RMA/KVNM Postgraduate International Research Symposium in Musicology

Saturday, June 29th, 2019 Amsterdam University Library Belle van Zuylenzaal

Welcome

It is with great pleasure that we welcome you to the first Postgraduate International Research Symposium in Musicology, held in the Belle van Zuylenzaal in the Amsterdam University Library. This event, organised in cooperation with the two oldest musicological organisations in the world, the UK Royal Musical Association (RMA) and the Dutch Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis (KVNM), brings together postgraduate, doctoral, and postdoctoral researchers from universities and conservatoires in The Netherlands, Belgium, and the United Kingdom for a knowledge exchange that aims to develop national and international collaborations across the field.

The background for this event is Amsterdam, a city in which music has always played a major role. It was where Jan Pieterszoon Sweelinck was the organist of the nearby Oude Kerk, where Gustav Mahler conducted the Concertgebouw Orchestra in the early years of the twentieth century, and where Louis Andriessen’s De Staat had its first performance in 1976, to name just three out of many prominent examples. In more recent years, venues such as the Bimhuis, Paradiso, and the Melkweg, each of which are prominent international hotspots for a variety of modern genres of music, have continued Amsterdam’s rich and diverse musical tradition.

Drawing on this tradition, but not limiting itself to it, this symposium brings together a diverse range of approaches to music. We hope that this event will provide a fruitful exchange of ideas, and that it will catalyse future musical and scholarly collaborations.

The Organising Committee,

Núria Bonet (Plymouth University, RMA) Rutger Helmers (University of Amsterdam) Ita Hijmans (KVNM) Michiel Kamp (Utrecht University, KVNM) Marten Noorduin (University of Oxford)

Tweet #RMAmeetsKVNM

2 Programme

9:00-9:25 Registration and coffee

9:25-9:30 Introduction Negative Harmony, Post-Truth Musicology and the Illusion of 1 Clifford John Moore Papers round 1 Musical Profundity. Music Theory Adorno on the Function of the Coda to the First Movement of 2 Roman Thommassen Cultures Beethoven’s Eroica 9:30-10:50 From Counterpoint to Heterophony and Back Again: Reading Chair: Marten 3 Wouter Capitain Noorduin Edward Said’s Drafts for Culture and Imperialism (1993) Redefining Sampling in Digital Audio Workstations: the Case of 4 Sonja Hamhuis Deadmau5 and DirtyCircuit 10:50-11:20 Coffee break Constructing Identities in Song and Collective Singing Practices: 5 Renée Vulto Papers round 2 Political Songs in Eighteenth-Century Netherlands Bodies and Identities 6 Charissa Granger Steelband Performance and its Connection to Decoloniality 11:20-12:40 Chair: 7 Valerie Abma Behind the Curtains: Towards Inclusivity in Symphony Orchestras Marjolein Wellink “Subverting the Spectacle of Melody”: Gender, Race, and The 8 Caitlin O’Riordan Politics of Sonic Defiance in Contemporary Electronic Dance Music

12:40-13:40 Lunch break Opera for the People: Music Drama between Romanticism and Papers round 3 9 Max Erwin Programming Avant-Garde in the Third Reich Ideology Compelling until the End? Programming Strategies and Symphonic 13:40-14:40 10 Thomas Delpeut Listening in Dutch Concert Life ca. 1840 Chair: Renée Nationale Opera & Ballet in a Global Context: Achieving Diversity 11 Liselotte Podda Vulto or Lapsing into Window-Dressing? 14:40-15:00 Short break Performing the Passion: The Maestro di Cappella in the Twenty- Papers round 4 12 Sophie Mahar Shaping First Century Performance Violin Solo Works from 1800 to the Present Day - Suggesting 15:00-16:00 13 Román Santos Mateos Polyphony Chair: Désirée Guitar Playing and Music Education Between 1750 and 1810: 14 Jelma van Amersfoort Staverman Cosmopolitanism in the Domestic Sphere 16:00-16:20 Short break

Papers round 5 15 Sydney Schelvis 4DSOUND: A New Technology 16:20-17:00 Shaping The Immaterial Record Sleeve: Engaging the Listener with Spotify’s Listening 16 Marjolein Wellink ‘Canvas’ Video Loop 17:00-18:00 Discussion and wrap-up

18:00 Drinks and dinner (at attendees’ own costs)

3 Papers round 1: Music Theory Cultures

Negative Harmony, Post-Truth Musicology and the Illusion of Musical Profundity Clifford John Moore, University of Liverpool

In 2017 a theoretical concept known as ‘negative harmony’ began to proliferate in online musical communities popular- ised by a YouTube interview with prominent jazz musician Jacob Collier. Purportedly based on the work of theorist Ernst Levy and his 1985 monograph, ‘A Theory of Harmony’, negative harmony has gained a significant cult following online. Since the interview’s publication, a multitude of response videos, articles and discussions have appeared online in various forums and formats, with some calling into question the validity of the theory. That being said, negative harmony’s sup- porters far outweigh its detractors and its unprecedented popularity is unrivalled in the expanding domain of music education media online.This study aims to analyse negative harmony as a digital subcultural phenomenon and meme. I will situate negative harmony in its theoretical context, looking at related theoretical frameworks that paved the way for the concept and highlight any correlations that may exist. I will also look at how the era of post-truth may be affecting musicology more generally. Based on this, I will evaluate the utility of negative harmony in a range of contexts including edu- cational, compositional and performative. I will also examine negative harmony’s origins as a meme and use a combina- tion of discourse analysis and ethnographic research to analyse how negative harmony is perceived and evaluated by a range of individuals from varying musical backgrounds.

