnel to women. Yet, its many unknown and little used in Australia. There are numerous hundreds of song texts was far from universal and one of its reasons why it is not widely used including a lack of instru- obvious gaps were bawdy songs, yet this is hardly surpris- ments and performers. I have sought to address this issue ing because of their licentious content. This paper surveys of anonymity by travelling to Hungary numerous times in some 1100 bawdy songs that until recently remained un- recent years to study the cimbalom and to acquire a con- studied by musicologists but have been recently published cert-sized instrument. The expressive capabilities of this in a modern, scholarly edition. The paper discusses the fascinating instrument are vast. Through the creation and themes of these songs, the ways in which they were per- performance of new Australian works for the cimbalom, the formed, disseminated and sold, and the relevance they hold communicative power of this instrument will be explored in today for studies of popular music, nineteenth-century mu- an attempt to push the boundaries of Australian music and sic and linguistics. to provide a new voice for Australian musicians.

Keywords: songsters; bawdy songs; popular music; nineteenth-century Keywords: cimbalom; new; expression; commissioning; potential music; London Format: Performance (#200) Format: Single paper (#271)

Conference Abstracts p 119 Brenna Wee Susan West The University of Melbourne, Australian National University, Australia Australia

The development of Chinese-Western music Only joking! The cartoons of the New Yorker as hybridisation in Australia socio-musical commentary

✢ ✢ ✢ ✢ ✢ ✢

This paper presents the development of music hybridisation This paper provides an illustrative but also light-hearted view in Australia from the Gold Rush in the 1880s to the present of a construct for music education illuminated via cartoons time. It explores contact between two cultures and the im- from the New Yorker. The complete set of New Yorker car- pact of that collision on the musical engagements of both toons (to date) was released in 2004 coinciding with the people groups. It also looks at how government policies and submission of my thesis on A New Approach to Music Edu- sociological factors in both China and Australia impact on cation. I was struck by how many of the cartoons on music the musical development of hybrid Chinese-Western music, seemed to illustrate or provide commentary on the construct including the abolition of the ‘White Australia’ policy and the for music education that I had developed. This construct ‘Chinese Cultural Revolution’. A brief discussion will be given compared the ‘three Ps’ of the traditional paradigm (Perfec- on the manner in which the Chinese culture, its philosophy tion, Practice and Performance) with the new paradigm de- and musical language are merged with that of Western mu- veloped via The Music Education Program (Intent, Involve- sical aesthetics. Musical examples will be drawn from works ment and Identity). Within each of the ‘three Ps’ various of Julian Yu, an Australian composer who was born in China, themes were elucidated showing how particular aspects of grew up during the years of the Cultural Revolution and mi- music education may contribute to some of the problems grated to Australia in the mid-1980s after the abolition of with music making in modern society. For this paper, the the White Australia policy and the establishment of China’s entire set of New Yorker cartoons have been searched for ‘Open Door’ policy. cartoons relating to music. A set of cartoons from across all decades has been selected to illustrate the themes devel- Keywords: hybridisation; cross-cultural; Julian Yu; Chinese-Australian; oped under the three basic headings of Perfection, Practice immigration and Performance. While the chosen set is unashamedly Format: Single paper (#191) subjective and designed to fit my model, the aim is to dem- onstrate how the features I have identified, supported by the literature, also appear to be understood in popular culture, providing a source of artistic, comic commentary.

Keywords: music education; cartoons; popular culture; social commentary

Format: Single paper (#43)

Conference Abstracts p 120 James Wierzbicki Charles Wigley The University of Sydney, The University Australia of Western Australia, Australia

Shedding light on a Sydney oddity: Musical movement/percussion training Alexander B. Hector and his ‘colour-organ’ improves a measure that predicts reading fluency in kindergarten children ✢ ✢ ✢ ✢ ✢ ✢ The first decades of the twentieth-century were a fertile time for experiments in multimedia. Even whilst the mo- Language based phonological processes (PP) play a critical tion picture was in its infancy, composers and visual artists part in literacy acquisition. Temporal processing ability has throughout the Western world eagerly sought ways in which also been associated with literacy development but theorists to combine music with projected light; well-known examples argue over whether this is coincidental, causal but mediated of their efforts include the 1909 ‘colour-tone drama’ Der through PP, or causal and independent of PP. Research also gelbe Klang by the Russian painter Wassily Kandinsky, the suggests a link between musical training and literacy out- part for clavier à lumiéres that Alexander Scriabin included comes. This study investigated the nature of the connection in his 1910 Prometheus: The Poem of Fire and the ‘colour between musical training and literacy by testing whether two crescendo’ at the climax of Arnold Schoenberg’s 1910-13 musical training programs (singing versus rhythmic) differ- opera Die glückliche Hand. According to Percy Scholes’s entially affect processing skills known to be strong predic- entry on ‘colour and music’ in the 1938 Oxford Companion tors of literacy outcomes: Rapid Automatized Naming [RAN] to Music, between 1895 and 1932 there existed at least and Phonological Awareness [PA]. Kindergarten children a dozen devices that could simultaneously produce colour (N= 87) were tested then randomly assigned to one of three and musical sounds, and a book published in 2004 repro- training groups: a singing group, a rhythmic-percussion duces illustrated patent applications for no less than seven- group and a control. The measures assessed were PA, RAN, teen such devices. Most of these were short-lived; one of the a temporal processing task (synchronised tapping) and two few devices that enjoyed a fairly long career in the limelight control measures (IQ and a musical perception test). Post was the ‘colour-organ’ of Sydney-based chemist Alexander testing commenced after the experimental groups received B. Hector. Focusing on Hector’s work between ca. 1905 un- 16 weeks of the target musical program. The data was ana- til well into the 1950s, this paper puts into historical context lysed using modern robust statistical methods. All groups both the turn-of-the-century fashion for ‘colour music’ and improved their PA but none significantly over the others. the neurological phenomenon known as synaesthesia; more However, after training, the rhythmic-percussion group significantly, it explains the rationale behind Hector’s work showed a significant improvement in RAN when compared and contrasts his various colour-music schemes with those to the other groups. This offers support for the involvement of other early twentieth-century multi-media experimenters. of temporal processing in literacy learning and suggests a causal mechanism for the link between musical training and Keywords: colour-organ; colour music; multimedia; Alexander B. Hector; literacy. This finding is discussed in light of two recent theo- synaesthesia ries, the double deficit hypothesis and the temporal sam- Format: Single paper (#85) pling framework.

