53rd ANNUAL CONFERENCE LIVERPOOL 2017 The British Music Collection is a remarkable archive of 40,000 scores, recordings, letters, photographs, programme notes and much more.Dating from the early 1900s to the present day, CONFERENCE COMMITTEE it features some of the finest composers and sonic artists to come out of the UK.

Kenneth Smith (University of Liverpool, chair)

Warwick Edwards (University of Glasgow, RMA Conferences Co-ordinator)

Katy Hamilton (representing the RMA)

Freya Jarman (University of Liverpool)

Holly Rogers (Goldsmiths)

Marion Leonard (University of Liverpool)

Guido Heldt (University of Bristol)

Hae-kyung Um (University of Liverpool)

Lauren Redhead (Canterbury Christ Church University)

Sound and Music is developing the Collection into a living archive and world leading resource for the discovery of new music. If you are a composer, you can be part of it. If you love new music, you can help shape its future. WELCOME

Dear Colleagues

Welcome to the 53rd Annual Conference of the Royal Musical Association, taking place at the University of Liverpool. This year we have assembled the biggest programme yet in the Association’s history, with 220 speakers and musicians from eighteen different countries The conference highlights the Edward J. Dent medal presentation and Lecture by Mark Katz and the Peter Le Huray Lecture by Andrea Lindmayr-Brandl, along with panel discussions by internationally renowned scholars and practitioners, individual The Music of Simon Holt Brahms and his Poets papers on topics ranging from thirteenth-century song to the Eurovision Song Contest, a concert, lecture- Edited by DaviD Charlton A Handbook recitals and poster sessions. In addition there are the Annual General Meeting of the Association, receptions at the Royal Liverpool Philharmonic (sponsored by Routledge Publishing) and at Tate Liverpool, Bringing together well-known writers with natasha logEs composers and performers, this volume gives and an exhibition of books and other materials. I hope you enjoy the conference, and if you’re not already a complete overview of holt’s creative work Covering Brahms’s 32 song opuses published a member, feel inclined to join us. Membership is available online at www.rma.ac.uk. up to 2013. during four decades of song-writing, this book offers a way of understanding what £65, September 2017, 978 1 78327 223 5, HB Brahms believed to be the right poetic basis Mark Everist for his immortal music. President of the Royal Musical Association £50, November 2017, 978 1 78327 236 5, HB Beethoven’s Cello Five Revolutionary Sonatas This is a tremendous and Their World The Music and Music opportunity to welcome MarC D. Moskovitz Theory of Paul Hindemith visitors from across & r. larry toDD siMon DEsBruslais the world to Liverpool, the ideal companion for cellists, pianists, a detailed study of the well-known, yet musicologists and chamber-music devotees poorly understood, music theory of composer a UNESCO City of desiring a comprehensive understanding of Paul hindemith (1895-1963). Music, and to showcase this beloved repertoire. £60, February 2018, 978 1 78327 210 5, HB £29.95, October 2017, 978 1 78327 237 2, HB the very best of music scholarship.

Professor Fiona Beveridge www.boydellandbrewer.com • [email protected] • 01243 843 291 University’s Pro Vice Chancellor for the Faculty of Humanities and Social Sciences ACKNOWLEDGEMENTS ABOUT THE RMA

UNIVERSITY OF LIVERPOOL The Royal Musical Association was founded in 1874 ‘for the investigation and discussion of Kenneth Smith (Conference director) subjects connected with the art and science of James Millea (Conference administrator) music’, and its activities have evolved to embrace Filomena Saltao, Michael Longworth, Libby Farrar (University of Liverpool Events team) every conceivable aspect of music research, Jonny Davis Le Brun (Conference web manager) whether expressed in words, notation or sounds. The Association aims to sustain and enhance Helen Thomas (RLPO liaison) musical culture in the United Kingdom, while liaising with other subject organisations at home and abroad where appropriate and recognizing PROGRAMME COMMITTEE outstanding scholarly and creative achievement by individuals worldwide. It further aims to support the Warwick Edwards (RMA / University of Glasgow) education and training of emerging scholars and Katy Hamilton (RMA) practitioners. Guido Heldt (Director, RMA Annual Conference Bristol 2018) Freya Jarman (University of Liverpool) The Association’s chief activities in pursuit of Marion Leonard (University of Liverpool) these aims are the promotion of conferences, Lauren Redhead (Canterbury Christ Church University) symposia, study days, workshops and other public Holly Rogers (Goldsmiths, University of London) meetings; the publication and dissemination of Kenneth Smith (University of Liverpool), Chair books, journals, and other outlets for research of Catherine Tackley (University of Liverpool) international standing; the sponsorship of awards Hae-Kyung Um (University of Liverpool) and prizes; the advocacy of musical studies with public and private policy-making bodies, and with repositories of musical resources; and engagement Conference programme book edited by Kenneth Smith, abstracts edited by Marion Leonard and with the student body in the United Kingdom. Hae-Kyung Um

www.rma.ac.uk Student Helpers: Emma-Jayne Reekie (PhD), Amanda Barnett (PhD), Jonas Roberts (MRes), Maria Moma- ni (PhD), Beth Hunt (MRes), Kate Mancey (MRes) RoyalMusicalAssociation @RoyalMusical ROYAL MUSICAL ASSOCIATION

The RMA is a registered charity (no. 222410) and a UK limited The Royal Musical Association wishes to thank all the above, along with Routledge Taylor & Francis company (Company No. 00081327). Here are some pop tracks I recently became than 1000 pages long!). Through this book one acquainted with, and can recommend: gains an insight into the decadent character of the Austrian society immediately before the Habsburger Johnny Harris, “Stepping Stones” (1970) Empire fell apart. Lucho Bermudez Y Su Orquesta Sabanera, “Arroz Con Coco” (1972) What drew you to your chosen field of research? Baccara, “Yes Sir I Can Boogie” (1977) I am a very curious person (my familiy blames me Der Plan, “Gummitwist” (1984) for this, but I consider it an occupational hazard). When I started to study musicology, I was already Jogja Hip Hop Foundation, “Cintamu Sepahit Topi quite well-acquainted with the baroque and IN CONVERSATION WITH Miring” (2014) classical repertoire from my practical studies at Mac Quayle, “1.0_8-whatsyourask” (2015) the Mozarteum. This is why I was eager to explore Have you visited Liverpool before? “new” music in my research – either music of the I have never been to Liverpool, and I’m very excited 20th century or early music. Since it seemed to be to visit. I hope to have the opportunity to meet some more logical to procede chronologically from the The common element that originally drew me to Liverpudlians, and say “Liverpudlian.” Of course, I beginning of music history, I ended up focussing on violin playing and hip-hop DJs was virtuosity. I should do something Beatles-related. And as when the latter. Moreover, my other studies in mathematics loved the mind-boggling feats of manual dexterity I go to any new city I hope to take long morning provided me with a solid intellectual background that Isaw‌ from the likes of Jascha Heifetz on the walks, see street art, find good vegetarian food, and to study the theory and notation of early music, so I one hand, and DJ Qbert on the other. When I sample the local tea and/or liquor. really felt at home. started learning how to DJ I saw further similarities, ‌How did your career develop before it reached its Mark Katz (University of North Carolina at Chapel especially between violin bow strokes (staccato, Liverpool is a notoriously musical city. Who do zenith? Hill) in conversation with Freya Jarman (University of legato, spiccato, etc.) and record scratches (the you prefer: Paul McCartney and Wings, or Frankie Liverpool) chirp, the transformer, the crab, etc.). Goes to Hollywood? Coming back to Salzburg, I was lucky to get a job at my university, finished my PhD, and started teaching. It’s a little known fact that the Dent Medal How did you persuade the US Department of Tough one. I like Paul, but as a pedant, I can’t For my habilitation I transferred my experience in is not named after Arthur Dent of the Hitchhiker’s State to give you $2.5million? [I refer, of course, forgive the redundancy of “this ever-changing world source studies to the musical world of Franz Schubert. Guide to the Galaxy, who was wearing his dressing to your Next Level project—could you tell us a bit in which we live in” from his Wings-era “Live and Let (My family is from Vienna and I have always felt an gown and pyjamas when the world ended and he about it? What does it do, how has it been going, Die.” And I’m not really one to relax, regardless of emotional connection to his music.) For this second was whisked to safety by an alien. What would be and how do you find the time?] what Frankie says. Can I go with The Wombats? book, which is on Schubert’s fragmentary works, your outfit of choice in such a situation? In 2013 the State Department put out a call for Can you sum up your Dent Medal address in a I was funded by a three-year fellowship through This is actually something I’ve given a lot of thought proposals to create an international exchange haiku? the Austrian Academy of Science. Both books were to. Alas, I’m still thinking and can’t decide between program that would promote artistic and cultural I will talk about honored with national prizes. An offer for the chair in a really smart, bespoke suit or something more collaboration through hip-hop. I had previously co- early music at Göttingen was withdrawn, but instead Hip-hop and diplomacy practical, with velcro and lots of pockets. founded a similar, but smaller program called Beat I held the Austrian chair at Stanford University in Making Lab, and the State Department must have How did you get from a Philosophy student to a [Nature imagery] 2006/07. Six years later I became a corresponding felt that I could pull this off. Dent Medal winner? member of the Austrian Academy of Science. I didn’t quite know what I was getting into, but I’m I was planning on becoming a lawyer and thought Since my habilitation in 2001 I was very active in happy to say the program is flourishing. Next Level philosophy would be good preparation. But then I launching several research projects. With more than has sent American hip-hop artists to 12 countries discovered that musicology was a thing. I gradually 1.5 million euros of funding, I was able to employ thus far and have brought artists from each of gave up on the dream of being a Mercedes seven young gifted and engaged scholars on topics those countries to the U.S. I’m pleased to say that convertible-driving–attorney and became a such as music edition, early music printing, and, last the grant was just renewed yet again, and will musicologist. I can’t explain how I went from there but not least, Franz Schubert. Working with them is continue to run through at least 2018. My Dent Andrea Lindmayr-Brandl (Salzburg) in conversation to becoming a Dent Medalist, but I’m honored and a great pleasure for me. Currently I am running two Medal address will explore the complexities of hip- with Kenneth Smith (Liverpool) grateful. research projects: one of them an edition of the music hop diplomacy and will draw on my experience What is your favourite novel? of the Renaissance composer Gaspar van Weerbeke, There aren’t many people who could write books as director of the program. (See haiku below for the other one on early music printing in German- on violin playing and hip-hop DJing. What is It is always the book that I am reading at the more.) speaking lands. it that draws you to such apparently disparate moment. This currently is The Man Without Qualities What music have you been listening to lately that fields? And how do you see the two relating to by Robert Musil. I attempted to read it when I was How do you ‌see your role as member of the you could recommend? each other? a student and started again just recently (it is more directorium of the International Musicological Society? Prior to being elected as representative of my Do you like the Beatles? (please be aware that the Now Available as an Inspection Copy Austrian colleagues, I was for several years president Le Huray prize can be revoked) of the Austrian Musicological Society, and I continue Sure! I remember very well my father making fun to apply what I learned at the more local level to an of their long hair. In my teenage years I loved international society. I am especially dedicated to the their music and shared several records with my young generation, so I am pleased to be a member brothers and sisters. One of my favorite songs was of the new mentoring program currently under “Blackbird”, but there were also many others which I development by the IMS. Moreover, I enjoy being in really loved. contact with colleagues from all over the world, not least with the UK representative, Julian Rushton. Without giving too much away, what do you intend to talk to us about in your Le Huray What music do you play yourself? lecture? In the last year I have almost exclusively played Bach Initially I thought it would be nice to talk about early on the piano, mainly preludes and fugues from The music printing and the Reformation, which was also Well-Tempered Clavier. This music gives me an inner one of Peter le Huray’s areas of research. But then balance and deep satisfaction, and it serves as a the long-awaited catalogue on Schubert’s printed wonderful distraction from as well as a complement music was finally released, and I shifted to a topic to my academic work. that has been on my mind for a long time... Have you visited Liverpool before? No, I have not been here before but I am always curious to explore new cities. I hope I will see more than the university lecture rooms!

Music, Sound, and the Moving Image is the first international scholarly journal devoted to the study of the More ground-breaking music and sound titles interaction between music and sound within the entirety of moving image media – film, television, music video, advertising, computer games, mixed-media installation, digital art, live cinema, et alia.

Most read articles in MSMI:

A Pop Music Progression in Recent Popular Movies and Movie Trailers Scott Murphy

Bach at the Space Station Tobias Pontara Online access at: online.liverpooluniversitypress.co.uk/loi/msmi Visit the Bloomsbury stand for exclusive discounts and inspection copies

Head of Journals: Clare Hooper • Email: [email protected] For sample copies/advertising contact Megan Ainsworth Print ISSN: 1753-0768 Liverpool University Press • 4 Cambridge Street, Liverpool L69 7ZU, UK Online ISSN: 1753-0776 Tel: +44 [0]151 794 2233 • Email: [email protected] WELCOME TO LIVERPOOL! WHERE TO STAY

Welcome to Liverpool, a city full of culture and building in the city centre and home to an art gallery, Hotels Best Western Hallmark Feathers Hotel heritage. Famously friendly, easy to explore, and artisan shops, ateliers and a secret garden. And best 117-125 Mount Pleasant, Liverpool, L3 5TF with UNESCO Heritage Site status, Liverpool has of all, all these cultural attractions are absolutely The following hotels are listed in order of distance www.bestwestern.co.uk/hotels/best-western- much to offer delegates. FREE to enter. from the University Campus. Please note that this is hallmark-hotel-liverpool-feathers-83930 just a selection of available accommodation, there Novotel Liverpool City Centre The stunning Waterfront and Albert Dock are a Liverpool also offers lots of choice for those who are many other hotels in the city you can choose 40 Hanover Street, Liverpool, L1 4LN pleasant downhill walk from the conference venue, love theatre, from large productions straight from from should you have difficulties booking with any www.novotel.com/ and are populated with beautiful architecture, retail, London’s West End at the Empire Theatre, to smaller, of the below. Epic Art Hotel restaurants, cafes, museums and galleries (many of independent, ‘edgy’ productions and comedies at Hope Street Hotel 25-27 Seel Street, Liverpool, L1 4AU which are free to enter) and boats. Head over to Pier the Everyman, Liverpool Playhouse, Royal Court, 40 Hope Street, Liverpool, L1 9DA www.epicliverpool.co.uk/seel-st-aparthotels/ Head, home to Liverpool’s ‘Three Graces’ and the Unity Theatre and Lantern Theatre. www.hopestreethotel.co.uk departure point for the famous Mersey Ferry. Foodies are spoilt for choice too, with options Crowne Plaza for fine dining and fabulous small independents. St.Nicholas Place, Pier Head, Liverpool, University Accommodation For music fans, there is a great choice of options, Panoramic34, The Art School, London Carriage L3 1QW from classical music at the Liverpool Philharmonic, Works and 60 Hope Street are all recommended www.crowneplaza.com/liverpooluk If you booked University accommodation when you live shows at the city’s concert halls and gig venues for formal fine dining. Bold Street is a good place Liverpool Hilton registered online for the conference, your room is most evenings, large Arena-type concerts at to head for to try smaller, more informal eateries, 3 Thomas Steers Way, Liverpool, L1 8LW located in Philharmonic court, 18 Caledonia Street, ACCLiverpool and, of course, plenty of options for offering choices from all over the world. Close to the www.hiltonliverpool.co.uk/ Liverpool, L7 7DX. This is a 4-minute walk from our Beatles fans, including The Beatles Story, Magical waterfront, the Albert Dock and Liverpool One are Aloft Liverpool Hotel meeting rooms (Rendall building, Bedford Street Mystery Tour, the Cavern Club and National Trust good places to eat for those shorter on time. No.1 North John Street, Liverpool, L2 5QW South, L69 7ZQ). Please check in at Philharmonic Beatles’ Homes tours to name a few. Those in need of some retail therapy will find www.aloftliverpool.com/ Court reception from 4pm on your day of arrival. international retail brands in Liverpool One, but Reception is open 24 hours a day. The contact ‘Culture Vultures’, and those on a tight budget, are for quirkier, independent/artisan shops head to the Liverpool Marriott Hotel number for reception is also well catered for, with highlights including: Tate Ropewalks Quarter. 1 Queens Square, Liverpool, L1 1RH 0151 794 9510. Liverpool, home of the national contemporary art www.marriott.co.uk/hotels/maps/travel/lpllp- collection in the North; St George’s Hall, Liverpool’s For more information, including listings and maps, liverpool-marriott-hotel-city-centre/ Your room will be a single occupancy study neo-classical original multi-purpose civic venue; the www.visitliverpool.com Malmaison Hotel bedroom with en-suite shower and toilet facilities. Walker Art Gallery, showcasing a diverse collection 7 William Jessop Way, Liverpool, L3 1QZ Ironing facilities are provided in the communal from Rossetti to Hockney; the World Museum, a www.malmaison.com/locations/liverpool/ kitchen lounges on each corridor. During your stay, family-friendly attraction; the two Cathedrals, both Radisson Blu Hotel our Customer Service Assistants and Management impressive and very different in style; Museum of 107 Old Hall Street, Liverpool, L3 9BD Staff will be available to answer and deal with any Liverpool, opened in 2011 and dedicated to the www.radissonblu.com/en/hotel-liverpool queries that arise. city’s history and heritage, Maritime Museum and Holiday Inn Liverpool City Centre International Slavery Museum; Open Eye Gallery, Lime Street, Liverpool, L1 1NQ Breakfast will be served in Vine Court (located in F1 specialising in photography exhibitions; FACT, an www.ihg.com/holidayinn/hotels/gb/en/ on Campus map). arts centre and cinema; and Bluecoat, the oldest liverpool/lplls/hoteldetail Once in Liverpool, the Merseyrail train network Social Media has good links to other areas of the region and Please let your friends and colleagues know about an underground rail service serving 4 city centre the conference by tweeting about the conference stations, Lime Street, James Street, Moorfields and with the hashtag: #RMAConf2017. Liverpool Central. Poster Competition Parking We have a selection of research posters on display Liverpool Waterfront has an ideally located 1600 and are fortunate to have sponsorship from space multi-storey car park on Kings Dock next to Boydell & Brewer for a competition for early career CONFERENCE INFORMATION the Echo Arena. The car park is secure and open researchers who stand to win £150 worth of free 24 hours a day. It’s within walking distance of the books. Please take a moment to cast your vote for city centre and waterfront attractions. the best poster during lunch on Saturday. Queen Square Car Park is a 601 space secure car park that’s also open 24 hours a day, in the heart of the city and within minutes of Liverpool ONE, city Travel information the city and is best reached by taxi or the express centre shopping, museums, theatre, hotels, bars By Road bus, directly outside the entrance to the airport and restaurants. Liverpool City Region is well-connected to the UK terminal. You can also get buses 500, 86, 80A The Liverpool ONE complex is served by three car motorway network. From the M6 take the M62, and 82A to Liverpool city centre. More information parks: Q-Park Strand Street has 2000 underground M58 or M56 direct to the destination. about bus services is at: spaces, Q-Park Gradwell Street has 560 multi- From the M62: at the end of the motorway continue www.liverpoolairport.com/from-airport/by-bus.html storey spacs and Q-Park John Lewis with 580 multi- straight ahead onto Edge Lane (A5080 then Manchester Airport storey spaces. A5047) and follow signs for Liverpool City Centre +44 (0)871 271 0711 and the University. Postcode for satellite navigation www.manchesterairport.co.uk Disabled visitors or online directions: L69 7WW Manchester Airport is just 45 minutes from The University is working towards being fully Liverpool city centre and offers many direct long inclusive and we try to arrange events in fully Public transport haul routes in to the North West. A train service accessible locations. We advise that visitors to the University to use runs between Manchester Airport and Liverpool If you have any special access needs, or would like public transport wherever possible – the University Lime Street station. There is also a direct coach further details on accessible location please email campus is a short walk from Liverpool Lime service which takes about one hour. [email protected] Street station. Take the main exit and turn left onto Disabled visitors should also check out DisabledGo, Lime Street. Then turn left again after the Britannia By Rail enabling you to review the campus and any Adelphi Hotel and continue up Brownlow Hill Virgin Trains buildings you will need to access before your visit. towards the Metropolitan Catholic Cathedral and Travelling to Liverpool by train has never been Red Brick Building with its clock tower. easier or faster, when it’s only 2 hours 13 minutes Wi-fi Instructions The National Express coach station is in Liverpool from Central London on Virgin Trains’ state-of-the- A unique code for our guest wi-fi, with One Bus Station, Canning Place, Liverpool, L1 8JX, art tilting Pendolino trains. Onboard passengers accompanying instructions, will be issued upon an 18 minute walk from the Campus. From the bus can enjoy space to relax and unwind, Wi-Fi, power registration. Please see a member of staff on the station walk along Hanover Street, pass Liverpool sockets and Quiet Zones for those who need a registration desk if you have trouble connecting. Central Train Station. Cross Renshaw Street onto break from their smart devices. Brownlow Hill and head towards the Metropolitan Virgin Trains also offer regular direct services from Exhibition stands Catholic Cathedral. Stafford and Crewe to Liverpool Lime Street. There Exhibition stands from various publishers will be are also direct train services from Scarborough, located on the first floor of the Rendall building, By Air Newcastle, Leeds, York and Manchester with in Seminar rooms 10–11. Represented are: Liverpool Airport TransPennine Express. Save over 50% when you Routledge, Oxford University Press, Boydell & +44 (0)871 521 8484 book in advance. Brewer, and Bloomsbury. Please take time to www.liverpoolairport.com browse their collection of books and speak to their Liverpool John Lennon Airport is only nine miles Other Rail Services company representatives. Blackwells bookshop are from Liverpool’s city centre and offers over 70 London Midland Trains and Northern Rail also located on campus, and will also be represented at inbound UK and European routes. run routes to Liverpool from all major UK cities. the conference, with a selection of books on music Liverpool John Lennon Airport is eight miles from (with the promise of discounts). CAMPUS MAP CONFERENCE INFORMATION

Venue and Rooms The Rendall building is located directly opposite the Department of Music (L69 7WW; building 432 on the campus map). The conference papers will be given in Lecture Theatres 4, 5, 6, 7 and 8. Some sessions will also take place in the Department of Music (as directed).