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Papers round 1: Music Theory Cultures

Adorno on the Function of the Coda to the First Movement of Beethoven’s Eroica Roman Thommassen, University of Amsterdam

This paper discusses a function for the coda to the first movement of Beethoven’s Eroica symphony within the framework of Adorno’s fragmentary writings on Beethoven, insofar as they are in the Hegelian, i.e. dialectical, tradition. Prob- lematically, it will seem as if the coda cannot have a function within this framework. Hegel’s dialectical thinking, according to Adorno, moves through the moments of apparent contradiction, process of mediation, and finally, as result of the process, affirmation of what already was. Adorno identifies such dialectical movement in Beethoven’s reconstruction of traditional sonata form out of subjective freedom, which I shall break down along the following lines. The exposition introduces apparently contradicting themes. In the development section, subjective freedom intervenes into objective form, so that subjectivity comes to recognize itself in objective form in a process of mediation. This mediation of subjective freedom and objective form results in the recapitulation, i.e. the affirmation of the expositional themes as being iden- tical. It seems then that after exposition (apparent contradiction), development (mediation), and recapitulation (affirmation), all moments of the dialectic have resounded, leaving no function for a coda. To discover a function for the coda to the first movement of the Eroica after all, I will present Adorno’s reflections on what he identifies as a wholly new theme introduced in its development section. Beethoven introduces this new theme in order to express the intervention of subjectivity in the development—the moment of the new—purely. Adorno argues that the new theme is actually the second theme of the exposition, which was omitted there but is required here. Furthermore, the new theme is finally absorbed into the immanence of objective form in the coda, where it receives a reprise as usual for second themes, so making a dialectical function for the coda conceivable.

Papers round 1: Music Theory Cultures

From Counterpoint to Heterophony and Back Again: Reading Edward Said’s Drafts for Culture and Imperialism (1993) Wouter Capitain, University of Amsterdam

In this paper I examine the interdisciplinary travels of musical concepts to postcolonial studies. Based on my archival research of the Edward W. Said Papers at Columbia University in 2018, I argue that musical concepts offer the potential for a postcolonial hermeneutic that moves beyond conventional monophonic and Eurocentric historiography. In his published writings, Edward Said influentially proposed a “contrapuntal reading” of culture, history, and identity, thereby appropriating a musical term to formulate a theoretical perspective. Yet, instead of limiting the debate to the dominant theme of Said’s published writings, as is common in the academic reception of his legacy, I consider alternative narratives as they emerge in unpublished texts. My archival research reveals that, even though Said theorizes a “contrapuntal reading” in Culture and Imperialism (1993), in drafts of this book he actually employs a “heterophonic reading.” I address the musical and political connotations of both concepts to consider the theoretical consequences of transposing these to other domains. Text is chiefly a linear medium that is traditionally ascribed to monophonic authorial intention, but my analysis of Said’s drafts demonstrates that in his texts multiple voices overlap, interact, and transform. In this paper presentation I share photocopies of Said’s handwritten drafts and argue that his theorization of counterpoint itself re- quires a what he calls a contrapuntal reading; that is, I read it with a simultaneous awareness of the text’s multiple and irreducible manifestations. However, the academic discourse as well as counterpoint in European classical music usually desire a structural unity by which each part is related to the whole. I conclude by arguing in favor of a heterophonic perspective in the humanities which does not presuppose a structural cohesion, developmental progression, or harmonic resolution.

6 Papers round 1: Music Theory Cultures

Redefining Sampling in Digital Audio Workstations: The Case of Deadmau5 and DirtyCircuit Sonja Hamhuis, Utrecht University

In 2008, amateur musician DirtyCircuit used a sample of Deadmau5’s “Faxing Berlin” (2007) in one of his tracks. The sample was included in the database of FL Studio, a Digital Audio Workstation (DAW) used by many early-career EDM producers. However, in contrast to other samples in the database, the Deadmau5 sample was not cleared of copyright for FL Studio users. Deadmau5 thereafter accused DirtyCircuit of stealing his music and threatened him with legal actions. The case exemplifies an ongoing change in the music sampling practice. Originally, sampling is based on what Mark Katz theorizes as an idea/expression dichotomy (2004): Artist A transforms a musical idea into an expression, Artist B then extracts the idea from that expression and uses it to create a new expression. Since the introduction of DAWs, sample libraries provide an alternative to the active search for samples. The origin of these samples is unclear, as the software already extracted the idea from its original expression. In scholarship, research on music sampling has often presupposed the existence of a blurred idea/expression dichotomy. However, the implications of skipping the process of extracting an idea from a specific expression has received little attention. In this paper, I examine how sample libraries in DAWs redefine the practice of sampling as a compositional technique of musical borrowing. I research to what extent the intention of referencing to a specific expression is part of the sampling process. Through a close examination of the Deadmau5 v. DirtyCircuit case, I argue that the introduction of sample libraries in DAWs challenges the idea/expression dichotomy as proposed by Katz. Moreover, I suggest that a consideration of the specific platform for music production is necessary in discussions of the sampling processes. Altogether, this paper contributes to ongoing research on the practice of digital music sampling.

