ONLINE 9-12 June 2021

This symposium has benefited from the financial support of the Muséum This symposium has benefited from the logistical national d'Histoire naturelle, the Centre National de la Recherche Scientifique support of the Musée de l'Homme and the UMR Eco-anthropologie. and the UMR 7206 Eco-anthropologie. Conference booklet

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Progam Committee Co-Chairs Chris Stover (University of Oslo, Norway) Maisie Sum (University of Waterloo, Canada )

Organizing Committee Áine Heneghan (University of Michigan, USA) Somangshu Mukherji (University of Michigan, USA) Lawrence Shuster (Cornell University, USA) Costas Tsougras (Aristotle University of Thessaloniki, Greece

Local Arrangements Committee Sylvie Le Bomin (Muséum National d’Histoire naturelle, Musée de l’Homme, Paris, France) Susanne Fürniss (Centre National de la Recherche Scientifique, Musée de l’Homme, Paris, France) Ta o u è s L a h r e m (Centre National de la Recherche Scientifique, Musée de l’Homme, Paris, France)

Webmaster Somangshu Mukherji (University of Michigan, USA) Overview Please note that all times in the schedule and session descriptions below are in Paris time (i.e., UTC+2 hours). This link can help you calculate your local time relative to UTC+2 time. Wednesday 9 June 2021

Zoom-link: https://cnrs.zoom.us/j/96872749781 (For a better connexion, do not copy the ID: 968 7274 9781 New Code: cAtA7g link, but write it again)

2:15 PM (UTC+2) A Warm Welcome from the LAC

Session 1 2:30 PM (UTC+2) Room 1A Room 1B Corpus Studies Meta-analysis Chair: Grant Sawatsky Chair: Costas Tsougras 1 Zhoushu Ziporyn 1 Andrew Killick 2 Peter Salvucci 2 Richard Widdess 3 Thilo Hirsch 3 Mehmet Ali Sanlikol 4 Áine Heneghan & Benjamin Jackson

5:00-5:30 BREAK (you may chat in several breakout rooms)

Zoom-link: https://cnrs.zoom.us/j/97219718717 (For a better connexion, do not copy the ID: 972 1971 8717 New Code: frM5Ln link, but write it again)

5:30 PM (UTC+2) A Warm Welcome from the PC and OC

Session 2 5:45 PM (UTC+2) Room 2A Room 2B Room 2C Sonic Interactions Groove and Microtiming Musical Syntaxes Chair: John Roeder Chair: Jason Winikoff Chair: Julia Byl 1 Philip Yampolsky 1 Rainer Polak 1 Nathan Lam 2 Dana Rappaport 2 David Fossum 2 Juan Diego Diaz 3 Michael Tenzer 3 Ioannis Rizopoulos 3 Eshantha Peiris 4 Gianluca Chelini 4 Kjetil Klette Bøhler 4 Byron Dueck & Kisito Essele Overview

Thursday 10 June 2021 Zoom-link: https://cnrs.zoom.us/j/99518802636 (For a better connexion, do not ID: 995 1880 2636 New Code: xA8qCL copy the link, but write it again)

Session 3 Room 3A Room 3B 2:30 PM (UTC+2) Repetition (PC sponsored) Affordance, attention and cognition Chair: Chris Stover Chair: Richard Widdess 1 Chris Stover 1 Lara Pearson 2 John Roeder 2 Niels Chr. Hansen & Marcus Pearce 3 Amanda Bayley 3 Grant Sawatsky 4 Anne Danielsen 4 Daniel Goldberg

After the talks, you may switch over to the poster breakout rooms, or stay in the original room for another 30 minutes of discussion

Poster sessions Room 3C Room 3D 4:30 PM (UTC+2) Poster session 1 Poster session 2 Moderator: Susanne Fürniss Moderator: Rémy Jadinon 1 Stefanie Alisch 1 Matthew Arndt 2 Mari Romarheim Haugen 2 Bas Cornelissen et al. 3 Luis Jure & Martín Rocamora 3 Polina Dessiatnitchenko 4 Žanna Pärtlas 4 Stephen Slottow 5 Rajeswari Ranganathan 5 Oğuzhan Tuğral 6 Josephine Simonnot 6 Xi Zhang & Ian Cross

5:30-6:00 BREAK (you may chat in several breakout rooms)

Zoom-link: https://cnrs.zoom.us/j/93268197332 (For a better connexion, do not ID: 932 6819 7332 New Code: f4Hk5f copy the link, but write it again) Chair: Maisie Sum Session 4 Room 4A 6:00 PM (UTC+2) Keynote Lecture

David Huron Overview

Friday 11 June 2021 Zoom-link: https://cnrs.zoom.us/j/98686462426 (For a better connexion, do not ID: 986 8646 2426 New Code: Nt2dMz copy the link, but write it again)

Session 5 Room 5A Room 5B 2:30 PM (UTC+2) Musical evolution (LAC sponsored) Indonesian Musics Chair: Sylvie Le Bomin Chair: Daniel Goldberg 0 Introduction by Sylvie Le Bomin 1 Julia Byl 1 Tim Sharpe 2 Hannah Standiford 2 Leslie Tilley 3 Andrew McGraw 3 Thomas Pooley

5:00-5:30 BREAK (you may chat in several breakout rooms)

Zoom-link: https://cnrs.zoom.us/j/96668771714 (For a better connexion, do not ID: 966 6877 1714 New Code: A0eSPv copy the link, but write it again)

Session 6 Room 6A Room 6B Room 6C 5:30 PM (UTC+2) Workshop: Rhythmic Processes Dance and Movement Ethnomusicology and the Human Sciences Chair: Dave Fossum Chair: Juan Diego Diaz Chair: Elizabeth Tolbert 1 Jason Winikoff 1 Judith Olson Ian Cross, Gina Fatone, 2 Kaustuv KanC Ganguli et al. 2 Niall Edwards-Fitzsimmons Francesca Lawson, Elizabeth Margulis, 3 Marie Cousin 3 Rebecca Simpson-Litke Maisie Sum, Elizabeth Tolbert, 4 Esther Kurtz Richard Widdess Overview

Saturday 12 June 2021

Zoom-link: https://cnrs.zoom.us/j/91013444284 (For a better connexion, do not copy ID: 910 1344 4284 New Code: Af2vp1 the link, but write it again)

Session 7 Room 7A Room 7B Room 7C 2:30 PM (UTC+2) Alpine Musics Gesture and form Modernisms Chair: Yannick Wey Chair: Áine Heneghan Chair: Byron Dueck 1 Lawrence Shuster & Yannick Wey 1 Toru Momii 1 Eric Charry 2 Teona Lomsadze 2 Ozan Baysal 2 Costas Tsougras 3 Cornelia Metzig 3 CrisCna Ghirardini 3 Sarah Politz & Kingsley Kwadwo Okyere 4 Yannick Wey & Cornelia Metzig 4 José Oliveira MarCns 4 Mehdi Rezania

5:00-5:30 BREAK (you may chat in several breakout rooms)EAK

Zoom-link: https://cnrs.zoom.us/j/93094738832 (For a better connexion, do not copy ID: 930 9473 8832 New Code: njR5W4 the link, but write it again)

Session 8 Room 8A 5:30 PM (UTC+2) Special Session in honor of Simha Arom Chair: Michael Tenzer 0 Introduction by Michael Tenzer 1 Judit Frigyesi 2 Michèle Castellengo & Susanne Fürniss 3 Frank Scherbaum et al. Detailed Programme

Wednesday 9 June 2021 Session 1 – 2:30 PM (UTC+2)

Zoom-link: https://cnrs.zoom.us/j/96872749781 (For a better connexion, do not ID: 968 7274 9781 New Code: cAtA7g copy the link, but write it again)

Room 1A Room 1B Corpus Studies Meta-analysis Chair: Grant Sawatsky Chair: Costas Tsougras

1 Zhoushu Ziporyn 1 Andrew Killick Princeton University (USA) Linguistic-syllabic cognitive University of Sheffield (UK) Perennial Problems in Transcription, mapping of sound in Japanese with Solutions in Global Notation culture, interpreted through Japanese gagaku music 2 Peter Salvucci 2 Richard Widdess Istanbul Technical University – Decoding Ali Ufki: Solutions to SOAS University of London Syntax or schemas? Comparing State Conservatory of Turkish Understanding Ottoman Makam (UK) approaches to analysing ālāp in Music (Turkey) through Renaissance Theory Indian music. 3 Thilo Hirsch 3 Mehmet Ali Sanlikol University of Bern (Switzerland) Consistency and change in the New England Conservatory Looking for the Middle Eastern Vezin musical structure of Moroccan (USA) in the Jazz Lead Sheet: andalusi music studied on resemblances between meter, feel recordings from 1932 to 2018 and tempo in Ottoman/Turkish music and Jazz 4 Áine Heneghan & Benjamin Jackson University of Michigan (USA) Computational Analysis of Irish Traditional Music: The Jigs in the Goodman Collection Detailed Programme

Wednesday 9 June 2021 Session 2 – 5:45 PM (UTC+2)

Zoom-link: https://cnrs.zoom.us/j/97219718717 (For a better connexion, do not copy the link, but ID: 972 1971 8717 New Code: frM5Ln write it again)

Room 2A Room 2B Room 2C Sonic Interactions Groove and Microtiming Musical Syntaxes Chair: John Roeder Chair: Jason Winikoff Chair: Julia Byl

1-2 Philip Yampolsky & Dana Rappaport 1 Rainer Polak 1 Nathan Lam PY: Independent The polyphonic duets of Max Planck Institut Aesthetic evaluation of Massachusetts Pentatonic Signature scholar (USA) Eastern Flores and for Empirical Aesthe- timing patterns in music: Institute of Transformations in Eastern Timor: a tics (Germany) A comparative Technology (USA) Chinese Music DR: Centre Asie du detailed comparison experimental study Sud-Est (CNRS- across three styles and EHESS) (France) cultures 2 David Fossum 2 Juan Diego Diaz Arizona State Why do Turkmen University of Berimbau Tuning and University (USA) musicians swing their California, Davis Song Melody Capoeira: 8th notes? (USA) How do they Relate? 3 Michael Tenzer 3 Ioannis Rizopoulos 3 Eshantha Peiris The University of Sound Materiality and Independent scholar Rhythmical swing in The University of Text-Music British Columbia Rhythm Interaction in a (Greece) Greek musical British Columbia Relationships in Un- (Canada) Papuan Flute Music performances. Case (Canada) texted Music of the Sri Study on the Rhythmical Lankan “Up-Country” feel of Drama Region Tradition 4 Gianluca Chelini 4 Kjetil Klette Bøhler 4 Byron Dueck and Kisito Essele "La Sapienza" A twofold analysis of Oslo Metropolitan Macro-, Meso- and BD: The Open Tonal and melodic Università di Roma Kantaomming music of University (Norway) Micro-rhythm: A University (UK) contour across (Italy) Khmer people of Conceptual Framework KE: Catholic contemporary Cambodia to Study How Music University of Central Cameroonian idioms Grooves Africa (Cameroon) Detailed Programme Thursday 10 June 2021 Session 3 – 2:30 PM (UTC+2)

Zoom-link: https://cnrs.zoom.us/j/99518802636 (For a better connexion, do not copy the link, but write it ID: 995 1880 2636 New Code: xA8qCL again)

Room 3A Room 3B RepeBBon (PC sponsored) Affordance, aHenBon and cogniBon Chair: Chris Stover Chair: Richard Widdess

1 Chris Stover 1 Lara Pearson Griffith University (Australia) Timelines and their contexts: Max Planck Institute for Oscillations, Finger Stresses and affect, improvisation, call and Empirical Aesthetics Slides: Musical Instrument response (Germany) Affordances and the Karnatak Style 2 John Roeder 2 Niels Chr. Hansen & Marcus Pearce The University of British Columbia Variable-rhythm quale cycles in NCH: Aarhus Institute of Shared Expectancy Dynamics in (Canada) world music and their special Advanced Studies, Aarhus Melodic Phrases from Across the properties University (Denmark) World MP: School of Electronic Engineering & Computer Science, Queen Mary University of London (UK) 3 Amanda Bayley 3 Grant Sawatsky Bath Spa University (UK) Repetition and rhythmic learning The University of British Generative Meter and in transcultural musical practices Columbia (Canada) Multivalence in Three Slavic Folk Tunes 4 Anne Danielsen 4 Daniel Goldberg University of Oslo (Norway) Time and time again: repetition University of Connecticut Effects of Meter and Tempo on and difference in grooves (USA) Synchronization with Bulgarian Music: A Cross-Cultural Study of Tapping with Recordings

After the talks, you may switch over to the poster breakout rooms (3C and 3D), or stay in the original room for another 30 minutes of discussion Detailed Programme Thursday 10 June 2021 Session 3 continued – 4:30 PM (UTC+2)

Please take some time to visit the posters BEFORE the poster session during which you may ask questions to the author(s). The posters can be viewed here: https://aawmconference.com/2020-paris/schedule/

Room 3C Room 3D Poster session 1 Poster session 2 Moderator: Susanne Fürniss Moderator: Rémy Jadinon

1 Stefanie Alisch 1 MaHhew Arndt Humboldt Universität zu Berlin EDM Analysis by Synthesis: The The University of Iowa School “K’ilo is Everything”: On (Germany) Case of Angolan Kuduro of Music (USA) Ornamentation in Georgian Chant 2 Mari Romarheim Haugen 2 Bas Cornelissen, Willem Zuidema & John Ashley Burgoyne RITMO, Department of Investigating the Effect of Tempo University of Amsterdam Musical modes as statistical modes: Musicology, University of Oslo on Non-Isochronous Subdivisions (Netherlands) classifying modi in Gregorian chant (Norway) in Brazilian Samba 3 Luis Jure & MarTn Rocamora 3 Polina Dessiatnitchenko Universidad de la República Tempo, Micro-tempo and Harvard University (USA) The Nava Mugham Beyond: (Uruguay) Dynamics in Uruguayan Azerbaijani Musicians on a Mission Candombe Drumming to Recover the Lost Ideal 4 Žanna Pärtlas 4 Stephen SloHow Estonian Academy of Music and The Phenomenon of Harmonic University of North Texas North American Adaptations of Zen Theatre (Estonia) Rhythm in Seto Multipart Songs (USA) Chanting: Four Strategies (South-East Estonia) as an Ancient Type of Traditional Musical Thinking 5 Rajeswari Ranganathan 5 Oğuzhan Tuğral City University of New York (USA) Bridging African and Indian Music: Independent Scholar (Turkey) On The Syntax of a Compound Southern Ewe and Carnatic Maqam in Turkish Art Music: Rhythm Another Look at Maximal Projections in Musical Generative Grammar Studies 6 Josephine Simonnot 6 Xi Zhang & Ian Cross Centre de Recherche en Automatic music analysis and University of Cambridge (UK) The realisation and recognition of Ethnomusicologie, CNRS “Musée de l’Homme” Sound microtonal variations of tones in (France) Archives Chaozhou songs Detailed Programme

Thursday 10 June 2021 Session 4 – 6:00 PM

Zoom-link: https://cnrs.zoom.us/j/93268197332 ID: 932 6819 7332 New Code: f4Hk5f

Room 4A

Keynote Lecture Chair: Maisie Sum

David Huron Worlds of Analysis: A Cognitive Approach Detailed Programme

Friday 11 June 2021 Session 5 – 2:30 PM (UTC+2)

Zoom-link: https://cnrs.zoom.us/j/98686462426 (For a better connexion, do not ID: 986 8646 2426 New Code: Nt2dMz copy the link, but write it again)

Room 5A Room 5B Musical evolution (LAC sponsored) Indonesian Musics Chair: Sylvie Le Bomin Chair: Daniel Goldberg

0 Sylvie Le Bomin 1 Julia Byl Muséum national d'Histoire Introductory Remarks University of Alberta (Canada) Egalitarian Harmony: Curated naturelle (France) Music Theory in Pop Batak

1 Tim Sharpe 2 Hannah Standiford Trevecca University (USA) The G-Run: The Genome of University of Pittsburgh (USA) Harmonic Elasticity in Indonesian American Folk Kroncong: An Analysis of Lokananta Recordings Between 1957 and 1983 2 Leslie Tilley 3 Andrew McGraw Massachusetts Institute of Are Versions an "Evolution"?: University of Richmond (USA) Gridless Grooves: Cello- Technology (USA) Analyzing Transformation in Drumming in Indonesian Improvisations and Cover Songs Langgam Jawa 3 Thomas Pooley University of South Africa (South Cognition, evolution, and the Africa) analysis of tone systems in sub- Saharan Africa Detailed Programme

Friday 11 June 2021 Session 6 – 5:30 PM (UTC+2)-1

Zoom-link: https://cnrs.zoom.us/j/96668771714 (For a better connexion, do not copy the link, but ID: 966 6877 1714 New Code: A0eSPv write it again)

Room 6A Room 6B Room 6C Workshop: Rhythmic Processes Dance and Movement Ethnomusicology and the Chair: Dave Fossum Chair: Juan Diego Diaz Human Sciences Chair: Elizabeth Tolbert 1 Jason Winikoff 1 Judith Olson Ian Cross The University of Clapper Dapper: Timbre, American Hungarian Transylvanian Dance University of Cambridge (UK) British Columbia Synesthesia, and a Jazz Folklore Centrum Through the Microscope: (Canada) Drum Solo (USA) Developing a Personal Gina Fatone Approach True to Style Bates College (USA) 2 Kaustuv Kanti Ganguli,

Akshay Anantapadmanabhan & Carlos Guedes 2 Niall Edwards-Fitzsimmons Francesca Lawson KK & CG: New York An approach to adding Sydney Kekompakan: rhythmic Brigham Young University (USA) University (UAE) knowledge constraints by Conservatorium of entrainment and AA: Freelance fractal analysis on a Music (Australia) togetherness in Acehnese Elizabeth Margulis Musician (India) generative model of Carnatic sitting dances Princeton University (USA) rhythm sequence Maisie Sum 3 Marie Cousin 3 Rebecca Simpson-Litke University of Waterloo (Canada) University of "Ternary-binary fluctuating University of Flipping, Pausing, Burgundy (France) rhythmic ambiguity", "poly- Manitoba (Canada) Breaking, and Elizabeth Tolbert variation" and "rhythmic Reinterpreting the Clave: Johns Hopkins University (USA) spatialization" as aesthetic Dancing Through Metric processes, designs and Dissonances in Salsa Richard Widdess structures in popular music of Music SOAS University of London (UK) Maranhão State, Brazil. 4 Esther Kurtz Washington “Come play with me!”: University in St. Flexible entrainment as a Louis (USA) strategy of attack in capoeira Angola Detailed Programme