The time-table and session venues are listed in your separate hand-out, found in your conference packs. A pdf is available online and will reflect the most recent changes.

The Lunchtime concert by PIXELS ensemble will be located in the Leggate Theatre of the Victoria Gallery and Museum (D7 on the campus map), the [original] red-brick building with the clock tower.

Parking For advice on university parking, please follow this link: www.liverpool.ac.uk/facilities-management/ services/vehicle-parking/. There are several visitor car parks, but recommend the park behind the Sports Centre, facing the Metropolitan Cathedral, as it is closest to the Rendall Building. RECEPTIONS

Thursday Friday Wine Reception at the Wine Reception/Gallery Royal Liverpool Exhibition and Conference Philharmonic’s Dinner at Music Room TATE Liverpool

Join us at the Royal Liverpool Philharmonic Hall’s Walking Tour* Wine Reception new Music Room, for live entertainment from Friday evening’s festivities begin with a walking tour You will be greeted by a glass of wine at the TATE Klezmer-ish, a group formed from the Royal of Liverpool. Meet your tour guides Stacey, Simone and exclusive access to the gallery, celebrating Liverpool Philharmonic Orchestra, featuring: and John from Liverpool Vision in the foyer of the the University of Liverpool’s partnership with the Rendall Building after the Dent Medal lecture. They TATE. This includes their special summer exhibition, Thomas Verity (clarinet) will guide you through the city centre, showing Portraying a Nation: Germany 1919–1933, Concettina Del Vecchio (accordion) you the fascinating sights of the city – from the presenting Germany between the two world wars, Marcel Becker (double bass) Georgian Quarter, down past the vibrant Hope focusing on painter Otto Dix (1891–1969) and Street (the corridor between our two cathedrals), photographer August Sander (1876–1964). Robert Shepley (guitar / violin) down the illustrious Bold street, past the legendary There will be a bar, and a free glass of wine Cavern club, towards the town hall and the Conference Dinner (8pm) sponsored by Routledge. The event celebrates the two ‘liver birds’, onto Pier Head and along the This must be pre-booked on our web-site, but if partnership between University of Liverpool and the UNESCO Heritage Site Albert Dock and the TATE you have not booked and wish to join us, speak RLPO. We will also be celebrating the launch of our Liverpool Gallery. Please be sure to sign-up for this to any of the conference assistants, and we will new MA in The Business of Classical Music. on arrival. let you know if places are available. If not, we will recommend any of the other eateries in the Albert Stacey Koks from Liverpool Arts Regeneration Dock area. Consortium will be available in the Rendall Foyer * For those not wishing to take the walking tour, taxis can be arranged during the first day of the conference to offer you to take you to the Tate museum for the 7pm reception. Speak to us advice on things to do and see in Liverpool. She upon registration for recommendations. will also be helping to arrange socials New and Forthcoming from Routledge Music

RMA

RMA Council Members Eva Moreda Rodriguez (University of Glasgow), Convenor (Council Members are Directors of the company and of the Scottish Chapter Trustees of the charity). Monika Hennemann (Cardiff University), Convenor of the South-East Asia Chapter President, Treasurer and Immediate Past President Mark Everist (University of Southampton), President, Simon Keefe (University of Sheffield), Editor RMA 2011–2014 and 2014–2017 Monographs, Chair of Publications Committee Valerie James, Hon. Treasurer Laura Tunbridge (University of Oxford), Editor Journal of Philip Olleson (University of Nottingham), President, the RMA 2008–2011 Sarah Collins (U of Durham), Reviews Ed JRMA Ian Rumbold (), Asst Ed JRMA Vice Presidents Paul Watt (Monash University, Australia), Editor RMA Rachel Cowgill (University of Huddersfield), to 2017 Research Chronicle Chris Banks (Imperial College London), to 2018 Barbara Kelly (Royal Northern College of Music), to 2019 Núria Bonet (Plymouth University), Student Representative Warwick Edwards (University of Glasgow), to 2020; RMA 2016–17 conferences Coordinator Philip Robinson (University of Manchester), Student Pauline Fairclough (University of Bristol), to 2021 Representative 2017–18

Ordinary Members of Council Laura Tunbridge (University of Oxford), Representative of Laudan Nooshin (City University London), to 2017 the International Musicological Society Catherine Tackley (University of Liverpool), to 2017 Jan Smaczny (Queen’s University Belfast), Representative Simon McVeigh (Goldsmiths, University of London), to of the Society for Musicology in Ireland 2017 Nick Fells (University of Glasgow), Representative of the Julian Horton (Durham University), to 2018 Practice as Research Network Mieko Kanno (Sibelius Academy of the University of the Arts Helsinki), to 2018 Simon McVeigh (Goldsmiths, University of London), Michael Spitzer (University of Liverpool), to 2018 President Elect Piers Hellawell (Queen’s University Belfast), to 2019 John Deathridge (King’s College London), President, Andrew Kirkman (University of Birmingham), to 2019 2005–2008 Cormac Newark (Guildhall School of Music and Drama), Hugh Cobbe OBE FSA (formerly British Library), President, Forthcoming... to 2019 2002–2005 Samuel Beckett, Repetition and Early Music Printing in Caroline Rae (Cardiff University), to 2019 Sir Curtis Price (New College, Oxford), President, 1999– 2002 Modern Music German-Speaking Lands RMA Officers and Associates Julian Rushton (University of Leeds), President, 1994–1999 By John McGrath Edited by Andrea Lindmayr-Brandl, Jeffrey Dean (Birmingham Conservatoire), Executive Officer Flagship Conferences Subcommittee November 2017 Elisabeth Giselbrecht, Grantley McDonald Michael Byde (University of Leeds), Member Liam Barnard (University of Kent), British Forum for HB: 9781472475374 November 2017 Communications Officer Ethnomusicology student representative HB: 9781138241053 Katy Hamilton, Membership Development Officer Byron Dueck (Open University), British Forum for Susan Bagust, Student Liaison Officer Ethnomusicology representative Warwick Edwards, Chair Thomas Schmidt (University of Manchester), Chair of Katy Hamilton Proceedings Committee Michael Spitzer (University of Liverpool) Warwick Edwards (University of Glasgow), Flagship Thomas Schmidt (University of Manchester) Conferences Coordinator Núria Bonet (Plymouth University) www.routledge.com/music FUTURE RMA ANNUAL CONFERENCES

University of Bristol, Royal Northern College of Music / University ‘Music Inside and Out’, University of Submission guidelines Please send proposals of no Thu 13 – Sat 15 September 2018. of Mancheseter, Huddersfield, more than 250 words to [email protected] Provisionally Wed 4 to Fri 6 September Thu 4 – Sat 6 January 2018. by Friday 27 October 2017. Emails should include The Edward Dent lecture will be given by 2019. your name, email address, affiliation, and the title Alejandro Madrid (Cornell University). We welcome UK and international postgraduates of your presentation. Please make any particular Contacts: [email protected], thomas. to present their research in an inclusive, friendly, space, format, or equipment requirements clear in Call for Proposals Deadline: 17.00 (GMT), [email protected] and supportive atmosphere. The conference will addition to your abstract: all presentation rooms Friday 24 November 2017. also include training and careers workshops, are equipped with a visualiser, whiteboard, piano, Goldsmiths, University of London, Fri 4 to informal performance opportunities, and a variety and standard audiovisual projection facilities. The programme committee invites proposals for Sun 6 September 2020. of social and networking events. We are especially themed sessions (90 minutes), individual papers pleased to announce the BFE Lecturer, Professor For further information please see the Conference (20 minutes), lecture-recitals (30 minutes), posters Contact: Tom Perchard ([email protected]) Kevin Dawe (University of Kent) and the recipient website http://bit.ly/2sMnSwI. Twitter: @rsc2018. (A1 display sheet) and compositions (both acoustic of the RMA’s Jerome Roche Prize, Dr Katherine Contact: [email protected]. and electroacoustic). The committee welcomes Hambridge (University of Durham) as our keynote proposals from leading scholars and practitioners speakers. University of Sheffield as well as early-career researchers. The aim of Thu 10 – Sat 12 January 2019. the conference is to represent the entire scope of Call for contributions Deadline: Friday 27 current scholarly and creative musical research. October 2017. We welcome both traditional and Contacts: Simon Keegan-Phipps, s.keegan- Programme committee: Christopher Charles innovative formats for presentations relating to any [email protected] and Tim Shephard, (University of Bristol), Warwick Edwards (University areas of musical research, including composition, [email protected] of Glasgow & RMA Conferences Coordinator), audiovisual media, performance, and/or other Will Finch (University of Bristol), Annika Forkert creative practices. Submissions that engage with (University of Bristol), Katy Hamilton (representing the conference theme are particularly welcome. the RMA), Guido Heldt (University of Bristol, chair), Today’s global politics of inclusion and exclusion Thomas Schmidt (University of Manchester). For raises fundamental questions around power, further details please see cultural expression, and the status of knowledge, www.bris.ac.uk/arts/events/2018/september/ challenging music researchers to think about royal-musical-association-annual- these ideas in relation to their own work. Topics of conference-2018.html. relevance here might include: • Identities in/and music and musical research Conference Director: [email protected]. • ‘Taking back control’: music and/as resistance • Real and imagined borders: genres, methodologies, disciplines • Truths and fictions: whose knowledge counts? • Musical hegemonies and counter-hegemonies • The position of the academy in wider society Session 1A. Biographical and Archival Methods 1 Session 1B. French Music and Culture Michael Talbot (University of Liverpool), chair Barbara Kelly (Royal Northern College of Music, Manchester), chair

Festival Morphologies, Diagnoses and The Marpurg-Agricola Controversy: Music Pelléas and Power revisited: Debussy and Pierre Boulez, Surrealist Prognoses: Bath and Salzburg Criticism and Social Politics in Eighteenth- the Politics of French Opera Aesthetics Caroline Potter (Kingston University, London) Charles Wiffen (Bath Spa University) Century Berlin (1897-1902) Tal Soker (Tel-Aviv University, Israel) Prof. François de Médicis (Université de Montréal) Pierre Boulez’s creative work has usually been This paper compares and contrasts the studied from a music analytical perspective in development of two music festivals – those of When Charles Burney visited Berlin in 1772 he Controversial press reviews over the 1902 premiere the context of serialism, but I contend that the Salzburg and Bath. I explore programming and noted that ‘it is a misfortune to music’ that the of Debussy’s Pelléas et Mélisande are often French literary and broader intellectual context reception within both of these with particular music critic and theorist F.W. Marpurg, whose interpreted in the scholarly literature as a sign of was at least as important to the composer. While reference to the tensions inherent between familiar ‘musical writings may justly be said to surpass, in disarray toward the radical novelty of the work. Boulez refers rarely to surrealism in his extensive and unfamiliar repertoire, styles and genres. The number and utility, those of any one author who Reception studies have tackled various political published writings, and while key contemporary paper places these issues within a wider context has treated the subject’ had ‘wholly quitted his and nationalist issues (Pasler, 1987; Kelly 2008, commentators such as Edward Campbell, Robert and examines the extent to which the festival former studies’. The termination of Marpurg’s short, 2012). But these assessments have failed to take Piencikowski and Stephen Walsh mention it only trajectories may be seen to represent wider yet prolific career was already forecasted in his first into account the political controversies over the in passing, I argue that surrealism had a crucial programming developments in microcosm. The printing venture, the journal Der critische Musicus aesthetics of the avant-garde which grew up impact on Boulez in his formative years. paper investigates ways in which the particular an der Spree (1749-1750). Drawing on language around operatic works that were premiered in the heritage profiles of the two cities inform and much akin to Bourdieu’s theory of the field of five years leading up to Pelléas. Piencikowski, in his preface to Walsh’s translation of influence the character and development of their artistic production, the inaugural issue of this Boulez’s Relevés d’apprenti, suggests that Boulez’s festivals. Through this, we gain a new perspective journal marked the beginning of a pamphleteer’s In this paper, I focus on competing aesthetic polemical writing style is influenced by ‘certain on the contribution of these festivals to wider polemic with the composer J.F. Agricola. In trends that significantly contributed to the climate surrealist pamphlets of the 1920s’, presumably cultural identities and profiles. Diverse approaches accordance with eighteenth-century practice, in which Pelléas was received: Bruneau and André Breton’s two Manifestes du surréalisme. to funding, economics, subsidy, philanthropy, both interlocutors seized the opportunity to utilize Charpentier’s avant-gardist Naturalism, d’Indy’s Moving beyond this focus on Boulez’s writing – innovation, originality, accessibility and diversity are the burgeoning public sphere to forge personal French Wagnerism, and the emergence of a third, always a secondary activity for him – I will explore exposed. alliances and improve their social standing. independent path, characterized by a dreamlike how surrealism affected Boulez the composer. atmosphere, first exemplified by Erlanger’s Breton’s creative work of the 1930s, the concept The paper draws on archival materials from both This paper deploys a wide array of sources, both of Kermaria (1897), and later by Debussy’s Pelléas of ‘hasard objectif’, and what James Clifford festivals as well as interviews with recent artistic musical production and perception, to assess the (1902). While important historical studies have has termed ‘ethnographic surrealism’ resonate directors and other protagonists. The paper significance of this dispute. Drawing on modern shed light on tensions between d’Indy and strongly with Boulez’s work. This paper initiates a pays particular regard to the artistic direction of social theory, I chart Marpurg’s foreseeable Bruneau, the position of Erlanger has been largely project which will situate Boulez’s music within a Gerard Mortier and Peter Ruzicka in Salzburg failure viewed on its social and cultural backdrop. overlooked (Huebner, 1999; Giroud, 2010). wider context and enhance our understanding of and Sir William Glock, Amelia Freedman, Joanna Moreover, I explore music’s social agency by his work by connecting it with significant trends in MacGregor and Alasdair Nicholson in Bath. The revisiting the relationship between the eighteenth- Considering these aesthetic stakes brings the contemporary French culture. paper concludes by assessing the contemporary century public sphere, taste, genre, and the role of coded rhetoric used in the press into sharp focus. function and relevance of the music festival in the critic. We understand why Debussy insists that his Biography 2017. symbolist plot, ‘despite its atmosphere of dreams Caroline Potter is Reader in Music at Kingston Biography contains much more humanity than those so-called University, London. A graduate in both French and Biography I studied musicology and music theory at the documents of real life’. music, she is a regular broadcaster and was Series Charles is Assistant Dean of the College of Liberal Humboldt University (Berlin) and Tel-Aviv University, Advisor to the Philharmonia Orchestra’s Paris: City Arts at Bath Spa University and Visiting Professor where I have recently completed my dissertation Biography of Light 1900-1950 season. She has published of Music at Shanghai University. He previously on historically informed analysis and CPE Bach’s French editor of Intersections (2006-2009). He widely on French music since Debussy and its lectured at the Royal College of Music and at Berlin keyboard concertos. A past recipient of the has co-edited the book Musique et modernité en artistic, literary and social context. Her most recent Trinity Laban in London. Charles has performed Dan David scholarship (Tel-Aviv) and a scholarship France, 1900 à 1945 (2006), published articles in book, Erik Satie: A Parisian Composer and his extensively as a pianist throughout the UK, as well from the Dr. Phil. Fritz Wiedemann Foundation Acta Musicologica, Music & Letters, Il Saggiatore World was published by The Boydell Press in 2016. as in France, Spain, Italy, Belgium, Germany, the (Wolfenbüttel), my dissertation-project was also musicale, Intersections, STM-Online, Enciclopedia USA, Israel, China, Taiwan, Japan and Africa. He supported by a grant from the German Academic della musica (Einaudi), as well as in collections of has broadcast for BBC Radio 3 and Classic FM and Exchange Service (DAAD). I have presented my articles published by Vrin, Symétrie, the Sorbonne, has recorded for labels including Toccata Classics. research on the music of CPE Bach, as well as l’Harmattan, and Presses de l’Université de His research interests include musical arrangement on aesthetics and politics in Israeli art music in Montréal. He is co-editing with Steven Huebner a and appropriation, and performance history and conferences in London, Florence, Southampton, collection of essays on Debussy, presently under practice. Tallinn, Lodz, and Leipzig press at URP. He is currently finishing a monograph on Debussy (Vrin), and preparing a critical edition of Camille Saint-Saëns’s works for violin and piano (Bärenreiter). Session 1C. Ethnomusicology Cassandre Balosso-Bardin (University of Lincoln), chair

Vive voix and discours écrit: The Relationship ‘We Believe True Art Music Can Build a Western Rock-Music Theory Meets Japanese between Notation and Performance in Refined Society’: The Question of Taste, Techno-Pop: Melodic Autonomy in Songs Charpentier Social Class and the Business of Western from Perfume Lars Henrik Johansen (Norwegian University of Classical Music Connoisseurship in South Gui Hwan Lee (Cincinnati College-Conservatory of Science and Technology) Korea Music) Haekyung Um (The University of Liverpool) Est genus in totidem tenui ratione redactum Music theorists have cultivated diverse models Spicula, quot menses lubricus annus habet, Pungwoldang is a Western classical music to understand western popular music. David Parua tabella capit ternos utrinque lapillos, record store located in Gangnam, the wealthiest Temperley has proposed an analytical model, In qua vicisse est continuasse suos. upmarket district of Seoul. It was opened in 2003 “melodic-harmonic divorce.” This enables us by a Western classical music connoisseur and to systematically illustrate melody’s partial If Charpentier read these lines where Ovidius describes psychiatrist Park Chongho. Pungwoldang also independence from its accompaniment, one of the physical characteristics of game Ludus Duodecim offers various lectures on Western classical music the typical characteristics of rock music. While Scriptorum, he would not know how to play it, because and guided music tours to Europe. It occupies Temperley’s work primarily concerns Anglo- the rules of a game cannot be deduced solely from a niche market serving exclusive wealthy clients American rock, Okada Maki has shown that the physical attributes. Reading Charpentiers beautifully (middle aged and mostly female) who may also contemporary Japanese popular music (or J-Pop) written manuscripts with leçons de ténèbres, we have the join the European music tours to the Bayreuth has developed its own melodic convention that same problem: deducing living social interaction from a Festival and La Scala with their musical mentor Park could be comparable to melodic-harmonic divorce. physical object. Chongho. Beyond being independent from their The starting point here is that the relation between This paper will explore the ways in which Western accompaniments, melodies of Japanese techno- musical notation and musical performance is more classical music became a music genre of choice for pop have cultivated a characteristic feature, which complex than the huge amount of scientific texts and a particular age group and social class in Korea. I refer to as “melodic autonomy.” By this, I mean artistic performances that deal with notated music The Western classical music connoisseurship is the nature in which melodies are autonomously without problematizing this relation seems to suggest. We attained through acquiring knowledge about the developed under certain procedures, being look at the Leçons de Ténèbres by Charpentier, and try repertoires, composers and historical contexts. The detached from underlying harmonies. In this paper, to lay down some principles for what we can and cannot sense of distinction and tastes may be achieved drawing upon Temperley’s model, I demonstrate know about it. through music tourism, which offers authentic four examples of the melodic autonomy in songs cultural experiences in Europe. In this sense the by Perfume, a major techno-pop group active in The themes considered are functionality (readability, business of Western classical music in South Korea Japan since 2001. In these examples, the melodies efficiency and precision), materiality (foreground/ supplies an art music connoisseurship, which are shaped through simple repetitions, pentatonic background, patterns, ‘etymology’, style and traces of a functions as a marker of class and refinement. And motives, or symmetrical scales, generating a certain presumed reciever), and writability (analysis of musical this business is in demand in the contemporary local taste fascinating to Japanese- and global sound, formal languages and translation). The subject of context of ‘everyday life’ as it offers their consumers listeners. Consequently, this paper suggests how translation is where we encounter the biggest problems, a means of social participation and personal J-Pop could acquire its local quality while being we will use the concept of subtely as an example. identification through music. influenced by Anglo-American popular music, and proposes a few issues to deserve further Biography Biography consideration. Having studiet at NMH (Oslo), DKDM (Copenhagen), Haekyung Um is Senior Lecturer of Music and UiO (Oslo), with ERASMUS periods at Staatliche member of the Institute of Popular Music at Biography Hochschule für Musik Trossingen and CNSM (Paris), the University of Liverpool. She specialises in As a Korean musicologist and theorist studying in LHJ is currently a freelance harpsichordist and PhD contemporary Asian performing arts focusing a master’s program at the University of Cincinnati, student at NTNU (Trondheim). He plays with Norwegian on the politics of performance, cultural policy, I have been developing a variety of interests in baroque and classical orchestras and lots of chamber transnationalism, cosmopolitanism, cultural his research, including Luciano Berio’s music, music projects in the Nordic and Baltic countries, France, identity and fandom. She has published on Asian twentieth-century instrumental repertory, music and Germany, Switzerland, Austria, Italy, Spain, Malta, Brazil diasporas and interculturalism, p’ansori, Korean emotion, and East-Asian pop music culture. and USA; on a dozen recordings; has taught at the UiO, hip hop, South Asian music in Britain, and Chinese at the NMH, and at the KHiO (Oslo); conducted several Korean dance drama. Her current projects include Norwegian orchestras; and is the musical director of K-pop fandom in the UK, Korean music reality Ensemble 1704 and L’État Libre de Neige. shows, canonization and nostalgia, and Western classical music audience, social class, aging and everyday life in South Korea. Session 1D. Radio and Sci-Fi Pauline Fairclough (University of Bristol), chair