Keywords: kindergarten children; musical training; literacy development; phonological processing; temporal processing

Format: Poster (#237)

Conference Abstracts p 121 Charles Wigley Charles Wigley Janet Fletcher The University Jane W. Davidson of Western Australia, The University Australia of Western Australia, Australia

Musical training and literacy development The relationship between rhythm and reading in children and adults ✢ ✢ ✢ ✢ ✢ ✢ The idea that music and musical training can have effects on other areas of cognition is not new. However, recent Past research into literacy learning has focused on the advances in neuroscience and brain imaging techniques speech processing ability of phonological awareness (PA) have enabled an increasing number of researchers to in- and its relationship to decoding skills. Recently another as- vestigate these claims based in theories derived from solid pect of literacy skill, reading fluency, has drawn attention neuropsychological foundations. One popular claim that and researchers are investigating how it develops and what has become a focus of this research in recent years is that processes underpin that development with some suggesting musical training can have positive effects on language skills that it is influenced more by temporal processing abilities and literacy acquisition. This presentation will review the than phonological skills. This study investigated and com- theoretical foundations for this claim and examine some of pared the relationships between reading sub-processes, the recent findings connecting musical training and literacy temporal processing and reading outcomes for dyslexics, development. Of particular interest is work linking rhyth- normal readers and musicians and how these change from mic processing with reading fluency and data from the first middle childhood to young adulthood. Grade 4/5 and adult author’s Ph. D will be presented to elaborate on this rela- tertiary level dyslexics, normally developing readers and tionship. The research presented here suggests that highly musicians were assessed on PA, RAN, a temporal process- structured and targeted early musical training can be useful ing task, IQ, single word reading and text reading accuracy, in strengthening the cognitive processes that underpin the fluency and comprehension. The data was analysed using development of literacy. This strengthens the arguments for modern robust methods. The results show that the musi- universal access in early childhood to musical experiences cians were better performers on most of the literacy meas- but also suggests that to gain the greatest extra-musical ures compared to the other groups, significantly so for the benefits from this exposure, it needs to be conducted in a grade 4/5s. The grade 4/5 musicians also showed strong framework that is informed by the relevant research. and consistent associations between the literacy measures, temporal processing and RAN, however, this was not the Keywords: musical training; literacy; phonological processing; reading case for the adult musicians. For the dyslexic adults, tem- fluency; temporal processing poral processing was associated with RAN but not literacy Format: Single paper (#229) outcomes, and for the controls, the reverse was true. The results suggest that musical training may provide a devel- opmental ‘kick’ to the sub-processes supporting reading fluency. This offers further support for the involvement of temporal processing abilities in literacy learning and the link between musical training and literacy.

Keywords: literacy development; phonological processing; temporal processing; dyslexia; musicians

Format: Poster (#238)

Conference Abstracts p 122 Suzanne Wijsman Felicity Wilcox The University The University of Sydney, of Western Australia, Australia Australia

Silent sounds: the programmatic function and The impact of music on perception within communicative power of musical iconography audio-visual art forms in a fifteenth-century Jewish prayer book ✢ ✢ ✢ ✢ ✢ ✢ The simultaneous layering of music and coloured light has The spatial and conceptual opposition between the sa- been practised in various ways since the nineteenth-centu- cred and the profane in medieval artworks, and the use of ry. From early experiments in ‘synaesthesia’ by European musical images to represent these in Latin manuscripts, composers and artists such as Kandinsky, Scriabin and has been discussed by art historians Michael Camille and the Blaue Reiter group, to the current era of abstract music Martine Clouzot. Sarit Shalev-Eyni has noted an inversion videos, certain individuals have wanted to make new art by of this process at work in the depiction of musicians in a blending music and image. This presentation will explore fourteenth-century illuminated Hebrew manuscript. Yet, the impact that music has on images, from a composer’s though two-dimensional visual representations of music- perspective. I will present both aspects of the work I do in making are silent, as Clouzot has observed, images of mu- this area – as a screen composer working within a standard sic-making in illuminated books bring a sonic element into commercial framework and as a doctoral candidate com- the reading process that can stimulate a powerful response posing art music within a multi-media context. Comparisons in the imagination of the viewer. The Oppenheimer Siddur will be drawn between these two approaches in relation to (Bodleian MS Opp. 776) is a fifteenth-century illuminated the influence of the music on the observer’s perception of book of Jewish daily prayers that was made in its entirety the whole. Examples of work from different contexts will be in 1471 by a Jewish scribe for the private use of his fam- analysed and the emotional impact of the music discussed. ily. As a user-produced book, this manuscript is exceptional I will tie into this discussion theories from Russian film mak- because of its rich artwork, decorative calligraphy and dis- ing pioneer, Sergei Eisenstein on the interaction of sound tinctive iconographic program, which has a musical theme and image in the new era of sound pictures in the 1930s that runs from beginning to end. This paper will explore the and theories on audio-visual relationships from the writings communicative power of musical images and their function of Michel Chion, a leading contemporary theoretician in this in the iconographic program of the Oppenheimer Siddur. field. The way images of active music-making in this manuscript are used means that they step beyond the merely decora- Keywords: multi-media; audio-visual; composition; interactivity; impact tive, and come to reflect the interior vision and piety of the Format: Single paper (#55) Jewish scribe-artist who made it. It will explore how the implied sonority of contextualised musical images in silent books serves to assist texts and other visual elements in ex- pressing feelings such as religious devotion, humour, and parental love.