Saturday 12 June 2021 Session 7 – 2:30 PM (UTC+2)

Zoom-link: https://cnrs.zoom.us/j/91013444284 (For a better connexion, do not copy the link, ID: 910 1344 4284 New Code: Af2vp1 but write it again)

Room 7A Room 7B Room 7C Alpine Musics Gesture and form Modernisms Chair: Yannick Wey Chair: Áine Heneghan Chair: Byron Dueck

1 Lawrence Shuster & Yannick Wey 1 Toru Momii 1 Eric Charry LS: Cornell Mapping Timbral Columbia Performing Te: Form, Wesleyan Toward a Cross-Cultural University (USA) Surfaces in Alpine University Gesture, and Timbre in Dai University Theory of Musical YW: Lucerne Yodeling: (USA) Fujikura’s neo for Solo (USA) Improvisation: A View from University of New Directions in the Shamisen the Avant Garde in Jazz Applied Sciences Analysis of Tone Color for and Arts Unaccompanied Vocal (Switzerland) Music 2 Teona Lomsadze 2 Ozan Baysal 2 Costas Tsougras Intern. Research Krimanchuli: A yodeling Istanbul Forms of Expression in Aristotle Harmonization principles Center for phenomenon in Georgian Technical Mevlevi Ayin Composition University of and musical texture of Traditional traditional polyphonic University Thessaloniki Yannis Constantinidis's "8 Polyphony of Tbilisi music structure (Turkey) (Greece) Greek Island Dances" for State Conservatoire piano (1954): folk and (Georgia) modernistic elements in balance 3 Cornelia Metzig 3 CrisBna Ghirardini 3 Sarah Politz & Kingsley Kwadwo Okyere Queen Mary An R package for the University of Free rhythm and verbal University of Stylistic Transfer and University of computation of melody Huddersfield accent in sung improvised Florida (USA) Transformation in Beninese London, Centre for features (UK) poetry in ottava rima in central Jazz and Brass Band DIgital Music (UK) Italy Music 4 Yannick Wey & Cornelia Metzig 4 José Oliveira MarBns 4 Mehdi Rezania YW: Lucerne Univ. Classification of regional University of Transcription and gesture in University of Contemporary Santur of Applied Sciences Swiss yodel styles based Coimbra the Portuguese guitar music Alberta Playing in Iran; Beyond and Arts on melodic features (Portugal) of Carlos Paredes (Canada) Tradition and Modernity (Switzerland) CM: Queen Mary Univ. of London, Centre for DIgital Music (UK) Detailed Programme

Saturday 12 June 2021 Session 8 – 5:30 PM

Zoom-link: https://cnrs.zoom.us/j/93094738832 ID: 930 9473 8832 New Code: njR5W4

Room 8A Special Session in honor of Simha Arom (OC sponsored) Chair: Michael Tenzer

0 Michael Tenzer The University of British Columbia Introduction (Canada)

1 Judit Frigyesi Bar Ilan University (Israel) What makes the melody of Ashkenazic prayer chant ‘Jewish’? 2 Michèle Castellengo & Susanne Fürniss MC: CNRS, Institut Jean Le Rond The pentatonic system of the Aka d'Alembert-LAM (France) 30 years later: the importance of SF: CNRS, Eco-Anthropology harmonic 7 (France)

3 Frank Scherbaum, Nana Mzhavanadze, Simha Arom, SebasBan Rosenzweig & Meinard Müller FS & NM: University of Potsdam Analysis of Tonal Organisation (Germany) and Intonation Practice in the SA: CNRS, Paris (France) Tbilisi State Conservatory SR & MM: International Audio Recordings of Artem Laboratories Erlangen (Germany) Erkomaishvili of 1966 Abstracts

Wednesday 9 June 2021 Session 1A - Corpus Studies Linguistic-syllabic cognitive mapping of sound in Japanese culture, interpreted through Japanese gagaku music

Zhoushu Ziporyn Princeton University (USA)

Abstract

In this paper, I will explore the linguistic-syllabic mapping of sound in Japanese culture, focusing in particular on its presence in the ancient Japanese gagaku tradition and how it resonates with cultural customs, audiocentricity and ontological views of nature and sound in modern Japan.

Gagaku is an oral tradition that had its peak in the Heian period (794-1185), whereby its performers 唱歌), which essentially acts as the blueprints for a piece of gagaku music. I would like to focus on the cultural resonance and the philosophical ramifications of the linguistic- same way, there is a long standing custom in Japanese culture of ensconcing oneself in identifying the sounds of nature, -syllabic denotations for specific chirping sounds in linguistic kana characters.

-linguistic denotations to specific pitches. In other words, these - rooted Japanese sonic ontology of audiocentricity that involves the linguistic-syllabic mapping of - at are Japan and its relationship with nature, rooted all the way back in medieval Japan, from a more sonic usical principles and systems of sonic mapping found in Japan more generally, and then very briefly suggest reasons why the five-staff musical notation system did not develop in medieval Japan as it did in Europe, despite both musics having, on the surface, similar musical structures and organizations. Decoding Ali Ufki: Solutions to Understanding Ottoman Makam through Renaissance Theory

Peter Salvucci Istanbul Technical University, State Conservatory of Turkish Music (Turkey)

Abstract

Ali Ufki, a captured Polish slave of the Ottoman Palace in the mid-seventeenth century, was known as a proficient palace musician and pedagogue in addition to his status as a master linguist and translator. His contribution to the history of Ottoman music is contained within two manuscripts: the compilation of Ottoman instrumental and vocal compositions written in Western notation known as Mecmua- music theory, and musical notation catalogued as Turc 292. Despite multiple scholars' analyses of the contents of each manuscript, many have found a lack of apparent detail in Ali Ufki's notation that does not adequately account for the microtonal variance and chromaticism known to exist in various makams. This study proposes a comparative perspective in order to explain how principles of late Renaissance-era music theory and notation can be applied to decipher Ali Ufki's notation of Ottoman makam music. Therefore this research aims to reveal previously unrealized microtonal and chromatic elements present in Ali Ufki's notations, as well as provide new information regarding the structure of various makams described both in staff notation and with solfege syllables. Notation of accidentals in Renaissance music along with principles of Guidonian hexachordal theory and musica ficta will be examined in light of makam theory, providing new insight into Ali Ufki's seemingly bare notational approach. In keeping with recent trends in the AAWM community, this study emphasizes the very clear need for comparative research between two divergent theoretical systems of historical music, brought together in the works of one Ottoman musician of European extract. Furthermore, comparative research involving the "systematist" makam theory prevalent in the Middle East between the thirteenth and fifteenth centuries along with the Ottoman makam theory of Dimitrie Cantemir in the turn of the eighteenth century helps corroborate the necessity for comparison between periods of time and cultures of the Middle East. Thus, the conclusions regarding makam structure found in this study serve to establish the place of Ali Ufki's notational works and theoretical notes within the larger scope of a cross-cultural genealogical timeline of makam. Consistency and change in the musical structure of Moroccan andalusi music studied on recordings from 1932 to 2018

Thilo Hirsch University of Bern (Switzerland)

Abstract

Since the early 20th century, Arab-Moroccan andalusi music, whose standard narrative is that it has remained more or less the same since the expulsion of Muslims from Spain in the 15th century, has been the subject of numerous publications. Alexis Chottin (18911975) was one of the first to write down the melodies that had only been passed down orally until then. However, since the notation of andalusi music is still limited to the main voice, the aim of this research project was to make visible for the first time its heterophonic structure - and its modifications - by transcribing early historical recordings from the Congress of Arab Music in Cairo in 1932 in comparison with recordings of the same pieces from 2018.

Several field research trips to Morocco from 2014 to 2017 (financed by Pro Helvetia) and the invitation of the Ensemble Harrate from Rabat to Basel in 2018 made it possible to record numerous pieces from the Cairo 1932 repertoire in a comparable instrumentation. On the basis of Chottin's notation of 1931 in combination with audio or video recordings of the same pieces from 1932, (1989) and 2018, the respective performance practice could be analyzed in detail. Thus, on the one hand, the extensive stability of the main voice melody (aṣl/root) could be shown, and on the other hand, the improvisation practice, which has changed over time (in connection with a modified instrumentation and a further developed instrumental technique). This comparison - over a period of 87 years - made it possible to provide answers to the question of the relationship between constancy and change in the musical structure of the andalusi tradition. Computational Analysis of Irish Traditional Music: The Jigs in the Goodman Collection

Áine Heneghan University of Michigan (USA)

Benjamin Jackson University of Michigan (USA)

Abstract

The James Goodman collection (http://goodman.itma.ie/; , ed. Shields and Shields [1998, 2013]) documents an oral tradition from nineteenth-century Ireland. It was the impact of the Great Famine (184549), a perceived decimation of the culture, that spurred Goodman to notate the music that he heard, and by the 1860s he had compiled manuscripts of over 2,000 dance tunes and song airs transcribed from the playing of local uilleann pipers in southwest Ireland.

manuscripts). A dance tune in 6/8 meter, the jig (or double jig) is typically arranged in two eight- measure sections, A and B, each of which is repeated. Building on the work of Breandán Breathnach and Pat Mitchell, who studied the phrase structure of the jigs in volume 1 of (), we take a computational approach to studying the Goodman jigs, probing the internal construction of the individual sections and investigating their interrelationship. How are sections organized? Are there fundamental differences between A and B sections? Are they associated with specific contours? And does computer-assisted analysis

Our methodology entails measuring Euclidean distance between individual bars or entire sections as a proxy for melodic similarity. We apply fuzzy-matching algorithms to examine different kinds of repetition, both within and between sections, and clustering algorithms to identify groups of tunes related by melodic skeleton, which are in turn used to define basic contour types. Considering patterns of repetition in tandem with contour allows us to discern underlying characteristics of the form and melodic structure of these jigs, while also calling attention to outliers in the corpus. 16

Abstracts

Wednesday 9 June 2021 Session 1B - Meta-analysis Perennial Problems in Transcription, with Solutions in Global Notation

Andrew Killick The University of Sheffield (United Kingdom)

Abstract

Writing almost a century ago, Milton Metfessel quoted a number of still earlier writers stating that much that is important in music outside the Western classical tradition cannot be captured in ethnomusicologists and world music analysts are known to regard certain key features of the music they study as unamenable to notation and to omit these features from their transcriptions, substituting verbal explanations.

I argue that these omissions often make world music analysis less clear and convincing than it could be, and that they result primarily from the continuing dominance of staff notation as a vehicle for world music transc of its own, some of its principles remain useful as a basis for developing a system of notation that can incorporate whatever information may be relevant for analysing any kind of music and omit only that which is not wanted.

presented at this conference in 2018. In the present paper, I use my more recent work on global notation to address some of the challenges that transcribers have perpetually faced in representing features that elude transcription into staff notation. In psychological terms, these features relate to instance its pitch intervals) may be incompatible with those assumed by staff notation, or the ion or any other traditional systemfor as Bob Snyder has written, ssel, flexible and efficient system that includes the option of a . Syntax or schemas? Comparing approaches to

Richard Widdess SOAS University of London (United Kingdom)

Abstract

In the publication Language and music as cognitive systems (Rebuschat et al. 2012), Aniruddh Patel (2012) argues that music and language employ shared neural resources for processing syntax, defined as the combination of structural elements in principled ways to form hierarchically organized sequences (cf Lerdahl and Jackendoff 1983; Jackendoff 2009; Rohrmeier 2011). In a response to Patel, Justin London (2012) argues that morphological and semantic features of linguistic syntax are not shared be broadly defined as a memory structure comprising an array of categories in a particular relationship (e.g. spatial or temporal), often including categories in different domains, and optional ectations about the shape of things or sequences of events

The two positions could be interpreted as opposing generative versus static, bottom-up versus top- down, recursive versus iterative approaches to understanding musical structure. Syntax and schemas, however, are not mutually exclusive concepts: they overlap, are both potentially hierarchical, and can be integrated in the same music. This dichotomy ignores the important role of formulaic composition in both language and music, in which particular sequences of constituents acquire the status of re-usable units (Zadeh 2012). Both authors, furthermore, refer to tonal harmony, leaving unexamined how syntactical and schematic musical processes operate cross-culturally.

Indian classical music is a well-documented musical system where these issues might be explored. -relationships, embedded in melodic formulas, and framed by scalar, contour, rhythmic and/or formal schemas; the structure rovisation, such as syntactic tree graphs, outerplanar graphs (cf. Finkensiep, Widdess and Rohrmeier 2019), distributional paradigms, or recursive expansion graphs, capture different aspects of musical structure, suggesting that syntax, schemas, and formulas can be combined in a multi-faceted understanding of Indian melodic discourse. Looking for the Middle Eastern Vezin in the Jazz Lead Sheet: resemblances between meter, feel and tempo in Ottoman/Turkish music and Jazz

New England Conservatory (USA)

Abstract

Transmission of the classical Ottoman/Turkish musical tradition up until the 20th century was primarily oral. However, the late 18th and 19th centuries saw an increased use of the Greek, Armenian and Arabic notation systems in Ottoman music. During this period notators can be seen searching for ways to translate the complexities of makam (mode) and usul (rhythmic cycles) while using the conventions of their respective notation systems. One of the tasks that the notators had to consider was the concept of vezin, a centuries old approach to meter, which was an integral part of the usul system. A comparative historical study of the sources indicate to me, as a performer of both jazz and classical Ottoman/Turkish music, that the concept of vezin in classical Ottoman/Turkish music and the conventions (often determined by performers) of feel and tempo as well as their consequences on meter in jazz exhibit similar sensibilities. However, parallel to Western staff notation finding general acceptance in classical Turkish music, the concept of vezin in the early 20th century disappeared from the practice of this musical tradition and has had no presence ever since. As a result, long before jazz came to prominence, and eventually developed it's own notational style, nature, transitioned to adopting the practice of indicating specific tempo markings in sheet music.

This paper will present a variety of applications of vezin by comparing notations and theoretical writings from the late 18th and 19th centuries while showing the resemblances between vezin and jazz lead sheet notations in order to argue that the disappearance of vezin from classical Turkish music helped transform the usul sytem into a fixed, rigid and much less performer controlled music- making tradition. 17

Abstracts

Wednesday 9 June 2021 Session 2A - Sonic Interactions The polyphonic duets of Eastern Flores and Eastern Timor: a detailed comparison

Philip Yampolsky Independent scholar (USA)

Dana Rappoport Centre Asie du Sud-Est (CASE/CNRS-EHESS) (France)

Abstract

While solo singing and singing in monophonic or heterophonic choruses are common throughout Island Southeast Asia (and polyphonic choruses are also found, though less frequently), singing in polyphonic duet is extremely rare. It is known only in two circumscribed regions in the islands one on Flores and one, some 450 km to the east, on Timor and also, farther afield (another 2,270 km east from Timor), in the Manus Islands east of New Guinea. All three traditions are characterized not only by the duet format itself, but by the pervasive presence of harmonic seconds (major, minor, and approximate), and the duets of Flores and Timor although practiced by speakers of contrasting language families have many other similarities as well. (The Melanesian tradition, with fewer similarities to the others, may for the purposes of our presentation be considered an outlier.) The presence of two geographically separate traditions, strongly resembling each other but remarkably different from any other (known) traditions in the 17,000 islands of the region, presents what Rappoport calls (2010) an enigma.

We propose to offer, in a combined, double-length paper, a detailed analytical comparison of the duet traditions of Flores and Timor. The presentation will feature field recordings and transcriptions derived from our individual research among Lamaholot-speakers in the Tanjung Bunga (TB) region of eastern Flores (Indonesia) and Fataluku (FL)-speakers at the eastern tip of Timor (Timor-Leste). When considered in broad terms, the traditions have a striking number of features in common. Yet when examined in detail, most of these features occur in contrasting forms in TB and FL. The ethnographic contexts also differ significantly.

Our aim is to highlight the similarities and differences, not to explain them. Nevertheless, one plausible hypothesis, backed up by some TB origin-narratives (though not yet investigated with regard to DNA), inescapably presents itself: that these two duet traditions were originally one, which in this seafaring region established itself in two locations and thenceforth developed independently. Thus the comparison we will present may illustrate the differentiation of musical dialects over time, and in any case it illustrates disparate development of structurally similar musical idioms. Sound Materiality and Rhythm Interaction in a Papuan Flute Music

Michael Tenzer The University of British Columbia (Canada)

Abstract

In this paper "Gomikail Bai Barok" a recording drawn from a celebrated disc of sacred flute-and- percussion music from the Madang region of Papua New Guinea (Johnson and Mayer 1979) furnishes striking material for multi-level analysis and reflections-upon-analysis. Made among a Iatmul group, the recording exemplifies a signature diversity characteristic of the longstanding mutual isolation and inaccessibility of cultures in the region. Such cultures received ethnographic attention decades ago (Gourlay 1978, Spearritt 1982), and more recently (Rumsey and Niles 2011). But scholarship has barely broached the autonomy and intimacy of the performance dynamics and aesthetics that issue from their habitus; and none has touched on this music specifically.

Augmenting the perspectives prior studies provide, digitally-aided transcription and sonic visualization technologies here allow a finer-- design, and its microtiming. The latter fluctuates as a function of the physical materials a garamut (slit drum), plus two long transverse bamboo flutes with but a single blowhole each. Being able to produce only two tones each grants the flute music, in its deliberate unfolding and irregular rhythm, a distinctive pitch focus and powerful sheer presence. The interactive rhythmic dance between the slow-speaking flutes and the adroit garamut also takes us into a realm of musical reflexes and split- second participatory actions. Together these situate the music in an iridescent temporality blending different qualities of passage, and in which the garamut's function swerves between metronome and independent polyrhythmic voice.

flute and garamut timings measured in tenths of a second. It shows the flutes moving in and out of synch with contrasting pulse streams and unmeasured continuities, with the garamut alternately searching, following, and leading.