Testing the Boundaries of Music of Science Fiction and Composing for Soundtrack to a Stabbing: Underscoring Ethnomusicological Comparison the Evolving Audience Abuse in The Archers Cecilia Quaintrell (University of Bristol) Andrew Markham (University of Liverpool) Freya Jarman & Emily Baker (University of Liverpool)

The heart of ethnomusicological study is This paper concerns the composition and In the months leading up to the evening of April comparative, yet large-scale comparisons have reception of music for science fiction in film and 3rd, long-running BBC radio drama The Archers languished for several decades, perched in an television, and specifically the apparent changes in entered mainstream popular culture on a new uncomfortable and seemingly irreconcilable place compositional style that have occurred throughout scale. That evening, when Ambridge-resident Rob between the methods of scientific empiricism and different eras of the genre, examined alongside Titchener came home to dinner, his choice of music hermeneutic interpretation based on fieldwork broad musical trends, developments within the accompanied what would become one of the most (Schneider, 2006). Despite a recognized need for industries concerned, and most significantly the talked-about moments in Archers history: his near- new approaches, in failing to advance a modern importance of reception and how the influence fatal stabbing at the hands of his long-abused wife. comparative method that satisfactorily addresses of listeners has impacted upon composition. theoretical objections ethnomusicology finds itself This research is conducted through a variety of There are two occasions where Rob calls attention to isolated amongst the humanities (Grauer, 2004). methodologies – through in-depth analysis of the episode’s music and yet, with it set so far in the While new methods are occasionally and tentatively key works and the thought processes behind background, most of it can easily go unnoticed. In attempted (e.g. Tenzer and Roeder, 2011), the their construction; reference to previous scholarly this paper we look to Joseph Lanza’s (2004) Elevator potential of comparative approaches to understand findings and conclusions indicated with particular Music to explore the pervasiveness of ‘invisible’ important questions of musical practice, ideas and regard to the relationships between music, cinema, Muzak and Claudia Gorbman’s (1987) work on concepts remains untapped. Here I show how the and wider society; and empirical study including the conventions of underscoring in film to better study of musical endings in a cross-cultural range conversations with currently active composers in understand the dramatic function of these songs. of ontologies can illuminate, not obfuscate, the the film industry as well as listening and viewing phenomena of diversity and change. Drawing groups. This paper will seek to demonstrate that First, we contend that the songs’ lyrics foreshadow on examples in Sámi, Q’eros and Bahraini music the balances of creative input and decision-making the stabbing as the episode’s climactic moment. cultures and focusing here on creative metaphors have been fundamentally influenced by the outside Second, we examine the counterpoint between the and interactive metaphoricity (Ricoeur, 1981), forces of industry, reception and the wider media lyrics, the inter-/con-textual meaning offered by the this paper considers the value of a structured landscape, and suggest how these developments songs as texts, the scripted performance by the actor heuristic approach to the comparative study of may be controlled in order to allow best practice multiple musical communities. Combining in-depth and widest creative opportunities for composers Biography qualitative analysis with the insights from a modest in the field - whilst continuing to satisfy rapidly Freya Jarman is Senior Lecturer in Music at the yet maximally diverse cultural sample allows us changing demands of audiences and mediators. University of Liverpool, where she is committed to to reveal aspects of musical ending that are not research and teaching that straddle a broad range readily identifiable any other way. Biography of musical interests, from nineteenth-century opera, I am a student of MRes (Music) at the University through twentieth-century popular music, music in Biography of Liverpool. From 2010-13 I studied my audiovisual media, and musical theatre. What unifies Cecilia Quaintrell is a final-year PhD student undergraduate degree at Liverpool before her work are focuses on queer theory and the voice at the University of Bristol. Her project explores returning in 2016 to pursue postgraduate study. I as a cultural object. She is the author of Queer musical ending in 15 linguistically-unrelated intend to progress to PhD upon completion of my Voices: Technologies, Vocalities, and the Musical Flaw music groups, and tests a heuristic approach to postgraduate degree. I am based in Manchester (Palgrave Macmillan 2011), and is currently working ethnomusicological comparative study by drawing and I am maintaining full-time work alongside on a wide-ranging gendered history of high notes in on diversity and change. my studies. I have two particular passions – first, vocal music. for film music, which has formed the basis of Emily Baker is a third-year postgraduate researcher at much of my research so far; and secondly, for the the University of Liverpool. Her work is centred around written word. I am currently actively seeking writing the ageing voice in popular music and identifies and opportunities in the field in order to engage further examines the cultural work which is done by voices with my subject. which, in various ways, carry the textures of age, time and experience. Although grounded in popular music studies and discourse around the voice, Emily’s work also considers cultural studies perspectives on age and ageing processes and uses queer theory and phenomenology to critique the perceived fixity of identity. Her research is funded by the AHRC and is supervised by Dr. Freya Jarman and Prof. Sara Cohen. Session 1E. Panel: Critical Research on Music in Detention Áine Mangaoang (University of Oslo), convenor; Katia Chornik (University of Manchester), chair The Musical Soundscape of Alien Invasion in Jennie Henley (Royal College of Music, London), Jeff Wayne’s ‘The Eve of the War’ James Butterworth (University of Oxford) Elsa Marshall (University of Ottawa) In February 2016, a small, landlocked African a young offender’s institution, Henley’s research The 1978 rock concept album Jeff Wayne’s country made headlines for receiving its very details the learning processes within a prison Musical Version of The War of the Worlds, based first Grammy nomination. The honour of the first gamelan project. She explores the way musical on H.G. Well’s 1897 science fiction story, was such Malawian musicians to receive a “World Music” learning interacts with the development of social a success in Britain that multiple variations of the nomination went to an unlikely group of maximum capital and individual agency associated with the work have produced since including several touring security inmates at the Zomba Prison for their desistance process. A critique of this is then given, productions that stage or visualize parts of the story album I Have No Everything Here​ (2015). The and questions are raised as to how possible it is and a West End musical. The original album relied hour-long record achieved widespread critical to tease out the real impact of music making on only on a narrator, music, and sound devices to tell acclaim for their beautiful, honest, haunting songs. incarcerated populations. the story, but for the evocative paintings found in As one of the featured artists and songwriters from the booklet. This paper will use spectograms and the album, Chikondi Salanje states, the album and Secondly, Butterworth draws on fieldwork in an employ current methods of radio-drama analysis, nomination put Malawi on the world stage. Salanje English high-security prison to reflect on the (non-) sonic narrative analysis, and timbral analysis says, ‘Many people across the world who had musicality of such an institution. Prisons tend to be (Verma, Burns, Zak) to examine the opening track never heard of Malawi are now saying, “There’s a spaces that significantly restrict forms of sensory of the album, The Eve of the War, and demonstrate country called Malawi!”’ (Onishi 2016). stimulation so what role does music play in this how the dramatic use of sonic and musical context? What, when and how is music heard and strategies creates a frightening soundscape of It is music — more specifically participation in created? What role does music play in prisoners’ alien invasion. Select examples of these techniques a music industry framework — that has caused ethical development? How does music mediate include the domination of the stereophonic prisoners of this previously ‘overlooked’ nation staff-prisoner relationships? How is music policed soundscape by sounds moving from one place to to be put on a real and symbolic ‘map’ of and to what ends? And what does this reveal another, the disorientation caused by changing internationally notable music. The Zomba Prison about public/state understandings about both sonic perspectives, and the uneasy overpowering Project’s Grammy nomination served to remind the music and criminal justice? The paper aims to of human strings and chorales by alien electronic public that today’s globally disseminated popular provide a critical perspective on how music might instruments. The aim of this study is to illuminate music can be made in prisons, by prisoners — be better understood and harnessed in the prison how sonic story-telling strategies depict setting and those frequently considered to be excluded from the environment as well as to orientate academic action in the context of a musical album. production and consumption of art, culture, and debates toward the public role of musicology. music. Their nomination becomes symbolic of how Biography truly pervasive and internationally popular prison Lastly, Mangaoang presents initial findings from Elsa Marshall is completing the second year of music can become, and showcases how music is an her four-year project ‘Prisons of Note’, which her MA in musicology, studying the development overlooked agent in contemporary prison politics: maps the use of music in contemporary prison of musical exhibition practices in Ottawa cinemas a complex, multifaceted constituent in today’s experience. Focussing on findings from two case during the silent film era and using digital history penal rehabilitation, discipline, power, and/or studies – in Norway and the Philippines – this tools to present her findings. She currently leads a punishment. paper questions the inherent paradoxes involved project to catalogue and digitize the University of in creating a space for musical freedom in places Ottawa Silent Film Music collection. Other research This session addresses current, critical research of incarceration. Building from Henley and interests include theorizing the relations between into the use and experience of music in places of Butterfields’ presentations, this paper further points music and story­telling in musical theatre, film, and detention. It seeks to present a diverse array of to the dangers of valorising (prison) music as popular music albums. She also plays viola in local research methods used in conducting prison music (criminal) salvation. orchestras and is hoping to begin her PhD studies research, outlining music education and ethno/- in the UK in 2017. musicological methods and perspectives. Drawing from international case studies where prisoners participate in a range of musicking projects across various genres (from rock, pop, and hip hop to Javanese gamelan ensembles), this panel speaks to this small but growing body of research on the musical lives of prisoners.

Firstly, Henley discusses the relationship between musical learning and desistance from crime. Using empirical evidence from research conducted in Session 2A. Biographical and Archival Methods 2 Christopher Wiley (University of Surrey), chair

Not Who You Thought You Were: Identity Revelations in ‘Paradis’: First Insights from The Gender Politics of the Rock Memoir and Reconciliation in Music the Messiaen Archive Laura Watson (Maynooth University) Ariana Phillips-Hutton (University of Cambridge) Christopher Dingle (Birmingham Conservatoire) As part of a new project exploring the ‘rock This paper examines how music has been co- The deposit in 2016 of Olivier Messiaen’s archive memoir’, I investigate how and why the opted into processes of reconciliation and in the Bibliothèque nationale de France represents autobiographical text is fast becoming integral to remembrance in Canada and Australia following an exceptional opportunity for scholars. Occupying many popular musicians’ catalogues. Elsewhere recent revelations of historic policies of racial more than 150 metres of shelf space, the archive (SMI, 2016; IASPM, 2017) I theorize that this mode discrimination. Drawing on the work of Felicity contains a vast amount of material, including of expression responds to a post-millennial, late- Laurence and Johan Galtung, I propose that the compositional sketches, previously unseen by style rock zeitgeist and from a literary perspective primary function of music in reconciliation is to any scholars. Based on initial work undertaken at could be considered a manifestation of the encourage empathetic identification between the invitation of the Fonds Messiaen, this paper postmodern ‘new memoir’ genre. In this paper, distinct groups of people. In the case of Canada provides a small case study of the potential insights I consider how the rock autobiography engages and Australia, the cultural processes of memory that may emerge from this extensive resource. It with gender politics, focusing on recent books by invoked by Gord Downie’s The Secret Path and examines evidence from sketches for Messsiaen’s musicians Kristin Hersh (2010), Patti Smith (2010; Kerry Fletcher’s ‘Sorry Song’ implicate their music last completed work, Éclairs sur l’Au-Delà… 2015), Kim Gordon (2015), Chrissie Hynde (2015), in political structures of identity that, at times, work (1987–91). In particular, it considers instances Jewel (2015), and Carrie Brownstein (2015). against the production of empathy. Furthermore, from three movements that suggest Messiaen’s Gender politics are implicated in the creative within societies struggling to overcome racially- original conceptions were significantly different practices associated with rock memoirs and in the discriminatory pasts, the prominence of these white from the completed work. In one case, this critical reaction to these works. Whereas male- composers threaten to perpetuate the erasure of includes a substantial passage of music, complete authored volumes tend to construct a universalising Indigenous voices. Although both composers have in short score, that is unlike the remainder of the narrative of artistic evolution and consolidate attempted to prevent this by including Indigenous movement. The paper concludes by considering the subject in a broader historical framework, viewpoints in their performative frames, the manner what implications these revelations may have for the aforementioned female-authored books of this inclusion suggests differing conceptions the view espoused by, among others, Christopher are grounded to a greater or lesser extent in a of the relationship between Indigenous and non- Dingle and Peter Hill, that Messiaen was entering a traditionally feminine private sphere. Portraits of Indigenous groups. By examining the performance new phase of creativity in his final years. fragile female subjectivities, intimate relationships, contexts and reception of ‘Sorry Song’ and The and motherhood produce a gendered discourse. Secret Path, I evaluate the success of these efforts Biography This discourse, I argue, is significant for how in encouraging audiences to adopt a historical Christopher Dingle is Professor of Music at audiences encounter artists’ musical output and narrative that acknowledges the oppression of Birmingham Conservatoire. A specialist in should inform current debates about ageing, late minority groups by incorporating their experience the music of Messiaen, his realization of the style, and historiography in popular music. into a new, unified national identity. composer’s orchestration for Un oiseau des arbres de Vie (Oiseau Tui) received its world premiere Biography Biography at the 2015 BBC Proms. He is the author of Laura Watson is Lecturer in Music at Maynooth Ariana Phillips-Hutton is a PhD researcher at Messiaen’s Final Works (Ashgate) and The Life of University. Her research interests encompass early the University of Cambridge supervised by Messiaen (CUP), as well as co-editor of two volume twentieth-century French musical culture, twentieth- Prof. Nicholas Cook. Her broad interests in the entitled Messiaen Perspectives (Ashgate) and Olivier century women and music, and the construction of relationship between music and everyday life Messiaen: Music, Art & Literature. He is also the popular music history. Recent publications include animate her doctoral work on musical expressions editor of The Cambridge History of Music Criticism an article on the Irish pianist, composer, and of guilt, forgiveness and reconciliation within and a book of conversations with Julian Anderson poet Rhoda Coghill in the Journal of the Society contemporary music genres spanning popular is currently in preparation. for Musicology in Ireland (2016) and a chapter music, Western art music, and multimedia on ‘Ireland in the Musical Imagination of Third composition. She is currently developing a new Republic France’ in France and Ireland: Notes and project on the intersection of music, trauma, and Narratives (Bern: Peter Lang, 2015). memory. Session 2B. Music Psychology and Perception Session 2C. Twentieth-Century Music Eduardo Coutinho (University of Liverpool), chair Helen Minors (Kingston University), chair

Can We Provide Space with Spatial Lip-Sync: A Voice from the Silence Anton Webern’s Tonally Moving Moods The Vocal Paradox of Eight Songs for a Mad Cadences? Jacob Bird (University of Oxford) Sebastian Wedler (University of Oxford) King Luca Danieli (University of Birmingham) Upa Mesbahian (King’s College London) We all lip-sync, whether in the car on the way to As a consequence of the elevation of Anton Webern As part PhD in mixed-music composition that aims work, or perhaps in the shower: but what is it about as the figurehead of atonality and a precursor to Madness has drawn much scholarly attention in to develop theories for the integration of acoustic the synchronous movement of our lips with the post-war serialism, the composer’s tonal repertoire studies of Peter Maxwell Davies’s Eight Songs for and acousmatic music approaches, I have run a voice of another that we find so enticing? Within has been widely neglected as embarrassing works a Mad King (1969). The present paper aims to perceptual study that investigates the correlation this paper, I will explore these questions through of juvenilia and so merely as a parergon to what provide a comprehensive account of the king’s between music and space to define whether the lip-syncer par excellence, the drag queen, who was yet to come. Through analysis of Webern’s mental state in connection with his voice, taking movements within a spatial environment could be holds lip-syncing at the very foundation of her craft. idyllic landscape Im Sommerwind for large advantage of the debate between Michel Foucault described through the use of concepts taken from Through an analysis of drag lip-sync performance, orchestra (1904) and study of the manuscripts, and Jacques Derrida. the musical dictionary. A collection of stimuli were I will show that lip-syncing is far from an act of sketches and biographical documents archived at presented to 18 non-musicians and 23 musicians, passive ventriloquism, but rather a process through the Paul Sacher Foundation, this paper identifies Foucault declares that the wisdom of madness, while being spatialised in different ways to form which the drag queen finds a voice of her own. the existential concept of ‘Stimmung’ as a crucial which has been denied expression as a result of the 25 types of trajectories. These trajectories were Drawing upon the voice theories, phenomenology, aesthetic category through which the young authority of reason, needs to be acknowledged. For presenting four types of ending, randomised within and psychoanalysis, I will explicate how the drag Webern engaged with, and sought to actively Derrida, however, the mere reference to a madness a ring of 8 loudspeakers used for acousmatic queen invites the voice of the Other into her very contribute to, the cultural ideas and discourses of liberated from reason silences it, for it entails the music. These types were defining the relation being through a process of Lacanian identification. turn-of-the-century modernism. Framing Webern’s use of the same reason that entangles madness. between the locations of the penultimate and I will corroborate my claims through an analysis early aesthetics as a complex response to the I claim that, in a Foucauldian sense, the king’s last impulses of each stimulus. Participants were of a particular drag routine, taken from my own controversial debate between Eduard Hanslick’s communication through unconventional sounds asked to score the cadential effectiveness for each ethnographic research, in which the performer dictum of ‘tonally moving forms’ on the one hand manifests his higher knowledge and his freedom stimulus presented. Results of this study have shown constructs an intricate track by editing and and what will be reconstructed with reference from reason. Yet, from a Derridean standpoint, a convergence towards the definition of ‘spatial sampling pop tunes and movies, combining the to the writings of Richard Wagner and some of the same vocal style is an obstacle to effective cadence’ for those electroacoustic musicians voices of many to create a new voice. In a curious his followers as the paradigm of ‘tonally moving communication, as it suppresses meaning. The used to deal with the manipulation of spatial turn, from the silent movement of her lips, the drag moods’ on the other, this paper draws a picture king is, thus, silenced by the same articulation style parameters. The experiment has also highlighted queen communicates in a voice undoubtedly her of the young Webern who was a modernist well he requires for self-expression. His ambiguous a correspondence between musical and spatial own. before he embarked upon his self-proclaimed mental state is represented by refusing to abandon structures, improving the identification of spatial ‘path’ to the New Music, equipped with firm either side of the paradox of communication and cadential patterns whenever supporting stimuli Biography aesthetic ideals as well as the compositional skills incomprehensibility in favour of certainty. already provided with musical cadences. This study I am a DPhil student in Musicology at Wadham to express them. has also highlighted how the concept of musical College, Oxford, working with Professor Jason This study contributes towards a nuanced cadence is not strictly related to the listener’s Stanyek. My main interests are in voice theory, Biography understanding of insanity in Davies’s oeuvre as well orientation. psychoanalysis, and phenomenology in relation to Sebastian Wedler is a Junior Research Fellow at St. as tackling the general problem of representing drag lip-sync performance. Hilda’s College, Oxford, and serves as Lecturer at madness musically. Biography Merton, The Queen’s and University Colleges. His 3rd-year PhD student in mixed-music composition doctoral dissertation puts forward the first extensive Biography at the University of Birmingham. Current study of Anton Webern’s tonal music (1899–1908), Upa Mesbahian is a graduate of the University musicological researches address the notion under the supervision of Professor Jonathan Cross of Toronto and she holds a Masters Degree from of mimesis and the extension of cadences and and funded by the Arts and Humanities Research the University of Oxford. She completed her closures within electroacoustic music. He has Council in conjunction with Merton College, dissertation on Benjamin Britten’s War Requiem published in the topic of music and artificial and the Paul Sacher Foundation where he was and is currently working on Peter Maxwell Davies’s intelligence (AI). SuperCollider co-developer. appointed a Fellow for 2014. He is the recipient of repertoire on madness for her PhD at King’s Member of the Birmingham ElectroAcoustic Sound the ‘Merton College Prize Scholarship’ (2014/15), College London. Theatre (BEAST). Member of the Birmingham as well as the ‘Link 2 Future’ Award (2011) from Ensemble for Electroacoustic Research (BEER). the Institute of Psychoanalysis, Zurich (PSZ). Artist in Residence at the Centre for Art and Media (ZKM), Karlsruhe, within the European Art-Science- Technology Network project. Session 2D. New Technologies James Mooney (University of Leeds), chair