Keywords: musical iconography; Medieval music; Jewish music; music and religion; music and the imagination

Format: Single paper (#122)

Conference Abstracts p 123 Stephen Wild Jennifer Gall Richard Willgoss Aaron Corn National Film and Sound Archive, The University of Sydney, Jonathan Powles Australia Australia Stephen Loy Australian National University, Australia

One common thread: the musical expression The power of creativity in musical composition of loss ✢ ✢ ✢ ✢ ✢ ✢ In Western thought, the origins of creativity reach back to This roundtable presentation and discussion is a continua- roots in muses and daemons, encapsulating ‘to make anew’ tion of studies undertaken this year at a colloquium held at or be ‘inspired’. Enlightenment ‘by reason alone’ eschewed the School of Music, Australian National University in May power in authoritarianism or dogma. Now many ‘reasonable’ 2011 on the musical expression of loss and bereavement purposes for the term creativity have arisen. Hegel’s dia- and responses to it across a variety of cultures. Laments are lectic of thesis-antithesis-synthesis; Schopenhauer’s blind a particularly interesting genre of music as they are found cosmic will where art can dominate; Nietzsche’s Dionysian worldwide and in all historical periods and musical styles, attitude overcoming the Apollonian in a will to power; Csik- providing a common thread linking all humanity from the ‘Il- szentmihalyi’s ‘flow’ optimising creativity; are all philosophi- iad’ and the ‘Odyssey’, Hindu Vedas, Ancient Jewish poetic cal milestones in attempts to frame creativity and power. forms, Scots Gaelic ‘Ceol Mor’ (Great Music), Mongolian folk Creativity in music is the most abstract and challenging. songs, Hakka funeral laments and Australian Indigenous This paper proposes a basis for tenets about compositional women’s ‘crying songs’, to requiems and funeral songs, to creativity and its power from postmodernism and critical the songs of lost love so prevalent in pop culture. Laments theory, including Adorno. Propositions that have power to are a catalyst in the healing process through the private or persuade, not scientific theories that prove, are checked for public outpouring of grief often in ritualised ways; by retain- validity by reference to how receptive we become as we ex- ing in the memory positive associations and connections amine their reification, having to fulfil Aristotelian phronetic surrounding the loss through eulogy and panegyric forms; and eudaemonic goals, recognising we are immanent to the and in oral cultures laments often become an important problem we address. Modernism and measurement are in- part of the cultural history of a people handed down through adequate because of logical and structural tenets nullifying generations. For the purpose of this roundtable discussion value judgement and meaning. In forming a definition, the laments are broadly defined and can include the expression ineffable remains; that which defies understanding is crea- of loss of culture, language, home or country, or personal tively important. Universalism and constructionism do not loss. This panel discussion will focus on research currently have the vocabulary of there being an ineffable remainder being undertaken by the panel members. and definition itself inherently obviates a claim to creativity. Pluralism is a way of being creative that can operate in a Keywords: laments; musical expression; loss manner initially inconceivable to the onlooker. Thinking is Format: Roundtable (#280) Deleuzian rhizomatic, making connections resisting logical explanation, connecting to form an unbounded net from a modernistic hierarchical tree. Duals are utilitarian only. Composers use the power of creative persuasion to cause others to be receptive to their compositions. A dynamic ten- sion always remains between the power-push of creative composition that ‘revolts’ and a commodifying structuralis- ing zeitgeist.

Keywords: power; creativity; composition; persuasion; receptivity

Format: Single paper (#153)

Conference Abstracts p 124 Carol Williams Michael Williamson Monash University, The University of Melbourne, Australia Australia

Guy de St Denis on music and emotion Grainger does a cakewalk: an investigation into Grainger’s London years and his In Dahomey: ✢ ✢ ✢ Cakewalk Smasher