7 Papers round 2: Bodies and Identities

Constructing Identities in Song and Collective Singing Practices: Political Songs in Eighteenth-Century Netherlands Renée Vulto, Ghent University

Singing songs together was a common activity in the early modern Netherlands. At events and festivities, at work and in the pub – everywhere people were singing. Yet, songs were not solely a form of entertainment. Research on European political song cultures of that period has indicated that a key aspect of such songs was to evoke feelings of collectivity and unity – especially in times of instability (e.g. Hambridge 2015, Mason 1996, Van der Haven 2016, Van der Poel et al. 2016). During the late eighteenth century, the Northern Netherlands were going through several political and societal conflicts and changes. In these turbulent decades a Dutch national identity was cultivated in art and literature (Rutten and Van Kalmthout 2018), although a collective identity was not easy to define in this culturally fragmented region. I will argue that therefore the construction of collective identities – whether local, regional or national – may have depended largely on performances of such a unity in collective practices, such as singing together. In my paper I will relate collective singing practices to the discourse on sympathy and enthusiasm, and theo- ries of the qualities and effects of music and verse of that time (e.g. Shaftesbury 1733, Sulzer 1771/1774, Wieland 1759). These discourses often reflected the idea that feelings could be transferred through reading and performing song and lyrical texts. Such ideas inspired ‘cultivators of national culture’ to write songs that enabled their audiences to perform, and identify themselves with, the community voiced in that song. An interesting example of a context in which a collective identity was performed and explicitly connected to a national identity, is that of civic militia. In line with eighteenth-century ideals of enlightenment and sociability, they want- ed to educate people in the use of weapons. Their marching exercises, accompanied by singing, are a convincing example of how a singing group could become the embodiment of the ideas of collectivity voiced in their songs. Zooming in on one of these civic militia, I will discuss how these songs voice a collective Dutch identity, how they were incorporated in the society’s collective exercises, and how we can analyse this in the context of the conflicted historical situation.

8 Papers round 2: Bodies and Identities

Steelband Performance and its Connection to Decoloniality

Charissa Granger, Erasmus University Rotterdam

Discarded 55-gallon oil barrels were used for music-making in 1940s colonial Trinidad and Tobago; a period deeply shaped by discrimination of its performers. Often standing at the beginning of personal and political consciousness, music and dance empowered participants. Large-category ensemble consists of over 500 drums played by 120 musicians, who all move as one. This paper explores dance in steelband performance and how the human body in movement can be consid- ered as part of the music’s decolonial aesthetic and epistemology. Concentrating on how performers physically move together, this paper examines how a sensuous way of being in, and relating to the world is experienced in steelband music and performance and how this connects to a decolonial aesthetic and epistemology. Dance in steelband performance enables performers to regenerate the communal and thereby transgress the colonial matrix of power, exploring the potential of the performing body for broader understandings of decoloniality. Through performance analysis, this paper seeks to understand the moving body in musical performance as a historical and current practice of transgressing and (re-)existing beyond coloniality. It asks: how does musical performance enable people to (re-)exist beyond the colonial matrix of power and its working in the epistemic realm, which is crucial to understanding subjectivity and the control of knowledge. The performing body is socio-political because it generates space for the receipt and exchange of emotions and experiences, bringing about feelings of joy, love and communion, thereby enabling a way of being that transgresses coloniality.

9 Papers round 2: Bodies and Identities

Behind the Curtains: Towards Inclusivity in Symphony Orchestras

Valerie Abma, Utrecht University

In 1952, the Boston Symphony Orchestra conducted an experiment in which musicians who auditioned for the orchestra had to do so behind curtains. This experiment – done in order to avoid biases in the process of hiring – turned out to be successful for some: the number of women who gained a spot in the orchestra grew significantly after auditioning anony- mously. During the 1970s and 1980s, more orchestras in the United States, but also in Europe, started adopting this auditioning procedure. Though much scholarly attention has focused on the sex-biased hiring that has seemingly been reduced with the help of a pair of curtains, the ongoing underrepresentation of musicians of colour in Western symphony orchestras remains largely overlooked. This underrepresentation raises several questions: how come the number of ‘minority’ musicians remains so low while the blind auditioning process is supposed to allow all musicians a fair chance? Is there even a pool of ‘minority’ candidates that auditions for symphony orchestras? And is it possible for blind auditions to eradicate discrimination? But also: how ‘blind’ are blind auditions? And is it possible to eradicate discrimination when orchestras are not the only institutions where institutionalized racism exists? In this paper, I examine the blind auditioning process in order to create an understanding of how blind auditions work, after which I discuss why blind auditions do not reach enough positive results in order for orchestras to become more inclusive. Moreover, I highlight several plans for diversity of institutions and organizations, and close with suggestions for alternative strategies that could be adopted in the future. I argue that the lack of inclusivity in orchestras is grounded in issues that are deeper than orchestras alone can fix. Ultimately, this paper contributes to the ongoing debates on inclusivity in Western classical music, while also offering concrete ideas for improvement.