The whole unfolds in a charged cultural space, for the music is (or at least once was) shrouded in secrecy as the voices of ancestral spirits, and played only at crucial late-night rituals by the few men allowed to even see the instruments. More broadly, it is an exemplar of a marked prevalence of duets and instrument pairing coming to be understood as significant throughout island Southeast Asia (Yampolsky 2015, Rappoport and Yampolsky forthcoming). The challenge for the analyst is to bring this gamut of factors together into a view sustaining awareness of macro and micro structures, cultural belief, sonic materiality, and the instinctive, instantaneous physicality of musical response in the ensemble. A goal of this paper is to seek holism and musical value in the exploration of multiple a A twofold analysis of Kantaomming music of Khmer people of Cambodia

Gianluca Chelini "La Sapienza" Università di Roma (Italy)

Abstract

Kantaomming is a music genre performed by the Khmer people of Cambodia during the first section of the end-of-life ceremonies. Although some groups include a singer in their line-up, the standard Kantaomming ensemble is constituted by 3 musicians respectively playing a gong chime (kong peat); a quadruple-reed oboe (srolai); and a percussive set composed by a barrel drum and two single suspended gong (skor thom and kong). Mainly due to the long period of war that made difficult to conduct research in Cambodia, the genre has not yet received sufficient academic attention, and the few article concerning Kantaomming have faced the topic of vitality and sustainability (Grant 2014; Grant e Sarin 2016). Starting from some transcriptions of pieces performed by various groups, in my presentation I will analyse Kantaomming music at two different level: the formal and structural organization, and the performative dimension.

In the first part of the paper I will focus on melodic structures, texture, and rhythmic and metrical organization of the genre: the description of such elements will make possible, on the one hand, to situate Kantaomming in the broader context of South East Asian music and, on the other, to glimpse the current transformation processes which the genre is experiencing.

In the second section of the presentation, then, I will drawn upon both musicological and ethnographical data to shed light on performing practice. According to my Kantaomming teacher, Pong Pon, one of the main characteristics of the genre is its flexible tempo. Even if the oboe, as the leading instrument, is primarily responsible for such flexibility, nonetheless it needs to be negotiated between the three musicians. Through a micro-temporal analysis of few selected pieces, I will try to identify recurrent temporal pattern which might be considered shared (yet unconscious) rules that enable the musicians to play entrained. 18

Abstracts

Wednesday 9 June 2021 Session 2B - Groove and Microtiming Aesthetic evaluation of timing patterns in music: A comparative experimental study across three styles and cultures

Rainer Polak Max Planck Institut for Empirical Aesthetics (Germany)

Abstract

Musicologists have claimed that the aesthetic appeal of musical rhythm depends on micro-rhythmic deviations from isochronous metric grids (Keil 1995, Prögler 1995). However, experimental studies have found hardly any evidence for that claim (Butterfield 2010, Davies et al. 2013, Senn et al. 2016) and an evolutionary predisposition for isochrony is widely assumed in music cognition (Merker et al. 2009, Ravignani & Madison 2017).

Here, we experimentally study for the first time the influence of musical style, - cultural familiarity and expertise, and their interaction, on the aesthetic evaluation of timing variations in music. We selected examples Malian jembe, Uruguayan candombe, and Euro-American jazz music, analysed their timings, and manipulated in isolation the structure of, and the deviations from, the metric grid as found in the examples. Manipulations included the original and artificial, e.g., exaggerated, smoothened, random, and quantized variations. We presented all three stimuli sets to over 200 participants in Mali, Uruguay, and UK, and asked them to rate their liking of the variations. Participant sub-groups involved expert musicians and non-experts in each country.

Results on the one hand indicate cross-cultural similarities. For instance, we found a general preference, across styles and groups, for minimizing the asynchronies between ensemble parts by quantization to a metric grid, indicating an aesthetic ideal of maximally tight synchronization rather familiarity and expertise in the appreciation of differently patterned metric grids. For instance, the original non-isochronous subdivision structure was preferred over other patterns, including isochrony, in candombe music by candombe musicians from Uruguay and in jembe music by jembe musicians from Mali, but not in Uruguayan candombe by Malians nor in Malian jembe by Uruguayans. That is, both groups privileged the original non-isochronous grids in their own but not in foreign music. By contrast, participants from the UK preferred isochronous grids in all styles. The interpretation of these and further findings affords fresh insights into the relation of microtiming and meter in African-diasporic music and the role of culture for the aesthetics of music.

Why do Turkmen musicians swing their 8th notes?

Dave Fossum Arizona State University (USA)

Abstract

In this paper, I examine microtiming in solo performance on the Turkmen dutar, a two-stringed lute from Turkmenistan. Drawing on a corpus of timing data from automatically-detected onsets in classic recordings of a number of pieces played by famous dutar players, I attempt to account for an apparent categorical distinction between two metrical modes in Turkmen music, one in which 8th and 16th notes tend to be subdivided evenly and one in which they are subdivided unevenly in a manner I analogize to swing rhythms in jazz (see figure 1). I draw on the concepts of beat-upbeat ratio (BUR; Benadon 2006) and upbeat-beat ratio (UBR; Butterfield 2011) to assess how theories as to why jazz musicians swing their 8th notes might also account for why Turkmen musicians rhythmic structure. While my study does not include empirical data on listener perception, the foreground a quarter-note or beat- level pulse, as evidenced by more frequent instances of quarter note-note level pulse. Butterfield further argues that lower UBRs lead to a sense of closure on the downbeat; my data likewise feature low UBRs at points of melodic resolution. The scholars further debate how to account for the phenomenon of BUR burststhe tendency of jazz soloists to perform lower BURs through the middle of a phrase but higher BURs toward the end of a phrase; while Benadon sees this pattern as resolving to relative synchrony with the higher BURs found in jazz rhythm sections, Butterfield suggests the higher BURs entail lower UBRs that bring closure at the end of a phrase. Finding the same tendency in Turkmen music, which includes no rhythm section (see figure 2 for comparative research on microtiming. Rhythmical Swing in Greek Musical Performance: Case Study on the Rhythmical Feel of Drama Region

Ioannis Marios Rizopoulos Independent Scholar (Greece)

Abstract

This paper addresses issues of musical perception in the performance practice of Greek traditional music. Focusing on the percussion performance, examining instances in which the appearance of the rhythmical swing is not an accidental event but a structured rhythmic pattern, repeated over a specific period of time.

Research question / Sub-questions: How to determine the rhythmical swing, observed in musical performances in Greece? / What are the research methods that can be used in order to define the rhythmical feel of Greek music?

My research centers on the highland region around the city of Drama, close to the northern borders of Greece and Bulgaria. Musical performances in this region have a strong affective component that can entrain the audience. Due to the use of rhythmical swing, percussion performers interact with other musicians and dancers; creating a complex but clearly distinguished rhythmical oddity that forms the rhythmical feel of the region.

Significant studies on microrhythm, music entrainment and empirical musicology form the main interest of this study. Regarding "groove", Charles Keil and Steven Feld (1994, pp. 22-23) expressed the experience of "being together and synchronizing with one's rhythmic sense". Research on music entrainment, that also applies to ethnomusicology (M. Clayton, R. Sager, U. Will, 2005), concerns the simultaneous interaction between a participant and an event, during which, the participant comes to partially shar studies regarding the rhythmical feel (I. Bengtsson 1974, R. Polac 2010), current analysis categorize pulse subdivisions into three levels (Small-Medium-Large), regarding their chronometrical durations. Based on the above, the rhythmical swing can be defined on the example of Drama region.

This study employs ethnomusicological fieldwork in order to gather information regarding the appearance of rhythmical swing and rhythmical feel in practice. The main research techniques used are participant observation, interviews, and musical participant observation together with local musicians in the context of local performance events. The audio and audiovisual recordings made during fieldwork, combined with archival audiovisual material, were subsequently transcribed and analyzed. Macro-, Meso- and Micro-rhythm: A Conceptual Framework to Study How Music Grooves

Kjetil Klette Bohler Oslo Metropolitan University (Norway)

Abstract

Groove research is polarized. Many ethnomusicologists tend to valorize process over syntax to study how music grooves as a cultural practice. Other scholars on micro-rhythm privilege computational and quantitative analysis to identify how music grooves at a micro-temporal level. Still others argue that musical grooves are better understood through analysis of interlocking musical structures. How can these three approaches be integrated to give a fuller account of how music grooves conceptually and empirically? This paper develops a three-fold model of macro-, meso- and micro-rhythm as a conceptual framework to study how music grooves as specific organizations of sounds in cultural practice. I apply this model to case studies of rumba guaguancó in Cuba and samba de roda in Brazil and combine computational-, ethnographic- and musical analysis.

Macro-rhythm is here understood as how sounds grooves socially in a given space by bringing people together through shared enjoyment. Temporally it operates at the level of minutes as descriptions of macro-rhythm correlates to a particular affective state created by larger chunks of rhythmic and social interaction. Meso-rhythm has a higher temporal resolution (usually between 2-4 meso-rhythm can be identified through music transcription and analysis and a typical rhythmic cell is composed of 8-12 syncopated accents. Different rhythmic cells commonly interact across frequencies and create a sensational totality that is more than the sum of the parts. Micro-rhythm refers to aesthetically significant deviations at the level of meso-rhythm that give a particular flavor to a certain accent that is difficult to identify using traditional music notation. It underscores how sounds groove by being phrased a bit behind or ahead of a certain expectation.

Preliminary findings suggest that samba and rumba groove thanks to interlocking temporalities at all three levels. It draws attention to the complexity of listening as rumba and samba aficionados pay attention to different structures of temporal resolution that are emically understood through aesthetic judgments like brincadeira, suingue and balanco in samba de roda and related notions in rumba guaguancó, such as timba, sabor and agua. 19

Abstracts

Wednesday 9 June 2021 Session 2C - Musical Syntaxes Pentatonic Signature Transformations in Chinese Music

Nathan Lam Massachusetts Institute of Technology (USA)

Abstract

The pentatonic scale (CDEGA) is fundamental to Chinese music theory, and so are the transformations from one pentatonic scale to another (Du 2019). Yet, the largely pragmatic labels for these techniques are as diverse as the musical contexts they appear in. Similar moves can be described using from a multitude of different perspectives, resulting in overlapping and sometimes confusing terminology.

The theory of pentatonic signature transformations uses the precise language of mathematical music theory to enrich, complement, and shed light on existing Chinese terminologies. The theory does so by making explicit the general principles that guide musicians and contextualizing pentatonic transformations in the entirety of possibilities.

Pentatonic signature transformations expand on the original (diatonic) signature transformations based on actual key signatures (Hook 2008). Despite the subsequent generalization from diatonic scales to other scales (Tymoczko 2013), specific cases differ widely in their application. For the pentatonic scale, there are 60 different transformations (12 notes × 5 scale positions), four of which are basic:

The bian and qing transformations are generalized sharps or flats adapted from classical terminology. Successive applications of them can generate all pentatonic forms under enharmonic equivalence.

This paper showcases four applications of the theory. First, the theory of pentatonic transformations provides fresh ways of understanding and listening to well-known songs. Second, it disambiguates key relations in debates on key names (weidiao and zhidiao) and modulations (xuangong fandiao). Third, it clarifies qupai modulations, especially the complex thirty-five-key cycle (chaoyuan) in Northeastern Shawm-and-Percussion Music (Dongbei Guchuiyue) (Li 1985). Four, it sheds light on the highly chromatic music of Li Yinghai and Bright Sheng that use pentatonic transformations as an organizing principle. Berimbau Tuning and Song Melody Capoeira: How do they Relate?

Juan Diego Diaz University of California, Davis (USA)

Abstract

The berimbau is an Afro-Brazilian musical bow used in various genres, mostly in capoeira, where it has been the signature instrument since the early twentieth century. Alone or in groups of three, knowledge transmission for practitioners. Each berimbau can produce two pitches separated by a minor or a major second. Practitioners typically tune each of the three berimbaus of the ensemble in three pitch levels: low, middle, and high. However, the intervals between those pitch levels vary depending on the individual, group, and context. Bow tuning is further complicated when combined with song: at one side of the spectrum, in commercial recordings players may tune the berimbaus forming chords over which they sing in related tonalities. At the other, practitioners may sing in any tonality and disregard bow tuning in live performances. This paper explores the largely unstudied relationship between berimbau tuning and song in early audio and video recordings of capoeira music in the mid-twentieth century, when capoeira music was codified. These include field recordings (Turner 1940-41, Leeds 1951, and Dreyfus-Roche 1955), documentaries (Filho 1954 and Moura 1968), films (Duarte 1962 and Rocha 1962), and commercial albums (Bimba 1962, Traira 1963, Parana 1963, Camafeu 1967, and Pastinha 1969). I argue that, contrary to conventional knowledge among practitioners and scholars, in the context of these early recordings, practitioners demonstrated great concern for berimbau tuning ain relation to song melody, yet in very different ways. Through transcription and analysis of selected pieces and excerpts, I propose a taxonomy of relationships between bow and song that may correspond to ideal musical aesthetics that practitioners held and could only control in recordings. This aesthetic is difficult to maintain in live performance due to the collaborative nature of music performing, where the roles of song leading and berimbau playing are constantly rotated between players with different skill, vocal register, and knowledge of these aesthetics. Text-Music Relationships in Un-- Tradition

Eshantha Peiris The University of British Columbia (Canada)

Abstract

The potential of drumming in South Asia to communicate texts has received increased scholarly attention in recent times. This paper broadens the discourse through an analysis of three musical piece--al Sri Lanka, drawing attention to the various ways in which musical rhythms can relate to poetic conventions.

- Buddhist ceremonies. According to up-country ritualist J.E. Sedaraman, the piece gains its ritual efficacy from the particular combination of auspicious tri-syllabic groupings (gana) inherent in its opening drum strokes; these efficacious groupings of long and short syllables have been prescribed in So includes Sinhala and Sanskrit words as well as non- verse is first sung, before the rhythm of the words is drummed as surrogate speech on the dawula and tammäṭṭama drums. Vannama is a type of composition with Sinhala text that begins with a sung fourteenth-century Tamil p--

While up-country musicians do not emphasize text-music relationships in performance, these associations suggest historical connections with other South Asian musics and worldviews, contrasting with ethnonationalist narratives that portray up-country traditions as uniquely Sinhalese- Buddhist. From a music theoretical standpoint, understanding un-texted up-country music as language allows for modes of analysis that do not depend on isochronous rhythmic frameworks. Tonal and melodic contour across contemporary Cameroonian idioms

Byron Dueck The Open University (United Kingdom)

Kisito Essele Catholic University of Central Africa (Cameroon)

Abstract

Composers of Catholic liturgical music in central Cameroon employ indigenous languages, make use of instruments based on native models, and draw on a range of older traditional styles. Following a precept established at the Great Seminary of Otele in the 1950s, they deliberately seek to respect the patterns of tonal accentuation in Bantu-language liturgical texts when composing melodies (Mba 1981: 15455). In the wake of Kofi Agawu's 1988 critique of "the received notion that speech tones determine melodic direction," this area of contemporary compositional practice merits attention as one in which African musicians, rather than European music theorists, pursue correspondences between tone and tune.

Idioms like those used in liturgical music are employed in several other contextstraditional song, mortuary ritual, village celebration, nightclub performance, and mass-mediated popular musicand music and musicians move between these spaces of performance. Such musical connections invite consideration of tone-tune relationships across these musical contexts, and in this paper, we will compare examples from liturgical music, lullaby, traditional mortuary song, and contemporary popular music in the Eton and Ewondo languages to see whether similar approaches to text are evident. Of special interest is the degree to which melodies appear determined by their texts, and whether liturgical music is stricter than (or relatively similar to) other contemporary musical practices in this regard.

Initial analysiscomparing liturgical music and lullabiessuggests that different idioms manifest a similar correspondence between melodic contour and tonal accent: a little over 60%. This is far higher than it would be by chance (that is, a little over 30%) and seems to be in keeping with the findings in Murray Schellenberg's (2012) comparative work on tonal languages and melody. At the same time, it seems lower than what might expected if musicians were pursuing some kind of strict isomorphism. 20

Abstracts

Thursday 10 June 2021 Session 3A - Repetition Timelines and their contexts: affect, improvisation, call and response

Chris Stover Queensland Conservatorium, Griffith University (Australia)

Abstract

This paper theorizes the interactive processes that determine how a given performance of timeline practices in which asymmetrical timelines play a legislative role, as one of several essential layers that together form a rich, multimodal ecological context. In this paper I develop three themes, all of which have important implications for music analysis. First is improvisation, which in timeline music proceeds largely as extemporaneous embellishments of style-specific prototypes. Second is call and response, a well-known but under-theorized rhetorical device in African and Afro-diasporic practices. The way I define call and response carefully recontextualizes and complexifies each term. Rather than a simple, causal call- then-response structure, I consider (1) multiple temporal trajectories for example, responses becoming new calls, or calls bifurcating into multiple concurrent responses and (2) transversal call- response connections. This term refers to relational impingements of concurrently ongoing performative strata; for exag performative layer leading to changes in timbral or micaffect, which I conceive as an always-ongoing movement of forces through which contextually participating bodies (human and otherwi --meaning subjectivities and cognition are both founded on a relational nexus that precedes them. Theorizing affect in this sense becomes a potent way of circumventing sticky questions of agency when analyzing interactive improvised music. My conception draws upon work in psychology by Stern (1985) and Frijda respectively, to describe genealogical factors that contribute to how a given body is likely to respond to a received stimulus. This concept is crucial for understanding, for example, how repeated gestures condition musicians to respond within interactive musical contexts, and how this largely passive process is a crucial part of developing expertise within a musical style. Variable-rhythm quale cycles in world music and their special properties

John Roeder The University of British Columbia (Canada)

Abstract

This paper proceeds from a definition of cyclethe basic unit of persistently repetitive textures that embraces the distinction that music theorists (e.g., Lerdahl and Jackendoff 1983) make between grouping and meter. Under this definition, a cycle may involve a series of events that are distinguished in qualia such as pitch or timbre, but whose durations vary with each repetition. The existence of such variable- ethnomusicologists (Sachs 1953, 18), but their special properties merit more attention from analysts.

For listeners, such repetition engages sequential memory (Margulis 2013) but not metrical entrainment: they can anticipate what kind of event will happen next, but not exactly when. Accordingly, quale cycling affords hierarchically structured inexact repetition that may create distinctive processes of gradual change that are not possible when rhythm repeats. The concept of a 1982)helps to characterize it.