Though it is often thought that the music of the middle ages ✢ ✢ ✢ lacks sentiment and does not purport to express the senti- ment of its text, the Tractatus de tonis of thirteenth-century The beginning of the twentieth-century, a time marked by Parisian music theorist, Guy de St Denis, would seem to pro- constant re-evaluation and invention, saw the birth of a new vide an alternative view. Theorists and composers of the me- style of music travel from America across the Atlantic into the dieval era were concerned about matching text and music music halls of Europe. The adoption of this vernacular music appropriately and illuminating the meaning of the text where from the ‘new world’, marked by its syncopated rhythms and possible, but whether that is ‘expressive of sentiment’ and improvisatory style, was met with both adulation and abhor- thus ‘emotional’ is problematic. The principal obstacle to our rence. The birth of ragtime in Europe offers an insightful understanding of the ‘expressivity’ of medieval music is our example of the intersections between art and popular music own aesthetic where we concur that a certain sound has that extends to the present day. Percy Grainger was one of a particular affect. That we cannot easily do this for medi- many composers who sought inspiration from this fashion- eval music is because we do not understand the underlying able new trend in order to reinvigorate their own composi- medieval aesthetic. Guy’s descriptions of the ‘affect’ of the tions. Grainger’s In Dahomey: Cakewalk Smasher for solo modes may help us lift the lid on this fundamental aesthetic. piano offers an example of the play between serious and popular music styles. The extreme virtuosity and satirical Keywords: Guy de St Denis; tonary; thirteenth-century; Paris; modes; nature of this piece presents an insight into Grainger’s re- emotion action to life in Edwardian London as a pianist. This was Format: Single paper (#269) a pivotal time in the establishment of Grainger’s composi- tional aesthetic, and through this work one finds the reluc- tant performer seeking to reinvigorate the canon of overtly German pieces that he was forced to perform to high-class English audiences. What is troubling, however, is that the piece was not published until 1987 and was apparently rarely performed. This paper seeks to analyse this piece both contextually and musically in an attempt to establish Grainger’s own attitudes towards ragtime and this model of how it might be incorporated into a modernist idiom.

Keywords: Grainger; ragtime; cakewalk; piano; modernism

Format: Mini-presentation (#216) and Poster (#216P)

Conference Abstracts p 125 Oli Wilson Graham Wood University of Otago, Edith Cowan University, New Zealand Australia

‘Hip hop… that’s white man’s music!’ Jazz pianists – PRMD and the improvising Perceptions of style and genre in the Port musician Moresby recording industry ✢ ✢ ✢ ✢ ✢ ✢ This study sets out to provide information in the field of Per- Papua New Guinea’s (PNG) rural communities have been formance Related Medical Disorders (PRMD) among ter- important locations for research in anthropology and eth- tiary trained jazz pianists. There are many published studies nomusicology, and continue to attract scholars from a vast concerning musicians and classical pianists, yet no study array of disciplines. Few scholars however, have focused of magnitude has been undertaken with respect to tertiary- their research in the country’s urban centres, which are trained jazz pianists, as a discrete group. Responding to a becoming increasingly important places of cultural, social, survey questionnaire, 63% of jazz pianists report pain and and musical interaction. Specifically, Port Moresby, where suffering and 41% specific injuries attributed to practice and PNG’s recording industry is centred, attracts internal migra- performance, the forearm being the body part most affect- tion from various different parts of the country, presenting ed. The study also examines the pedagogy of teachers with a diverse cultural landscape in which notions of belonging, respect to PRMD, its prevention and treatment, finding that identity and place (or ples) are mediated. Popular music teacher knowledge of PRMD issues is quite low, and that plays an important role in the way groups of people iden- some teachers incorporate sound pedagogy with respect to tify, and interact socially in this relatively new and culturally PRMD into their teaching practice, but many do not. General diverse city. This paper explores the musical elements that exercise as a preventative and treatment method is reported define style and genre in locally produced popular music as most widely accepted by students and teachers, and by presenting an ethnographic account of the meanings physiotherapy the most used treatment. In the current study, imbued in the music’s rhythmic, instrumental, vocal and the researcher recruited survey participants mainly through melodic variations and nuances. I will compare ‘authentic’ inviting students to complete questionnaires at timetabled or lokal signifiers with the perceived inauthenticity of new ‘ur- advertised classes. There were 106 Australian and 54 USA ban’ styles, and present examples that highlight the ways in students and 36 Australian and 18 USA teachers surveyed. which non-indigenous musics have acquired meanings that Six case study participants – two Australian and one USA are unique to Papua New Guinea, and are in accordance student and two Australian and one USA teacher – were with local ideas about cultural identity, tradition, race, and interviewed by telephone, thus allowing triangulation of the popular music. This paper discusses my doctoral research data. This exploratory and descriptive study aims to provide in Port Moresby, where I studied notions of cultural identity baseline data for further research about the prevalence of in the context of popular music production. This involved PRMD among tertiary-trained jazz pianists. an ethnographic method centring on the recording studio as the locus for ethnomusicological participant-observation. Keywords: jazz; piano; improvisation; medical; disorders Format: Single paper (#173) Keywords: Papua New Guinea; popular music; hip hop; urban; authenticity

Format: Single paper (#267)

Conference Abstracts p 126 Toby Wren Stephen Q. Wye Griffith University, The University of Newcastle, Australia Australia