Papers round 2: Bodies and Identities

“Subverting the Spectacle of Melody”: Gender, Race, and The Politics of Sonic Defiance in Contemporary Electronic Dance Music Caitlin F. O’Riordan, University of Groningen

Within queer theory, the concept of failure is discussed as an act of ‘decent and refusal’ (Halberstam 2011) against normative structures set up by society. As a political tool of resistance embedded in the radical disavowal of hegemonic struc- ture, failure is a site for the creation of alternate possibilities. More than just a concept, ‘failure’ is a mode of being in and of itself – a mode of ‘unbeing and unbecoming’ (Halberstam 2011) that manipulates and destabilizes the parameters of a given hegemony. This article examines the use of failure within the musical compositions of three transgender EDM producers - Terre Thaemlitz, Colin Self and Elysia Crampton. Paying attention to their compositional techniques, I highlight how they each explore and criticise the hegemonic structures of power relating to gender using sonic defiance. By choosing to not align themselves with traditional conventions of musicology, as well as the gendered signifiers in sound, I argue that ‘failure’ serves as an act of refusal pushing against normative conventions. In reference to Andrew Brooks and Jenny Lawry in regards to the politics of listening, I place sonic defiance as a political practice that alters the dynamics between music and the listener. Through presenting the possibility of defiance through musical composition, these practices serve as tools and metaphors to re-think and transcend the artificial parameters of gender. I argue that the medium of music serves as a political tool to technologically de-program and (re)synthesize such structures where music functions as a ‘technology of the self’ (Foucault).

Papers round 3: Programming Ideology

Opera for the People: Music Drama between Romanticism and Avant-Garde in the Third Reich Max Erwin, University of Leeds

As the NSDAP rose to power in the early 1930s, the critics of the Zeitschrift für Musik were jubilant. Announcing ‘German art is as free as a bird!’ in May 1933, Fritz Stege proposed a ‘Renaissance of the German Volksoper’ wherein works by ‘Romantic’ German composers would return to the repertory after ‘the Bolshevik experiments of recent years’. The next year, Stege’s blueprint was carried out almost to the letter throughout Germany (though he would complain a year later that Friedrich Klose’s Ilsebill had yet to be revived). Yet German opera houses did not stick to this plan for long, and the most successful premieres of the late 1930s were held by composers like Werner Egk and Carl Orff who had previously been singled out by Stege for their ‘decadent’, un-romantic compositions. What is at stake for Stege – whether authentic German art music is to align with a ‘romantic’ or more ‘modern’, community-oriented paradigm – was the subject of a far-reaching aesthetic and ideological debate during the Third Reich. Responding positively to a speech made by Göring, an editorial in the 7 May 1933 Frankfurter Zeitung argues that ‘the leaders of the new Germany understand the tasks which the total state must solve: namely, to make art recognize something of its own revolutionary impetus, put it in contact with the community (Volksgemeinschaft), and replace the earlier dynasties of the upper bourgeoisie as a sponsor and patron.’ Through several representative case studies, this paper traces this discourse and ultimate transformation of Nazi aesthetic ideology and its effects on the practice and reception of opera, a transformation which turned from the romantic genius to the Volk, from the work concept to an avant-garde integrated with the everyday.

Papers round 3: Programming Ideology

Compelling until the End? Programming Strategies and Symphonic Liste- ning in Dutch Concert Life ca. 1840 Thomas Delpeut, Radboud University Nijmegen

Concert programming is not only a complex musical practice but also an inherently social one. In the 1840s, concert organisers and music journalists in the Netherlands critically reassessed the sequence in which musical works were performed. This was part of a recent foray into regulating the social behaviour of audiences and cultivating attentive, aes- thetically informed listening. Throughout Europe, nineteenth-century concerts regularly incorporated a wide variety of genres and styles, performed by an orchestra and multiple instrumental and vocal soloists. Inspired by the Leipzig Gewandhaus, several Dutch music critics advocated a restructuring of programming formats to conclude performances with symphonic works. At the same time, other critics affirmed the existing convention of commencing concerts with symphonies as the most effective way to influence the habits and tastes of concert visitors – including their attention span, and emotional and embodied reactions to the music. This paper discusses the ways in which programming strategies aimed to regulate symphonic listening of audiences in Dutch cities. The historian William Weber already offered a rich interpretive framework and charted many structural shifts in music culture in his extensive work on concert programming. To better gauge the lived experiences of these practices I will consider the interaction between particular formats and actual modes of listening in the Netherlands, including social, emotional and bodily effects. By analysing reflections of music critics, this paper argues the meaning and development of programming formats was far more contested and contingent. The rethinking of Dutch programming norms in the 1840s shows how music ideals circulated through national and transnational networks, while the actual manifestations depended on interactions with local actors and their specific concert rituals.