Through three analyses, this paper fosters appreciation of these cycles and their idiosyncratic associated processes. The items, from diverse origins, have simple textures, making it easier to appreciate the effects of quale cycling, and are arranged both in order of increasing control over large-scale form and to show different ways that quale cycles can vary. The cycles seem designed to produce expectations so clear that extra events may be added without disrupting the continuity. Each example demonstrates an addition in a different part of the cycle, and a different process of gradual change. variable timing, tempo, and internal elaborations. om Papua New Guinea, just two events constitute the template, but onto each iteration the soloist prepends a varying number of other events, creating a large-scale process of departure and return. ipe orchestra embeds an indigenous notion of instrumental gender that affords hearing a formative process spanning multiple cycles, and explains some striking post-fix additions during later iterations. Repetition and rhythmic learning in transcultural musical practices

Amanda Bayley Bath Spa University (United Kingdom)

Abstract

Exchanging musical practices across different musical traditions or cultures immediately raises questions concerning the relationship between oral and notated traditions. These questions will be interrogated through an intercultural analysis of musicking and dialogue that examines the way ideas are transmitted, understood, translated and learnt through words, movement and sounds. For learning the rhythmic and melodic intricacies of an unfamiliar music, the rigidity of notation on the one hand will be considered alongside the fluidity of creativity and interactivity on the other. Ethnographic methods involve participant observation of workshops and rehearsals with members of the Hezarfen Ensembl -2020) (funded by the European Research Council). Qualitative analysis of video recordings from the workshops, complemented by notated sources, facilitate the development of new strategies for bridging cultures.

For musicians trained in Western classical music, when learning Turkish makam music, or folk music, notation plays a similar role to the lead sheet for jazz musicians. There the similarity ends, however, because in a Turkish context the emphasis is not on improvising around the notation but learning patterns, phrase shapes, nuances of articulation, dynamics, vibrato, bow strokes, and ornamentation according to an established tradition. Among the many roles that notation can fulfil in this context, examples will demonstrate two ends of a spectrum: how a melodic skeleton forms the basis upon which layers of ornamentation are communicated through oral transmission; and where transcription functions as a tool for learning rhythmic and melodic embellishments. Both methods are learned through repetition and copying, forcing players to listen differently and more intently. Time and time again: repetition and difference in grooves

Anne Danielsen University of Oslo (Norway)

Abstract

The focus of the paper will be analytical and experiential aspects of repetition and difference in grooves. Inspired by the philosophy of Gilles Deleuze, I will discuss the difference between static and dynamic repetition and develop the idea of repetition as production, which will then be applied to various musical examples of African-American groove-based music. 21

Abstracts

Thursday 10 June 2021 Session 3B - Affordance, attention and cognition Oscillations, Finger Stresses and Slides: Musical Instrument Affordances and the Karnatak Style

Lara Pearson Max Planck Institute for Empirical Aesthetics (Germany)

Abstract

A common notion in discourses on the South Indian concert style known as Karnatak music (Karnt̄ aka Saġ ta)̄ is that it is primarily vocalin nature. However, this assumption has been challenged by historians and anthropologists, such as Subramanian (2006) and Weidman (2006), who consider the idea to have gained prominence due to Orientalist influences. While the contemporary vocal concert format (typically a vocalist accompanied by violinist and percussionist) is undoubtedly the most popular performance format in Karnatak music today, I argue that the style itself is neither essentially vocal nor instrumental. Instead, I propose that the affordances of several historically important instruments (including the voice) have been influential in the formation of the style affordance being defined in this context as that which a musical instrument offers a person, considering the structures of both instrument and human body (drawing on Gibson 1979).

In this paper, I focus on the affordances of three instruments that have played significant roles in the development of ṇ analyse the physical movements required to perform some of the important gamakas (ornaments) alongside their sonic results, asking how the same gamaka differs in its production across different this, I examine reported stylistic influences between instruments and discuss how these have contributed to the contemporary style. Finally, I consider the significance of physical movement itself in musical meaning. The research reported in this paper draws on my experience of learning to play Karnatak violin and mridangam in South India (2007-2011) and subsequent years of research. Methods used include combined music and movement analyses from audiovisual recordings, interviews conducted with performers, and the critical analysis of relevant literature. Shared Expectancy Dynamics in Melodic Phrases from Across the World

Niels Chr. Hansen Aarhus Institute of Advanced Studies, Aarhus University (Denmark)

Marcus Pearce School of Electronic Engineering & Computer Science, Queen Mary University of London (United Kingdom)

Abstract

Recent years have seen an interest in inferring purported cross-cultural universals or statistical commonalities from large musical corpora (Savage, Brown, Sakai, & Currie, 2015; Mehr et al., 2019), sometimes relating them to pre-existing cognitive and biological biases (Ravignani et al. 2016). Studies of melodic structure have, however, primarily focused on arch-shaped or descending pitch contours (Huron, 1996; Tierney, Russo, & Patel, 2011) rather than on the underlying expectancy dynamics giving rise to these surface features.

Psychological and computational research on predictive processing offers novel methodological and theoretical perspectives. For example, it has been shown that low-probability events mark phrase boundaries (Pearce et al., 2010) and that entropy explains phrase completeness ratings and dwell- times in self-paced listening (Hansen, Kragness et al., in press). Despite psycholinguistic findings that entropy decreases in sequential sentence comprehension (Hale, 2006), expectancy dynamics during musical phrases have never been mapped. We propose that phrase boundaries partially arise from sudden increases in the uncertainty of enculturated listener expectations (Huron, 2006, p. 156).

To test this hypothesis, listeners' expectations were simulated on a note-by-note basis with estimates of entropy (uncertainty) and information content (surprise) from the Information Dynamics of Music Model (Pearce, 2005). Melodic phrases with cardinalities of 2-20 notes were sourced from 7,562 German, French, Yugoslavian, Swiss, Austrian, and Chinese folksongs from the Essen Folksong Collection (Schaffrath, 1995) and 1,638 Native American folksongs from the Densmore Collection (Shanahan & Shanahan, 2014), comprising 55,330 phrases in total.

The results show equisized entropy declines throughout phrases of different length with steeper declines in shorter than longer phrases. Whereas phrase-final notes are unsurprising overall, they generate notable peaks in entropy which are followed by relatively surprising phrase beginnings. Thus, while listener expectations grow progressively certain throughout phrases, the greatest fluctuations in surprise occur around phrase boundaries. This interplay of entropy and information content may underlie the cognitive dynamics of phrase segmentation. Generative Meter and Multivalence in Three Slavic Folk Tunes

Grant Sawatzky The University of British Columbia (Canada)

Abstract

This paper proposes an analytical approach to irregular phrase-rhythmic structures in three Slavic folk tunes. I describe anti-metrical motivic parallelisms and aperiodicities as typical features of the posit a method for describing irregularity in positive terms, by conceiving of meter and phrase type as generative rather than conformational schemas (Bonds, 1991). Issues of metric, and phrase- rhythmic irregularity have received much attention in the music theory literature, but mostly from a conformational perspective. This includes well known accounts of rhythmic irregularity in the music - structure. When meter is a conceptual object extrinsic from and/or conceptually prior to the musical stimuli, an irregular tune is inevitably described in terms of what it distorts, rather than what it creates.

In three short generative analyses I narrate how melodic, harmonic, and rhythmic groupings interact to create phrase rhythm regardless of whether the structures involved are periodic enough to establish hypermeter, or idiomatic enough to invite comparison to normative phrase lengths. For example, one of the tunesVorotarchykufeatures motivic parallelisms that instantiate a duple pulse in the first system, triple in the second, and a hybrid in the third. Negotiating the concluding -present duple/triple aspects undermines the relevance of either metric organization, alone. In it, as in other examples, the multivalent aspect is heightened because the motivic - -present grouping structures offer multivalent possibilities which mutually inform one another, imbuing these short and repetitive game-songs with their characteristic playfulness and creating a phrase-rhythmic whole greater than the sum of its parts. Effects of Meter and Tempo on Synchronization with Bulgarian Music: A Cross-Cultural Study of Tapping with Recordings

Daniel Goldberg University of Connecticut (USA)

Abstract

In this study, music students from Bulgaria and from the United States tapped along with Bulgarian folk music. Unlike the stimuli in many tapping studies, which have often used simple series of clicks or tones, stimuli were performances by Bulgarian musicians recorded by the author. Two recordings had time signatures of 7/8 but different tempos and rhythmic patterns, and a third recording had a time signature of 2/2. The tempos of these recordings were manipulated to introduce equivalencies so that, for instance, stimuli included versions of the two different pieces in 7/8 at the same tempo. results were analyzed using several descriptive methods. The study was not designed to isolate variables fully or to produce statistically significant results; instead, the exploratory approach allowed for naturalistic stimuli and for consideration of several rhythmic factors with data from a limited number of participants.

As expected, Bulgarian participants synchronized with the recordings more successfully than Americans did, but more fine-lso the recordings. The results also suggest effects of tempo and interactions between tempo and meter, especially for listeners unfamiliar with the musical style, as well as indicating that other musical factors besides tempo and meter, such as the clarity and pitch frequency with which the performers articulate certain metric layers, likely affect tapping responses. More generally, this study demonstrates the value of varied methods of experiment design and data analysis in cross-cultural research on music performance and cognition.

The commonality of underlying expectancy dynamics in musics from three continents suggests that psychological predispositions may have influenced the oral transmission of folksongs and that these could be stronger candidates for cross-cultural universals than more commonly studied surface features. 22

Abstracts

Thursday 10 June 2021 Session 3C - Poster session 1 EDM Analysis by Synthesis: The Case of Angolan Kuduro

Stefanie Alisch Humboldt Universität zu Berlin (Germany)

Abstract

Kuduro is a form of Angolan electronic dance music that is inextricably linked with highly -performative practices entail propulsive instrumental beats, a shouting vocal style called animação, and acrobatic and sensual dancing. Kuduro draws mimetically on everyday occurrences, sounds, images, and movements. As yet, music and dance practices of kuduro have been depicted superficially or cast as incomprehensible mayhem. Authors mostly claim that the sound of kuduro is irrelevant (Tomás 2013) or depict it in myopic analysis as comprising of exclusively straight metric levels (Sheridan 2014). In this paper I use a a multi-modal approach to examine the kuduro song-toque Fogareiro: Apaga Fogo ("BBQ Grill: Put the Fire out") by Noite Dia feat. Puto Lilas. To approximate the instrumental I rebuilt it in the FL Studio software that kuduro producers commonly use. The analysis by synthesis revealed that a ternary subdivision pattern is central to producing the lyrics, dancing and instrumental beat are excecuted in phase-shifted interlocking cycles of the same length that pivot on the first beat of the metric cycle. That fact that the different cycles of vocals, dance move and instrumental beat either land on or depart from this pivotal point produces the effect of a perpetuum mobile. Instrumental, lyrics, and toque appear to propel each other forward through metric and semantic pointing gestures. Instrumental and lyrics make us entrain to two cycles at once, so that the listening attention oscillates between them. The body movement of the toque facilitates integrating the two phase-shifted cycles through the fastest metric pulse and by placing the final dip of the dance move on the pivotal beat. In this paper show how out of the interplay of rhythmic surface, lyrical wordplay and dancing produces emerges complex and contradictory meaning and how the dance-move disambiguates meaning while the lyrics need to leave it obscured. I contexutalise this analysis through fieldwork data I collected in Luanda and Lisbon 2011-2013 and visual elicitations with the producer DJ Killamu. Investigating the Effect of Tempo on Non-Isochronous Subdivisions in Brazilian Samba

Mari Romarheim Haugen RITMO, Department of Musicology, University of Oslo (Norway)

Abstract

Recent studies have revealed that systematic non-isochronous duration patterns on sixteenth note level in samba, seems to be a prominent feature of this style (e.g., Gerischer, 2006; Gouyon, 2007; Haugen and Godøy, 2014; Naveda, 2011). Present study investigates the effect of tempo on the duration pattern on sixteenth note level in a performed samba groove. Some previous studies conducted in other genres have found that uneven duration patterns seem to become more even as tempo increases. It has been suggested that this effect might be due to perceptual constraints producing a lower limit for duration (e.g., Friberg and Sundström, 1997) or a reduction of rhythmic categories when two initially uneven short notes become so similar in fast tempi that they merge into one single category (Clarke, 1985).

Two samba performers from São Paulo in Brazil, a percussionist and a dancer, were recorded. The percussionist played a samba groove on a Brazilian hand drum called pandeiro and the dancer performed the dance in samba no pé style. The samba groove was performed at three different tempi: fast (133 bpm), preferred (100 bpm), and slow (69 bpm).

The results are based on an analysis of the recorded sound. The temporal positions of the played sixteenth notes were detected using the MIRtoolbox (Lartillot and Toiviainen, 2007). The results show that all the sixteenth notes were significantly different in all tempi, suggesting a medium/long shortmedium/shortlong duration pattern. We found that the second sixteenth note becomes relatively shorter and the fourth relatively longer as the tempo increases. This is in contrast with previous research, which suggest that non-isochronous duration patterns become more even as tempo increases.

We suggest that the non-isochronous duration pattern must become more pronounced when tempo increas pattern have to be consistent at a categorical level across tempi: the groove pattern is a pattern of duration categories and does not rely on fixed percentages or ratios. Future work will include more recordings in order to be able to draw more general conclusions. Tempo, Micro-tempo and Dynamics in Uruguayan Candombe Drumming

Luis Jure Universidad de la República (Uruguay)

Martín Rocamora Universidad de la República (Uruguay)

Abstract

The purpose of this research is to analyse the treatment of tempo in Uruguayan candombe drumming, and its relationship with dynamics. Tempo in candombe may vary from ca. 100 bpm (beats per minute) for a slow performance to around 150 bpm for very fast performances, with most characteristic tempos in the range of ca. 130 to 136 bpm. It is common to begin at a slow tempo, and then accelerate to reach typical tempos. After that, minor fluctuations are idiomatic.

involves both a sometimes very subtle raise in tempo and an associated increase in dynamics. This process entails complex mechanisms of interpersonal entrainment.

For this research, a database was used consisting of 36 recordings of groups of three to five drums, involving a total of 26 renowned performers representing different generations and traditional candombe styles. All the recordings had their corresponding files with metrical annotations, and a Python script was developed to calculate the tempo in bpm at each downbeat, based on the duration of the cycle to the following downbeat. These values were then used to plot a smoothed tempo curve. To represent the variations in dynamics throughout the recording, a loudness value per audio frame was computed based on an Aweighted power spectrogram in the mel frequencies. The obtained framewise loudness values were temporarily smoothed and expressed in decibel units.

Processing all the recordings in the dataset it was possible to identify different approaches to tempo and how it relates to dynamics: while some performances exhibited a high degree of stability throughout, in others the initial slower tempo was followed by an accelerando. Of special interest were the recordings with a pronounced variability in tempo, requiring a high degree of entrainment among the performers.

For comparison purposes, some recordings of Ewe drumming and Cuban rumba were also analysed. These traditions share two features that are absent in candombe drumming: the interaction of the drums with singers, and an explicit timeline pattern. The analysed performances were characterised by a high stability in tempo. The Phenomenon of Harmonic Rhythm in Seto Multipart Songs (South-East Estonia) as an Ancient Type of Traditional Musical Thinking

Estonian Academy of Music and Theatre (Estonia)

Abstract

This research has developed from my attempt to create a method for the typological analysis of Seto multipart songs (South-East Estonia). The goal was to find the representative features which would allow the identification of the tune types in their local and individual versions. The comparison of a large number of performances has led me to the conclusion that the most stable and specific attribute of the Seto tune types is their harmonic rhythm the phenomenon at the intersection of the pitch and rhythmic aspects of the Seto traditional musical system (Pärtlas 2006). My earlier research revealed this system to be characterized by the contradistinction of two harmonic complexes. The harmonic rhythm is the rhythm of alternation of these two complexes (Pärtlas 2001). The phenomenon of the harmonic rhythm is also found in other song traditions (Dorokhova 1987, Reznichenko 1987).

This paper focuses on the cognitive aspects of the harmonic rhythm, i.e. on the processes of musical thinking that underlie the particular performances. Since musical thinking is not a verbal process, and as traditional performers do not tend to analyze or verbalize their musical cognitive experiences, the main sources of information about these processes are the recorded performances, which materialize the musical thinking and conceptualization through patterns of musical behavior. The particular performances are unique materializations variants of the ideal conceptual model the tune type (Zemtsovsky 1980) , which seems to be experienced both as the sum of the variational possibilities and as the general idea of the tune composition.

In this paper I will demonstrate how the models of harmonic rhythm work in the tunes which are recognized and used by the singers as belonging to different types, but are very similar in all respects except harmonic rhythm, and how the same model can be realized in different musical scales. I will also show how the perception of harmonic rhythm regulates the melodic variation within the textural parts, and will discuss the nature and origin of Seto harmonic thinking through its interrelations with the specific features of the modal and rhythmic structure of the tunes. Bridging African and Indian Music: Southern Ewe and Carnatic Rhythm

Rajeswari Ranganathan City University of New York (USA)

Abstract

In this presentation, I perform a comparative analysis of selected features of West African and South Indian Carnatic rhythm, and demonstrate compelling points of affinity in conception and performance.

Features of traditional African music such as polyrhythm and virtuosic drum solos have been recognized as markers of keen rhythmic awareness (1). Scholars have observed how layers of rhythmic complexities operate over an underlying steady rhythm in African ensemble performances. In the Carnatic tradition, complex rhythmic patterns are conceived with reference to the tala, the rhythmic parameter and underlying steady referent for all forms of metered compositional and improvisational segments.

A key similarity between Carnatic and African rhythm is the rhythmic tension felt by listeners due to the presence of an anchoring layer of rhythm that undergirds the complexity on top. I discuss three areas of strong correlation between African and Carnatic rhythm: a) Embodiment: Timeline and Tala (2), b) Aesthetics: Temporal perception, rhythmic tension (3), metrical conflict (4) and c) Improvisation: Lead drum narratives (5). The comparisons draw from analyses of rhythm based on my experiences as a Carnatic musician, and available scholarship on West African and Carnatic music. ------

1. Kubik on off-beat relations to timeline (Kubik 2008), Agawu on contrametric accents (Agawu 2014), various kinesthetic manifestations in dance introducing temporal dualities (Locke 1998)

2. Examples will be shown comparing the standard pattern with Rupaka tala, with stroke variation examples

3. -Saharan African music and the three levels of perception in the Carnatic tala: maatra/akshara, objectified reference beats and cycle of tala (Kubik, 2008)

4. a) Concept of cross-rhythms emerging naturally in enculturated minds in both African and -e off-beat rhythmic or melodic phrasing in Carnatic music, c) Grouping and meter in African music vs nadai in Carnatic music, where complex patterns are either heard or created over an underlying timeline/tala pattern

Josephine Simonnot Centre de Recherche en Ethnomusicologie, CNRS (France)

Abstract

music recorded all over the world from 1900 to the present day. Today, this collection stands among the most important ones in Europe : about 55,000 sound files are available in a database on line : https://archives.crem-cnrs.fr/ . 30,000 recordings of world music are on free access for the public : https://archives.crem- cnrs.fr/archives/full_access_items/

Managed by the Centre de Recherche en Ethnomusicologie (CREM) of LESC ( CNRS / Université Paris Nanterre), these Sound Archives database is accessible through an "open source" web platform. The collaborative nature of the platform enables users to continuously enrich the description of the audio or video documents.