Halls without Walls: Examining the Black Noise: The Haptic Soundtracks of New Warping Diegesis: The Evolving Role of the Development, Dissemination and Black Realism Soundtrack in Virtual Reality Gaming. Perpetuation of Blues Music and Blues James Millea (University of Liverpool) Ms. Katherine Mancey (University of Liverpool) Culture in the Digital Age ‘Subcultures represent “noise”, interference in the Tom Attah (Leeds College of Art) orderly sequence which leads from real events and The rising popularity of virtual reality gaming, with phenomena to their representation in the media’ the mass market introduction of VR systems for This paper presents an overview of the effects (Hebdige, 1979). home gaming, opens up a new field of discussion of technological mediation on blues music and for the evolving role of non-diegetic music in blues culture since the proliferation of computer Although it is the violent imagery onscreen that gaming, and its subsequent effect on player mediated communications (CMC) in 1996. In other has come to define the African American cinematic immersion. My paper addresses the shift from 2D words, blues music and blues culture undergo expressions of the 1990s, New Black Realism, screens to the in-world experience of virtual reality, transformations of form and circulation when little research has acknowledged the chaos of the and how this alters our perception of diegesis. oral practices are first committed to text as sheet sample-driven soundtracks that accompany these Specifically, I will be looking at the suspension of music. Further evolutions occur as performances films. It is here, in the noisy structures of the film’s disbelief experienced in virtual reality gaming, and are remediated as phonograph records and sound and music that the disruption of traditional the role that non-diegetic music plays in achieving through various broadcast media during the 20th approaches to mainstream narrative cinema make this. I will be questioning whether the same need century. Each successive transformation generates New Black Realism most violent. for a non- diegetic underscore exists, or if this new discourses of authenticity, ownership and value visual experience calls for more musical fluidity which enable and constrain definitions of the The sampled music of New Black Realism creates across the diegesis, where soundtrack and in- blues aesthetic. These discourses have remained sonic clashes in which a myriad of narrative lines game audio flow seamlessly. Now that the physical largely unexamined as part of the latest cycle of come together, carrying with them contrasting distance between the player and the graphics remediation to digital formats and computer- historical periods, political views and cultural has been reduced, I question whether traditional mediated virtual environments since 1996. This backgrounds. As a post-literate orality, the non-diegetic musical tropes break the fourth wall paper presents the results of examination on key narrativity of these soundtracks exist not in the rather than enhancing the player’s immersive sites using online ethnography, critical discourse relationship between linear text and author but in the experience. In conclusion, by examining where we analysis, interview and online survey in order to performance and perception of those sonic clashes. draw lines within diegesis, this paper acknowledges better understand and illustrate the development, In this, the sounds and music of New Black Realism the need for a re-evaluation of the relationship dissemination and perpetuation of blues music come to occupy a much more prominent role in the between soundtrack and in-game audio as gaming and blues culture in the digital age. Specifically, creation of film’s narrative utterance and so rupture technology moves away from the traditional static this paper considers the ways that blues music the otherwise safe space of the theatre audience, screen experience and into an edgeless game and blues culture are affected by computer calling forward their participation in the action and world. mediated communications from the perspectives story onscreen. It is in those moments that these of performers, cultural workers and consumers, films create truly violent, haptic soundtracks. With Biography asking what challenges are made manifest in the this in mind, this paper will explore key examples MRes student at the University of Liverpool studying present by digitally mediated representations of from across the genre, highlighting the idea that as the effect and implementation of music and sound experiences of the past. ‘noise’ hip hop music structures non-linear narratives in virtual reality gaming. that drag the body of the film viewer towards the Biography violent images onscreen. Tom Attah is a PhD researcher and BMus Course Leader at Leeds College of Art. His thesis examines Biography the effects of technology on blues music and James Millea is a postgraduate researcher and blues culture. Tom’s teaching includes workshops, part-time lecturer in audio-visual media at the seminars, lectures and recitals delivered at University of Liverpool. His current research institutions in the United Kingdom and mainland explores the relationship between Hip Hop music Europe. As a guitarist and singer, Tom performs aesthetics and the narrative film soundtrack in solo and in ensemble. Tom’s work includes original New Black Realism, independent Black cinema Blues compositions and has led to performances of the 1990s. He has presented his research at at major European festivals. Radio appearances conferences across both Ireland and the UK and include performances and documentaries for is currently in the process of publishing chapters BBC Radio 4. Tom’s journalistic writing features in and journal articles in the US and UK. James’s specialist music publications, and his original work research is funded by the University of Liverpool is published in international peer-reviewed journals. and the National University of Ireland, where he is a Travelling Scholar in Music. Session 2E. Panel: Epistemologies of Sound in the Session 3A. Panel: Expanded Musicologies: Fields and Nineteenth Century Frames David Trippett (University of Cambridge), convenor and Michael Spitzer (University of Liverpool), chair. John Fallas (University of Leeds), convenor; Björn Heile (University of Glasgow), respondent and chair This panel aims to develop our understanding of the dialogue between nineteenth-century music and A 5-minute convenor’s introduction, three 20-minute papers, a 10-minute response, 15 minutes for natural science, examining in particular three emergent epistemologies for ‘sound’: mathematical questions analysis; vibrational communication; sentient listening. The three corresponding papers engage the topic of sonic materiality from different perspectives, outlining how a growing nineteenth-century interest in String Quartet in the Expanded Field: Genre theme tunes, for example, or wedding receptions. acoustics, sounding properties of matter, and theories of sensation reflect a changing understanding of and Christopher Fox’s The Wedding at Cana These considerations inform a reading of Christopher what sound was. On one hand, we show how discourses of sound moved beyond the realm of music John Fallas (University of Leeds) Fox’s 2013 work The Wedding at Cana, which – and art, becoming firmly situated within the broader enterprise of the study of nature. On the other hand, perhaps uniquely – makes some of these functional we deepen reflection of how musical thought and creation is grounded in local contexts of scientific and ‘Cosmopolitan Hubs: Individuality and associations the subject of a newly composed quartet. technological experimentation, communication, and embodied performance. Agency in the Expanded Ethnomusicological By demonstrating how integrated the century’s musical and scientific cultures were and challenging Field’ Tenley Martin’s contribution builds on the recent trend the centrality of visual historical approaches, this panel seeks to open up new sonic approaches to Tenley Martin (Leeds Beckett University) in both ethnomusicology and migration theory towards understanding nineteenth-century intellectual history. The three papers (outlined below) with David Trippett utilising individual experience, as opposed to a focus (University of Cambridge) chairing the panel and providing a comment. ‘The Limits of ‘Composition’: On Frames for on the society as a whole. But in contrast to Kiwan Music and Frames for Music History and Meinhof’s ‘hubs’ theory of network migration, ‘Tones that have lasted for eternities: the grew up in family of instrument makers. As well as Tim Rutherford-Johnson (independent scholar) which assumes individual transmitters to be migrants ideal sine wave between symbol and signal’ designing his own instruments, Wheatstone was from the same country as the culture they carry, Martin Melle Kromhout, (University of Cambridge) deeply concerned with what sound was and how it Response suggests a further expansion of the ethnomusicological worked (vis-à-vis energies such as light and heat). Björn Heile (University of Glasgow) field to take into account non-native individual agency. As part of an extensive study of the nineteenth- If sound could be understood and harnessed, he Her original fieldwork in both the UK and Seville century development of Fourier analysis as an envisaged musical instruments forming the basis The art critic and historian Rosalind E. Krauss’s reveals sub-scenes revolving around the efforts of important tool for the physical study of sound, of vast new communication networks, transmitting penetrating 1978 essay, ‘Sculpture in the Expanded singular cultural brokers, who develop connections this paper investigates the epistemological status sound across cities and nations. Field’, has proved richly suggestive for other art-forms with flamenco in Spain and transport the information of sine waves in between mathematical symbol in recent years. Its response to the disintegrating to the UK. These scene drivers tend not to be Spanish, and acoustic signal. The notion of the sine wave ‘Sensing sounding matter: extreme listening consensus around what constitutes a given medium and are usually entirely responsible for flamenco’s originally emerged as a result of Joseph Fourier’s in nineteenth century theatres. has inspired both practitioners – as in the composer continuation in their particular locale. These Analytical Theory of Heat conceived in 1807. The Melissa Van Drie (University of Cambridge) Marko Ciciliani’s workshop on audiovisuality at the realisations inspire a methodological and theoretical paper examines how, with the generalisation of 2016 Darmstadt summer courses – and theoreticians, approach which places the individual at the forefront Fourier analysis to apply to the physical study of This paper revisits modes and practices of such as Seth Kim-Cohen writing on sound art, while of musical migration and globalisation, and the sound by Ohm and Helmholtz, the notion of the listening in relation to the new categories of Espen Hammer’s recent work on Adorno prompts paper reflects both on the role of individual testimony sine wave was reconceptualised from a purely sound constructed by science and medicine in the thought that not only artistic media but also in ethnomusicology and on the discipline’s ability to symbolic mathematical representation of a single the nineteenth century. It examines how sonic the disciplines that study them have witnessed an respond to changes in the global context for individual frequency to a sonic object often conceived as the concepts were communicated through popularized expansion of boundaries of late. Our papers register action. ‘basic elements’ of sound. Because it provides a performances, such as medical and scientific the productive ambivalence of this expansion in three seemingly empirical basis for the age-old discursive lectures, or in dramatic and musical settings. related fields, and seek to shed light on the modalities Finally, Tim Rutherford-Johnson draws on his connection between music, harmony and regularity Looking at examples from Paris and London, I’ll of both intra- and interdisciplinary change. In each experience in writing a history of recent composition going as far back as Pythagoras’ celestial harmony, explore select events of ‘extreme listening’, ones case, the arrival of new ‘evidence’ is complicated – but (the forthcoming Music after the Fall: Modern as an idealised acoustic object, the sine wave is in which hearing impairments, hearing differently, also enriched – by a contemporaneous broadening of Composition and Culture since 1989). Developments part of our sonic imagination up to this present day. not hearing at all were staged or represented. the discipline’s ‘admission criteria’. Thus, the repertoire beginning in the 1960s with open-form, graphic Such performances will be analysed for how they of post-1980 string quartets which John Fallas studies and improvisatory practices, and accelerating in ‘Sound philosophy: acoustics and contribute to the constitution of listening discourses. appears to represent striking counterevidence to the subsequent decades under the influence of digitisation, experiment in London, 1815-1835’ I give particular attention to the scenic dispositive: supposed decline of genre described for ‘high art’ market forces and environmental considerations, Edward Gillin (University of Cambridge) how the scenography, spatial particularities, by Adorno, Dahlhaus and others. Yet between the render unsustainable the very distinctions – between “acoustic layers” created a particular sensorial first wave of musicological resistance to this decline notated and orally transmitted musical forms, This paper focuses on the intersections between or embodied experience, contributing to how narrative (by Jim Samson, Jeffrey Kallberg and between classical and popular styles and genres, acoustics and science in London in the early ideas were shared. Juxtaposing different forms others in the mid-1980s) and the second (by Charles between audio and visual media, and even between nineteenth century and argues that the study of of listening, these performances allow me to Kronengold, Eric Drott and Benjamin Piekut in the creators and audiences – which might previously sound was intrinsic to the city’s experimental reconsider the emergent contours of the modern present decade), musicology’s own assumptions have sustained and drawn the disciplinary frame for culture. It looks at the centrality of sound in Michael listener. regarding the centrality of art music have been such a history. Drawing on recent and contemporary Faraday’s experiments between 1815 and 1831, challenged to a point where one might question why examples from both experimental and mainstream and in Charles Wheatstone’s research during the the attempt to restore a generic context to the string practice, Rutherford-Johnson examines the limits of 1820s and 1830s. Working only a few minutes quartet should exclude other, equally genred domains composition as a term of art, and offers a preliminary away from Faraday in Westminster, Wheatstone in which the string quartet carries cultural meaning: TV definition for our times. Session 3B. Panel: Historiography and Popular Music Session 3C. Panel: Lives and Afterlives of Medieval and Sarah Hill (Cardiff University), convenor and chair Early Modern Music Manuscripts

‘Pop History and its Others’ Initiated by an interdisciplinary study day at the James Burke (University of Oxford), convenor; Matt Brennan (University of Edinburgh) Institute of Musical Research, this panel aims to Warwick Edwards (University of Glasgow), chair interrogate the historiography of popular music What happened to music manuscripts in later madrigals, an In nomine and even Mass extracts. ‘Popular Music History at the Fringe’ from a variety of positions. The session will begin centuries? This panel explores the lives and Although many early owners remain anonymous, Stephen Graham (Goldsmiths, University of with each panellist presenting a ten-minute afterlives of three sources: who owned them and the set began as a liturgical collection before London) statement on an aspect of pop historiography, why, and how they were adapted to suit the needs becoming an educational tool, then a source of which will be followed by a round table discussion. of later owners, both as physical objects and in domestic entertainment for amateurs, and later ‘A Historiography of Pop Historiography’ The panel aims to clarify the problems specific to terms of their constituent repertoires. a source of historical interest for eighteenth- Sarah Hill (Cardiff University) popular music history writing, and identify ways century music antiquarians. This paper explores of developing not only new methods, but a new ‘The Lives and Afterlives of a Medieval Song how successive communities interacted with these ‘Writing Pop History: A Note on Methods’ impetus for pop’s historical study. Manuscript’ manuscripts, adapting them for new purposes, Tom Perchard (Goldsmiths, University of London) Helen Deeming (Royal Holloway) making repairs, and engaging with the music copied by previous owners. The resulting narrative ‘Pop History and Mythology’ This paper considers a thirteenth-century songbook offers new perspectives on the manuscript culture Toby Young (University of Oxford) that underwent several phases of accretion and of Tudor England and the circumstances of this substitution during the century or so after its repertory’s survival to the present day. Unlike its sister disciplines, the field of popular initiation. GB-Lbl Egerton MS 274 (known to music studies can seem only passingly concerned scholars of polyphony as LoB, and to scholars of ‘The Afterlife of the Willmott and with the historical: having emerged from Old French song as chansonnier F) bears witness Braikenridge Manuscripts: Some New (Old) sociology and cultural studies, its focus remains to several repertories of thirteenth-century music. Owners’ overwhelmingly on the present. Where there have Best known are its opening fascicle of conducti here James Burke (University of Oxford) been monumental historical surveys of Western Art attributed to Philip the Chancellor, and its fourth Music, Jazz, and non-Western musical cultures, the fascicle, containing vernacular songs with marginal Today, the Elizabethan copyist, priest and history of popular music has largely been told via a attributions to five trouvères; the manuscript also schoolmaster John Sadler (b.1513), is best patchwork narrative of genres, scenes, musicians, includes assorted liturgical chants, other Latin remembered for his complete five-volume partbook and industries. Although there is a received songs, and a fascicle of narrative Latin poetry, not set in the Bodleian Library, produced between the historical account of the development of what we set to music. The collection’s present state reflects year1568 and 1585. But Sadler also produced commonly understand to be ‘popular music’, such several generations of intervention by subsequent a later set. Originally of five volumes, only two an account has not been afforded the same kind of possessors of the manuscript: these are both partbooks survive: a Medius partbook, known as sustained scholarly treatment as have the histories unusually extensive and relatively transparent, the Willmott manuscript (in private ownership), of longer musical traditions. allowing us to uncover both what was added or and a Tenor partbook, known as the Braikenridge changed, and what was there originally. As such, manuscript (GB-Ob Tenbury 1486), dated 1591. In One Chord Wonders (1985) Dave Laing it offers a fruitful case study for examining the This paper examines what happened to these defined punk as ‘a complex of artefacts’. It is changing priorities of different owners of the book, partbooks after Sadler’s demise: who owned a common refrain in the study of the genres of and for exploring the archaeological concept of them, when, and how they obtained them. As the last sixty years of popular music history; yet ‘object biography’. well as introducing some new owners – who may while the study of the artefacts of a single genre have included the Ferrars of Little Gidding – I also is understandable and often warranted, it results ‘The Life-Cycle of a set of Tudor Partbooks explore whether later owners had any interest in a compartmentalisation of style and meaning, (British Library Add. MSS 30480-4)’ in the contents of these books (which include 27 and often a privileging of one genre at the expense Katherine Butler (University of Oxford) Latin-texted motets by chiefly English composers of another. Canon-building is as prevalent in of the sixteenth century). I also examine when the popular music studies as in other disciplines, but Some Tudor partbooks, such as those of Robert partbook set might have been divided, and what it need not be inevitable. The failure of grand Dow and John Baldwin, have a relatively happened to the partbooks that are now lost. historical narratives, and a consequent resort to straightforward history of owners and copyists Biographies microhistories, was seen in popular music as in through which they achieved their current many areas of postmodern historical study. But appearance. By contrast the so-called ‘Hamond’ Helen Deeming is Reader in Music at Royal that atomisation has left popular music historians partbooks (GB-Lbl Add. MSS 30480-4) were copied Holloway, University of London, and co-editor of unwilling or unable to consider pop in broader over a period of c.40 years by multiple groups the journal Early Music. Her research concerns contexts, the most notable of which may be the of collaborating scribes, each seemingly working medieval music, especially in England and transnational dimension that characterised pop’s for different purposes and in varying situations northern France, and focusses on manuscript cultural profile, and so much lived experience, in resulting in a miscellaneous combination of service contexts, song, and notation. She has edited the 20th century. music, sacred songs, Latin motets, chansons, Songs in British Sources, c.1150-1300, for Musica Session 3D. Society for Music Analysis Panel: Musicology and Music Analysis Julian Horton (Durham University), convenor and chair