Papers round 3: Programming Ideology

Nationale Opera & Ballet in a Global Context: Achieving Diversity or Lapsing into Window-Dressing? Liselotte Podda, Utrecht University

The Amsterdam-based opera company Nationale Opera & Ballet (NOB) presented the programme of season 2019/2020, with ‘change and wonderment’ (verandering en verbazing) as its central theme. The accompanying promotional pictures display a range of diversity in terms of gender, race and age. Sandra Eikelenboom, the head of NOB’s marketing department, stated in the Dutch newspaper NRC that NOB has to attract a younger and more diverse audience to safeguard its future. For this reason, NOB staged Mozart’s La Clemenza di Tito with a black Tito and Gershwin’s Porgy and Bess with an all-black cast last season. These developments raise the question if NOB’s promotional strategies, repertoire and personnel choices are just a way of jumping on the train of global trends in opera land or if NOB aims to diversify their organisation as a whole. As most diversity questions regarding opera primarily take place in public fora, I want to add to the scholarly discussion and assess how NOB plays into diversity trends and how this affects their organisation. First, I discuss the recent global developments in the realm of opera to contextualise NOB’s choices. Based on their last annual report, I evaluate how their promotional campaign, repertoire and personnel choices reflect or chal- lenge their company policies. NOB follows the global trend of making opera more accessible to a broader audience and of diversifying their organisation. The promotional materials reflect the aim to achieve a diverse audience; however, they overshadow other diversity pillars in their annual report, namely those of personnel and repertoire. The focus on diversity differs within the populations of the opera company, and it relates directly to the visibility of these populations. Ultimate- ly, this paper contributes to the diversity discourse in the realm of opera and stresses the influence of global opera trends in local policy choices.

Papers round 4: Shaping Performance

Performing The Passion: The Maestro di Capella in the Twenty-First Century Sophie Mahar, Liverpool Hope University

During Lent 2019, Early Music as Education (EMAE) gave the UK premiere of Alessandro Scarlatti’s Passio secundum Joannem in the Liverpool Parish Church of Our Lady and St Nicholas. This beautiful musical setting of John’s account of Christ’s death continues to pose substantial challenges to musicologists and performers alike. First, it is not as yet clear when and whom Scarlatti composed it for: whether for a Roman church in the late 1670s or for a Neapolitan confraterni- ty in the late 1710s. Second, Scarlatti’s verbatim treatment of the Vulgate text makes the work less appealing to modern audiences than his more ‘operatic’ oratorios in Italian and therefore less likely to be included in festivals and concert seasons without some arrangement. This paper suggests some solutions to the scholarly and artistic issues highlighted above as much as it envisag- es a new identity and role for the twenty-first-century maestro di cappella. In particular, the paper focuses on three distinct but related aspects of a modern revival of a past event that was determined by religious habits and musical practices which we may no longer be familiar with: 1) the promoter as patron; 2) the listener as worshipper; 3) the performer as celebrant. By reflecting on the practical experience of performing the Passio within a specific para-liturgical context and playing some live recordings of the performance, I hope to show how the demands of spiritual life may be reconciled with those of the cultural industry without a loss of integrity.

Papers round 4: Shaping Performance

Violin Solo Works from 1800 to the Present Day - Suggesting Polyphony

Román Santos Mateos, CODARTS University for the Arts, Rotterdam

This research offers an insight into the evolution of violin solo repertory from 1800 to the present day by focusing on the creation of different voices or layers in an instrument which is mainly fitted to melodic singing (and therefore oriented to being merged with other instruments in different settings - with piano accompaniment, chamber music or concerto with orchestra). The analysed music is compared to that of Bach in the aspects related to multipart writing. The research is mainly based on the musical analysis of scores and the comparison of different examples. In addition, different literature has been studied in relation to both the violin works included and the concepts of polyphony, counterpoint and texture. The main conclusions obtained after the completion of the research process can be summarized as follows: 1) The procedures used by Bach constitute the basis of contrapuntal writing for violin and are extensively used during the 19th and 20th century. Some of these are enriched or extended in some aspects such as range or timbric differentiation. 2) These procedures can be used, as it happens especially during the 19th century, to create an accompanied melody texture instead of polyphonic (hierarchization of the layers). 3) Style and instrumental technique determine the available possibilities for the creation of several layers. 4) The different treatment of musical elements in the second half of the 20th century demands a wider conception of counterpoint and polyphony. The research can be useful for string players to raise their awareness of multiple voicing in the study of their repertory. For music theorists, it provides material for reflection on texture and independence (and interdependence) among musical lines or layers. For composers, a catalogue of procedures that can be used in writing for violin and some comments on their playability.