Since 2013, this database offers the opportunity to develop and improve computational analysis tools, in order to help the archiving process and to facilitate the search for musical information in the sound content: speech detection, singing voice detection, music detection, monody/polyphony detection. The sound visualization is also helpful to the musical transcription. Some plug-in tools are freely usable directly in the streaming audio player and others require an user account. In this poster, we will show examples of innovative analysis tools generated by this sound database with the DIADEMS project (Description, Indexation, Access, Document EthnoMusicology and Sound), a French Musical Information Retrieval research project, and also projects with the Queen Mary University and the New York University. The benefits of those collaborative works apply to numerous aspects of the field of ethnomusicology, ranging from musical analysis to comparative anthropology of music, as well as to the fields of linguistics and musical acoustic. (Temperley 2000, Agawu 2003, Kubik 2008, Chernoff 1979, Ladzekpo 1995.)

5. A comparison of Gahu drumming with the mridangam tani avartanam narrative in Carnatic music (Locke 1998, Nelson 1991). 23

Abstracts

Thursday 10 June 2021 Session 3D - Poster session 2

Matthew Arndt The University of Iowa School of Music (USA)

Abstract

It has been said that in the distinctively polyphonic, three-voice chant from the Republic of Georgia, and proposed models of ornamentation do not account exhaustively for the phenomenon. If we cannot even agree on how many modes there are, then there is clearly a research problem. What is

This st particular kinds of Gestalten called mukhlebi, which are mentioned but not distinguished or ime n.d.); these kinds I call - school chants claimed to be examples of the three increasingly ornamented kinds of chant (Ekvtime n.d.; Chkhikvishvili and Razmadze 2010), I analyzed their meter and clause structure, I measured all the melodic intervals, harmonic progressions, and motive statements using the computer-aided musicology toolkit music21, and I tested all correlations between these data for significance.

three kinds of chant: one claim attends more to certain stylistic similarities, another to certain differences. Further, I arguewith examplesthat ornamentation consists in overlays and substitutions of certain motives in all of the voices of a clause. Regardless of whether one calls the that they are permeated with traditional motives, and canonicity is a shared concern behind different clause can appear as a single pair of motive statements; that may be why the same word, mukhli, can refer to both clause and motive. This understanding may aid in effective editing, performance, and composition of chant. Musical modes as statistical modes: classifying modi in Gregorian chant

Bas Cornelissen University of Amsterdam (Netherlands)

Willem Zuidema University of Amsterdam (Netherlands)

John Ashley Burgoyne University of Amsterdam (Netherlands)

Abstract

middle ground between melodies and scales (Powers et al., 2001). Several recent studies investigate whether modes can be detected automatically in Turkish (see e.g. Bozkurt, Ayangil, Holzapfel, 2014), Iranian (e.g., Heydarian & Bainbridge, 2019) and Indian (e.g., Gulati et al., 2016) art music. received comparatively little attention. The current study addresses that hiatus.

We study automatic mode classification in two large corpora of Gregorian chant: the Cantus database (~60.000 melodies) and the Liber Usualis (~2000). We evaluate the only prior study we are aware of (Huron & Veltman, 2006) on this much larger dataset, and address some of its criticisms (Wiering, 2006). Moreover, we quantitatively analyze several Medieval procedures for mode classification, and propose a new method using note-group frequencies (i.e., a bag-of-words model). When we apply our new approach to melodic contours rather than pitches, we can separate the melodic and scalar aspects of modes, something not possible using pitch class distributions (Huron & Veltman, 2006).

Preliminary results suggest that our new method improves mode classification, even when only using melodic contours. Still, modes seem to be fuzzy categories: some chants are perfect examples of their mode, but others have an ambiguous mode. Although this can be explained historically, it also melodies in a given tradition. This aligns with cognitive theories proposing that melodic structure is learned statistically (Pearce, 2018). The Nava Mugham Beyond: Azerbaijani Musicians on a Mission to Recover the Lost Ideal

Polina Dessiatnitchenko Harvard University (USA)

Abstract

In this presentation, I trace the dramatic and intriguing fate of Azerbaijani mugham nava, described today as one of the most sophisticated mystical ghazal poetry is suitable for nava and it must be delivered with precise aruz metrical patterns to induce profound interpretative and imaginative engagement. Nava has accrued much affective value in the post-Soviet milieu because it represents the lost ideal, having been removed from the official Soviet curriculum due to its tie to Iranian classical music and Islamic rituals. Since the 1990s, with the collapse of the USSR, there have been ongoing and yet unsuccessful attempts to recover this mugham in its vocal variant. The latest attempt to restore nava was by singer Fergana Gasimova in 2015, however, in the massive public debate following the performance, it was decided tha critique was led by tar masters who are successors of lineages that trace back to the pre-Soviet era and who claim to be the sole inheritors of nava passed on underground. I analyze the musical structures and present-day discourses related to nava in order to shed light on the emerging post- specifically, I look into (a) the incorporation of melodies from vicinal modal systems in Iran and Turkey, (b) the preference for complex ghazal poetry and meanings rooted in Islamic thought, (c) emphasis on precise performance of poetical aruz meters, and (d) creation of affect eshq (passionate love) as four main sought today. I also show that the Soviet reforms that broke the connection to the East present an insurmountable obstacle for the recovery of nava. I argue that what is important, however, is that creativity produces a powerful reaction to the Soviet system, an experience of loss, and the desire for the lost ideal. Nava remains the beyond, and as the collective musical search for it continues, this mugham gains further affective power. North American Adaptations of Zen Chanting: Four Strategies

Stephen Slottow University of North Texas (USA)

Abstract

Japanese-derived Zen Buddhist practice has its own indigenous music: the ritual chanting which, along with bells and other percussion instruments, forms a part of virtually every Zen ceremony and formal event. Like the other aspects of Zen teaching and practice, Zen chanting has undergone a widely varied range of adaptations as part of its migration to and continuing development in the North American context. These adaptations can be classified under the following strategies: (1) imitation, (2) simplification, (3) eclectic experimentation, and (4) combination with pre-existing Western popular or religious musical styles. This paper will examine examples and of each of these categories, along with the strategies, rationales, and considerations involved in transplanting Japanese-based Zen Buddhism to a North American context. On The Syntax of a Compound Maqam in Turkish Art Music: Another Look at Maximal Projections in Musical Generative Grammar Studies

O Independent Scholar (Turkey)

Abstract

Since Fred Lerdahl and Ray Jackendoff's Generative Theory of Tonal Music (GTTM) applied general framework of generative syntax to Western music, some promising approaches have appeared in the field for the last decade (Rohrmeier, 2009; Katz, Pesetsky, 2011; Mukherji, 2014). In these works, the main problem is that the principles of human musicality, as studied in generative syntactic music theory, needs more concepts borrowed from generative linguistics. In addition, there is still a need to have more collaborating studies in how principles of generative grammar work with different musical cultures. Accordingly, I analyze a compound maqam in Turkish Maqam Music arguing that cadences are the result of inflections in a musical continuum; thus, inflections are a precondition for cadences that have a potential to be not only universal variables but also one of crucial maximal projections in music compositions. To demonstr how certain inflections generate a compound , which is written - Abdulkadir Merâgi (1430---i Men. A reduction process, which provides a background sketch of the piece with some dependencies of tones, paves the way of some binary operations in principles of the generative syntax. While inflections take cadential progressions as complements, they open an onset position in music syntax and assign a tonal or modal role to a related voice in the beginning of the piece. At the last stage, inflecModP Onset oncepts of generative syntax to music theory that brings the analysis into dialogue with subject and predicate arguments, which are associated with semantic content of tones in maqams. The potential outcome of the present paper is twofold. First, it extends the array of generative grammar studies in music towards Turkish Maqam Music. Second, it offers another look at maximal projections in this vein of works. The realisation of linguistic tones in singing in Chaozhou: An observational study

Xi Zhang* Centre for Music and Science, University of Cambridge (UK)

Ian Cross Centre for Music and Science, University of Cambridge (UK)

Abstract

Chaozhou dialect, a branch of Southern Min Chinese, is a tone language with eight tones and a wealth of tone sandhi. The tones may be expressed as level tones and contour tones at different tonal registers of high-, mid-, and low-pitch; their different patterns can be expected to influence the inging in Chaoho. Thi pape foce on Chaoho inge ealiaion of one in an observational study. The collected data were analysed to examine 1) F0 change of tones in singing, and to investigate how much effect on F0 change was due to 2) vocal training; 3) beat and duration; 4) intervals. Tones are described below using the numerical representation of Chao's tone-letter system.

Results show that 1) high-pitch contour tones with a large registral span (e.g., 35 and 53), end o ehibi an F0 change of ca. hee emione. F0 change in leel one, i.e., 11, 33, 55, hile smaller than most of the contour tones, were realised musically as rising or falling. Some surface tones represented similarly in both citation and sandhi forms were realised differently between the fom. 2) Vocal aining a moe likel o affec he pich change of falling one 42 and 53 han other tones. 3) There was an effect due to metrical position and duration in relation to some, but not all, high-, mid- and low- pitch tones. An interaction between the falling tone and its position being phrase-final with prolonged duration is hinted at; it appears that the lengthening of the tone in singing might have contributed to the flattening of the falling contour. 4) Results also hint at an interaction between interval size, direction and position, which requires further exploration.

Keywords: Chaozhou; F0 change, contour tones; level tones; tone sandhi; vocal training; singing in Chaozhou; beat and duration; interval size; interval direction; interval position

*Contact: Xi Zhang, [email protected]

Introduction Chaozhou dialect, a branch of Southern Min Chinese, is a tone language with eight tones and a wealth of tone sandhi (see Table 1). The tonal patterns can be expected to influence the singing in Chaozhou. Previous studies have explored the match of pitch direction between a sequence of tones and a sequence of notes (Richards, 1972; Mendenhall, 1975; Yung, 1983; Wong & Diehl, 2002; Kirby & Ladd, 2016); however, how tones are realised within individual notes in actual singing practices is rarely discussed.

Method Participants. Participants were divided into groups of professional singers (n=19) and non- professional singers (n= 15), based on whether they 1) had received more than five years of vocal training, 2) are still practising or performing, and 3) self-identified as professional singers. Materials. A Chaozhou song created based on a traditional Chaozhou nursery rhyme by a local composer and rearranged by the first author for the research purpose. Procedure. We textgrided the sung syllables in Praat and extracted their F0 values at 10 milliecond ineal b ing X Poodpo (2013). A data point that reflects the F0 change was measured by F= sign (fMax-fMin), where the sign indicated the direction of pitch change as either upward (+) or downward (-). The value of F were measured by semitones. The collected data were analysed to examine: 1) F0 change of tones in singing, and to investigate how much effect on F0 change was due to 2) vocal training; 3) beat and duration; 4) intervals.

Results and discussion High-pich cono one ih a lage egial pan (e.g., 35 and 53), tend to exhibit an F0 change of ca. hee emione. F0 change in leel one, i.e., 11, 33, 55, hile malle than most of the contour tones, were realised musically as rising or falling. Some surface tones represented similarly in both citation and sandhi forms were realised differently between the forms. Vocal training was more likely to affect the pitch change of falling tones. There was an effect due to metrical position and duration in relation to some, but not all, high-, mid- and low- pitch tones. An interaction between the falling tone and its position being phrase-final with prolonged duration is hinted at; it appears that the lengthening of the tone in singing might have contributed to the flattening of the falling contour. Results also hint at an interaction between interval sizes, directions and positions, which requires further exploration.

Xu, Y. (2013). ProsodyPro A Tool for Large-scale Systematic Prosody Analysis. In Proceedings of Tools and Resources for the Analysis of Speech Prosody (TRASP 2013), Aix-en-Provence, France. 7-10 24

Abstract

Thursday 10 June 2021 Session 4 - Keynote Lecture David Huron: A Biography

David Huron is Academy Professor Emeritus at the Ohio State University. He was formerly Distinguished Professor of Arts and Humanities in the School of Music and Professor at the Center for Cognitive and Brain Sciences. For two decades, Dr. Huron was head of the OSU Cognitive and Systematic Musicology Laboratory. Since graduating in 1989 from the University of Nottingham (in England) with a Ph.D. in musicology, he has produced nearly 200 scholarly publications, including three books. David has received a number of awards over the course of his career, including lifetime achievement awards from both the Society for Music Theory and the Society for Music Perception and Cognition. Among other distinctions, he has been the Ernest Bloch Visiting Lecturer at the University of California, Berkeley, the Donald Wort Lecturer at the University of Cambridge, the Astor Lecturer at Oxford, and recipient of a Fulbright Research Chair. KEYNOTE ADDRESS

Worlds of Analysis: A Cognitive Approach

David Huron Ohio State University (USA)

Abstract

This presentation addresses three broad issues in world music analysis from a cognitive perspective. First, a dozen contrasting analytic aims are distinguished. Second, we consider the question of what it is that we analyze. In particular, the presentation will focus on the thorny concept of a "work" and offer a cognitive account of the origin of conceptual distinctions such as works, renditions, genres, and cultures. Finally, the presentation endeavors to clarify what is meant by an analytic feature. The concept of a feature is illustrated through the results of a recent major cross-cultural study of melody. 25

Abstracts

Friday 11 June 2021 Session 5A - Musical Evolution Special Session on Music and Evolution Sponsored by the AAWM 2020 Local Arrangements Committee

Sylvie Le Bomin (Chair) Musum national dHistoire naturelle, Muse de lHomme (France)

Tim Sharp Trevecca University (USA)

Leslie Tilley Massachusetts Institute of Technology (USA)

Thomas Pooley University of South Africa (South Africa)

Abstract

All human populations practise music, some in the form of a written and explicitly theorised repertoire, for others in a purely oral form with an implicit theory, and for still others in both forms.

In written societies (Chinese, Tibetan, Indian, Western, etc.), theoretical writings make it possible to reveal the strategies and choices of composers and performers in the manipulation of musical parameters to give characteristics to their compositions, to those of their regions, their types of repertoire or their periods. This is not the case in societies with an oral tradition, where there is very little verbalisation of the existence of strategies and choices made in the creation of music to mark distinctions or characterisations of a composer, a repertoire, a population, a region or an area. However, the differences that are easily perceptible to both a traditionalist and an informed listener, and which allow identities to be given to musical practices, show that these choices exist and can therefore be considered as revealing a history of these musics at different levels and scales.

It was at the end of the 19th century, with the Berlin School, that a comparative ethnomusicology was born, based on a selection of elements of musical language (Stumpf, Abraham and von Hornbostel. (Nattiez 2004). The Kulturkreislehe (theories of culture circles) applied to the field of music aims to study the diffusion of specific musical traits throughout the world. Carl Sachs, for example, developed a theory of musical evolution based on the isolation of a trait and studied its manifestations throughout the world on the basis of archival recordings.

The work of ethnomusicologists in this perspective is based on a strictly exogenous view of musical analysis. In fact, this work nowadays appears to be based on primarily speculative ideas, which is also evident from an examination of the work of Alan Lomax (1968). Based on a limited number of musical parameters (37) including a determined number of variables (13) that can be determined by listening analysis by both specialists and neophytes, he proposes a stylistic typology of songs throughout the world. He deduces cultural areas that he cross-references with a cultural typology developed on the same principle by P. Murdock (1962). As Nattiez (2004) rightly points out, the approach raises a number of theoretical, methodological and, we would add, ideological questions in view of certain conclusions.

In Europe, in the first half of the 20th century, Bartok, Kodaly and then Brailoiu carried out an intensive collection of several thousand pieces from the European continent. Once transcribed and analysed with the conceptual tools of the time, the aim was to identify shared features within a corpus and to deduce a system of filiation and again a cultural typology.

Brailoiu was the first to envisage updating the rules of musical systematics on the basis of clearly defined theoretical and methodological principles. Based on the study of variation, which he conceived more or less as a process of musical evolution, his work focused on the analysis of rhythm and pentatonic scales.

In the second half of the twentieth century, American and European ethnomusicologists developed the analysis of musical structures, no longer describing musical styles and making typologies, but rather revealing the rules of the musical systematics of the heritages studied.

Since the beginning of the 2000s, various researchers have come closer to the life sciences and cognitive sciences to open up new research perspectives on musical evolution. Some are interested in the search for universals by privileging the study of large databases and thus a second-hand corpus; others are attached to the understanding of musical transformations and changes on the scale of populations or sub-regions. In the same way that we first had to work at the level of the gene to understand the universal functioning of the genome, we can consider that we need to understand the evolutionary functioning of numerous musical traditions in order to build models to be tested and eventually to envisage a universal musical functioning like a genome.

This is how we as different researchers dedicate ourselves to these kind of studies following Bruno Nettl, Jean During or Jean-Jacques Nattiez, who, while not using the latest tools allowing to test evolutionary models, felt that the musical resemblance should not only be interpreted in terms of borrowing, but could also reveal a common ancestry of musical practices and therefore possibly of the populations that are the holders of them.

Different approaches can then be envisaged and this is what we wanted to present through this panel.

Thus, Tim Sharp, as a musician, composer and collector of musics from the origins of American folk music, retraces the path of certain standard musical motifs, the Run, and thus reconstructs both the origin and the processes of transformation and dissemination of folk musical traditions that are founders of regional styles, particularly here in Appalachia.

As an ethnomusicologist specializing in Indonesian music, Leslie Tilley also focuses on the micro- musical level by studying variation as a process of transformation, showing how musical systematics as a method of fine analysis allows us to consider the selection of transformations, their integration into the tradition, and thus their impact on musical evolution. By seeking to assimilate concepts from evolutionary biology, her approach allows for a serious renewal of the reflection on possible analogies between biological and cultural evolution.

With Thomas Pooley, we take a long-term perspective. From the contemporary songs of the Zulu populations of South Africa, he uses phonetic methods to transcribe and analyze the melody and prosody of the songs. He thus considers the complexity of music and the conditions of its emergence from a cognitive science approach. The G-Run: The Genome of Appalachian Folk Music

Tim Sharp Trevecca University (USA)

Abstract

The G-Rn is a disincie rn or fill heard in pracicall eer traditional bluegrass song that can be played on the guitar using a G chord. In its original form, it is a six-note run played at the end of a verse or chorus, consisting of the pentatonic notes Do, Re, Mi, Sol, La, Do.