In the past several decades, the relationship ‘Analysis and ‘Postcolonial’ Musicology’ Britannica, vol. 95 (Stainer & Bell, 2013), and co- between musicology and music analysis has Shay Loya (City University) edited, with Elizabeth Eva Leach, Manuscripts and been characterised as much by antagonism as by Medieval Song: Inscription, Performance, Context cooperation. In the 1990s, practitioners of the ‘new ‘Postcolonial’ musicology since the 1990s began (Cambridge University Press, 2015). Her work has musicology’ defined themselves in large measure by heavily relying on Said’s Orientalism (1978), also appeared in the Journal of the Royal Musical in opposition to analysis, which was variously then gradually expanded its scope to include other Association, Music & Letters, Early Music, Plainsong denigrated as an outmoded residue of positivism, perspectives of culture, identity and representation. & Medieval Music, the Journal of the Alamire formalism, modernism, or a combination of the However, the trend remains unidirectional, with Foundation, and Scriptorium. three. More recently, analysis has regenerated musicologists effectively confirming theories formed under the stimulus of North-American theory, in other disciplines, using music analysis rarely, and Katherine Butler is a Postdoctoral Research especially neo-Riemannian and transformational only for that purpose. Can analysis do more in this Assistant at the University of Oxford working on the approaches to tonality and the so-called ‘new field? To what end? AHRC-funded Tudor Partbooksproject. Prior to this Formenlehre’. Yet despite the regular claim that she held a British Academy Postdoctoral Fellowship musicological pluralism now comfortably enfolds ‘Analysis and Musicological Canon(s)’ exploring the changing role of myths and stories analytical and historical scholarship, cross- Anne M. Hyland (University of Manchester) in shaping ideas about music in early modern disciplinary fertilisation remains problematic, as a This paper examines the role played by music England. She is the author of Music in Elizabethan recent, tense encounter between Richard Taruskin, theory and analysis in defining and reinforcing the Court Politics (2015), co-editor of Music, Myth and Kofi Agawu and others in the pages of Music musicological canon. It argues that by drawing Story in Early Modern Europe (forthcoming), and Theory Spectrum attests. greater attention to the music of non-canonical but has articles published in Renaissance Quarterly, erstwhile popular composers, we can overcome Early Music, Music & Letters, the Journal of the This panel explores the current state of this some of the limitations of existing analytical theory, History of Ideasand the Journal of the Royal relationship. It offers six ten-minute position papers and arrive at a more historically aware, and Musical Association. offering different disciplinary perspectives on musicologically relevant analytical methodology. the interaction of current analytical practice and James Burke is in the final stages of a DPhil in broader questions of historical musicology, cultural ‘Queer Music Analysis?’ the University of Oxford: his dissertation, ‘John studies, music psychology, gender, sexuality and the David Bretherton (University of Southampton) Sadler and the Sadler partbooks, Bodleian Library canon. MSS Mus. e. 1–5’ is being examined in January. Whether and how music might express and encode Since November he has worked for the Digital ‘On the Musicological Necessity of Analysis’ aspects of a composer’s sexuality remains an Image Archive of Medieval Music (DIAMM), revising Julian Horton (Durham University) intractable question, despite several notable (and descriptions of more than 3000 manuscripts in often controversial) studies of purportedly gay order to bring them up to speed with the most This paper reflects on the musicological functions composers’ music. Following the paradigm shift recent scholarship. His first edition has been of analysis, in light of Richard Taruskin’s from LGBT Studies to Queer Studies elsewhere in published recently by OUP, and he is a contributor characterisation of theory as a species of the humanities, in this paper I look to Queer Theory to New Grove. He will be writing, with Julia Craig- ‘creationism’ (2011). I argue instead that analysis for ways forward for ‘queer music analysis’. McFeely, the introduction to a facsimile of Sadler’s and musicology are dependent modes of historical complete set of partbooks (GB-ObMus. e. 1–5), to construction, and that, in analysis’ absence, ‘Music Theory and the Archaeology of be published by DIAMM in 2017. musicology becomes a discourse on discourse, a Listening’ mode of musical thought without a musical object. Kirstie Hewlett, King’s College London

‘Music and Emotion’ This paper problematises the presence of the Michael Spitzer (University of Liverpool) immutable, attentive listener in analytical enquiry, comparing the representation of listening in The affective turn in the humanities has impinged Schenkerian theory with the complex listening styles on music research mostly via some branches of that Schenker himself enacted. Excavated from music psychology. Despite their rigour, the latter descriptions of music in Schenker’s diary, these are not particularly suited either to music analysis observations raise questions about the historical, or to historical understanding. In seeking better social and cultural values embedded in analytical analytical methods, I also discount help from some approaches. ‘false friends’, such as Topic Theory and theories of affect. Session 3E. Panel: Through the Looking Glass Monica Esslin-Peard (University of Liverpool) and Anthony Shorrocks (University of Liverpool), co- convenors; Anthony Shorrocks, chair Biographies Historically, music education research has centred individual practice, but also in ensemble and band Monica Esslin-Peard, MA (Oxon), MA Mus Ed on Western classical musicians. In this context, it is rehearsals, through informal feedback from tutors (London), mPGCE (London) is Head of Instrumental well documented that practice is a key part in the and peers and is firmly situated in the cultural and Studies at a secondary school in London and a development of musical excellence. In an attempt sociological environment of the university and the part-time doctoral research student at the University to explain the phenomenon of practice by classical city of Liverpool. of Liverpool. Her research interests include musical musicians, researchers adopt many different In this themed session we present our findings from maturation in classical and popular musicians approaches. However, there is no overall consensus the 2012-2015 cohort of popular and classical and the role of reflection in musical learning. about practice behaviours, because it would seem musicians. Initial findings suggest that classical Monica has presented at conferences in Ireland, that within the broad context of musical learning, and popular musicians start their performance the UK (SEMPRE, ISME) and Germany (AMPF) and there is no single way to become an expert studies with quite different musical experiences and Norway (CEMPE – The teaching of practising). Her musician. markedly different musical expectations, dependent publications include book reviews for Psychology upon their prior learning. of Music, two chapters for the Proceedings of the What academics do agree about is that, in the AMPF conferences and a chapter in the A&HHE words of Hallam, (2001), musicians do indeed However, the process of writing reflective essays digital special issue: ‘The Reflective Conservatoire’. ‘learn to learn.’ Research into the musical encouraged students to think more carefully about development of popular musicians highlights their practice and performance behaviours and Tony Shorrocks joined the University of Liverpool, informal learning practices, peer learning and they started to ask the question “How am I...” or Department of Music, as Head of Performance self-teaching. Popular musicians, as Smith (2013) “How are we practising?” Furthermore, the students after a long career as an orchestral player. He has suggested, may adopt hybridized models of who were awarded a grade of 70% or more played viola with many of the UK’s leading learning – in other words, they may have different for the performance module in their final year, orchestras and the BBC Big Band and has toured modes of ‘learning to learn’. exhibit an openness to different genres, a desire with vocalists such as Shirley Bassey. He has been to play in multiple bands/ensembles and have involved in tertiary education for the last 15 years, Reflection was introduced into tertiary education discovered and adopted a range of meta-cognitive with a special interest in coaching rehearsal and over 20 years ago. The use of reflective journals practice strategies to support their learning. The performance in classical and other genres. He is well known in health care, engineering, teacher development of reflective skills, we would suggest, is responsible for the undergraduate classical training and the performing arts. The approach leads to a greater level of personal insight into the and popular performance courses, as well as a at the University of Liverpool Department of Music process of musical maturation and the development wide range of MA performance programmes and is different, as students are allowed almost total of metacognitive skills which are critical for the doctoral research. He has presented at conferences freedom to report on their experiences through professional musician after graduation, whatever in Northern Ireland, for the RNCM and SEMPRE assessed written reflection, based upon a practice the musical genre and whatever formal or informal and the University of Liverpool Teaching and diary. approaches to learning are adopted. Learning conferences. The main part of this workshop is practical, The “Art of Practice” research project at the with graduate music students rehearsing and University of Liverpool focuses on the reflective describing how their perspectives on practice and practices of undergraduate popular and classical performance have changed as a result of reflection. musicians. Both undergraduate and masters The musicians will perform both prepared and performance students are required to write an unprepared repertoire and workshop participants essay about their experiences of practice which will be able to direct their questions both to the carries 30% of their final grade, combined with performers and presenters to dissect both the 70% for their recital or gig. This combination of pedagogical process and the role of reflection in practical and written assessment is, as far as we professional expertise. can discover, unique in university education in England and Wales. Our research question is to The session will be of interest to academics, discover what role reflection plays in the musical teachers and music educators who are involved development of undergraduate classical and in the development of creative, practical and popular musicians who take the performance metacognitive skills, those who use reflective module over their three years of study. journaling, and any who want to gain insight into the process of expert learning in tertiary education. This is essentially a study about the behaviours and practices of student musicians, described through their own accounts. It is important to recognise that this learning takes place not only through Session 4A. Music and Nations 1 Rachel Cowgill (University of Huddersfield), chair

Coming of Age: Neo-Fado, Nostalgia, and Composing for the Modern Nation: A New Light on Parisian Modernism: Identity Comparative Analysis of the Works of Stravinsky’s ‘Leit-harmonie’ and Musical Anne Briggs (Wichita State University) Chávez and Saygun Impacts from China Nevin Şahin & İsmet Karadeniz (Ankara Yildirim John Chun-fai Lam (The Chinese University of Traditional Portuguese fado consists of two Beyazit University, Turkey & Hacettepe University, Hong Kong) acoustic guitarists performing on Portuguese Turkey) instruments along with a vocalist. However, a new A salient Chinese element in Igor Stravinsky’s instrumentation of the genre has yielded a modern Late nineteenth and twentieth centuries witnessed Parisian opera Le Rossignol (1908–1914) lies in style called neo-fado, often including drums and the emergence of nation-states following wars what he hailed as the ‘fausse-chinoise’ scale, but electric guitars. Fado singer, Pepita Cardinali said against others or within themselves; the new states its elusive presence in the orchestral fabric of the in an interview that, ‘Older generations like [neo- executed their cultural policies for fitting into their overture is hitherto unknown. With reference to fado] as long as [players] don’t overwhelm fado myths of origin and ideal nations. Music was a sketch materials housed in Paul Sacher Stiftung, with the other rhythms. Once they start overbearing crucial tool in the aftermath of wars and musical my investigation reveals that Stravinsky lined up it—Fado is fado, other cultures are other cultures. nationalism went hand in hand with nationalist and superimposed chains of pentatonic scales à It’s well taken as long as it’s done with good taste’. modernization. In an effort to see the reflections of la Petrushka chord in order to form, in his own Her response exemplifies the skeptical view taken music in politics and politics in music, this paper words, ‘leit-harmonie’. The underlying pentatonic by older generations toward this new style—an aims at comparing the modernization processes tonal network of ‘leit-harmonie’ thus calls into anxiety of balancing the traditional with the sounds of two distinct nations through the works of two question the alleged predominant role assumed of new voices. significant composers who went beyond their by octatonicism in existing analyses. It also nations. Two contemporary composers, Carlos serves to illuminate Louis Laloy’s seemingly trivial More than the music, this modernization of a Chávez from Mexico and Ahmed Adnan Saygun observation of a kind of pentatonicism ‘according historic cultural artifact reveals the globalization from Turkey, became important characters in the to the almost indifferent equilibrium which the and pluralism of diapsoric Portuguese communities. musical modernization of their countries with Chinese have assigned to all liturgy’. A sinologist Scholar Michael Arnold’s research highlights their compositions. What idiosyncratic features active in Stravinsky’s Parisian circle, Laloy played the hybridity neo-fado represents in mainland of their music made them become accepted as a crucial role in the circle’s Chinese musical communities, especially Lisbon. Estellie Smith and national figures? What were the political dynamics sensibilities and, as this paper uncovers for the Don Warrin similarly examine the use of traditional surrounding their compositions? What were their first time, the modernist adaptation of indigenous fado in US immigrant communities. I explore neo- motives of composing for the modern nation? pentatonic melodies of China in Gabriel Grovlez’s fado as a lens onto pluralism in Azorean- and Are there any common musical, literary, local and incidental music for a drama based on a Chinese Portuguese-American communities. Ultimately such translocal elements in their compositions? How libretto. In this light, Chinese musical influences an exploration will reveal how younger generations can the similarities of their works be theoretically not only shaped Stravinsky’s stylistic evolution, but in immigrant communities reject the Portugal of framed? To find answers to these questions, a also, in addition to the commonly acknowledged their parents to construct one of their own. genealogical study of the composers’ biographies borrowing from Indonesian gamelan techniques, has been conducted and chronologically selected subtly interacted with Parisian modernism. Biography compositions from both musicians have been Anne Briggs’s main research focuses on fado analysed. Biography and its use in identity construction, especially in John Lam Chun-fai is a final-year PhD fellow at diasporic Portuguese communities. She recently Biography the Chinese University of Hong Kong. His doctoral presented her paper, ‘Fado and Female Azorean Nevin Şahin is a Research Assistant at Ankara research centres on intercultural dynamics between Immigrants’ Changing Agency’, at two professional Yildirim Beyazit University. She finished her PhD France and China. Research findings have been conferences and an international graduate student in Sociology at Middle East Technical University published in Chinese by the Shanghai Conservatory meeting. Additionally, her interests include modern and is now writing her thesis on historical of Music Press (2015) and in German by Zeitschrfit English and American art song, opera (specifically musicology. Her fields of specialization are ästhetische Building (2016) and zGMTH (2017). Mozart’s Italian operas), and gender and sexuality ethnomusicology, historical musicology, sociology A grant offered by Österreichische Austiuschdienst in music. She is currently a Stettheimer Graduate of religion, migration and transnationality, and (2016) brought him to Universität für Musik und Education Fellow at Wichita State University where qualitative research methods. İsmet Karadeniz darstellende Kunst Wien for research on Chinese she is finishing her Master of Music in Opera is a PhD student in Music Theories at Hacettepe elements in Viennese music at the fin-de-siècle. Performance. University. He also did his MS in Music Theories, with a thesis on Ahmed Adnan Saygun’s peculiar chord. His fields of specialization are republican composers of Turkish music, musical and motivic analysis, traditional Turkish music and systematical musicology. Session 4B. Audio-Visual Music and Ludomusicology Paul Turowski (University of Liverpool), chair

Minimalism Re-created in Movement Audio-Visual Collisions: Moving Image Video Game Music in the Concert Hall: Renate Braeuninger (The University of Technology and the Laterna Magika Nostalgia, Canon and Interactivity. Northampton) Aesthetic in New Music Theatre Elizabeth Hunt (University of Liverpool) Holly Rogers (Goldsmiths, University of London) A range of Steve Reich’s musical compositions In the still young study of ludomusicology, have been recreated in movement by Belgium New Music Theatre has long been considered a video game music performed live in orchestral, choreographer Anne Teresa de Keersmaeker. While mixed form that hovers between genres, and yet symphonic performances have been given little both have only on one occasion collaborated on most often the combination has been referred to attention. My research aims to bring discussion of a dance film Counter Phrases (2004), Reich has in terms of other musical and dramatic practices. these video game concerts into an academic light, in the meantime become highly appreciative of Here, I argue that the inclusion of moving image discussing immersion and encouraged interactivity de Keersmaeker’s use of his music and does not technology on the stage, with its capacity to in the concert hall. refuse her quests for the choreographic realisation create illusory depths, troubled realisms and of it. In my previous research, I have mainly heightened audiovisual textures, operated as a I will discuss the emerging canon supported focussed on de Keersmaekers’s early works to radical intervention not only into conventional and developed by video game concerts, looking Reich’s music, I would like to look in this paper at theatrical gesture, but also into traditional modes at theories of canon formation to suggest how the choreography to Rain (2001) and Drumming of operatic and dramatic consumption. Such and why particular pieces or concert tours are (1998). How are musical structures and processes technological inclusion has often been linked so popular with video game fans. This will be re-created in choreography? I deliberately do not to the rise of neo-realist cinema and other art in particular reference to nostalgia theories, use the word translated, but re-created, because film traditions. However, if we examine the ways suggesting possible successes may originate from I will demonstrate how movement equivalents in which film technology was used, it becomes a fondness for childhood games and a yearning are found, rather than ‘literal’ translations of clear that such practice was in fact located in a to return to the game world, which I will discuss single musical parameters. The choreomusical different audiovisual aesthetic. The differences in reference to player immersion and the different analysis undertaken will highlight not only between stage and screen mise-en-scène resulted spaces players are able to interact in while playing compositional processes in music, but it will in a dissonant relationship between immersion video games. also give an indication for interested composers and distanciation embraced most clearly in and composition students what are the musical productions set in the Laterna Magika style, a type My research spans a number of different styles parameters and structural devises a choreographer of multimedia theatre most notable for its use by focussing on a small selection of concerts, can and wants to respond to. In this context, I of staged and screened elements that enabled in particular Video Games Live and Pokémon: will also briefly refer to the cognitive perception multiple narratives and perspectives to unravel Symphonic Evolutions, which feature early 8-bit of minimalism and the influence of the latter on at once. The critical distance established by the and MIDI era music such as Super Mario Bros. artistic decision making processes. clashing of diverse disciplines could activate an (Nintendo, 1985) and classically influenced pieces audience, who were both brought into the heart from titles including Kingdom Hearts (Square Enix, Biography of the drama, and repelled by it. This tension will 2002 – present) and Shadow of the Collusus (Sony Renate Bräuninger, MA PhD received her MA in be explored through early productions of Nono’s Computer Entertainment, 2005). musicology from the Ludwig Maxmilian University, Intolleranza 1960 in order to suggest that New Munich, Germany and PhD from Middlesex Music Theatre can be understood not only as an Biography University London. The latter concerns the expanded form of staged music, but also as a Elizabeth Hunt is a current MRes student at the relationship between music and movement in significant representation of experimental art and University of Liverpool. With interests in music in dance and film. Her main research interest are expanded film. audiovisual media, Hunt’s research is focussed choreomusical relationships and choreographic on music in video games (an interest founded by processes particularly in relation to the Biography the topic’s current infancy). Hunt is particularly choreography of George Balanchine and Anne Holly is a senior lecturer in Music at Goldsmiths, interested in the live performance of video game Teresa de Keersmaeker. She has widely published University of London. She has produced music and ideas surrounding nostalgia, interactivity both in her in both her native language and monographs on avant-garde film and and canon formation. English. audiovisual video art, and has edited collections on documentary film, experimental film sound and transmedia. She is a founding editor of the Bloomsbury series, New Approaches to Music, Sound and Media. Session 4C. Popular Music Studies 1 Sara Cohen (University of Liverpool), chair

Conservative Purism and the Aesthetics of House Music: Reconstructing a Secular A Parliafunkadelicament Thang: Can Popular Music in Folk Horror Christianity for the Gay Diaspora ‘Good Old Funky Music’, Afrofuturism and John McGrath (ICMP) Liam Maloney (University of York) Awesome Chops Make for a Passport to Progrock Recognition? The emergence of folk-horror in contemporary In Simon Reynold’s history of dance music Richard Worth (University of Liverpool) Britain reveals and critiques a cultural turn towards Energy Flash, he suggests ‘house music offered an “authentic” purism, providing a useful window a sense of communion and community to those Wilko Johnson’s famous dismissal of progressive through which the aesthetics of popular and whose sexuality might have alienated them rock as “men in dresses singing about Mars” contemporary folk music might be viewed. The from organized religion’. Early house music was perfectly describes George Clinton at his pinnacle hipster movement, lumberjacks and ritualistic predominantly, almost exclusively, a gay culture, of funkiness in Parliamentfunkadelic’s 1976 festivals like Sin-Eater and Lunar portray a return to littered with religious references. Occasionally Houston show – in the course of four costume craft, myth and an idealized society that told ghost these links were subtle, but with constant exposure changes, Clinton does indeed wear a dress (easy stories and baked its own bread. A neo-liberal they became extremely overt. On the surface comparisons can be made with Peter Gabriel’s apocalypse is echoed in the satire of film while in gospel singers, church organs, and club names, early 70’s stage persona), and if not actually mainstream pop, the term “folk” represents little referencing a range of religious practice, can be “singing about Mars,” he does call down a giant more than whether or not a band brand themselves identified. On a subtler, level lies a discussion of UFO and positions himself and his enormous as waistcoat-wearing or not. Can we see a further lyrical content, the role of the DJ, and the sense of entourage in a mythology that has aliens bringing purist conservatism on the rise also in the badge of euphoria that pervaded the scene. the funk to earth in the time of the pyramids.And folk “authenticity”? Folk “revivals”, a problematic then there is the music. idea itself, have always been nostalgic conservative This paper presents the findings from an 18-month conservation projects with deep-set ideological qualitative research project focused on uncovering Trying to define Prog. has all the usual pitfalls of and often imperial subtexts. In this paper, I suggest the connections between Chicago house, New art categorisation, but in “Listening to the future”, a more positive and transformative approach to York garage, and Christian iconography, and how Bill Martin drafted some defining characteristics, avant folk, one that embraces repetition beyond these ideas intersect with the Black and Latino, both contextual and “purely musical elements”; the the oral tradition and into a technological modern gay or LGBT community (specifically from 1984- former include a psychedelically inspired “utopian world. I aim to deconstruct and critique folk-purism 2001). Drawing on new primary evidence collected ethos”, and an “Englishness” manifested in and unpack the latent ideology behind so-called through interviews with renowned vocalists, DJs, romanticism, pastoralism and a quasi medievalism “authentic” lo-fi folk. authors, producers, and academics, the work offers (more properly from a musical perspective this is an unexplored perspective of house music’s history a renaissance influence). For musical elements, Biography and importance to marginalized groups. Martin includes complexity, sophistication Dr. John McGrath’s research has earned awards (particularly in relation to harmony), “stretching from the SMI and AHRC and has been presented Biography out”, virtuosity and perhaps controversially, at conferences in Germany, Ireland and throughout Liam Maloney is PhD researcher at the University a lack of danceability - “music for listening”. the UK. His main research areas are Word and of York. His research is concerned with the (Controversial for me, who, though a dedicated Music Studies, Practice as Research, Popular Music interplay between music, emotion, memory, and ‘funk-head’, finds plenty of ‘groove’ in the music of Studies, and Aesthetics. He has a forthcoming geography. The focus of his PhD thesis examines several of Martin’s lynch-pin groups- Genesis, Yes, monograph with Routledge entitled “Samuel how these factors can be tracked, recorded, and King Crimson among them). Beckett, Repetition and Modern Music”. John is a used to generate ever-evolving patterns of sonic Lecturer in Popular Music at ICMP and previously autobiography to create a truly contextual music Drawing from the over 30 albums lectured at University of Liverpool and LIPA. He is a recommendation system. His PhD is funded by produced between 1970 and 1980 by the member of IASPM, SMI, RMA, and WMA, and holds the Sir Jack Lyons Scholarship. Beyond his PhD Parliamentfunkadelic syndicate, I aim to show degrees from Trinity College Dublin, University his research explores the impact of electronic that, using many of Martin’s own parameters, they College Dublin, and University of Liverpool. music, particularly house and disco, in relation to should at least be be taken into consideration for the LGBT community, and seeks to question the any progrock canon. They’ve even produ accepted narratives of popular music history that are commonly presented. Biography Lecturer in Popular Music Composition at the University of Liverpool Session 4D. British Musical Life 1 Bryan White (University of Leeds), chair