Incorporating musical influences: a personal Our friends the darkies fill the coffers of our exploration of the mechanisms of influence and public institutions syncretism in cross-cultural music practice ✢ ✢ ✢ ✢ ✢ ✢ During the 1860s, the formation of volunteer bands in the Toby Wren is a jazz guitarist and composer whose practice Hunter region (New South Wales) ushered in a period of comments on the vibrant and current field of cross-cultural sustained amateur blackface activity, largely to raise money music practice. With an already established career in jazz, for those bands. By the close of the 1860s, 15-20 local Toby encountered Carnatic (South Indian classical) music in amateur troupes were variously active, and the proceeds 2005 and was immediately driven to find out more about it, of their entertainments were directed beyond the volunteer leading to studies with master musicians U Srinivas, Palghat bands to a broader range of community and benevolent or- Raghu and Karaikkudi Mani in India and several collabo- ganisations. Racial, class, and to a lesser extent, gender, rations with leading Carnatic musicians in his home town transvestism, were prominent features of the local practice, of Brisbane. During the process of discovering this ‘other’ which included opera burlesques, local content (in the form musical culture, Toby was engaged in composing and im- of puns, conundrums, and stump orations), and ‘authen- provising, and self-reflective writing about his practice for tic delineations’ of Negro life in the Southern States, per- his master’s dissertation. This presentation examines the haps a cipher for contemporary indigenous ‘sable brethren’. transition from deliberate combination of cross-cultural mu- Rarely straying from the boundaries of ‘harmless entertain- sic resources towards syncretism of influences in the artist’s ment’ acceptable to contemporary mores and sensibilities, own practice and with reference to other composers and blackface minstrelsy was publicly sanctioned transgression musicians in cross-cultural music. Toby will illustrate some within parameters consistent with the respectable causes of the key concepts by performing excerpts of his work Ra- for which it raised funds. At the same time, other forms of manaa for solo guitar. non-sanctioned transgression were gradually disappearing from public life. Drawing primarily on newspaper advertise- Keywords: cross-cultural; performance; composition; jazz guitar; ments and reviews, this paper traces the emergence of a ethnomusicology local colonial blackface practice and speculates on its sig- Format: Single paper (#46) nificance and position in the broader context of contempo- rary entertainment.

Keywords: minstrelsy; blackface; nineteenth-century; local practice; popular culture

Format: Single paper (#73)

Conference Abstracts p 127 Avra Xepapadakou Adrian Yeo University of Crete, Jonathan Paget Greece Edith Cowan University, Australia

Idolatry and sacrilege: the introduction of Bach interpretation, 1933-1999: a comparative Offenbach’s operetta in nineteenth-century study of 14 recordings of the Violin Sonata Athens BWV 1003

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The ‘descent’ of the heroes of Greek mythology, Orpheus It is only recently that musicians have begun to realise the and Helen, to the modern Greek-speaking world takes place full extent in which the expressive power of Baroque mu- secretly between the decades 1860 and 1870, when the sic resides in interpretative detail not found in the score first French troupes started visiting Athens in order to per- but added in performance. The HIP (Historically-Informed form at the Winter Theatre of the city. These performances Performance) movement has brought many of these in- provoke a storm of reactions. A section of the audience is terpretative facets to the conscious attention of musicians taken over by ‘vaudeville mania’, while another is shocked and scholars, in the process unravelling many aspects of by the moral laxity of the ‘offen-bacchiad’, and especially by musicianship previously assumed to be non-negotiable or the ecstatic ‘cordax’ of the finale, the notorious ‘can-can’. unchanging. The advent of recording and the widespread The conservative journalistic and literary circles express dissemination of historical recordings have now enabled the their repulsion for the vulgar parody of the ancient Greek evolution of performance practices to be studied in a more heritage and the humiliation of the ‘sacred gods of Homer’. systematic way. This paper presents the results of a longi- Others consider the performance of this orgiastic spectacle tudinal study of one particular piece of music, Bach’s Violin during the Lent period as deeply offensive to the religious Sonata BWV1003, using a select list of fourteen musical feelings of the Greek people. This paper aims to examine recordings distributed evenly across the twentieth-century the impact of French light music on the newly-formed urban (starting with Joseph Szigeti in 1933 and ending with Ra- Athenian society of the mid-nineteenth-century. The French chel Podger in 1999). Recordings were studied through a troupes arriving in the Greek capital bring with them, along rigorous process of observation of eight pre-selected criteria with their intriguing repertoire, outlandish theatrical morals, (tempo, rubato, rhythmic alterations, accentuation, articula- creating a new sensation in the Athenian audience, which tion, portamento, vibrato, and ornamentation), each com- attends with astonishment the light scabrous French musi- piled in a systematic way for comparison and evaluation. cal comedies and operettas and, especially, the lively and This process makes vivid a number of interesting trends: it frivolous French actresses. Their performances rekindle broadly supports the validity of Bruce Haynes’ hypothesis the controversy raging in the musical life of the new Greek that three principal schools of Baroque interpretation exist- state during the whole nineteenth-century, and become the ed throughout the twentieth-century (Romantic, Modernist, bone of contention for the duel between European opera and Historically-Informed) but suggests that these schools troupes – which enjoy the financial and moral support of the are more than passing chronological phases, each having a court, the government and generally the ‘high society’- and continuing life beyond their heyday. the local drama troupes, which are fighting hard to become established. Keywords: Baroque interpretation; performance practice; recordings; Romantic; Modernist

Keywords: operetta; Greece; nineteenth-century; Offenbach; Athens Format: Single paper (#128)

Format: Single paper (#203)

Conference Abstracts p 128 Zen Zeng Pierre Zurcher Monash University, Paris-Sorbonne University, Australia France

Manuel de Falla’s Fantasia Baética, the power Cantilena: an example of emotional regulation of flamenco and the question of performance conducts (Les cantilénes – conduites de practice régulation cognitivo-affectives)