The G-Run punctuates the song and serves the same purpose as an exclamation point at the end of a paragraph, leading to the conclusion or cadence of a verse or the enire song. Leser Flas G-Run can be traced back at least as far as the mid-1930s, when Riley Puckett played a version of it on the August 8, 1935, recording of Blue Ridge Mountain Blues. On June 15, 1936, Zeke Morris played his version of the guitar run when he and Wade Mainer recorded If I Can Hear My Mother Pray Again. Lisening closel o Bill and Charlie Monroes Ocober 12, 1936, recording of Roll in My Seet Babs Arms, one can hear Charlie playing something that approaches the Lester Flatt G-Run. This standard fill outlines the pentatonic underpinnings of a great many tunes that formed the early canon of Appalachian folk, country, and bluegrass music. Are Versions an Eolution?: Analyzing Transformation in Improvisations and Cover Songs

Leslie Tilley Massachusetts Institute of Technology (USA)

Abstract

The concept of evolution has a fraught history in ethnomusicological circles. But recent work by Savage (2019) and Grauer (2006), among others, has demonstrated the power of biological models to address questions of musical evolution. In this paper, I use evolutionary concepts not as direct analogs but rather as metaphors for elucidating smaller-scale musical transformation. Drawing both from my longtime research on collective improvisation in Bali and my new forays into popular music covers, I offer three potentially fruitful parallels for music analysis.

First, borrowing concepts from biological inheritance, I think through questions of musical transmission. Repurposing notions of reproduction, recombination, and gene flow, I trace the pedagogical lineage of several Balinese kendang arja musicians to better understand each e individual adaptations of an early 20th-century style. I then extend these concepts to questions of iheiace i Ti Am 2001 ce album Strange Little Girls, unpacking the complex concept of ae for recorded popular music, and positing a set of both musical and extramusical features that might constitute inheritance in cover songs.

Next, borrowing concepts from biological mutation, I think through methods for musical variation and innovation. Returning to kendang arja, I show four contrasting processes of musical transformation through which improvising musicians adapt musical models. I then turn this analytical lens back to Amos covers, thinking through ways my framework might need to be reimagined to better suit the multilayered models of recorded popular music.

Finally, borrowing concepts from biological competition, I think through questions of musical reception and selection. I first explore the ways in which historical trajectories of influence can provide insight into the selection of musical innovations among performing musicians. Then I turn to questions of audience reception, exploring how the varied selection and acceptance of musician innovations across diverse listener ecosystems can inform an analytical approach to these musical transformations.

Taken together, these speculative elai i he aliaie eial f bilgical eli quantitative concepts and terminology aim to further break down disciplinary barriers, providing fresh ways of analyzing musical transformations. Cognition, Evolution, and the Analysis of Tone Systems in Sub-Saharan Africa

Thomas M. Pooley University of South Africa (South Africa)

Abstract

Recent studies of music and biocultural evolution have sought the origins of music a million or more years back in the human lineage. A broad range of evidence from archaeology, evolutionary anthropology, neuroscience, and related disciplines has been used to demonstrate a deep and complex emergence. The insights gained from this historical perspective provide a rich context for investigating the study of musical capacities in contemporary cultures. This is where scholars in ethnomusicology and music cognition have the opportunity to work together in advancing our understanding of music and mind across cultures. How might the analysis of world musics contribute to our understanding of these capacities for music and complex thought? In this paper, I focus on studies of tone systems in sub-Saharan Africa, and what they tell us about tonal encoding of pitch. Drawing on field recordings of Zulu song, I use methods of phonetics to transcribe and analyse melody and song prosody. I also consider how the study of systems in situ decentres theories predicated on the conventions of Western common practice. This cross-cultural perspective feeds back ino o appeciaion fo mic complei and he nae of i emegence. 26

Abstracts

Friday 11 June 2021 Session 5B - Indonesian Musics Egalitarian Harmony: Curated Music Theory in Pop Batak

Julia Byl University of Alberta (Canada)

Abstract

the region. In this logic, regional pop supplants local musical traditions with a stripped-down harmonic language cribbed from Western pop, and any traditional sensibility is audible only in the few measures between phrases or in an anodyne instrumental break. Some Pop Batak recordings exhibit these style traits, and indeed, may have formed them nationally: Pop Batak is one of the most influential and natural hybrid pop traditions in Indonesia, due to the history in North Sumatra of Western choral traditions taught in the German Lutheran church. Facility with Western harmonic language, together with a preference for an open vocal timbre, allowed Batak musicians to assume a major role in forming Indonesian as well as regional popular preferences.

The narrative of extant Indonesian popular traditions uncritically accepting Western techniques, though, needs rethinking, especially in North Sumatra. In the post-war period until the late 1990s, we can see in Pop Batak a tradition of creative engagement with Western compositional techniques, including novel harmonic moves and subtle three-part vocal arrangements. Crucially, these styles and techniques were not imported uncritically as a way to gain cultural prestige. Rather, they were adopted strategically, in ways that might align with the inner-workings of traditional gondang gong- chime music, or with vocal practices with an organic claim on Western harmonic languages. I train my analyses on the mid-century compositions of Nahum Situmorang, and on the 1990s vocal arrangements of Trio Amsisi 2000. As both of these repertoires are still sungand rearranged--in Toba Batak front porches and palm liquor stands, I will also use some of my field recordings. In doing so, I aim to show that neither harmonic knowledge nor pop borrowings should be seen as music making. Rather, I argue that there is something more egalitarian going on: that the hybridity of Pop Batak has been formed by a broad-based understanding of the compositional techniques and cosmopolitan musical references of this rather rich and varied tradition. Harmonic Elasticity in Indonesian Kroncong: An Analysis of Lokananta Recordings Between 1957 and 1983

Hannah Standiford University of Pittsburgh (USA)

Abstract

Kroncong, an Indonesian string band music, is famous throughout the archipelago as it was used as a political tool to build a sense of national identity after Independence. It is often known as a music of nostalgia although it has been experiencing a minor resurgence since the early 2000s. Lokananta, a government-run recording studio in Surakarta, Central Java, was central to the production and dissemination of this genre during its heyday in the 60s and 70s. Kroncong includes three basic forms, kroncong asli, langgam kroncong, and stambul, each of which have fixed harmonic structures. Kroncong asli uses a 28 bar chord sequence, embellished with additional preludes and interludes, that dates back to the early 20th century. While the lyrics and melody vary for each song, the basic harmonic and phrase structure within the repeating 28 bars has remained essentially fixed. Yet musicians have developed sophisticated and subtle ways to elaborate this basic, fixed structure, as demonstrated in the Lokananta discography.

This presentation will examine harmonic variations within the Lokananta corpus, focusing on kroncong asli recorded between 1957 and 1983. The corpus is divided roughly into two segments: a set of 78 tracks intended for release on vinyl between 1957-1960 and a set of 130 tracks to be published as cassettes between 1972-1983. Publication discography and recordings were acquired directly from Lokananta. Each recording will be analyzed analysis comparing these two segments shows that chords beyond the typical I, IV, V, and II progression became more common as decades progressed. Aside from this data-based analysis, I will provide a critical reflection on the influences of increased access to foreign recordings and changing forms of pedagogy. This work aims to address a paucity of analytical approaches to Indonesian popular musics as there is relatively little available in comparison to gamelan scholarship. Focusing on a corpus of 208 recordings of kroncong asli, this paper will demonstrate how musicians impart subtle yet significant innovations to what is perceived as a fixed musical form. Gridless Grooves: Cello-Drumming in Indonesian Langgam Jawa

Andy McGraw University of Richmond (USA)

Abstract

At a previous meeting I presented preliminary results from a comparative analysis of microtiming in langgam Jawa (a genre of kroncong) cello-drumming and Javanese ciblon kendang drumming. While cello-drumming is ostensibly based upon ciblon patterns, I identified an apparently opposed -keeping instruments (such the cuk ukulele); kendang players tended to play behind time-keeping instruments (such as the peking metallophone). These results were based on a small sample of three kroncong recordings and one gamelan recording. My 2020 presentation will significantly revise these findings based on a larger corpus of new recordings made in Java in 2018. These new findings primarily point to the comparative independence of both cello and ciblon onsets from the near-isochronous grid established by time-keeping instruments. However, rather than characterizing their grooves as filling a continuous, gridless, space between goal tones (seleh) in ways distinctive to each instrument.

Background:

Kroncong, an Indonesian string-band music, evolved from the introduction of Western string instruments to the archipelago beginning in the early sixteenth century. As compared to gamelan, the ethnomusicological literature includes few examples of the analysis of Indonesian popular music such as kroncong. Although Yampolsky has analyzed kroncong harmonic structures (1990, 2010), detailed analyses of langgam Jawa remain rare. This presentation redresses the lacunae.

Methodology:

I will analyze cello and ciblon onsets derived from recordings made in Java in 2017 and 2018. These are compared to the onsets of time-keeping instruments in order to characterize the structure of methods: tracked studio recordings, live sensor/piezo-based recordings, and live close mic-ing. Onset timings are derived using Sonic Visualizer and the resulting data is visualized and analyzed using custom Mathematica scripts. Aside from my principle findings regarding groove, I critically reflect on the analytical consequences of comparing onsets from different instruments types (string and percussion), recording, systems and algorithms. Different methodologies produce nontrivial differences in data for the analysis of microtiming. 27

Abstract

Friday 11 June 2021 Session 6A - Workshop Workshop: Ethnomusicology and the human sciences: mutually incompatible or mutually informative?

Elizabeth Tolbert Johns Hopkins University (USA)

Gina Fatone Bates College (USA)

Maisie Sum University of Waterloo (Canada)

Elizabeth Margulis Princeton University (USA)

Richard Widdess SOAS University of London (United Kingdom)

Ian Cross University of Cambridge (United Kingdom)

Francesca Lawson Brigham Young University (USA)

Abstract

Music is primarily communicative and affiliative, and has a social ontology. While this claim is a truism for most ethnomusicologists, its consequences have yet to inform the majority of cognitive approaches to music, sustaining an unproductive tension between scientific and ethnomusicological understandings of music. The former habitually disregard ethnomusicological work as irrelevant to an understanding of minds and brains, while ethnomusicologists spurn the perceived reductionism and ethnocentrism of scientific approaches. Furthermore, a tendency for scientific work to focus on the individual mind is largely incompatible with ethnomusicological attempts to understand music as social process.

Nevertheless, scientific approaches are beginning to emerge that align with rather than neglect or ignore ethnomusicological understandings. In particular, recent work that aims to understand human behavior and its cognitive and neuroscientific correlates by focusing on the dynamics of social interaction offers promising opportunities for interdisciplinary research despite the persistence of methodological hurdles. The purpose of this workshop is to encourage interdisciplinary dialogue, debate and collaboration, with a focus on steps towards solutions for entrenched methodological problems.

The panelists, who are working in the interstices of music cognition, music theory, and ethnomusicology, will each give short presentations on methodological problems of combining disciplines as encountered in their own work, followed by open discussion to identify major concerns and small group discussion for in-depth exploration of select issues.

Widdess and Sum will address issues in applying experimental approaches to help understand aspects of emic practices in India and Morocco; Lawson and Cross will discuss the analysis and interpretation of real-time communicative interactions in speech and music in different cultural contexts; Fatone and Tolbert will use concepts drawn from the sciences such as 4E cognition and bio-cultural evolution to elucidate complex and socially-grounded musical behaviors in cross-cultural perspective; and Margulis will speak to the problems of merging theoretical paradigms and resolving ethical dilemmas from the perspective of music cognition.

There will be opportunities for audience participants to share their successes and challenges in bridging the gaps between music cognition and ethnomusicology, and to elicit feedback on their particular projects.

The workshop is open to all. 28

Abstracts

Friday 11 June 2021 Session 6B - Rhythmic Processes Clapper Dapper: Timbre, Synesthesia, and a Jazz Drum Solo

Jason Winikoff The University of British Columbia (Canada)

Abstract

In an unaccompanied solo, jazz drummers have the freedom to create and resolve tension in numerous ways. Among these is the manipulation of timbre which is often heavily influenced by the is 2014 solo album, Bend in the River). To accomplish this, I introduce a new system for organizing, notating, and analyzing timbre. This system (inspired by Blake 2012) aptly uses visual color to represent tone color as a function of both technique and the My system grants the analyst the ability to notate timbre with varying degrees of specificity. We can depict extremely specific timbres and techniques measure-by-measure or provide a more general, zoomed-out analysis. This system can also clearly and simply show timbral shifts and reveal how strays from) th same group boundaries by delaying these timbral shifts. By playing on the a changes in timbre lead to segmentational grouping and, thus, structure the music (McAdams 2013; Deliege 1987). I complement my findings with ethnographic information obtained through professional drummer. Together, this approach reveals emic conceptions about how timbre can be utilized to develop a jazz drum solo. As drumming is often reduced to a solely rhythmic art, this paper is valuable because of its serious consideration and valorization of non-rhythmic dimensions. Geoff Clapp marks and hides the form through creative control of timbre. I am ultimately concerned with notating and analyzing this in a manner that r. An approach to adding knowledge constraints by fractal analysis on a generative model of Carnatic rhythm sequence

Kaustuv Kanti Ganguli New York University (United Arab Emirates)

Akshay Anantapadmanabhan Freelance Musician (India)

Carlos Guedes New York University (United Arab Emirates)

Abstract

performance, especially for those repertoires that have no prescribed score such as Indian music. Literature in non-Eurogenetic music constitutes some of the earlier examples in the area of culture- specific music technologies. Previous studies [1,2] from the Music and Sound Cultures (MaSC) research group had the goal to develop expert systems that can reliably generate music in this style of South Indian (Carnatic) rhythm sequences. The latest version of CaMel [3] targeted to get rid of the drawback of the former model(s) for being a failure to capture long-term structure and grammar of this particular idiom, only successful in capturing local and short-term phrasing. We base our current work on the hypothesis that improvisation is highly structured, and can be modeled as a geometry is often a way to go for modeling such interactions [4-7]. Fractal rhythms, in specific, involve complex dynamics of self-organizing that are visible at various levels of analysis by zooming- in or - predicted. A professional Carnatic percussionist Akshay Anantapadmanabhan recorded the audio material representing demonstrative compositions on a Mridangam, along with the konokkol (vocables). The current study analyzes rhythmic patterns at different time-scales using both time- and frequency-domain features, including wavelet transforms that are well-known for multiresolution analysis to find self-similarity in time-space. Observation on a self-similarity matrix reveals block structures replete with self-similar substructures that indicate the fractal nature of the onset patterns. Initial results suggest that the deviations in beat intensity and duration contribute to the multifractality. We aim to resolve some of the past issues with CaMel by adding the experimental . "Ternary-binary fluctuating rhythmic ambiguity", "poly-variation" and "rhythmic spatialization" as aesthetic processes, designs and structures in popular music of Maranhão State, Brazil

Marie Cousin University of Burgundy (France)

Abstract

The purpose of this research is to explore the rhythmic specificities of Maranhão, showing how they are integrated into the major social events and identities. The analyzes will come from data collected during research fields, participant observation, and from a of Ph. D. work. The research fields are ethnomusicology, analytical musicology and cultural anthropology.

In Maranhão take place numerous music-choreographic forms performed by percussion ensembles making the foundation of local musical aesthetics. These include Bumba-meu-boi (listed in December 2019 as UNESCO Intangible World Heritage), Tambor de Crioula, Tambor de Mina and the female ensembles of the Caixeiras do Divino Espirito Santo.

From these emerge two main organizational axes (Kolinski, 1973): the contrametric axis such as the Tambor de Crioula and the Bumba-meu-boi, and the cometric axis encountered in the Tambor de Mina and the Caixeiras ; these rhythmic divergences are played by the same populations. In contrametric polyrhythm, a primordial aesthetic is that which we have called "ternary-binary fluctuating rhythmic ambiguity" driven by a collective improvisation focused on the simultaneous "poly-variation" of binary or ternary rhythmic formulas, or both, drawn from a paradigmatic repertoire.

This is the case of Bumba-meu-boi during the collective practice of several tens or even hundreds of - within the great collective rhythm, linked to symbolic roles, occuring when the groups are wandering or static,inducing a listening behavior of the public. On the other hand, during certain rituals such as that of the baptism of groups in the São Pedro Church, the simultaneous practice of different groups produces poly-music.

In Tambor de Crioula, "ternary-binary fluctuating rhythmic ambiguity" is an integral part of the variations and solos of the different drums within the basic rhythm. Finally, the case of the Caixeiras do Divino Espirito Santo is fascinating: this ternary-binary ambiguity is organized in the form of the juxtaposition of accentual rhythm cells playing a central role in the structure, the temporality of the ritual, since certain rhythmic phrases are played at key moments. 29

Abstracts

Friday 11 June 2021 Session 6C - Dance and Movement Transylvanian Dance Through the Microscope: Developing a Personal Approach True to Style

Judith Olson American Hungarian Folklore Centrum (USA)

Abstract

Research into improvised dances of Transylvanian villages uses as a base archival films from the 1960s and remaining local dancers from these traditions. Approaches include viewing dance through variants in the way that Bartok collected variants of the tunes he encountered and considering authentic only those gestures observed in people of the village. Some researchers catalog all the gestures they observe on tape. Others choose a dancer and train themselves to dance in their image, choosing only their gestures and decisions.

Both approaches exhibit the weakness of defining an improvised form in terms limited to observed gestures and generalizing the choices of an individual to represent the form. Further, this approach is vulnerable to collection problems often, individual dancers are doing very different things within criticism, though, I believe, is that those recording and doing the dances in these ways are not taking into account certain basic aspects one is that these dances are improvised and grounded in specific dance environment, such as in their response to tempo and specific rhythmic permutations of the music they enjoyed.

Through analysis of film sources and musical cues, and using 30+ years of personal experience as dancer, musician, academic researcher and organizer, my study approaches dances by first defining where the dance must conform in order for people to dance together and then exploring areas where dancers must act as individuals, identifying where improvisation is possible and demanded. Beyond this, l will look at the record to see how personality and body influence improvisation and the effect of factors such as response to music. The goal is to expose points of departure for dancers from within the tradition and enable a more traditional approach for new dancers to dance within the idiom in an authentic but personal way. Kekompakan: rhythmic entrainment and togetherness in Acehnese sitting dances

Niall Edwards-Fitzsimons Sydney Conservatorium of Music (Australia)

Abstract

From origins in coastal Aceh and the Gayo highlands, Acehnese sitting dance genres have exploded in popularity and acclaim, spreading to schools, universities, embassies and festival stages across Indonesia and the world. All sitting dance genres require intense rhythmic co-ordination between the participants, who must synchronise singing, body percussion and dance movements. My - cture of the contexts, groups and individuals involved in these dynamic and interrelated music/dance practices.