‘Every musician (or rather soi-disant Keeping Up with the Johanneses: Elevating The Spiritual Practice of Music Listening musician) … thinks he can conduct’: the Musical Taste of the English Public in the Concert Hall: Cavendish Weedon’s Reinterpreting Ideologies of Orchestral Linda Shaver-Gleason (Independent Scholar) Divine Musick Conducting in 1870s Britain Ina Knoth (Universität Hamburg) Fiona M. Palmer (Maynooth University) By the 19th century, England earned the nickname ‘the land without music’, referring London’s music practice around 1700 was the The continually expanding market for orchestral both to its apparent lack of composers and the most publicly active and diverse in Europe. Music music in 1870s Britain created a dynamic and unsophisticated taste of its audiences. During the was a force in opera, the theatre, and – at least 50 challenging context for musicians and audiences Victorian era, however, national pride demanded years earlier than on the continent – commercial alike. Baton conducting was a relatively recent musical literacy on par with continental rivals. concerts, in addition to domestic musical activities, phenomenon, its practices influenced by foreign Efforts to revitalize the country’s musical reputation music in church ritual and at court. My paper exponents, and the function of ‘conductor’ was culminated in what contemporary critics deemed aims to differentiate how these many different as yet unstandardized. The requirements of the the English Musical Renaissance. While scholarship ways of experiencing music affected habituated conductor’s role in the delivery of orchestral tends to focus on composers and critics of the ways of listening, focussing on the boundaries performances thus took shape within a complex period, it has overlooked a medium that influenced between listening to music as an element in, on web of musical, critical, practical and societal audience behavior: music reference books aimed the one hand, religious, and, on the other, secular expectations. Ideologies surrounding orchestral at a general audience. life. Cavendish Weedon’s concert series of 1702, conductors and conducting were in flux. In this paper, I examine music reference books designed as ‘Performances against Irreligion published during the Victorian era, including Hugh and Vice’, serves as a prominent example of This paper re-evaluates the interrelated issues Reginald Haweis’s Music and Morals and George how religious ideals of music perception were and priorities that shaped the formation of Grove’s Dictionary of Music and Musicians. I reveal transferred to the concert hall. This paper analyses these ideologies in Britain. It does so through a how efforts to guide the public’s musical taste were the programming structure, the repertoire and focused reassessment of the conductorship of also attempts to construct a national artistic identity. acoustic conditions of this series and compares the loftiest provider of orchestral concerts, the While these authors use Germany as the model them to those of divine service and contemporary Philharmonic Society of London, in the 1870s. of a musically enlightened populace, they also concert series. Well-known statements about music Evidence of the pace of change and the priorities enumerate reasons that England should be able listening as well as unknown private diaries are that shaped it is revealed through an exploration to surpass it, typifying the complicated relationship employed to evaluate the way listening to the of the tensions between internal institutional between these countries. These books draw upon most available music – music in church ritual – requirements and external reception. Drawing on a broader context of Victorian values to tie musical influenced the way people perceived concert music rich archival sources, together with an analysis knowledge to morality and civic responsibility to of contemporaneous press and of professional create a distinctively English musical culture as a Biography networks, this paper questions the accepted reaction against growing German nationalism I did my undergraduate studies in musicology, mythology of mediocrity surrounding William English literature and economics at the Hochschule Cusins’s seventeen seasons as conductor (1867– Biography für Musik Franz Liszt, Weimar and the Friedrich- 93). Through this case study new light is shed Linda Shaver-Gleason earned her PhD in Schiller-Universität Jena from 2003 to 2009. on longstanding historiographies of conducting, musicology from the University of California, In 2014, I finished my dissertation on Paul of Cusins, and of the wider music profession in Santa Barbara in September 2016, publishing her Hindemith’s Harmonie der Welt at the Carl von Britain. dissertation, English Reception of Felix Mendelssohn Ossietzky Universität Oldenburg. Since October as Told Through British Music Histories. She has 2014, I am a lecturer at the Universität Hamburg, Biography presented papers at several conferences in the US working on a postdoctoral project about Music Fiona M. Palmer is Professor of Music at Maynooth and UK, including meetings of the North American Listening in England, c. 1670–1750. University, Ireland and her research focuses on British Studies Association and the American music and musicians in the British marketplace Musicological Society. Dr. Shaver-Gleason writes between the late eighteenth and early twentieth programme notes for several arts organizations, centuries. Fiona’s new monograph, Conductors including the Santa Barbara Chamber Orchestra, in Britain 1870-1914: Wielding the Baton at the the Schubert Club, and the BBC. She also Height of Empire, will be published by Boydell maintains a blog called Not Another Music History Press in March 2017. Her publications include Cliché in which she debunks musical myths. critical biographies of the virtuoso double bassist Domenico Dragonetti (1763-1846) [Oxford University Press, 1997] and of the church musician, editor and publisher Vincent Novello (1781-1861) [Ashgate Publishing, 2006] Lecture-Recitals 1–3 Simon McVeigh (Goldsmiths, University of London), chair

Changing images of the ‘Ballet of the Nuns’ Conversation in Mozart’s piano concertos The recorder in the 21st century: The Helder knowledge and interest in it will be internationally in its keyboard arrangements KV 451, 456, 482 Tenor at the intersection of research and expanded. More information my BLOG: www. Nana Wang (University of Southampton) Panu Heimonen (University of Helsinki) practice susannefroehlichrecorder.wordpress.com. Susanne Froehlich (Kunstuniversität Graz, Austria) The ‘Ballet of the Nuns’ is one of the most This lecture-recital shows how dialogue in Mozart’s Biography sensational parts in Meyerbeer’s Robert le diable. 1.movement concerto form (KV 451, 456, 482) From the Middle Ages on, the recorder had many Susanne studied the recorder at the Amsterdam However, the roles of the deceased nuns were relates to patterns of conversation in Enlightenment. different forms of appearance and was always Conservatory, the University of Arts in Berlin varied through keyboard arrangements in the The classical style in itself is amenable to adapted to the sound worlds and music aesthetics and the “Akademie für Tonkunst” in Darmstadt, late 19th century, when the opera-based works features of sociability and communicative intent. of its particular time. Therefore, recorder players where she obtained her final exams always with were largely criticised as a ‘bastard genre and the The concertos in themselves establish highly from today can choose from a big variety of distinction. Since October 2015 she is doing an worst crimes’. However, its significance cannot be individualized interactive arrangements between instruments to perform in different styles and artistic-academic research at the Art University in overlooked in terms of transforming the stage effect consecutive formal sections. There is social energy performance practises. So, it seems quite logic to Graz. Susanne has won several scholarships and of Robert le diable into a text without the exact (Greenblatt1988) emitted in these dialogical perform music from today on instruments from international competitions in Berlin, Bonn, Cracow, visual images of the original opera. I will compare joint encounters which arises out of social and today. But, reality looks very different and in terms Graz, New York, and Rotterdam, regularly performs the parts of three arrangements in the case study, individual modalities attached to theme actors and of method, extended techniques and performance recitals and teaches workshops in Europe and which are all based on tunes from ballet of nuns in configurations between them. Interaction between practise on modern recorder models we are still overseas. She appears both as soloist and different Act 3 of Robert le Diable--Deuxieme Air de Ballet the modalities gives rise to types of temporality also at the starting point and there is a lot to develop, formations as well as music theatre productions. Séduction par le Jeu. This scene mainly portrays at the level of the whole movement. A temporal to explore, to fathom and to document. This She has participated in numerous world premieres the enchanted nuns tempting Robert to pick up profile is born out of conversational interaction fact marks the actual starting point of my artistic at renowned venues and festivals worldwide. the magic branch and become a devil. The three between solo and ritornello sections expressed research and leads me to the following questions: arrangements are Joseph Ascher’s Illustration de in terms of temporal references (Jaszczolt 2009). • How much will new recorder models enrich Robert le Diable pour piano, Félix Godefroid’s This profile connects with the outer realm of repertoire, playing techniques and performance L’opéra au piano, 12 Illustrations, Robert le Diable Enlightenment cultural practice. practise of recorder players in the future? • What No.1 and Sydney Smith’s Robert le Diable fantaisie new challenges do new models pose for makers dramatique pour piano sur l’opéra de Meyerbeer. The lecture examines the performance of larger and performers? All these three works were published around exposition (R1, S2, R2) in concerto form. A 1870s-1880s, a period where virtuoso and opera- temporal profile for each concerto is derived out So far, I have focused mainly on one modern based works were in decline. However, they are of interactions between these sections. This profile recorder model, the Helder Tenor, which was still of significance in depicting the different roles forms the bases of the juxtaposition between developed by Maarten Helder during the early of transcribers and different images of the nuns. conversation in concertos and the Enlightenment 1990s and is now produced by recorder firm Performance of the three parts will also be included culture. Existential semiotic transcendental acts Mollenhauer. Unlike other recorders, it is capable to illustrate how the image varied. (Tarasti 2015) are used in assessing the ways of of significantly varied and expressive dynamics over transmission between work and the Enlightenment an extended, strong sounding and well-balanced Biography culture of conversation. note range. My research is based on two main I’m a third year PhD student in the University of aspects: On one hand, to approach the instrument Southampton. My research mainly concentrates on Biography from its historical development, especially the the keyboard arrangements of Meyerbeer’s Robert Panu Heimonen has been educated at the Sibelius- 20th century, with the focus on instrument making, le diable. My supervisor are Prof. Mark Everist and Academy (MA, Music theory and analysis) and the political situation, socialization, music aesthetics Prof. David Owen Norris. University of Helsinki (MA, Musicology, Philosophy). and performance practise. On the other hand, At present he pursues doctoral studies at the to practically approach the instrument through University of Helsinki. His research centres on music a soloist and chamber music context as well as analysis and narrative theory with applications to literally fathom its physics and capabilities. to various musical contexts, especially musical Measurements must be made, literature needs to performance. He has special interest in bringing be found, but there is also a lot of space left for together narrative ways of analysing music with experiments and improvisation. traditional music analytical techniques such as Schenkerian analysis and musical Formenlehre. Having completed this research successfully, an He works on music analytical and narratological advanced performance practise as well as extended questions relating to first movement concerto form playing techniques will have been found and in WA Mozart’s piano concertos. documented, new repertoire will have been created ([email protected]) and a new version of the Helder Tenor will have been developed. The recorder will be presented as a miscellaneous soloist instrument and the Lecture-Recitals 4–6 Piers Hellawell (Queen’s University Belfast), chair

Jazz, Bozza, and Rivier: A Comparative Symphony, Columbus Dance Theatre, McConnell Six Spiders and It’s Unique Dual Part: David Osbon. In addition to music for the concert Performance Study of Eugène Bozza’s Arts Center Chamber Orchestra, and Ohio Valley Advantages, Difficulties and Consequences platform, he regularly composes for film, dance, Frigariana (1967) and Jean Rivier’s Concerto Symphony. He earned his Master of Arts degree in of Engaging One Performer in Simultaneous and live theatre. for Trumpet (1970) Trumpet Performance and Chamber Music from Vocal and Instrumental Expression. Benjamin Joy (The Ohio State University) the University of Michigan in 2011. His primary Agata Kubiak & Bartosz Szafranski (London College teachers include Professor Tim Leasure (The Ohio of Music & University of West London) Contemporary French composers Eugène Bozza State University) and Professor Bill Campbell and Jean Rivier both wrote canonical works (University of Michigan). Six Spiders is designed to showcase the unique for trumpet. However, two of their solo trumpet voice plus violin dual part within the context of compositions, Bozza’s Frigariana (1967) and Performing Songs of the Jewish Thieves the composer’s DMus degree project. The project Rivier’s Concerto for Trumpet (1970), have received and Prostitutes in Today’s Poland: Second interrogates the expressive potential of focusing the considerably less attention. In July of 2017, I Take on Telling the His/Her Story of the compositional effort on the spaces between strong completed an international artist residency with Marginalised musical gestures, with a particular emphasis on the Centre d’Art, Marnay Art Centre (CAMAC) Izabella Goldstein (The University of Manchester) transformations of timbre. The most structurally in Marnay-sur-Seine, France to research original evident consequence of this aim is the placement source material related to these compositions. After years of silence during the communist rule, of the strong gestures at long distances over I consulted Bozza and Rivier’s original scores since 1989 Jewish culture has been every year the timeline of a composition, which created a by at publishers Alphonse Leduc and Gerard more broadly presented in Poland. Today it is most unique set of challenges when combined with the Billaudot in Paris, the École Nationale de visible through Jewish festivals which take place instrumentation of Six Spiders: voice and violin, Musique in Valenciennes, and the Bibliothèque all over Poland. The most described of them is electric guitar, pre-recorded electronics. Municipale de Valenciennes; Bozza’s letters at the the Jewish Festival of Cracow. Although greatly Bibliotheque National; and an archived recording popular, the festival (and its surroundings) has This research explores the challenges and of Rivier’s Concerto for Trumpet at L’Institut attracted a lot of media and academic critique. advantages of writing for and performing on a National de l’Audiovisuel. I also performed a Concerns are voiced over what seems to be new instrument that is voice-violin. We look into lecture-recital of both Bozza’s Frigariana and appropriation of Jewish culture by the non-Jewish how the lack of canonical references influenced Rivier’s Concerto for Trumpet for CAMAC. This Poles, kitsch aesthetics of many performances and the writing process for the composer and how the paper will present the preliminary findings of duplication of stereotypes. presence of the voice affects the violin(instrumental) this performance-based research in an effort performance and vice versa. Singing while playing to address the following questions: How does This lecture-recital is based on a project which is very often encouraged in jazz improvisation, but Rivier and Bozza’s appreciation for and contact includes both practical and theoretical insight usually in reference to the same line being sung with jazz manifest in these works? What are the into songs of Jewish thieves and prostitutes from and played. Our research explores the effect vocal challenges to performing these pieces? Do they early 20th century Poland. These songs have been performance may have on the instrumentality when have pedagogical value? Do Bozza’s etude books originally collected to bring to light the fate of many a completely different part is being sung and asks and letters inform the performance of his piece? from the deprived (Jewish) communities and have about the practical and artistic consequences of How do these pieces differ from the composers’ been (re-)discovered only recently. In my research, using one performer for these two different roles. In other works for trumpet? What contributions do through a series of concerts for Jewish and non- particular, a kind of ‘thinking out loud’, the public these pieces offer to the canon of contemporary Jewish audiences, I explore the potential which this expression of what would ordinarily be private solo trumpet literature? I find that both Rivier repertoire has for (re)telling the his/herstory of the internal process for the singer/violinist, seemed to and Bozza employ innovative jazz elements in Jewish community of Poland, beyond predominant become an integral part of rehearsal. their compositions that enrich our understanding orientalist, simplified and politicised narratives. of jazz influence on contemporary French art Biography music. I also contend that Bozza’s Frigariana and Biography Agata Kubiak is a violinist and a singer, active on Rivier’s Concerto for Trumpet merit inclusion in the Izabella Goldstein holds an MA in Choral both the classical and jazz scenes with particular canonical literature for solo trumpet. Conducting from the Chopin Academy of Music interests in new music and improvisation. Member of Warsaw and an MA in Opera Singing and of the Konvalia String Quartet since 2014. PhD Biography Performance from the Bacewicz Academy of Music candidate at London College of Music, UWL, Dr. Benjamin M. Joy is a recent graduate of the of Lodz. Currently Izabella is a PhD candidate currently researching new music and creativity in Doctor of Musical Arts in Trumpet Performance at the Department of Music, the University of string players. program at The Ohio State University. His research Manchester where she is researching ‘Songs of the and performance interests include contemporary Jewish Underworld in Pre-World War Two Warsaw’. Bartosz Szafranski is a Polish composer based trumpet solo and mixed chamber ensemble Izabella’s research interests include: role of body in in London, currently undertaking a DMus in literature, brass methods, and brass pedagogy. performance, artivism, Yiddish culture and Polish- composition at the London College of Music, Dr. Joy performs regularly with the Westerville Jewish relations. University of West London, supervised by Prof. Session 5A. Music and Nations 2 Rachel Cowgill (University of Huddersfield), chair

Sprechsingen, Wozzeck, and German The Prince and the Dervish: A Musical The Role of Islam and Nationalism in the Nationalism Morality Tale Music of Albeniz Amanda Hsieh (University of Toronto) Jacob Olley (King’s College London/Westfälische Eric Suh (Independent Scholar) Wilhelms-Universität Münster) I contribute to on-going debates on nation and This essay examines Arabic and Moorish musical musical modernisms through examining the vocal In 1769, referring to the Ottoman presence in influences in the work of iconic Spanish composer styles and characteristics heard in Berg’s opera south-eastern Europe, Voltaire remarked that he Isaac Albeniz to propose the constancy of Islamic Wozzeck. Specifically, I consider our general did not wish ‘to see Greece governed by people influences on Spanish cultures, even in music knowledge of the technique Sprechgesang and who know neither how to read nor how to write, overtly coded as ‘nationalist’. Albeniz, one of suggest that a more expansive understanding of the dance or sing’. Voltaire’s prejudice against Spain’s most famous composers, is often touted as vocal method would mean more nuanced insights Ottoman Muslims as ‘enemies of the arts’ was a champion of Spanish folk idioms gleaned from into Berg’s approach to Austro-German modernism shared by other European commentators during Andalusia, flamenco, and other indigenous styles. and musical identity. Sprechgesang has normally the eighteenth century, who viewed the absence However, many of these influences demonstrate been considered Schoenberg’s invention; however, of musical notation as a sign of the inferiority of clear roots in Moorish (as well as gypsy) musical as Kravitt (1996), Meyer-Kalkus (2001), Knust Ottoman civilisation. The Enlightenment discourse forms, revealing the ways in which Spanish (2015) and others show, this historical narrative of Ottoman degeneracy was shaped in part by the music and culture betray claims to an exclusively is too narrow. Wozzeck’s premiere generated monumental History of the Growth and Decay of Catholic tradition. By examining Albeniz’s work many discussions about linguistic expression of the the Othman Empire (1734–5) by the Moldavian and influences, this essay shows that Spain’s German nation, with critics often citing Wagner’s prince and orientalist Dimitrie Cantemir (1673– connection to and integration of Islamic influences vocal writings alongside ideas of Herder and 1723). Not coincidentally, Cantemir claimed in his is foundational to its articulation of cultural Goethe. Berg’s opera in this sense became a site History to have introduced musical notation to the nationalism, challenging conventional narratives in which ideas of national identity—in particular Ottomans – a claim that was not only accepted that place Europe in conflict with Islam. Beyond what sounded ‘natural’ and therefore belonged— by his eighteenth-century readers, but continues the contentious status of the Spanish North African were contested and negotiated. I show first how to hold sway within Ottoman music studies. In this towns of Ceuta and Melilla, this essays looks to Berg and his critics talked about these issues and paper, I re-examine the evidence for Cantemir’s Spanish nationalism in music to suggest that Islam secondly, how the opera’s mostly male characters assertion by comparing his own writings with is not an ‘enemy at the gates’ so much an integral express themselves vocally, in Sprechgesang or those of his older contemporary, the Sufi poet and part of a cosmopolitan Spanish identity. a more traditional, Italian bel canto. Ultimately, musician Nayi Osman Dede (1652–1729). What I argue that the ways in which Berg destabilised emerges is a tale of plagiarism, cultural politics and the two vocal methods make relationship between the complexity of early modern identities, which the two problematic; he hence put into question shows how rigorous source criticism can destabilize Austro-German ideas of the nation and masculinity entrenched historiographical narratives. in a post-WWI era. Biography Biography I am a research associate on the long-term project Amanda Hsieh is a doctoral candidate from the ‘Corpus Musicae Ottomanicae: Critical Editions of University of Toronto, where she is also a Fellow Near Eastern Music Manuscripts’, funded by the at the Jackman Humanities Institute and a thrice German Research Foundation (DFG) and based winner of the Music Faculty’s annual award for at the University of Münster. I am completing my an outstanding graduate in Music Theory or PhD, which is funded by the Arts and Humanities History. In 2016/17 she has been at Humboldt Research Council (AHRC), in the music department University of Berlin under the supervision of Prof of King’s College London. My thesis is entitled Arne Stollberg thanks to a generous grant from Writing Music in Early Nineteenth-Century the DAAD. Amanda also holds an MPhil from the Istanbul: Ottoman Armenians and the Invention University of Oxford. She has presented at TOSC@ of Hampartsum Notation, and engages with both Bologna, IMS, and the 18th Biennial International (ethno)musicology and cultural history. Conference on nineteenth century Music. Her book reviews are in Music & Letters. Session 5B. Popular Music Studies 2 Sara Cohen (University of Liverpool), chair