Papers round 4: Shaping Performance

Guitar Playing and Music Education Between 1750 and 1810: Cosmopolitanism in the Domestic Sphere Jelma van Amersfoort, University of Southampton

Between 1750 and 1810 many young people of the European middle and upper classes would have learned to play a musical instrument or to sing: some to become professional musicians, but most as part of a ‘good’ education. Guitars were deemed especially suitable for young women, who played them as solo instruments or used them to accompany song, while looking very attractive: “[A] graceful Person cannot, sitting down, be placed in a more becoming Attitude,” claimed Ann Ford in her 1761 guitar method. In my paper I will examine sources on music teaching, such as instruments and method books, and contextu- alize these with newspapers, fiction, iconography, and literature on education, from Britain and the Netherlands. Those teaching guitar there were generally male, foreign, well-travelled, and their social class could be ambiguous. Teachers brought musical material from the public domain into the private, and foreign music and languages into the home, to their often female students. This contributed to a cosmopolitan performance-practice in the domestic sphere: learning to sing or play an instrument meant not only acquiring social and musical skills, but also being introduced to foreign words, affects and tastes. Playing and singing that foreign music and thus physically engaging with it, meant for musical amateurs a form of active embodied cosmopolitanism, a little Grand Tour within the home.

Papers round 5: Shaping Listening

4DSOUND: A New Technology

Sydney Schelvis, University of Amsterdam

In 2007, Dutch composer Paul Oomen founded 4DSOUND: an interdisciplinary project exploring spatial sound as a medium. From this project, in turn, sprung the Spatial Sound Institute in Budapest: a permanent facility dedicated to the study of spatial sound and a melting pot for engineers, artists, and musicologists with a focus in this emerging field. My research project approaches listening to electronic (dance) music as an embodied practice, contingent on the listener’s physical location. The physique is in constant flux with the music, which enthrals through its pulsating musical materiality rather than clear-cut semantic content. Hence this music lends itself well for a reconsideration of the ecolo- gy of listening. A one-month residency at 4DSOUND’s Spatial Sound Institute allows me to study in-depth the interac- tive relation between body, sound, and technology in an embodied mode of listening. The on-site research in collaboration with a fellow resident musician is grounded in a tripartite theoretical corpus. The first part derives from the music itself through works by the Oslo-school of electronic dance music scholars, the second part is methodologically based in Marc Leman’s works on embodied music cognition, and the third part is based in Gilbert Simondon’s philosophy of science. I interlink these three parts through their relevance to the body- technology relationship underpinning an embodied mode of listening to music. In the end, this thesis returns to the epistemological foundations of listening as a corporeal act. Working first- hand with the state of the art 4DSOUND installation enables me to put theory to practice and experiment with the spati- ality of sound from the perspectives of both listener and artist. I then process these insider’s insights obtained in the context of the academic discourse on the nature of listening in the 21st century.

Papers round 5: Shaping Listening

The Immaterial Record Sleeve: Engaging the Listener with Spotify’s ‘Canvas’ Video Loop Marjolein Wellink, Utrecht University

For a long time, personal music collections were created by purchasing physical albums in record stores. Nowadays, major streaming services such as Spotify give the consumer immediate and often unlimited access to an immense library of songs. Listeners consequently no longer need to carefully select what music to buy and what not, which makes them generally less emotionally invested in finding music that fits their preferences (Wikström 2015). Moreover, the dynamics between visual and aural aspects are changing: the increasing importance of algorithmic playlists carries the danger of making the artists less visible, because they end up as a small part of an eclectic whole that is consumed through the ears. One solution for this invisibility that Spotify offers to artists is the ‘Canvas’ video loop. These 3-8 second videos are substitutes for the static album covers that normally show up in the app, and demand longer visual attention of the listener. In this paper, I will examine the use of these video loops by drawing parallels between functionalities of physical album art and Spotify’s digital ‘Canvas.’ First, I elaborate on the relationship between the music, album cover and the video loop in terms of Gérard Genette’s ‘paratextuality.’ Then, building upon studies of record sleeves (e.g. Auslander 2001; Jones and Sorger 1999) and digital music consumption (e.g. Magaudda 2011; Skågeby 2011), ‘Canvas’ is placed in the material tradition of visual branding in popular music. I argue that Spotify herewith offers a 21st-century-suited op- portunity for artists to brand themselves in order to regain the listener’s attention for their music as an artwork, and that it redefines the hierarchy between visuality and sound. Ultimately, this paper contributes to research on technological developments shaping music consumption, while shedding light on strategies of engaging the audience in the rapidly changing digital music landscape.

Valerie Abma ([email protected]) is a Musicology research master student at Utrecht University. Her research interests meet at the intersection between musicology, feminist theory, queer theory, and postcolonial theory. Recent research topics include tokenism on BBC Radio, the problematics of a white perspective in black music archives, the woman musical genius, the use of Florence Price as a token of inclusivity, and the digital queering of Janelle Monáe.