This research uses ethnography to explore current questions in music scholarship which have mainly been examined using cognitive sciences methodologies, thus drawing connections between these contrasting approaches. The wealth of literature on rhythm cognition suggests that our motor system underpins this neural ability, and some authors have noted the roles played by imitation and entrainment in facilitating social interaction. The psychological effects of mutual entrainment may help to explain the social cohesion benefits that many scholars consider a possible evolutionary adaptation arising from musical behaviour. While researchers in neuroscience and music psychology have advanced our understanding of these topics, these ideas have seldom been tested in real life settings of mutual entrainment and synchronised rhythmic movement.

In the course of this research I conducted participant-observation with an Indonesian dance group in Sydney, Australia, and interviews with over 90 dancers, teachers and students across Aceh, in Jakarta, and in Sydney and Melbourne. The interviews explored personal experiences of rehearsing, teaching and performing these dances, generating insights into the psychological moment of group mutual entrainment, along with discussion of songs, movements, important values and historical information. Participants reported that co-operation and unity are important values conveyed by the Acehnese sitting dances, and that the feeling of togetherness experienced by participants is a major motivator for participation and the thing many participants like most about the dances. In exploring these insights into the subjective experience of dancing and musicking together, this research seeks to bring vital real-world context to music-cognition research into synchronised rhythmic movement and to investigate how these dances relate to inter-personal, local and national cohesion. Flipping, Pausing, Breaking, and Reinterpreting the Clave: Dancing Through Metric Dissonances in Salsa Music

Rebecca Simpson-Litke University of Manitoba (Canada)

Abstract

In this workshop, I examine the complex interactions that occur between salsa music and dance, focusing on the physical interpretation of specific types of metric ambiguities and disruptions. I explore in detail both the fairly frequent displacement dissonances that arise when the established clave pattern is flipped or broken and the grouping dissonances that are somewhat rarer occurrences heavily on the specific features of each musical context.

I begin with a brief review of the basic footwork patterns with which dancers entrain to salsa music (Examples 1-3), which I demonstrate and teach to workshop participants so they can feel the ways in which the physical accents and grouping patterns of the dance interact with those of the music. Dancers typically aim to align their steps with the music consistently for the duration of a salsa song. However, many songs feature interesting (hyper)metric changes that dancers must navigate in some way. Example 4a shows how a change in grouping structure flips the clave from 3-2 to 2-3 orientation, while Example 4b presents a more musically scandalous situation whereby the clave pattern is broken, causing an abrupt hypermetric disruption. In both situations, dancers must decide how to interpret the disruptionwhether to change established footwork patterns in order to align audience participation will be used to illustrate possible dancer responses to different types of displacement and grouping dissonances (Examples 5-11).

I conclude this investigation with a corpus review of salsa music in order to show how prevalent these metric disruptions are in the genre as a whole and where they tend to be placed in relation to the formal structure of a typical salsa song (Example 12). As part of this review, I also examine whether or not these disruptions play a role in defining the characteristics of particular time periods, specific araphically-based styles of salsa. Angola

Esther Kurtz Washington University in St. Louis (USA)

Abstract

In the fight-dance-game of capoeira Angola, music dictates the general speed of the game and players learn to move to the groove through a bodily apprenticeship of listening (Downey 2002). Yet ambiguity exists around the precise nature and extent to which players coordinate their movements to the musical beats: it is acknowledged that movements align with the pulse though varying rthermore, scholars concede that the actual movement-music relationship is infinitely more complex than graphic analysis represents (Larrain 2005). My analysis addresses this complexity by analyzing slowed videos of actual capoeira games (as opposed to abstracted representations of basic movements) and translating movements into rhythms juxtaposed over the duple meter of the ensemble. I found that 1) players entrain more than is commonly assumed, both with the music and each other; 2) in ways that do not always fall on main beats, but rather produce interlocking counter-rhythms, coordinating with subdivisions and creating varied patterns analogous to those played by capoeira percussionists; and yet 3) despite this analogy, the variations displayed through movement differ significantly from their musical counterparts in their beats, my graphs bring more specificity to understandings of how players listen strategically: they leverage a flexible entrainment to time their attacks by catching their opponents off guard. However, I propose that players are rarely fully conscious of their listening to entrain, a theory supported by cognitive science, and which helps explain the aforementioned ambiguity. Furthermore, while literature on entrainment emphasizes its potentials to build trust between people entraining together, I show how players mobilize this property of entrainment as a strategy of attack. They lure opponents into trusted synchronous movement only to bring them tumbling down. In these ways the paper clarifies how players simultaneously listen, hear and move to music, demystifying how players listen for the right moments to attack and defend, and expanding understandings of both musical and social theories of entrainment. 30

Abstracts

Saturday 12 June 2021 Session 7A - Alpine Music Panel Presentation: Cross-disciplinary Approaches to Yodeling and Related Vocal Styles

Chair: Yannick Wey Lucerne University of Applied Sciences and Arts (Switzerland)

Abstract

Yodel is a form of singing characterized by the often fast changes between chest voice and head voice, and a vocalization based on syllables without lexical meanings. This technique is embedded under many names in various kinds of music with manifestations specific to cultures, regions and History of Yodeling Around the World (2002), yodeling has gained traction in ethnomusicological research (Hahmann 2017, Ammann et al. 2019, Wey 2019), yet a comprehensive adaptation of analytical methods to this phenomenon remains desired. With the special session on yodel we aim to bring together diverse expertise from the fields of ethnomusicology, music theory and computer science in order to develop a state-of-the-art analytical framework for the phenomenon of yodeling voices.

The special session involves the following presentations:

- Mapping timbral surfaces in alpine yodeling explores the sonic features in a case study of alpine yodeling including such timbre, intonation and pitch drift through novel theoretical and analytical tools.

- The Krimanchuli phenomenon in Georgian traditional polyphonic music structure analyzes the technique and musical function of Krimanchuli technique in Georgian polyphonic singing, triangulating music analysis with recent insights from fieldwork.

- An R package for the computation of melody features presents the R package MelodyFeatures for the extraction of features from monophonic melodies in MIDI format. It can be used for various statistical analysis of a melody dataset, as well as supervised and unsupervised machine learning algorithms in order to enable quantitative analysis of melodies, test ideas and arguments, identify new questions, and complement qualitative methods.

- Classification of regional Swiss yodel styles based on melodic features demonstrates the successful classification of regional alpine yodel styles based on selected melodic features. The results establish a space for understanding yodeling from different geographic, cultural and methodological perspectives. Mapping Timbral Surfaces in Alpine Yodeling: New Directions in the Analysis of Tone Color for Unaccompanied Vocal Music

Lawrence Shuster Cornell University (USA)

Yannick Wey Lucerne University of Applied Sciences and Arts (Switzerland)

Abstract

The past decade has observed a widespread resurgence of interest in regional yodel styles throughout the German speaking communities of the Alps as evident by increased presence of both professional and amateur performance groups, the number of new recordings, as well as the formation of numerous yodel clubs supported by a variety of educational, cultural, and civic institutions (Ammann et al. 2019). Further evidence is reflected by the proliferation of research articles exploring alpine yodeling from a number of scholarly and scientific perspectives. While much is known regarding the cultural and historical origins of alpine yodeling, the music itself has yet to be subject to the same degree of in-depth analytical scrutiny as directed towards many other world music traditions. While transcriptions of yodel melodies are abundant, these are useful only insofar as demonstrating the basic coordinates of pitch and rhythmic design. Consideration of important acoustic details and other features of sonic design such as timbre, tuning, and intonation remain largely unexplored.

Our methodology integrates cultural, historical, and analytical considerations to develop an assortment of tools useful for analyzing various features of sonic design and experience in alpine yodeling. The relationship between timbre and vowel selection is particularly important whereby vowels are assigned specific registers and used in particular combinations resulting in the formation of a distinct vocabulary of available spectral shades and intensities. Our method will provide a means in which to identify, inventory, and catalogue these diverse spectral contexts and characterize them with technical precision as spectral sets whose distributions and interactions can then be analyzed.

Whereas spectral sets indicate all perceptible harmonics within a discrete timbral segment; consideration of spectral morphology characterizes the changing intensities of these harmonics across the performance. Apart from musical spectra, consideration of additional sonic features involving new analytical approaches to temperament, use of ekmelic intervals, and flexible intonation as an expressive feature of performance practice will also be addressed and meaningful connections between these features and other aspects of sonic design established. Krimanchuli: A yodeling phenomenon in Georgian traditional polyphonic music structure

Teona Lomsadze International Research Center for Traditional Polyphony of Tbilisi State Conservatoire (Georgia)

Abstract

l polyphonic forms and techniques, Georgia harbors a local and distinct kind of yodeling technique, named krimanchuli, playing an important role in the musically most complex polyphonic songs from the western part of Georgia. Krimanchuli refers to a certain kind of high-pitched top voice in Georgian traditional polyphonic singing (songs with 3 or 4 voices), performed with a specific technique and creating a very distinct acoustical effect. The word krimanchuli consists of two old Georgian words krini (falsetto) and of producing the krimanchuli voice.

There are several possible origins of krimanchuli, directly linked to its initial function, such as i while being alone on the road, in the field or forest and feeling lonely, bored or afraid; communicating with somebody over a long distance; or giving a signal to a loved one waiting (Tsuladze 1971, 13).

The aim of my paper is to further determine the krimanchuli phenomenon by putting the special emphases on its musical character and function in Georgian traditional polyphonic songs; to represent other specific top voices (with a closer look on gamkivani) from Georgian folk music, which are similar to krimanchuli and to reveal their different musical characteristic; to demonstrate traditional patterns and contemporary variations of krimanchuli through performance practices of leading Georgian folk-musicians of different times. My research is based on existing Georgian and western literature on the phenomenology of krimanchuli, as well as systematic analyzes of several Georgian krimanchuli songs (both notated and recorded samples) by multiple musical parameters such as timbre, melodic formulas, harmony, rhythm, and lyrics. At the same time, my paper reflects on the few modern variations of krimanchuli presented in recent recordings and my fieldwork data (interviews with contemporary Georgian folk-musicians). An R package for the computation of melody features

Cornelia Metzig Queen Mary University of London, Centre for Digital Music (United Kingdom)

Abstract

We present the R package MelodyFeatures for the extraction of features from monophonic melodies in MIDI format. It can be used for various statistical analysis of a melody dataset, as well as supervised and unsupervised machine learning algorithms. The goal to enable quantitative analysis of melodies, test ideas and arguments, to identify new questions, and to complement qualitative methods.

The features are n-grams (1, 2 and 3 consecutive intervals), and rhythm-n-grams (sequences of 3, 4, or 6 the consecutive notelengths) written as multiples of a short note, e.g. - dotted crotchet - dotted quaver require the identification of a tonic note: the fraction of time the melody spends on each of the 12 notes; the number of times each of these 12 half tones occurs, as well as intervals counted separately for each start note (e.g. a full note up from the tonic note is a different feature than a full note up from the fifth). To be able to use these features, the tonic note is identified from the key in the midi file, but since this is often incorrect, users can check and correct the suggested tonic note manually, if required. The key of a melody is not considered. Any features are normalized by the counts of that feature in a melody, such that melodies of different lengths get comparable. The global features are beat per minute and bar length, which can be used if the information is available in the database.

The retrieved features can then be analyzed with various data science methods. Further research questions using supervised learning are e. g. the prediction of authorship or origin of a melody, for the identification of separating features of two geographical groups. Research questions in unsupervised learning are the identification of clusters and outliers, as well as network and tree construction. We explain the functioning of the package and present different successful applications of this package.

Classification of regional Swiss yodel styles based on melodic features

Yannick Wey Lucerne University of Applied Sciences and Arts (Switzerland)

Cornelia Metzig Queen Mary University of London, Centre for Digital Music (United Kingdom)

Abstract

A classification of wordless yodel melodies from five different regions in Switzerland is accomplished. For our analysis, we used a total of 217 yodel tunes from five regions, which can be grouped into two larger regions, central and north-eastern Switzerland. The results show high accuracy of classification, therefore confirming the existence of regional differences in yodel melodies. The most salient features, such as rhythmic patterns or intervals, demonstrate some of the key differences in pairwise comparisons, which can be confirmed by a post-analysis survey of the relevant scores.

The high accuracies of the pairwise classification of yodels by region confirm the narrative that yodel genres are footed in regions, however, we found that yodel tunes from the regions Nidwalden and Obwalden are less separable; their origin can be predicted with lower accuracy. The defining melodic differences between any two regional samples is demonstrated through pairwise comparison and the interpretation of the features with the highest random forest importances. The most salient features demonstrate some of the key differences in pairwise comparisons, for example the frequent use of dotted rhythms or the prevalence of an upward augmented fourth, which is confirmed by a post-analysis survey of the relevant scores.

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Abstracts

Saturday 12 June 2021 Session 7B Gesture and Form Shamisen

Toru Momii Columbia University (USA)

Abstract

This paper proposes a performer-oriented methodology for analyzing contemporary music for the shamisen (Figure 1). A number of studies on shamisen music categorize idiomatic melodic patterns in traditional genres according to rhythmic and pitch-based similarities (Machida 1983; Tokita 2000). Other scholars have argued that performers of the shamisen are more concerned with timbre and perf Synthesizing these two threads, I analyze melodic patterns in neo (2014) a piece for solo shamisen by Dai Fujikura through the concept of te, a term used by performers to refer to 1) recurring melodic patterns; and 2) their characteristic fingerings, hand positions, and resulting timbres. Through aural and visual analysis of performances by Hidejiro Honjoh the shamisen player for whom neo was written I demonstrate how the form of neo unfolds through changes in te. By theoretical values and assumptions.

I first demonstrate how each section of neo is associated with a unique te (Table 1). I then argue that the melodic patterns in each section are unified by te rather than by pitch. For instance, Sections A and J share similar pitch-intervallic content and right-hand technique. (Figure 2). Analyzing their respective te, however, reveals that the two sections invite contrasting gestural experiences.

While every melodic motive in Section A requires two open strings and one fretted pitch, motives in both along- string and across-string movement (De Souza 2018) to alternate between fretted pitches on the first and third strings (Example 1a). The characteristic rubbing of the first string against the neck produces a buzzing drone-like timbre called sawa only features along-string movement, shifting a single hand position upward and downward on the neck (Example 1b). Since there are no open strings in the section, the sawari timbre is absent. By discussing the role of te in delineating the form of neo, this paper develops an instrument-specific framework for analyzing shamisen music. Forms of Expression in Mevlevi Ayin Composition

Ozan Baysal Istanbul Technical University (Turkey)

Abstract

Mevlevi Ayin is the ritual music that accompanies the Sema ceremony of the Mevlevi dervishes in Turkey. Having the most complex and sophisticated structural form, Ayin is the most revered musical genre in the traditional Turkish makam music repertoire. The core of Mevlevi Ayin is the four main movements, called Selam (Salutation), in which the lyrical text of the vocals are mostly borrowed from the poetry of Rumi. In essence, Mevlevi Ayin is a programmatic genre and each of the four Selams reflect different to witness many occasions in which the musical structure reflects this drama, embodying extra- musical meanings. This also includes the employment of various musical devices to highlight the symbolic attributions found in the poetic text.

This talk will present some neglected aspects in the compositional analysis of Mevlevi Ayin both in terms of structure and semiotics. It will be concentrating on 19th-century Turkish composer Hammami the canons of the traditional Turkish music corpus today, and it will be examining the interactions between various musical layers and relate the structural aspects with the programmatic content of the Ayin program as well as the symbolic language of the poetic text. There has been a significant amount of research on makam music analysis - including musical examples from the Mevlevi Ayin repertoire as well as those investigating the symbolism, poetic text, extra-musical programmatic structure and the affect, however, it is hard to find a holistic analysis that integrates and combines these two interrelated aspects together. This talk aims to demonstrate the necessity to consider the structural and semiotic aspects together particularly when analyzing music in oral traditions. To avoid any decontextualization and to provide a better understanding I will also be using alternative analysis models for investigating; (1) micro-level phrase-rhythm and time interactions - how individual musical phrases work over (phase with) various rhythmic cycles - and (2) macro-level event organizations outlining changes in the axis, tessitura, prolongation, modality and the poetic text. Free rhythm and verbal accent in sung improvised poetry in ottava rima in central Italy

Cristina Ghirardini University of Huddersfield (United Kingdom)

Abstract

In some towns of Tuscany, Abruzzi and Latium, extemporaneous poets gather quite regularly to sing debates in improvised poetry in ottava rima (a stanza of eight hendecasyllables rhyming ABABABCC). Poets are asked to improvise on subjects given by the organizers of the meeting and each poet is obliged to take as his/her first rhyme the one left by the previous poet.

Ethnomusicologists have carried out analyses of the melodic contours employed by poets and of the particular organisation of time that they undertake to arrange an improvisation in correct stanzas of eight hendecasyllables.

This paper focuses on melodic profiles, their relationship with verbal stress (the most important rhythmic tool in improvised ottava rima), and the impact of these interrelationships on poetic expression. My analytical work will be the starting point for a critical listening together with the performers, whose voices contributed to insights on improvised poetry performance on the following questions: - how melodic profile stresses the canonical strong accents of the hendecasyllable, notably the syllable 10, but also syllables 6 (in hendecasyllables a maiore) or 4 (in hendecasyllables a minore) - how certain melodic profiles affect single syllables, for example, some poets prepare the cadence on the 5th degree particularly common in the third and seventh lines of the ottava by enhancing the length or volume of syllable 8 - how melodic profile enhances particular syllabic rhythmic patterns - how non-correspondence between melodic profile and verbal stress affects poetic meaning - how melodic profiles affect synaloepha (the merging of two contiguous vowels making two syllables count as one).