Immigrant Discourse, Humour and Difference, Repetition and the Wrens Jazz as (Un)popular Music Postcolonial Melancholia in UK Hip-hop Stephen Overy (University of Newcastle) Catherine Tackley (University of Liverpool) Justin Williams (University of Bristol) This paper considers the concepts of difference The ways in which jazz has been studied, and Despite some notable exceptions (Garrett, 2014; and repetition as described in Deleuze’s Difference the purposes to which it has been put by the Kärjä, 2010), the role of humour in hip-hop music and Repe​tition (1968), and posits a reading of cultural establishment, have often privileged is vastly undertheorized, reflective of a lacuna in these two notions as tools to describe musical (and, its autonomous high-art status over its popular scholarship on music and humour. After outlining by extension, more general) creativity. Deleuze’s reflexivity. In order to understand the potential examples of wordplay and other types of humour materialist and psychoanalytic approach offers a and limits of jazz it is necessary to understand its in British culture, I focus on the Anglophone Welsh way of decentering genius from its traditional place relevance, or otherwise, outside the confines of the hip-hop parody group Goldie Looking Chain as a property of the subject, and instead situates it jazz scene and its specific community of musicians, and their depiction of hip-hop culture via their in a network of contingent relationships external to fans and critics. Even in the ‘new jazz studies’, hometown of Newport, invoking hip-hop tropes the subject. the popularity of jazz remains, as I suggested in of hyper-localism. While not representative of all 2004, an ‘unpopular problem’. Moreover, the Welsh hip-hop, Goldie Looking Chain’s music (e.g. This reading of difference as a productive potential unpopularity of jazz receives even less frequent ‘Eastenders Rap’, ‘Newport State of Mind’, ‘Fresh between entities or concepts allows a reading of the attention, and a spirit of advocacy threatens to Prince of Cwmbran’) provide a useful case study for American band T​ ​ he Wrens, whose ‘differences’ overwhelm the objectivity of scholars. which to investigate humour and parody within the are described as a nested series of relationships: genre. between band members, with their inspirations Recent history provides many examples of (notably Black Francis), and between imagined mainstream British pop artists performing jazz; By way of contrast, I also look at YouTube parody iterations of the Wrens themselves (notably the in this paper I focus on Robbie Williams’ Swings videos by British-Serbian David Vujanic who goes version that accepted Grass Records’ 1996 Both Ways (2013) and Annie Lennox’s Nostalgia by the name ‘Bricka Bricka’, an Eastern European Faustian offer of fame). Creativity, in the space of (2014). I discuss how the genre is represented in rapper. The videos look at British immigrant repetition, is posited as a consequence of being these examples, interrogate what the engagement stereotypes in parodies such as ‘Immigrant Bling’ able to mobilise a network of sufficiently productive with jazz represents for the artists involved, and (of Drake’s ‘Hotline Bling’), ‘Eastern Europe differences. evaluate the effects of this on public perceptions Style’ (Psy’s ‘Gangnam Style’) and ‘Drunk at of jazz. I argue that jazz, rather than being at Work’ (Beyonce’s ‘Drunk in Love’). Here, I align The paper concludes by showing how this the cutting edge of musical development, can be theories of parody alongside digital media and Deleuzian model of creativity offers general readily positioned in the ‘middle of the road’; and post-colonial literature. Concepts such as Gilroy’s possibilities of reading popular music in terms of rather than reflecting identities in a sophisticated “post-colonial” melancholia show how humour can difference and repetition, showing how differences way, can provide popular music which commonly be used to resist prejudice and xenophobic strands can become stale (and therefore lead to endless understood globally. of the political economy. To quote from Palmer’s repetition of the same). Taking Humour Seriously, ‘what people laugh at, Biogaphy how and when they laugh is absolutely central to Catherine Tackely (née Parsonage) is Professor and their culture’ (p. 89). These uses of humour may Head of the Department of Music at the University reveal deeper meanings about local rap, social of Liverpool. She completed a PhD on early jazz critique and the notion of ‘Welshness’ or of the in Britain at City University London and began Eastern European ‘Other’, respectively. her academic career at Leeds College of Music, latterly in the role of Head of the Centre for Jazz Biography Studies UK. Catherine joined The Open University Justin A. Williams is Senior Lecturer in Music at as Lecturer in Music in July 2008, was appointed Bristol University (UK). He is the author of Rhymin’ Senior Lecturer in February 2011 and Professor and Stealin’: Musical Borrowing in Hip-hop (2013) in April 2016. Catherine was Head of the Music and is editor of The Cambridge Companion to Hip- Department at the OU in 2014-2016, following hop (2015). He is also co-editor (with Katherine several years as Director of Research for Music. She Williams) of The Cambridge Companion to the also served as Interim Associate Dean (Research) in Singer-Songwriter (2016) and The Singer-Songwriter the Faculty of Arts. She is now a Visiting Professor Handbook (Bloomsbury, forthcoming 2017). at the OU. ([email protected]) Session 5C. British Musical Life 2 Bryan White (University of Leeds), chair

Thou that hast been in England many a Ubiquity Organized: Mechanical Instruments Music and Liturgy during the reign year: A Consideration of Joachim’s Influence in Early-Victorian London of Edward VI: Medieval Legacy and on Music in Britain 1870-1907. Jonathan Hicks (Newcastle University) Continental Influences Ian Maxwell (University of Cambridge) Luca Vona (University of Rome ‘La Sapienza’, Long before the advent of sound recording, or the Katholieke Universiteit Leuven, Pontifical Institute of Although many of Joseph Joachim’s connections contemporaneous introduction of perforated paper Liturgy) with Britain are well-known and documented, rolls for player pianos, the simple pinned barrel there is much about Joachim’s activities in Britain, was widely used in public and private settings. In This paper explores origins of Anglican sacred especially between about 1880 and his death London, the most prominent pinned instrument music both musicologically and theologically. It in 1907 that until now, has not been generally was the notorious street organ, which prompted focusses in particular on England during the reign realized. However, recent archive discoveries have a campaign to regulate the ‘nuisance’ caused by of Edward VI, because, although Edward’s reign revealed extensive evidence of Joachim’s musical grinders, particularly those who had migrated to lasted only six years, it established the foundations life in Britain during the latter part of the nineteenth the metropolis from overseas. The Street Music of English Protestantism both theologically and century that has largely gone un-researched. It is Act of 1864 saw the middle-class opposition musically, with the diffusion of the processional evident that Joachim had a considerable effect on to foreign invasion (mechanical, acoustic, and litany, of metrical psalmody, and the adaptation of music in Britain – an effect the full extent of which economic) enshrined in law. Yet, the same period plainchant to vernacular. has, largely, not been recognized thus far. saw the pinned barrel marketed to London’s parish Joachim had British connections, not only as a churches – churches that sought to accommodate On the one hand, I will trace the dismantling and performer and celebrity, but also at Uppingham the growing demand for hymn-singing without in the same time the survival of medieval musical School and both Oxford and Cambridge relying on poorly trained amateur musicians or theory and practice during the Reformation, Universities. He was closely associated with the costly professionals. While the history of street highlighting the elements of continuity and Oxford and Cambridge Musical Club, was a friend nuisance has received widespread attention in, the discontinuity between the liturgical and musical of Donald Tovey, and had family connections in advent of mechanically-assisted congregational practice before the Anglican reform and musical England, through his nephew and son-in-law the singing has been less remarked. My aim in this solutions proposed for the Book of Common Prayer philosopher Harold Henry Joachim. This paper paper is to ask how we might bring both sorts of in the 1549 and 1552 editions. On the other, I presents the results of the examination of a wide pinned performance together under a rubric of will relate Anglican Reformation thought to the range of archives, including Uppingham School, musical ubiquity. Rather than thinking of ubiquity in musical aesthetics of the most important reformers the Oxford and Cambridge Musical Club and twentieth-century terms of ‘anywhere, anytime’, the in England and in continental Europe, in order to the British Joachim family archive, and presents a double life of the pinned barrel in Victorian London define a reformed theology of music. compelling case that Joachim may be regarded as suggests that ubiquity can also be divisive – a partly a British musician and personality. means of organising musical life, both socially and Biography spatially. Luca Vona graduated in Musicology at University of Biography Turin (Italy) with the thesis Ideas for a Theological After graduating in 1979 with a BMus from the Biography Aesthetics of Music. He is a doctoral student in University of Aberdeen, Dr Ian Maxwell recently Jonathan (Jo) Hicks is a postdoctoral researcher Musicology at ‘La Sapienza’ University of Rome and completed a doctorate at the University of Durham, on the European Research Council project, ‘Music doctoral student in Liturgy at the Pontifical Institute working under the supervision of Professor in London 1800-1851’, based at King’s College of Liturgy (Pontifical University St Anselm) with Jeremy Dibble, examining the life and work of London. His research is primarily concerned with the project ‘Music and Liturgy in Tudor England: the composer Ernest John Moeran. Dr Maxwell the historical geography of music. In addition to Medieval legacy and continental influences has continued with musicological research, both preparing a monograph about music and mobility between the first (1549) and the second (1552) extending his work on E. J. Moeran and developing in early Victorian London, he has co-edited a Prayer Book’ that obtained a joint supervision by other areas, including computer-assisted musical volume of essays entitled The Melodramatic the department of Musicology of the Katholieke style analysis, the history of the Oxford and Moment, 1790-1820. Jo is a founder member Universiteit Leuven (Belgium). Cambridge University Musical Clubs, the composer of the Leverhulme-funded Hearing Landscape Arthur Willner, and other related topics. Since Critically research network, and has published October 2015, Dr Maxwell has been an affiliated in Cambridge Opera Journal, Theatre Notebook, researcher at the University of Cambridge. and the Routledge Companion to Music and Visual Culture. Session 5D. Music and Trauma Caroline Rae (Cardiff University), chair

‘This Song of Sorrow Will Never Sleep’: journals including Music & Letters, Music Analysis, While scholars have extensively analysed and Lutosławski and Trauma Music, Sound and the Moving Image and Twentieth- theorised the visual representations of the Nicholas Reyland (Keele University) Century Music. Holocaust on screen, the music scores used have garnered far less attention. This paper examines Recent research into Witold Lutosławski (1913- Postmemory and late style in popular three commercially successful Holocaust films, 94) challenges earlier thinking about his life and culture: Neutral Milk Hotel’s In the Schindler’s List (1993: dir. Steven Spielberg), The music. Essays by Michael Klein and Lisa Jakelski Aeroplane Over the Sea Grey Zone (2001: dir. Tim Blake Nelson), and concerning his music’s symbolism/abstraction, Michael Spitzer (University of Liverpool) The Counterfeiters (2006: dir. Stefan Ruzowitzky). for instance, and by Adrian Thomas and Andrea The paper analyses key scenes in conjunction with Bohlman on his activities with/against the state Neutral Milk Hotel was a psychedelic lo-fi band the score, and examines issues of sentimentality, during Stalinism and the Solidarity period, have active in the 1990s. Their second (and last) album, appropriateness, and the subsequent issues which confirmed that Lutosławski’s view on such matters In the Aeroplane Over the Sea, has achieved lasting these can cause. Using scholarship from the world – his composer’s voice having dominated earlier cult status. As an album memorializing Anne Frank, of film studies as context, we will ask questions of scholars – is not the only truth. it enacts aspects of Postmemory, a subdiscipline the music score; how it is functioning, whether it of Holocaust Studies pioneered by the American is morally or ethically appropriate, and whether it Working alongside the aforementioned gender theorist, Marianne Hirsch. Hirsch’s notion should be there at all. musicologists on the AHRC-funded ‘Lutosławski’s of ‘heteropathic memory’ helps illuminate the Worlds’ project, my own recent Lutosławski disjunctive soundscape of the album, and its The paper concludes by suggesting that film research has focused on the relationship between fraught sonic negotiations with Frank. Given that musicology has unexplored channels to explore, his musical narratives and personal experiences Jeff Mangum, NMH’s lead singer, retired aged 28, and engaging with challenging films such as of violence, loss, war, and other potentially does it make sense to talk of his late style, even those referenced in the paper encourage this new traumatic events. Examining vocal pieces from the in the context of historical lateness? Arguably, a direction. first decade of his modernist output – particularly ‘break-up’ album (which Aeroplane is) enacts the Paroles Tissées (1965) for tenor and chamber subjective disjunctions characteristic of classic late Biography ensemble, his setting of poetry by Jean-François style at the level of the group. My PhD thesis focussed on the music used in Chabrun – this paper demonstrates how the German depictions of the Holocaust on screen. critical-theoretical bricolage of literary and Biography I spent ten weeks in Germany supported by the musicological trauma theory can empower forceful Michael Spitzer is Professor of Theory and Analysis European Holocaust Research Infrastructure (EHRI) new readings of his music’s expressions of lament, in the Department of Music at the University and the Deutsche Akademische Austauschdienst violence, disruption and catastrophe. of Liverpool. He is an authority on Beethoven, (DAAD). Having completed my undergraduate with interests in aesthetics and critical theory, degree in Music at Huddersfield in 2009, I then Yet Lutosławski is not so easily recruited to trauma cognitive metaphor, and music and affect. He gained an MA with distinction from the University of studies narratives. Seeking to engage equitably with was President of the Society for Music Analysis for York (2012). I taught at Edge Hill from 2012-15 on trauma theory, music analysis, and Lutosławski’s many years, and also chairs the Editorial Board of four degree programmes across the faculty of Arts statements, my paper also presents revisionist Music Analysis journal. He founded the series of and Sciences, and have completed a Postgraduate thinking about trauma studies, partly by drawing International Conferences on Music and Emotion, Certificate in Teaching in Higher Education on ideas absent from much recent work on artistic and organised the International Conference on (PGCTHE), granting me Fellow status of the Higher representations of trauma – currently psychological Analyzing Popular Music (Liverpool, 2013). Education Academy (FHEA). and neurosciece throught about resilience, post- traumatic growth and art as emotional regulation. Scoring the Holocaust: Film Music and the Ethics of Sentimentality Biography Matt Lawson (Edge Hill University) Dr Nicholas Reyland is a specialist in recent Polish music (particularly the life and music of Witold The Holocaust has been represented hundreds Lutosławski), narrative theory, screen music studies, of times on film, with visual representations affect and embodiment, and, more broadly, the originating from countries across the globe. The theory, analysis and criticism of music since 1900. ethical debates surrounding representations of the His books include Zbigniew Preisner’s ‘Three Holocaust coexist and reappear with the release of Colors’ Trilogy: A Film Score Guide (2012), and each new film or television programme, and the the co-edited collections Music and Narrative discourse is seldom more pronounced than when Since 1900 (2013), Music, Analysis, and the the Holocaust is visualised in mainstream cinematic Body (forthcoming) and Lutosławski’s Worlds productions. (forthcoming). His research has been published in Session 6A. Russian and Soviet Music Session 6B. Studies in Collaboration Anastasia Belina-Johnson (Royal College of Music, London), chair Amanda Bayley (Bath Spa University), chair

‘In Lieu of Payment:’ Alternative Forms of Approaching Violin music of the 20th ‘This Feels like the Future’: Real-time, Multi- Beyond Genius and Muse: the case of Compensation for the Soviet Publication of Century: East-West Historical Performance located Musical Collaboration using Low- Elisabeth Lutyens and Edward Clark Benjamin Britten’s Music Traditions to Sergei Prokofiev’s Music latency Internet Technology Annika Forkert (University of Bristol) Thornton Miller (University of Illinois at Urbana- Viktoria Zora (Goldsmiths, University of London) Gareth Smith (Institute of Contemporary Music Champaign) Performance) Composer Elisabeth Lutyens and her second Prokofiev’s First Violin Concerto Op. 19 (1915- husband, the conductor, BBC and ISCM official The transfer of intellectual property between the 1917) was perceived as an innovative and Increasingly, daily tasks are carried out ‘virtually’ and impresario Edward Clark lived through the USSR and the UK was complicated by the legal technically virtuosic modern piece. However, the via digital networks, from video conference calls many upheavals of the mid-twentieth century and economic differences between the two states. Concerto’s premiere was realised with moderate with colleagues and students to collaboratively British music scene. We normally assume that Before the USSR joined the Universal Copyright success in 1923. It was only the subsequent editing documents in the ‘cloud’. While such Clark’s work peaked with his pioneering BBC Convention in 1973, it did not legally acknowledge 1924-1925 performances by the Hungarian tasks are manageable over regular broadband programming from 1927 to 1936, while Lutyens foreign intellectual property rights. Therefore, violinist Joseph Szigeti that successfully unleashed Internet connections, issues of latency render emerges post-WWII as one of the country’s first Soviet publishers were not legally obligated to Concerto’s new textual effects and virtuosity. meaningful, real-time musical collaboration highly dodecaphonist composers and a prolific writer of request permission of or provide compensation Prokofiev’s 1936 relocation to the Soviet Russia problematic (Pignato & Begany, 2015). Using much music for film, television, and radio. This paper to foreign creators when republishing foreign and his late violin compositions the Violin Sonatas more powerful, Gigabit Ethernet technology and traces the couple’s professional intersections works in the USSR.. Moreover, the Soviet closed (Op. 80 1938-1946; Op. 94bis 1942-1943/1944) combining the high-bandwidth JANET network with after the beginning of their personal partnership economic system resulted in the inconvertibility reflect neoclassical and Russian traditions and LOLA (low-latency videoconferencing technology), in 1939. I argue that their engagement with of Soviet rubles into the currency of other states. the grim of the Second World War. The Violin engineers and musicians in multiple locations can institutions and figures both of the British and Nevertheless, some Soviet publishers still attempted Sonatas were premiered in the 1940s by the work together on real-time, live music events over European music scene never ceased, as they struck to provide fair compensation to the works’ original Soviet violinist David Oistrakh, dedicatee of Op. long distances. The functionality and applicability of up friendships with Luigi Dallapiccola or William creators, despite the absence of legal obligation 80 and collaborator of Op. 94bis. Oistrakh’s this technology for music is in its infancy. This paper Glock, wrote and recorded music for BBC features, under Soviet law. sound production underlined the lyricism and presents quantitative, technical and qualitative, and sought to influence a younger generation of monumentalism of Russian music. Even Oistrakh’s ethnographic data from a recent three-hour LOLA composers. Yet, these collaborative efforts cannot During the early Cold War, Western classical music, interpretation of the First Violin Concerto exhibits collaboration between collaborative teams based in obscure the fact that Clark’s star faded as Lutyens’s among other arts, played an important role as a Russian fairy-tale colouring and deep lyricism, in Edinburgh and London, involving three engineers, rose, which represents a curious example of the forum for peaceful coexistence and as an arena contrast to Szigeti’s interpretation full of new textual and three musicians (saxophonist/composer, bass ‘Héloïse complex’. Often deployed in studies of for cultural competition. The British composer sounds, staccato bowings and inventions of timbre. guitarist and drummer). Issues under discussion collaborations between spouses in philosophy Benjamin Britten was an enthusiastic participant in Moreover, Szigeti applied the same innovative include audio/video realism, latency perception, and literature, this complex describes a scenario Anglo-Soviet cultural exchanges. In this paper, I will approach in his American interpretations of the ‘naturalness’, groove, working with a click track, in which a younger female philosopher (or here discuss two Soviet attempts to provide remuneration Violin Sonatas in the 1940s. The paper explores via and attempts to break the system in the context composer) ‘idolizes a male colleague or teacher for the re-publication of the British composer’s performance editions and recordings what are the of rehearsal and pre-production of two original […] whose banner they carry’ but by whom they works in the USSR during the early 1960s. These differences between Western (Szigeti) and Eastern jazz-based compositions. The musician-researchers are eventually betrayed or left to find their own Soviet publishers devised alternative forms of (Oistrakh) historical interpretations and how had never played together prior to this study, voice (Oxford Companion to Philosophy, 2005). remuneration in order to fulfill their perceived modern violinists could approach virtuosity and enabling them to highlight a range of salient issues Lutyens and Clark’s case can complicate this obligation to compensate the composer for his lyricism in Prokofiev’s violin works in the potential application of remote, real-time, theory while enabling a broader perspective on creative labor. collaborative music-making using LOLA technology. collaboration in music making. Biography Biography Viktoria Zora studied musicology at the University Biography Biography Thornton Miller is a PhD Candidate in Musicology of Athens followed by Master of Arts in violin music Gareth Dylan Smith is Research Fellow at the I am a Leverhulme Early Career Fellow in Music at the University of Illinois at Urbana-Champaign, performance at London’s Royal Academy of Music. Institute of Contemporary Music Performance. He is at the University of Bristol, working on a study on and is pursuing a minor in Russian, East European, She has defended her PhD research on Sergei co-editor of the Journal of Popular Music Education. composer Elisabeth Lutyens and her husband, and Eurasian Studies. He received five Foreign Prokofiev’s Violin Sonatas Op. 80 and Op. 94bis at His research interests include autoethnography and conductor/music administrator Edward Clark, Language and Area Studies Fellowships to support Goldsmiths, University of London, which combined embodiment in performance. Zack Moir is Lecturer and their collaborations. My previous research his studies of Russian language and history, and her interests in academic studies and performance. in Popular Music at Edinburgh Napier University has focused on concepts of musical modernism a Cultures of Law in Global Contexts Fellowship She is an Associate Fellow of the UK’s Higher and University of the Highlands and Islands. and twentieth-century British music, and on to support his study of Soviet intellectual property Education Academy and has published in The Strad His research interests include popular music in women composers. My article ‘Magical Serialism: law. Mr. Miller’s dissertation research focuses and in the Three Oranges, the journal of the Serge higher education, and teaching and learning Modernist Enchantment in Elisabeth Lutyens’s “O on the agency of music professionals – such Prokofiev Foundation, on the violin music of Sergei improvisation. Paul Ferguson is Programme saisons, o chateaux!”’ is forthcoming with Twentieth as composers, impresarios, performers, and Prokofiev. Leader for the MA Sound Production postgraduate Century Music, and a chapter on Elizabeth publishers – in Anglo-Soviet cultural exchange degree at Edinburgh Napier University, and acts Maconchy and her contemporaries Walton, Tippett, during the early Cold War. as technical director for the music subject group. and Britten will be published in a forthcoming His current research was awarded an EU grant in edited collection on Maconchy (Studien zur 2014. Wertungsforschung, Vienna). Session 6C. Society for Music Analysis Panel: Music Analysis as a Strategy for Stimulating Inclusion of Music