Jelma van Amersfoort ([email protected]) is a musician and musicologist from Amsterdam. She works on a PhD at the University of Southampton (on guitars in the Netherlands in the 18th century) with professor Jeanice Brooks. Jelma holds a MA in musicology from the University of Amsterdam, and degrees in guitar and lute performance from the Conservatory of Amsterdam. She is active as a professional player of lutes and historic guitars. Jelma is a member of the Con- sortium for Guitar Research at Cambridge University (a subsidiary of the RMA) and has published in Oxford Early Music and the journal TVNM. Jelma's research interests include song, women composers, data analysis and the history and performance practice of the guitar.

Núria Bonet ([email protected]) is a composer and organologist. She studied the piano and clarinet during her childhood in Luxembourg. She then obtained a bachelor degree in Music and a Masters degree in Electroacoustic Composition at the University of Manchester. Her interest in the science behind music led her to also gain a Masters degree in Acoustics and Music Technology from the University of Edinburgh. She is currently studying for PhD in Computer Music at Plymouth University under the supervision of Eduardo Miranda and Alexis Kirke. Núria’s organological research looks at Catalan instruments, mainly the tenora and tible. Her compositional research looks at the use of scientific data as compositional material. Her work has been mentioned on BBC Radio 3, Catalunya Radio, Catalunya Música, The Guardian, The Inde- pendent, Nature Physics and Physics World. Her music has been performed in diverse venues such as an indoor rainforest and a disused cotton mill.

Wouter Capitain ([email protected]) studied Musicology and Art Studies at the Uni- versity of Amsterdam and am currently doctoral candidate at the Amsterdam School for Cultural Analysis, where I write my dissertation on Edward Said’s musical writings. In 2018 I was visiting scholar at Columbia University with a Fulbright Scholarship to research the Edward W. Said Pa- pers. Besides, I am lecturer in popular music studies at Utrecht University and have previously taught courses on popular music and music history at the University of Amsterdam and the Uni- versity of Applied Sciences in Leiden. I published articles in Popular Music and Society and Rock Music Studies.

Thomas Delpeut ([email protected]) is a PhD candidate at the History department of the Radboud University and specialized in nineteenth-century music and concert culture. He has published and presented papers on topics concerning concert programming, music journalism and critical practices, audience behavior and listening experiences. Besides working on his PhD he helps organizing chamber music concert in Nijmegen and recently became board member of the Royal Society for Music History of the Netherlands.

Max Erwin ([email protected]) is a musicologist and composer originally from Franklin, Tennessee. His research is focused on the post-war European avant-garde, especially practices associated with so-called “total serialism”. He is completing a PhD at the University of Leeds under Martin Iddon, where he is the recipient of a Leeds Anniversary Research Scholarship. His writing is published in Tempo, Music & Literature, Revue belge de Musicologie, Nuove Musiche, and Cacophony. He has also scored several film, video game, and multimedia projects.

Charissa Granger ([email protected]) is a Marie Curie Leading Fellow postdoctoral researcher at Erasmus University Rotterdam, Netherlands. Charissa’s research foci are on how Ca- ribbean and Afro-diaspora music-making practices generate knowledge, concentrating on music’s relationship to postcolonial and decolonial experiences.

Sonja Hamhuis ([email protected]) is a graduate Musicology student at Utrecht University (the Netherlands). Her research is centered around the production and performance of electronic dance music; the manifestation of digital music cultures and the multilateral relati- ons between music and politics. In addition to her current graduate studies, Hamhuis participates in an interdisciplinary honors program on leadership. She is a former board member of Studie- vereniging Hucbald, the study association for Musicology studies in Utrecht. To date, she still partakes in multiple committees of this organization.

Rutger Helmers ([email protected]) is Assistant Professor in Musicology at the Universi- ty of Amsterdam, and was a board member of KVNM from 2016 to this spring. He specializes in nineteenth-century music history, and his main interests are opera, Russian music, nationalism, and musicians’ mobility. He is the author of Not Russian Enough? Nationalism and Cosmopoli- tanism in Nineteenth-Century Russian Opera (Rochester, NY: University of Rochester Press, 2014).

Ita Hijmans is artistic leader of Aventure, ensemble for medieval music. She studied recorder with Jeanette van Wingerden in Holland and specialized in medieval music at the Schola Canto- rum Basiliensis (CH). With Aventure she concentrates on researching and performing 15th cen- 21 tury music from north of the Alps. She combines practical work as a musician with research and has initiated and designed various projects, including the latest project Filling the gap. The reconstruction from a mid-15th century recorder consort. She has been a member of the KVNM fo- rumcommissie since 2016.

Michiel Kamp ([email protected]) is Assistant Professor of Musicology at Utrecht University, where he teaches on music and audio-visual media. Michiel has been a board member of KVNM since 2018, and is co-founder of the UK-based Ludomusicology research group, which has organised yearly conferences on video game music in the UK and abroad since 2011, and has recently co-edited a volume with the same name.

