RMA/KVNM Postgraduate International Research Symposium in Musicology
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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 schol- arly 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 edu- cation 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 musi- cology 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. ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- 4 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 frame- work 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 subjec- tive 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. ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- ——————————————————————————————————- 5 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