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The Fantasía Baética is a work for solo piano composed by The film presents a music and language creation activity Manuel de Falla in 1919. It is regarded as an icon of Span- consisting of songs whose theme is freely chosen by the ish music and one of the most challenging piano works of child. These cantilena often offer verbal content which is the early twentieth-century. Its translation of flamenco to perceived as personal and emotional. The hypothesis is that the piano has formed a basis for the modern practice of this form of expression activates one of the fundamental flamenco pianists. As a native Andalusian, Falla was an in- functions of human cultural appropriation: personal regula- formed flamenco aficionado and scholar, having acquired tion of conflicts between personal experience and acquired a profound knowledge of flamenco through professional behavioural frames. This cognitive-affective adaptation rests and personal association with leading contemporary fla- on reverbalisation of non-assimilable experiences. The use menco performers such as Niña de los Peines, Ramón of cantilena induces a particular linguistic mode which, un- Montoya and Angel Barrios. During the conception of the like common language, activates the auditory side of the Fantasía Baética, Falla was reliant on specific anthologies behavioural sphere of regulation. This inductive speech, of flamenco songs and treatises on flamenco guitar perfor- which comes essentially from prosodic manipulation, allows mances, including Rafael Marín’s Aires Andaluces (1902). access to experiences (psychological and verbal) which The Fantasía Baética encapsulates the three fundamental couldn’t be reduced to acquired behavioural frames. Can- components of flamenco: song cante( ), dance (baile) and tilena are therefore one of the possible answers to the need instrumental playing (toque). In it, Falla not only succeeds to reduce cognitive-emotional tensions. in translating the timbre and sonorities of flamenco to the piano, but, more profoundly, he captures duende, the soul Keywords: musical pedagogy; emotional control; behavioural regulation and emotional power at the heart of flamenco. This pres- Format: Film (#201) entation will consider how Falla’s intimate understanding of flamenco art determined his construction and contextualisa- tion of the Fantasia Baética; it will explore how he evokes and reinterprets the emotional complexity of flamenco on the piano through expanding the instrument’s vocabulary; and it will examine the work’s interpretative implications for pianists today, investigating issues in authentic performance practice where a work evokes historic flamenco styles that deviate from current practice.

Keywords: flamenco; Manuel de Falla; piano; Fantasia Baética; performance practice

Format: Single paper (#243)

Conference Abstracts p 129 Conference Delegates

Aksnes, Hallgjerd Bennett, Joanne Bruinsma, Raelene Cole, Sue De Wilde, Craig University of Oslo, Australia Curtin University; The University National University Norway Australian Music Therapy of Melbourne, of Singapore, Beretin, Nena Association, Australia Singapore Alaner, A. Bulent University of New Australia Anadolu University, England, Australia Concord, Alisabeth Dean, Roger T. Turkey Buchan, Susan University of Victoria, University of Bishop, Laura Victoria University, Canada Western Sydney, Alessi, Patricia University of Australia Australia The University Western Sydney, Cook, Nicholas of Western Australia, Australia Buck, Mary University of Cambridge, Dell, Helen Australia University of United Kingdom The University Bispham, John New England, of Melbourne, Alomes, Christopher Macquarie University, Corall, Georg Australia Australia University of Tasmania, Australia The University Australia Buckton, Mindy of Western Australia, Dellit, Cynthia- Blyth, Linda University of Victoria, Australia Louise Azobu, Daniel Australian Music Canada The University James Therapy Association, Corn, Aaron of Newcastle, Coded Tunes, Australia Butler, Sarah Australian National Australia Nigeria The University of Sydney, University, Bolger, Lucy Australia Australia Denson, Louise Bailes, Freya The University Griffith University, University of of Melbourne, Campbell, Coward, Imogen Australia Western Sydney, Australia Genevieve University of Australia The University of Sydney, New England, Deruchie, Andrew Bollard, David Australia Australia University of Otago, Bailes, Lucy University of Tasmania, New Zealand The University Australia Cenin, Jorja Coward, Leon of Newcastle, The University University of Dieckmann, Bowdler, Sandra Australia of Western Australia, New England, Samantha The University Australia Australia The University of Sydney, Balme, Jane of Western Australia, Australia The University Australia Cesareo, Jackie Coward, Taliesin of Western Australia, Murdoch University, University of Dileo, Cheryl Boyd-Hurrell, Australia Australia New England, Temple University, Sophie Australia United States of America Baloglu, Cigdem The University Chan, Julianna Anadolu University, of Melbourne, The University of Sydney, Crisp, Robert Dillon, Steven Turkey Australia Australia Australian Queensland University National University, of Technology, Bangert, Daniel Broughton, Mary Chapman, Ian Australia Australia The University The University University of Otago, of New South Wales, of Western Australia, New Zealand Curran, Kelly Drimatis, Joanna Australia Australia Edith Cowan University, The University of Sydney, Chen, Jade Australia Australia Bannan, Nicholas Brown, Judith Nanyang Technological The University Central Queensland University, Davhula, Mudzunga Dunlop, Roslyn of Western Australia, University, Singapore Junniah The University Australia Australia University of Pretoria, of Newcastle, Chin, Tan Chyuan South Africa Australia Barcan, Linda Brown, Reuben Monash University, Edith Cowan University, The University of Sydney, Australia Davidson, Jane W. Dunstone, Prudence Australia Australia The University Wesley Institute, Cichy, Andrew of Western Australia, Australia Barney, Katelyn Bruder, Pamela University of Oxford, Australia The University The University of United Kingdom Edwards, Jane of Queensland, Melbourne; Emmy Dawson, Brian University of Limerick, Clarke, Eric Australia Monash Aged Care, The University Ireland University of Oxford, Australia of Western Australia, Bastaninezhad, United Kingdom Eisaei, Vahideh Australia Arya The University Monash University, of Western Australia, Australia Australia