This paper will analyse the relationship between free rhythm and verbal accent in the vocal gestures (Berio [1967] 2013) of poets from to different areas focusing on aural experience aided by interactive visualizations of sonograms and of melodic contours, making use of software, developed as part of the IRiMaS (Interactive Research in Music as Sound) project at the University of Huddersfield. Interactive software facilitates analytical discussions that link visualisations and textual commentary relating to these issues directly with aural experience analytical findings can be 'heard'. Transcription and gesture in the Portuguese guitar music of Carlos Paredes

José Oliveira Martins University of Coimbra (Portugal)

Abstract

This paper takes the stance that an active and vigilant oral tradition relies on the framework of a continuous creative process, which both better understands the inherited cultural products and lays the principles for its recreation by new practices that might reinterpret and reinvigorate that tradition. This stance is especially urgent in light of the current touristic pressure that creates demand for live performances, and which often lead to an overabundance of poor-level and un- composer/performer as stylistic hybrid of embodied and culturally constructed sound, and centers style within the larger context of the Coimbra-style of playing, (through analysis of video footage and by one of the authors being a carrier for the oral tradition of the Coimbra guitar), including the examination of plucking and figuration based patterns, qualities of vibrato, the relation between the guitar tuning system and ergonomic issues; and (2) the first-hand research on the creation of notated transcription (and analysis of some existing transcriptions) as a place for negotiating performance idiosyncrasies, musical conventions and style, and the gestural and timbral imagination (of composition and reception), including aspects of stylistic-based characterization of the music corpus and range of formal designs. 32

Abstracts

Saturday 12 June 2021 Session 7C - Modernisms Toward a Cross-Cultural Theory of Musical Improvisation: A View from the Avant Garde in Jazz

Eric Charry Wesleyan University (USA)

Abstract

This paper places the improvisational models developed by the first avant garde movement in jazz (1950s- two contrasting examples of how mode has been applied to Asian musical systemsJavanese pathet as a tonal category and North Indian raga as a melodic type¬I suggest that jazz improvisation shifted from one improvisational model to another in the late 1950s. Compositions (gendhing), grouped within tonal categories (pathet) of the repertory of Javanese gamelan music, unfold regularly through time with their inner melody (balungan) as the model for performance, often calling for improvisation. Ragas, on the other hand, feature unique combinations of melodic motives, pitch hierarchies, and a grammar for rendering them in performance; they function as compositional- improvisational models. Renditions of melodic types can be time-independent with their various properties explored at the will of the performer.

The shift in improvisational models in jazz in the 1950s from fixed-bar-length melody and chord structures to more open- through lenses inspired by Asian modal systems. George Russell (1959) theorized scales associated with chords, but his conception of tonal gravityentailing pitch roles and hierarchiesmoved those scales toward the realm of mode as melodic type. Transcribing the work of Cecil Taylor, Ornette Coleman, and Sun Ra, I expand the notion of melodic types to include other kinds of sonic materials that began to be exploited as a result of breaking through the gravitational pulls of tonality and meter in the 1960s. Along with the succeeding generation (Albert Ayler, John Coltrane), they challenged the very nature of improvisational models by making them so open-ended, raga-like in Composition titles in this era evoking India, Africa, and China are no coincidence. I extrapolate codified materials include dynamics, mode of attack, and duration, to shed light on their new strategies. Harmonization principles and musical texture of Yannis Constantinidis's "8 Greek Island Dances" for piano (1954): folk and modernistic elements in balance

Costas Tsougras Aristotle University of Thessaloniki (Greece)

Abstract

The Greek composer Yannis Constantinidis (Smyrna 1903-Athens 1984), by consciously avoiding the post-romantic exuberant style of the Greek National School, and influenced mainly by French composers and Béla Bartók, developed a unique non-romantic compositional style –remotely associable with Ravel's–, an idiomatic integration of diatonic modality and 20th-century compositional techniques. The majority of his works are elaborations of Greek folk tunes and dances. His music's most distinctive feature is that the original folk tunes function as a type of 'cantus firmus', while the processing occurs in the harmonic, rhythmic and textural domains. So, rather than subjecting folk melodies to development, he repeats them in subtly transformed contexts, exploring their various harmonic implications or varying them ornamentally. The "8 Greek Island Dances" (8 Danses des îles grèques) for piano (1954) is a collection of processed folk melodies from the Aegean islands, incorporating a great variety of characters, tempi, meter signatures and dancing genres, and considered his most mature piano work based on Greek folk tunes. Three of the melodies come from Samuel Baud-Bovy's collection "Chansons populaires grèques du Dodécanèse I & II" (1935/38) and the others from the composer's memory or his own transcriptions.

The present paper focuses on the following aspects, through the analysis of selected excerpts or whole pieces of the collection: 1) comparison of the transcriptions of the original folk tunes with the melodies used for the piano pieces, 2) study of the implemented harmonization techniques, such as real/diatonic planing, bimodality, modal interchange, cadence types, pedal notes, etc, 3) study of the evolution of the musical texture –number of layers, interaction of rhythmic patterns, monophonic/homophonic/contrapuntal part-writing, etc– for the creation of each piece's form. The harmonic analysis uses reductional/prolongational methodology and the analysis of texture employs voice segregation and hierarchical rhythm/meter diagrams. The analysis aims at disclosing the elegant balance achieved by Constantinidis between the preservation of the shape and character of the original folk melody and the modernistic outlook of 20th-century piano music, that yields an austere, sensitive and transparent artwork, which projects traditional Greek music through a profound personal filter. Stylistic Transfer and Transformation in Beninese Jazz and Brass Band Music

Sarah Politz University of Florida (USA)

Kingsley Kwadwo Okyere University of Florida (USA)

Abstract

Since the 1990s, Beninese jazz and brass band musicians have been engaged in processes of stylistic audiences. They describe these processes in terms of historical development and of genre transfer, translatable, more danceable, and more legible to audiences outside of Benin. In this paper, I analyze the particular musical choices that musicians such as the Gangbe Brass Band have undertaken in these processes, for example, in transferring rhythmic textures from one set of percussion instruments to another, such as the drum kit or other new configurations, or in reducing the heterophony of percussion parts to fit with a click track in the recording studio. Other strategies in adapting styles for international audiences have included reducing the number of verses that are eating grooves that are more danceable for these audiences, or limiting the length of vamps and of songs in general. Drawing on several years of fieldwork in Benin and in Europe, I focus in particular on styles such as zenli, the royal court style from the town of Abomey, and gbon, a Yoruba rhythm typically played for the egungun masking tradition, both of which have made the transition from sacred performance contexts, to secular, local contexts, and finally to secular, global contexts.

I suggest that the processes of transformation that these musicians engage reveal much about the much about the interpretive frames the audiences carry as it does about the aesthetic intentions of the musicians, opening up a fertile semiotic ground where musicians and audiences together make meaning out of these encounters. My paper directly addresses the significance of stylistic analysis for understanding how musicians transform their traditional practices in interaction with global, cultural forces, while also pointing out the fragmentary nature of audience reception in situations where access to different registers of knowledge is uneven or emergent. Contemporary Santur Playing in Iran; Beyond Tradition and Modernity

Mehdi Rezania University of Alberta (Canada)

Abstract

The tension between tradition and modernity has been an ongoing factor in shaping the cultural and political formation of Iranian society of the past two centuries. (Jahanbegloo 2004) The extraordinary events of post-revolutionary Iran further enforced the traditional values but the current santur playing of Iran shows this tension has been resolved through music that has moved beyond the binary of tradition and modernity. Santur master Ardavan Kamkar (b. 1968) coined the implying a style of performance and composition that does not xtremely influenced the younger generation of santur players. In contemporary santur playing, multiple sources such as folklore music of Iran, as well as compositional techniques from western music have been employed and integrated to create a new style that conforms to the capability of the instrument. This paper analyzes the works of five santur players of post-revolutionary Iran, Ardavan Kamkar, Siamak Aghaei (b. 1973), Ali Bahramifard (b. 1981), Siavash Kamkar (b. 1989) and Kiarash Davoudi (b. 1996) who have been prolific and have performed inside and abroad of Iran. This analysis explains how they have renovated the tradition of Persian classical music by modification of a number of foundations -in a variety of degrees- such as tuning system, extended techniques and employing various sources of regional music to reach a unique style. Abstracts

Saturday 12 June 2021 Session 8 Special session In Honor of Simha Arom Simha Arom: A Biography (by Prof. Karine Chemla, CNRS, Université Paris-Diderot)

Simha Arom, ethnomusicologist, is currently Emeritus Director of Research at the Centre National de la Recherche Scientifique (C.N.R.S.). He has worked for many years in the Central African Republic, where he has developed revolutionary experimental methods in ethnomusicology, which made it possible to understand the complex mechanisms of vocal and instrumental polyphonic music, among others the highly complicated one of the Aka pygmies. In particular, on the basis of a technique of re-recording that he invented, Arom could bring about models of these musical polyphonies and study the cognitive dimensions of musical performances that derive from a purely oral practice. Indeed, in addition to studying the musical material itself a type of analysis for which his training as a musician was a major asset A gdbeakig ehd aed hi aach he ica kedge f the practitioners. In societies in which actors do not make explicit their musical theories, Arom has brilliantly shown that the greatest part of the cognitive dimensions of the practice of music could be discovered through interactive experimentation. Bypassing the absence of verbalization, an experimentation of this kind allows actors to approve or reject the eeache hhee ad eie ead he iadee eea eaca terms whose technical meaning had not yet been perceived. In this way, researchers could highlight musical knowledge that actors possess without feeling the need to formulate it. Interactive methods of this kind have thus enabled Arom to establish that his models were cognitively meaningful for the actors, who often had terms to refer to them. These innovative technics of investigation, in particular interactive methods using both traditional instruments and synthesizers, led Arom to open a field of research at the crossroads of musicology and the developing discipline of cognitive psychology. In 1984, Arom was awarded the Silver Medal of the C.N.R.S. for his highly original methods of analysis of traditional, unwritten polyphonic and polyrhythmic music. In he a e ea , A eeach ha ed he haic syntax of traditional Georgian polyphonies. In addition to the musical systematics of the polyphony of the Central African Republic, Arom has explored their temporal organization. This work has led him to offer an original reflection on rhythm that is meaningful for the study of music in general. His work has been published in innumerable articles and several books. Among them, his African Polyphony and Polyrhythm, published by the Cambridge University Press, was awarded in 1992 the prestigious "ASCAP Deems Taylor Award". The description of the principles on which these various types of music rely allowed Arom to work in close contact with IRCAM and with many composers, among whom Luciano Berio, György Ligeti, Steve Reich and Herbie Hancock, whose music used musical techniques that he had brought to light. A cibi ie a i he gigaic c f ic ha he ha ecded in about thirty records and films. This corpus includes not only music from the Central African Republic but also demotic music and the liturgical music of the Ethiopian Jews. This work has allowed for the saving of a corpus that was threatened with disappearance through the contact with the modern technological civilization when these Jews arrived in Israel. Three of A ecd hae he "Gad Pi International du Disque" of the Académie Charles Cros. However, perhaps more importantly, Arom has established and run for about four decades a seminar in Paris in which he has trained several generations of ethnomusicologists who are now continuing his tradition.

Judit Frigyesi Bar Ilan University (Israel)

Abstract

In this lecture I will propose that East-European Jewish prayer melodies, even when they seem similar on paper (in transcription) to the music of other cultures, have a striking unique effect when heard in their traditional performance style. This effect is caused partly by the ongoing minuscule variations and the seeming arbitrariness of rhythm, pitch, intonation, voice quality and form.

This situation makes meaningful analysis of Jewish chant extremely difficult, since our analytical methods are meant to disclose some solid system that underlies the music. In numerous instances, but especially when I tried to grasp the character of this music as a whole, I felt that traditional analytical methods failed completely. The result of this realization provoked my recent book.

Among its unique characteristics, the gestural nature of the melodies is perhaps the most striking. This feature connects Jewish prayer chant with other aspects of Jewish expression like the intonation of Yiddish language, the hand gestures/bodily motion in prayer and everyday speech. The melodies state or emotional journey that connects strongly with the life experience of the performer. It is this overriding preset structural considerations. The pentatonic system of the Aka 30 years later: the importance of harmonic 7

Michèle Castellengo CNRS Institut Jean Le Rond d'Alembert-LAM (France)

Susanne Fürniss CNRS Eco-Anthropology (France)

Abstract

Aka music is distinguished by the practice of vocal polyphony, which has given rise to important research, in particular by Simha Arom and his team. The musical scales of Central Africa were among them. However, despite ingenious in situ experiments and an impressive volume of acoustic measurements, the exploration of the Aka musical scale led to an unsatisfactory theoretical compromise. Thus, Susanne Fürniss presented a scalar system based on a frame of fourths compatible with three pentatonic modes and an equipentatonic scale.

The research presented here takes a new starting point: temporal spectrography. The identification of intervals is based on visual observation of harmonics common to two consecutive or simultaneous sounds. In addition to the fifth and fourth, whose coincidences are easily identifiable (3 for 2 and 4 for 3), many intervals involving the harmonic 7 have been observed, which has prompted the resumption of research on the basis of "natural" intervals.

Several musics were analyzed: monodic singing; voice and instrument (flute, musical bow, harp- zither); vocal polyphony. The analysis method combines sonographic analysis and accurate frequency measurement.

The first result is that the reference to equal temperament and its conversion into cents must be abandoned in favour of that of the numerical ratio of harmonic numbers. Indeed, the recurring melodic intervals of Aka music are the fourth (4/3), fifth (3/2), major second (9/8), seventh minor (7/4) and three intervals that have no name: 7/6, 8/7, 9/7.

Based on new theoretical foundations, our research confirms that Aka pentatonism does not fall within the concept of scale. Rather, it is a system that combines in a variety of ways a group of intervals borrowed from band 6-9 of the harmonic series. The structuring nucleus is the fourth 8/6, which includes only an intermediate sound: the harmonic 7, a remarkable arrangement that is almost inaudible for a Western listener and is at the origin of many difficulties in understanding Aka music. Such a structure favours combinatorics - and therefore the improvisation on which this music is based - while remaining harmonically coherent. Analysis of Tonal Organisation and Intonation Practice in the Tbilisi State Conservatory Recordings of Artem Erkomaishvili of 1966

Frank Scherbaum University of Potsdam (Germany)

Nana Mzhavanadze University of Potsdam (Germany)

Simha Arom CNRS Paris (France)

Sebastian Rosenzweig International Audio Laboratories Erlangen (Germany)

Meinard Müller International Audio Laboratories Erlangen (Germany)

Abstract

In this paper we examine the tonal organization of a series of recordings of liturgical chants, sung in 1966 by the Georgian master singer Artem Erkomaishvili. The aim of the study is to understand the melodic and harmonic tuning systems used by this exceptional singer, a subject that has long been the topic of intense and highly controversial discussions. Starting point for the present analysis is the re-release of the original audio data together with estimated fundamental frequency (F0) trajectories for each of the three voices, beat annotations, and digital scores (Rosenzweig et al. 2020). We present synoptic models for the pitch and the harmonic interval distributions of the complete Erkomaishvili dataset. We show that all pitch distributions, which we define as the distributions of F0-values in those parts of the F0-trajectories which correspond to note events with perceived pitches, can be expressed as Gaussian mixture distributions, anchored on discrete sets of pitch values. We show in the course of this study that these pitch values, which we refer to as scale pitches, define the scale degrees of the melodic sound scales which build the skeleton of Artem which appear in identical form in a group of chants, as well as the observation of harmonically driven intonation adjustments, which are clearly documented for all pure harmonic intervals, demonstrate that Artem Erkomaishvili intentionally deviates from the scale pitch skeleton quite freely. We show that this melodic freedom is always constrained by the attracting influence of the scale pitches. Deviations of the F0-values of individual note events from the scale pitches at one instance of time are compensated for in the subsequent melodic steps. This suggests a deviation- honors the scales but still allows for a large degree of melodic flexibility. This model is consistent with the melodic scale models derived from the observed pitch distributions, as well as with the melodic and harmonic interval distributions. Contacts of authors and chairpersons

Áine Heneghan [email protected] Akshay Anantapadmanabhan [email protected] Amanda Bayley [email protected] Andrew Killick [email protected] Andrew McGraw [email protected] Anne Danielsen [email protected] Bas Cornelissen [email protected] Benjamin Jackson [email protected] Byron Dueck [email protected] Carlos Guedes [email protected] Chris Stover [email protected] Cornelia Metzig [email protected] Costas Tsougras [email protected] Cristina Ghirardini [email protected] Dana Rappoport [email protected] Daniel Goldberg [email protected] Dave Fossum [email protected] David Huron [email protected] Elizabeth Margulis [email protected] Elizabeth Tolbert [email protected] Eric Charry [email protected] Eshantha Peiris [email protected] Esther Kurtz [email protected] Francesca Lawson [email protected] Frank Scherbaum [email protected] Gianluca Chelini [email protected] Gina Fatone [email protected] Grant Sawatzky [email protected] Hannah Standiford [email protected] Ian Cross [email protected] Contacts of authors and chairpersons

Ioannis Marios Rizopoulos [email protected] Jason Winikoff [email protected] John Ashley Burgoyne [email protected] John Roeder [email protected] José Oliveira Martins [email protected] Josephine Simonnot [email protected] Juan Diego Diaz [email protected] Judit Frigyesi [email protected] Judith Olson [email protected] Julia Byl [email protected] Kaustuv Kanti Ganguli [email protected] Kingsley Kwadwo Okyere [email protected] Kisito Essele [email protected] Kjetil Klette Bohler [email protected] Lara Pearson [email protected] Lawrence Shuster [email protected] Leslie Tilley [email protected] Luis Jure [email protected] Maisie Sum [email protected] Marcus Pearce [email protected] Mari Romarheim Haugen [email protected] Marie Cousin [email protected] Martín Rocamora [email protected] Matthew Arndt [email protected] Mehdi Rezania [email protected] Mehmet Ali Sanlıkol [email protected] Meinard Müller [email protected] Michael Tenzer [email protected] Michèle Castellengo [email protected] Nana Mzhavanadze [email protected] Nathan Lam [email protected] Contacts of authors and chairpersons

Niall Edwards-Fitzsimons [email protected] Niels Chr. Hansen [email protected] Oguzhan Tugral [email protected] Ozan Baysal [email protected] Peter Salvucci [email protected] Philip Yampolsky [email protected] Polina Dessiatnitchenko [email protected] Rainer Polak [email protected] Rajeswari Ranganathan [email protected] Rebecca Simpson-Litke [email protected] Rémy Jadinon [email protected] Richard Widdess [email protected] Sarah Politz [email protected] Sebastian Rosenzweig [email protected] Simha Arom [email protected] Somangshu Mukherji [email protected] Stefanie Alisch [email protected] Stephen Slottow [email protected] Susanne Fürniss [email protected] Sylvie Le Bomin [email protected] Teona Lomsadze [email protected] Thilo Hirsch [email protected] Thomas Pooley [email protected] Tim Sharp [email protected] Toru Momii [email protected] Willem Zuidema [email protected] Xi Zhang [email protected] Yannick Wey [email protected] Zanna Partlas [email protected] Zhoushu Ziporyn [email protected] 34

Many thanks for the technical help to Renaud Brizard, Chloé Lukasiewicz and Romain Mascagni.

See you next year at AAWM 22 in Sheffield!