Sophie Mahar ([email protected]) is currently in her third year of doctoral studies under the supervision of Dr. Alberto Sanna. Her research focuses on the Lenten oratorios of seven- teenth-century Italian composer Alessandro Scarlatti (1660–1725) and the musical aspects of devotion in early modern Italy. Sophie is currently a Lay Clerk at Liverpool Metropolitan Cathe- dral of Christ the King and regularly performs with the Liverpool Bach Collective, directed by Mr Philip Duffy. She has performed as a soloist in Mozart’s Requiem and Vivaldi’s Gloria for Liver- pool Hope and also in Mozart’s Missa Brevis in D at Buckfast Abbey.

Marten Noorduin ([email protected]) studied musicology, art history, and languages at Utrecht University, as well as piano performance at the conservatoire in Tilburg, before moving to the United Kingdom to pursue a postgraduate degree in musicology at the Uni- versity of Manchester. In 2016, he completed his doctoral research on Beethoven’s tempo indica- tions under the supervision of Professor Barry Cooper. He currently holds a research position on the AHRC-funded project Transforming Nineteenth-Century Historically Informed Practice (TCHIP) at the Faculty of Music of Oxford University, and is a postdoctoral associate at St Cross College, Oxford. He has also written a number of articles on issues related to performance practice in the nineteenth century. His further research interests include source studies, publishing in the nineteenth century, empirical and statistical approaches to music and performance, and performance cultures.

John Moore ([email protected]) is a post-graduate research student at the Uni- versity of Liverpool. Graduating from Queen’s University Belfast in 2015 having read Music, John went on to study a PGCE at Edge Hill University. From there, he went on to become Head of Music at Sir John Talbot’s School in Shropshire where he has been for three years. John’s research interests are centred around music and the internet, music and the construction of identities and interdisciplinary studies.

Caitlin O’Riordan ([email protected]) is a research master’s student of Arts, Culture and Media at the University of Groningen, the Netherlands. With particular interest in issues relating to performance and gender studies, queer theory and posthumanism, their work takes a critical approach to matters of resistance and subversion within popular culture and the intersections between music, identity and technology.

Liselotte Podda ([email protected]) is a research master’s student of Musicology at the Utrecht University. Earlier this year, she obtained her bachelor's degree in Musicology at the Uni- versity of Amsterdam. Her main focus so far has been on Italian opera in the 19th and 20th century, which resulted in a bachelor’s thesis on nationalism and meridionalism in Giuseppe Verdi’s La battaglia di Legnano and I vespri siciliani. Besides opera, more recent work is focused on music and politics, hip-hop, postcolonialism, and musical imaginations of the ‘Other’.

Román Santos Mateos ([email protected]) studied his Bachelor Degree in CODARTS (Rotterdam), graduating in both violin and music theory. Since 2017, he follows in the same insti- tution a Master Degree in Music Theory. Both stages of his education have been marked by a deep interest in the repertory for unaccompanied violin. This is reflected in his thesis on Bach’s Sonatas and Partitas BWV 1001-1006 and the Master research he finished this year, which deals with later repertory. As a performer, he has played with some contemporary music ensembles and also with young orchestras, giving concerts in different European countries.

Sydney Schelvis ([email protected]) holds a BA and MA in musicology (Universiteit van Amsterdam) and currently works on his final thesis for the research MA Art Studies. His specialisations include nightlife/club culture, gentrification of creative space, synthe- tic voices, and embodied listening practices — all of which he studies in relation to forms and practices of electronic dance music. Outside office hours he is active in the creative industries as a blogger and reviewer for Liberty City Records, works at concert venue Melkweg in Amsterdam, and DJs at DIY events.

Roman Thommassen ([email protected]) received a bachelor in mathematics and a bachelor in philosophy (cum laude) at Leiden University, the latter including a minor in musicology at Utrecht University and a final thesis titled: “Nietzsche’s Dionysian Musical Ideal.” He is now more than halfway through his masters in musicology at University of Amsterdam and in “Philosophy of Humanities” at Leiden University. His interests are in dialectical philosophy (Hegel, Marx, Adorno), numerous Austrian/German composers (such as Mozart, Schubert, Bruckner, and Mahler), and various subgenres of metal.

Renée Vulto ([email protected]) studied Musicology at the universities of Amsterdam (BA), Berlin (Humboldt) and Utrecht (RMA) and is currently working as a doctoral researcher (BOF) at the Department of Literary Studies at Ghent University. Her research project Singing Communities aims to examine the role of songs and singing in the development of communities in The Netherlands around 1800. The focus is on how ideas of a national identity were articula- ted in the text and through the music of political songs; how the imagined communities that songwriters sought to create in their songs might have become embodied communities through the singing of these songs; and how this can be situated in a harsh reality of political turmoil and crises. Renée is a member of the research groups GEMS, CEL19 and THALIA at UGent and affiliated with the Dutch Huizinga Instituut. She also regularly writes program notes and concert- reviews, and gives pre-concert talks for various concerts.

Marjolein Wellink ([email protected]) is a student in the research master programme of Musicology at Utrecht University (The Netherlands), where she also obtained her bachelor’s degree with a major in Musicology and a minor in media and culture studies. Her research reflects these interests in topics dealing with the interrelationships of music, media and technology, with a specific focus on the question of how technological developments shape our encounters with and understanding of music in everyday life.

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