Conference Delegates p 130 Emberly, Andrea Francis, Mace Hallett, Catherine Hope, Cat Lamont, Alexandra The University Edith Cowan University, University of Edith Cowan University, Keele University, of Western Australia, Australia New England, Australia United Kingdom Australia Australia Freemantle, Hopwood, Paul Lannen, Bernadette Encarnacao, John Alexandra Halton, Rosalind Edith Cowan University, The University University of Murdoch Childrens The University Australia of Newcastle, Western Sydney, Research Institute, of Newcastle, Australia Hoyvik, Anita Australia Australia Australia University of Oslo, Larkin, David Evans, Damian Friedrich, E. Kamala Hampele, Maureen Norway The University Dublin Institute Goethe-University Guildford Grammar of Sydney, Huang, Chih-Fang of Technology, Frankfurt, School, Australia Yuan Ze University, Ireland Germany Australia Taiwan Lifschitz, Sonya Evans, Paul Fuglestad, Svein Hardwick-Franco, The University Ingraham, Mary The University Oslo University College, Kathryn of Melbourne, University of Alberta, of New South Wales, Norway Independent Scholar, Australia Canada Australia Australia Furukawa, Kiyoshi Lawrence-King, James, Stuart Ewans, Michael Tokyo University Hamano, Takayuki Andrew Edith Cowan University, The University of the Arts, Japan Science and Guildhall School Australia of Newcastle, Japan Technology Agency; of Music and Drama; Australia RIKEN Brain Johnston, Phillip The University of Western Garrido, Sandra Science Institute; The University Australia; Royal Danish Exaudi, Lisa The University Tamagawa University, of Newcastle, Academy of Music, Queensland University of New South Wales, Japan Australia United Kingdom; of Technology, Australia Australia; Denmark Australia Harrison, Scott Kaleva, Daniela Gasser, Mark Griffith University, University of Leung, Yvonne Fabian, Dorottya Edith Cowan University, Australia South Australia, University of The University Australia Australia Western Sydney, of New South Wales, Harvey, Alan Gillespie, Kirsty Australia Australia The University Kane, Jan The University of Western Australia, Australian Lockeridge, David Faulkner, Robert of Queensland, Australia Catholic University, The University The University Australia Australia of Newcastle, of Western Australia, Hendry, Brooke Ginther, Gerald Australia Australia Australian Kanga, Zubin University of Canterbury, National University, Royal Academy of Music, Love, Karlin Ferguson, Sam New Zealand Australia United Kingdom The University The University Grant, Stephen of Queensland, of New South Wales, Hillecke, Thomas Kester, Sally The University Australia Australia SRH University The University of Western Australia, Heidelberg, of Western Australia, Loy, Stephen Fienberg, Thomas Australia Germany Australia Australian The University of Sydney, Grocke, Denise National University, Australia Holmes, Holly Khong, Melissa The University Australia University of Illinois The City University Firth, Ian of Melbourne, at Urbana-Champaign, of New York, Luck, Geoff Australia Australia United States of America United States of America University of Jyväskylä, Fletcher, Kerry Grogan, Di Finland Honeybun, Knijff, Jan-Piet Songwriter, Australia Katherine University of Macarthur, Sally Australia Guillan, Annette The University New England, University of Forbes, Anne-Marie Sultan Idris of Melbourne, Australia Western Sydney, University of Tasmania, University of Education, Australia Australia Koenig, Julian Australia Malaysia Hood, Made SRH University Maddox, Alan Foxcroft, Catherine Hales, Aaron The University Heidelberg, The University of Sydney, Rhodes University, The University of Melbourne, Germany Australia South Africa of Western Australia, Australia Australia

Conference Delegates p 131 Maidlow, Sarah Meyer, John Noordzy, Amanda Peiris-Perera, Renwick, James Australian The University The University Priyeshni The University of Sydney, Catholic University, of Western Australia, of Western Australia; University of the Visual Australia Australia Australia The Department & Performing Arts, Renzo, Adrian of Education Sri Lanka Manengelo, Amry Middleton, The University Western Australia, Abdulrahman Eva-Marie Petrovich, Margaret of Auckland, Australia Kunduchi Mtongani The University University of the Third New Zealand Arts Promotion Media, of Western Australia, O’Bryan, Jessica Age U3A (UWA), Rickard, Nikki Tanzania Australia The University Australia Monash University, of Queensland, Marriott, Jeremy Miles, Louise Phillips, John A Australia Australia Curtin University, Redkite, The University Rickson, Daphne Australia Australia O’Halloran, Tom of Adelaide, New Zealand Edith Cowan University, Australia Marsh, Kathryn Milosavljevic, Dan School of Music, Australia The University of Sydney, University of Otago, Philpott, Carolyn New Zealand Australia New Zealand Ohmura, Hidefumi University of Tasmania, Rickwood, Julie Japan Science and Australia Martin, Matthew Mori, Kazuma Australian Technology Agency, Dembal Hiroshima University, Pike, Georgia National University, Japan Mowanjum Art Japan Australian Australia and Culture Centre, Orlando, Ronniet National University, Mould, Stephen Ritchie, Anthony Australia Edith Cowan University, Australia The University of Sydney, University of Otago, Australia Matthias, Philip Australia Plueckhahn, New Zealand The University Orzech, Rachel Rebekah Murphy, Sherri Robertson, Sally of Newcastle, The University Australian Strike a Chord, The University Australia of Melbourne, National University, Australia of Western Australia, Australia Australia May, Eldonna L Australia Nelligan, Katharine Wayne State University, Osborne, Margaret Popovi The University Rocha, Esmeralda United States of America The University Mladjenovi , Tijana of Melbourne, The University of Melbourne, University of McFerran, Katrina Australia of Western Australia, Australia Arts in Belgrade, The University Australia Nelson, Kathleen Serbia of Melbourne, Otomo, Ayako The University of Sydney, Rocke, Stephanie Australia University of Otago, Powles, Jonathan Australia Monash University, New Zealand Australian McIlvenna, Una Australia Nelson, Marian National University, The University of Sydney, Owens, Samantha The University Australia Rogers, Victoria Australia The University of Western Australia, The University of Queensland, Preti, Costanza McIntosh, Jonathan Australia of Western Australia, Australia University of London, The University Australia Ng, Shaun United Kingdom of Western Australia, Paget, Jonathan The University of Sydney, Rosenberg, Elise Australia Edith Cowan University, Prince, Jon Australia The University Australia Murdoch University, McKern, Brett of Western Australia, Nguyen, Le-Tuyen Australia Australian Paolino, Annamaria Australia Australian Institute of Music, Australia Quinto, Lena National University, Ryan, Robin Australia Macquarie University, Australia Papalexiou, Eleni Independent Scholar, Australia McPherson, Gary University of Australia Nien, Wei-Po The University Peloponnese, Ralph, John National Chiao Ryan, Scott of Melbourne, Greece The University Tung University, The University of Australia of Western Australia, Taiwan Patston, Tim Melbourne, Australia Australia Merlino, Dean The Peninsula School, Saarikallio, Suvi The University Australia Randall, Will M University of Jyväskylä, of Melbourne, Monash University, Finland Australia Australia

Conference Delegates p 132 Sachdev, Salil Stevens, Catherine Toltz, Joseph Wee, Brenna Xepapadakou, Avra Bridgewater University of Independent Scholar, The University University of Crete, State University, Western Sydney, Australia of Melbourne, Greece United States of America Australia Australia Treloyn, Sally Yeo, Adrian Schrieber, Karen Stockigt, Janice The University West, Susan Edith Cowan University, Elizabeth The University of Melbourne, Australian Australia The University of Melbourne, Australia National University, Zeng, Zen of Western Australia, Australia Australia Tucek, Gerhard Monash University, Australia Stoessel, Jason IMC University of Wierzbicki, James Australia Schubert, Emery University of Applied Sciences Krems, The University Zurcher, Pierre The University New England, Austria of Sydney, Paris-Sorbonne of New South Wales, Australia Australia Tukaiev, Sergii University, Australia Stuart, Kimberley Taras Shevchenko Wigley, Charles France Sharma, Pankaj The University of Sydney, National University of Kyiv, The University Mala Australia Ukraine of Western Australia, Panjab University, Australia Styles, Matthew Tunley, David India Edith Cowan University, The University Wijsman, Suzanne Shaw, Jennie Australia of Western Australia, The University University of Australia of Western Australia, Sunderland, James New England, Australia Murdoch University, Turpin, Myfany Australia Australia The University Wilcox, Felicity Shinkfield, Rowena of Queensland, The University of Sydney, Suominen, Marjo The University Australia Australia University of Helsinki, of Western Australia, Finland van den Tol, Willgoss, Richard Australia Ànnemieke J.M. The University of Sydney, Symons, David Shishikura, Masaya University of Limerick, Australia The University Australian Ireland of Western Australia, Williams, Carol National University, Australia van Zijl, Anemone Monash University, Australia University of Jyväskylä, Australia Szuster, Jula Sienicki, John Finland The University Williamson, Independent Scholar, of Adelaide, Verhagen, Darrin Michael United States of America Australia RMIT University, The University Sierszenska- Australia of Melbourne, Taylor, David Leraczyk, Australia The University Vicente, Victor A Malgorzata of New South Wales, The Chinese University Wilmot, Catherine The Ignacy Jan Australia of Hong Kong, Australia Paderewski Academy China of Music in Poznan, Terasawa, Hiroko Wilson, Oli Poland University of Tsukuba; Vickery, Lindsay University of Otago, Japan Science and Edith Cowan University New Zealand Simpson, Tamara Technology Agency, Australia The University Wood, Graham Japan of Western Australia, Vuoskoski, Jonna Edith Cowan University, Australia Thayer, Julian F University of Jyväskylä, Australia The Ohio State University, Finland Skinner, Anthea Wren, Toby United States of America Monash University, Watt, Paul Griffith University, Australia Thompson, Monash University, Australia William Forde Australia Stephens, Wye, Stephen Macquarie University, Joseph Kwesi Webster, Joshua The University Australia Abundant Grace Edith Cowan University, of Newcastle, Methodist Church, Toh, Sharon Australia Australia Ghana Australia

Conference Delegates p 133 Music washes away from the soul the dust of everyday life. Berthold Auerbach

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