From Studio to Recording Workplace: A by Women Composers – Practical and Philosophical Qualitative Investigation of the Person- environment Relationship in Music Making Considerations James Edward Armstrong (University of Surrey) Lisa Colton (University of Huddersfield), chair

The recording studio is an environment that Brenda Ravenscroft (McGill University, Montreal) and conferences showing the degree to which a majority of musicians are likely to frequent, and Laurel Parsons (independent scholar) female composers’ music has been excluded capturing a lasting communication of sound and from the scholarly discourse. We will suggest emotion to be revisited by the listener. However, While the number of performances, broadcasts, ways in which this oversight can be addressed in there is surprisingly little research towards the and recordings of music by women composers the scholarly realm through analytical research psychological and emotional impact of the has unquestionably grown over the past 30 years, that complements the existing musicological and recording studio environment, and how this these works remain significantly underrepresented feminist literature, and through post-secondary influences a musician’s playing and performance. in comparison to music by male composers. In the pedagogy. The importance of incorporating music How does a musician’s relationship with and their scholarly world, recent musicological research has by women composers into our teaching cannot be perception of the recording studio effect their produced a remarkable body of literature focusing overstated, not only into courses with a specialized playing and experience within it? on the lives and careers of women composers focus on women and music but into general theory in their socio-historical contexts, but detailed and analysis curricula. In this way students may This paper explores the findings of an ongoing analysis and discussion of their compositions are be inspired to hear, study, and perform fresh new PhD research project, approached from an still extremely rare. This is particularly true in the repertoire, and the inclusion of music by women interdisciplinary perspective combining music domain of music theory, where research continues composers can be normalized. performance studies and environmental to focus almost exclusively on compositions by men. psychology. The project places a number of Recognizing the challenges associated with guitarists in real-world, acoustically simulated, and Addressing these deficits is not simply a matter of teaching unfamiliar music, in our session we unmediated recording studio locations in order to rectifying a scholarly gender imbalance: the lack will provide some practical examples of course reveal differences in instrumental playing through of knowledge surrounding the music of female activities, drawing on analyses of tonal and comparative analysis. A post-experiment interview composers—particularly composers of colour— post-tonal pieces from the collections. These will is conducted with all participants, gathering insight means that scholars, performers, and the general showcase traditional topics such as Schenkerian into each participant’s personal experiences public remain unfamiliar with a large body of analysis and octatonic pitch design, but also more during the experiment: information which would exciting repertoire, most of which continues to be contemporary techniques such as cross-cultural and otherwise be unobtainable through performance excluded from the classroom. This session will multimedia analysis. analysis alone. This paper highlights how personal examine the current state of music by women meaning, cultural significance, behaviour-settings, composers in light of developments over the This practically oriented segment will lead into past experiences, and expectation can shape past century, exploring questions of otherness, deeper philosophical questions concerning feminist the person-environment relationship between a canonicity, and whether there is a discernibly perspectives on analysis (particularly in light of musician and the recording studio. female compositional voice. We will argue that recent work by Australian musicologist Sally music analysis can play a significant role in Macarthur), and the extent gender should inform Biography addressing the gender imbalance, and will use our analyses of music in the 21st century. James Edward Armstrong is a post-graduate analyses from our four-volume, multi-author series researcher at the University of Surrey, exploring Analytical Essays on Music by Women Composers The 90-minute session will combine oral the impact of environment and space on musical (Oxford University Press, 2016–) to provide presentation with musical examples, and interactive performance through an interdisciplinary approach practical examples to support our argument. When exercises designed to engage the audience in a of music performance studies and environmental complete, this series of collected essays will feature conversation about the role that musical analysis psychology. James has an extensive background in-depth critical-analytic explorations devoted to can play in stimulating new study, teaching, and as a musician, composer, and recording engineer compositions by women across Western art music performance of repertoire by women composers. across different musical backgrounds and genres. history, starting with Hildegard of Bingen’s serene His additional research interests include music medieval chants, and concluding with Inuit- therapy, acoustic ecology, and the documentation Canadian throat-singer Tanya Tagaq’s ferocious and preservation of environmental soundscapes. vocal performance art.

As background to our discussion of the ways in which analysis can stimulate the inclusion of music by women composers, we will present data from scholarly activities such as publications Session 6D. Wagner Studies Nick Baragwanath (Nottingham University), chair

Anti-Judaism and the Western Musical Transforming Vision into Music: Der Junge Mediating Aestheticism: Wagnerism and the Tradition Siegfried and Wagner’s Creative Process Piano in Victorian Culture Shane McMahon (University College Dublin) Feng-Shu Lee (Tunghai University) Katherine Fry (King’s College London)

This paper will examine Western discourse about When Wagner started the Ring, it consisted of Histories of English Wagnerism have hitherto music and Judaism from early Christianity to the one opera with a happy ending. A new look at concentrated on the influence of Wagner’s operas late 19th century, demonstrating the continuity Wagner’s manuscripts of Der junge Siegfried, and ideas on specific literary figures, artists, critics in Western thinking both about the nature and which he added while expanding the project, and musicians. But in focussing on Wagner’s purpose of music, and the nature of Judaism and shows how he experimented with his strategies to influence in England principally as a movement ‘Judaizing’ practices. These understandings emerge anticipate a more pessimistic conclusion. In Act of ideas and artistic principles, scholars have not in the sermons and letters of the Church Fathers, III scene 2, Siegfried encounters Wotan. Wagner considered the cultural work of Wagner’s music in and both can be traced to the new spiritual and initially portrayed it as a friendly meeting, but performance. In this paper, I explore the historical philosophical pedagogies which followed the he later turned it into a violent conflict, in which place of the piano in mediating Wagner’s music emergence of the idea of transcendence during the Siegfried splinters Wotan’s spear; Wotan exits within the social and cultural landscape of Victorian Axial Age (c.800-200BCE). Central to this patristic with a vision of Loge, who will initiate the gods’ London. I will begin by discussing the cultural work discourse is the idea that to engage in a musical doom. Wagner later removed this vision. However, of piano transcription in a transnational context, practice which does not have a transcendental he conveyed the deleted text via music: the particularly through reference to Wagnerian orientation is to ‘Judaize’. This paper will outline “Götterdämmerung” motive occurs when Wotan’s virtuosos such as Franz Liszt, Karl Klindworth the patristic pedagogy of musical practice which spear is broken. The vision that Wagner seems and Edward Dannreuther. I will then explore co-evolves with Western music and resurfaces to sacrifice is not cast away, but transformed into connections with piano performance more broadly in the aesthetic and musical-dramaturgical music. By demonstrating how this motive picks up within the artistic circles associated with British principles of Richard Wagner. The argument in the thread left behind by the deleted text, I show aestheticism. From there I shall discuss some of Wagner’s ‘Judaism in Music’ rests precisely on his a significant link between the textual and musical the social and political implications of the piano identification of the ‘Judaizing’ traits of composers evolutions of the Ring. This adds a new aspect to as mediator of Wagner’s music, intervening in who focus on outward appearance, and who the discussion of Wagner’s creative processes in scholarly debates on the sexual politics of piano are unable to access the transcendental truths both text and music, which in recent scholarship playing in nineteenth-century culture. In conclusion, beneath the surface of things. The paper will is limited to the decisions Wagner made within the paper will move towards a materialist history of place Wagner’s screed and his broader aesthetic individual process. It also offers new insight into Wagnerism and aestheticism in Victorian culture, principles in the context of the longue durée of the the challenges Wagner faced while negotiating exploring the political and moral values of these Western relationship to transcendence. between his dual roles as a dramatist and a movements by way of a musical object. composer. Biography Shane McMahon obtained a PhD in Historical Biography Musicology from University College Dublin, funded Feng-she Lee is Assistant Professor of Musicology by the Irish Research Council, and is currently at Tunghai University. She received her PhD in an Occasional Lecturer at the School of Music, music history and theory from the University of UCD. He was co-editor of The Musicology Review, Chicago. Her BA and MA in violin performance at Issue 7 and is an English-language editor of the New England Conservatory. Her research interests publications of the Croatian Musicological Society, include opera history; reception history of string including the International Review of the Aesthetics repertoire; Romantic music, German philosophy, and Sociology of Music. His research focuses and theology; and the relationship between fin-de- on western music from the perspective of ‘deep siècle music, literature, and fine arts. history’, with a particular focus on the influence of religious modes of thought on secular music. Session 7A. Opera Studies 1 Anne Briggs (Wichita State University), chair

Beyond the Director: Theorizing Singers’ From the Comédie-Française to the Opéra ‘salt strange and sweet’: Musical and Interpretations of Opera Comique: Grisélidis Dramatic Tensions in Written On Skin Jennifer Sheppard (University of Manchester) Catrina Flint (Vanier College) Cecilia Livingston (King’s College London)

Critical treatments of opera productions – as Scholars understand that Massenet’s 1901 opera, George Benjamin and Martin Crimp’s 2012 opera directorial concepts, video re-mediations, HD Grisélidis differs significantly from Armand Silvestre Written On Skin clearly gestures to the traditions simulcast experiences and so on – are becoming and Eugène Morand’s play Grisélidis, premiered of ‘grand’ opera and to the high modernist operas well-developed areas in the broader field of a decade earlier (Olivier 1996). In this paper, I of Schoenberg and Berg; but it also features, opera studies. Similarly, investigations of opera offer new observations on important differences particularly in its libretto, elements reminiscent singers, whether as exemplars of performance in the portrayal of Grisélidis, Alain (her former of much more recent artistic trends. Crimp, for practice, hijackers of compositions or confounding love interest), and the comic Devil—a character example, is recognized as one of England’s divas, crucially shift the focus off works and onto created from the playwrights’ imaginations. I foremost ‘postdramatists’, as defined by Hans- performance. These two areas, however, have begin with an examination of the musical score Thies Lehmann (e.g. by Jürs-Munby in her 2006 yet to properly inform each other: as Mary Ann for the play, showing that the roles of Alain and translation of Lehmann). This suggests that Written Smart pointed out relatively recently, musicology the Devil were highlighted to a far greater extent On Skin might be considered a ‘postdramatic still lacks theory, method and even vocabulary to than that of Grisélidis. In the play, both the Devil opera’ – perhaps even a ‘postopera’. However, generate meaningful analysis and discussion of and Alain have extensive melodramas. Moreover many details of Written On Skin resist concepts of the specific interpretive contributions singers make the rehearsal schedule clearly indicates a more ‘postopera’ and Lehmann’s postdramatic model. in response to directorial production concepts. significant investment in the Devil and Alain than in Even the opera’s most peculiar features – narrative Possibly stemming from its roots in theories of Grisélidis. frame, narrated action, illeism (self-narration in the regietheatre, scholarship on opera productions has third person), fluid choral roles – exist in tension almost invariably taken the director’s production Massenet’s opera also differs from the play in other with the musical and dramatic features it draws concept as the performance tout court. This risks ways: an argument between Alain and Grisélidis is from modernist opera and beyond: conventional a mistaken assumption that all participants act in left out, as is an entire scene featuring Grisélidis’s voice-orchestra relationships destabilised by accordance with a single vision regardless of the son, Loÿs. More significantly, Grisélidis’s love for innovative timbral play; orchestral interludes to influence of interpretive traditions, vocal and acting her husband (the Marquis) is emphasized to a far give dramatic direction to episodic scenes; a techniques, and personal performance habits. greater extent, through the enduring favourite, ‘Il harmonic vocabulary reminiscent of Berg but with By considering examples of the same singer in est parti au printemps’. If Silvestre and Morand much clearer vocal cues supplied through tonal different productions, as well as different singers hoped to shine the brightest spotlights in the anchors; approaches to source material, plot and performing the same role in a single production, Comédie Française on a potential cuckolder and character that draw on operatic tropes from both this paper will offer theories for, and approaches the devil, Massenet chose to focus his audience’s the 19th and 20th centuries. This careful balancing to, the ways opera singers mediate production ears on his patient heroine. of the old and the new builds a rich complexity and concepts in performance. flexibility of presentation, and perhaps serves as the Biography best explanation of the opera’s continuing success Catrina Flint completed her PhD at McGill with an unusually broad audience. University with a thesis entitled, ‘The Schola Cantorum, Early Music and French Political Biography Culture’. In addition to articles and reviews Cecilia Livingston is a Visiting Research Fellow in published in Intersections and Nineteenth-Century Music at King’s College London, where her work Music Review, Catrina has presented papers at a is supervised by Roger Parker. A composer known variety of national and international conferences. across Canada and the US for intensely dramatic She currently serves as principal investigator for chamber and vocal music, she is a 2015-2017 two nationally and provincially-funded research composition Fellow at American Opera Projects in projects, and teaches at Vanier College. New York. Her articles and reviews have appeared in Tempo and the Cambridge Opera Journal and her research and creative work has been supported by the Social Sciences and Humanities Research Council of Canada, the Canada Council for the Arts, and the Theodoros Mirkopoulos Fellowship in Composition at the University of Toronto. Session 7B. Music Analysis 1 Ross Edwards (University of Liverpool), chair

Accelerationism and Musical Cyclicity: Modal ‘Color’ as Formal Determinant in Quantum Music Skryabin’s Last Piano Sonata Scriabin’s Tenth Sonata Ivana Medic (Institute of Musicology, Serbian Kenneth Smith (University of Liverpool) Vasilis Kallis (University of Nicosia, Department of Academy of Sciences and Arts) Music & Dance) Skryabin’s Sonata no. 10, Op. 70, recently In this paper I present preliminary results of an explored by Vaselios Kallis (2015), is unique in Scriabin’s five atonal sonatas (nos. 6–10) constitute exciting and highly innovative project QUANTUM juxtaposing hexatonic composition (cycles of major- a musical corpus characterized by notable stylistic MUSIC, co-funded by the Creative Europe. The third-related chords) with an octatonic-derived continuity. Several analytical studies have unearthed project QUANTUM MUSIC explores the connection model (cycles of minor third / tritone-relations) as common elements and processes with respect to between music and quantum physics, through the clearly segregated areas. To what extent can the pitch resources and pitch grammar. The Tenth creation of a new instrument and a new musical flow between these cycles carry forward a sense Sonata, however, is distinguished by the inclusion genre. The starting point was the discovery that of tonal progression? This paper approaches a of two scales (modal ‘colors’) not present in the in Bose-Einstein Condensate quantum particles reading of the harmonic tempo between these previous four: the hexatonic scale (set-class 6-20), interact with gas molecules creating the miracle of cycles. This harmonic tempo increases along and its superset, the hyper-hexatonic scale (9-12). sound. Our idea was to bridge the gap between the with other parameters, bearing out Skryabin’s In as much as this expansion in pitch resources is world of quantum particles and our everyday reality Theosophical views on evolution through the a relatively minor perturbation of Scriabin’s pitch by creating a new interface — a hybrid piano with ‘root races’, which he wanted to physically ‘speed resource palette, it does offer the composer the both analog and digital outputs, which will ‘play up’. His philosophical and musical thought here means to put forward a unique response to the to the atoms’ — and study the quantum-acoustic converge upon something that is usually interpreted form-functional problems intrinsic to the notion of response of the atoms. During the first year of as ridiculous, but actually philosophically very ‘atonal sonata’. the project, a team of engineers from Belgrade, astute according to a recent trend in philosophy in collaboration with the quantum physicists from – accelerationism (#accelerate), in which a My objective is bifold: i) to address how Scriabin the universities of Oxford, Aarhus and Singapore unification of human and machine moves towards generates non-functional (associational) analogues developed the hardware and the software for an exponentially increased rate of production. to traditional sonata formal functions, and ii) to this new hybrid instrument, the ‘quantum piano’. Skryabin, in this sense, is futuristic. In sketching examine the role of modal ‘color’ in this process The next stage is a further development of the this connection, I conclude by setting the hexatonic with an emphasis on how modal distinction affects quantum sound colours, and the preparation of and the octatonic in a diatonic flux (the first as an formal function and structure. the Quantum Music show whose Copenhagen energy discharging mechanism, the second as a premiere is scheduled for September 2017. As the storage capacity), to consider finally what it means Scriabin associates formal sections with specific project director, I will present the progress of this to be chromatic in a diatonic universe, or diatonic scalar universes: the P-space correlates to the project and outline its further goals. in a chromatic universe. hexatonic scale, while the S- and C-spaces flirt conspicuously with the acoustic-octatonic (9-10). Biography Biography Remarkably, the middleground pitch centres are in Ivana Medic is Research Associate at the Institute Kenneth Smith is senior lecturer in Music at the line with the above, as P, S, and C are governed by of Musicology, Serbian Academy of Sciences and University of Liverpool. His first book, Skrybain, set-classes 5-21, 6-Z49, and 4-27 respectively. Arts and Visiting Research Fellow at the Centre for Philosophy and the Music of Desire (RMA Russian Music, Goldsmiths, University of London. monographs, Ashgate) was published in 2013, and Biography She is Convenor of the BASEES Study Group for he is co-editing Expanding Approaches for Popular Vasilis Kallis is holder of a Ph.D. in Music Theory Russian and Eastern European Music. She obtained Music Analysis (Routledge, forthcoming). from the University of Nottingham and an MA her PhD from the University of Manchester. She in Music Theory from Queens College (CUNY). works on three projects: Quantum Music (co- Currently, he is an Associate Professor of Music funded by Creative Europe); City Sonic Ecology: Theory at the University of Nicosia. His research Urban Soundscapes of Bern, Ljubljana and interests include methods of pitch organization Belgrade (funded by SNSF); and Serbian Musical in early twentieth-century music, popular music, Identities Within Local and Global Frameworks: form and formenlehre, Scriabin and Debussy. He Traditions, Changes, Challenges (funded by the has published in internationally renowned journals Serbian Ministry of Education and Science). such as Music Analysis, MTO, and Rivista di analisi e teoria musicale. Kallis has also contributed four articles to the entry ‘Cyprus’ in the Grove Music Online, and a chapter on art composition in Cyprus in Music in Cyprus (Ashgate Publishing). Session 7C. Performance and Pedagogy 1 Monica Esslin-Peard (University of Liverpool), chair

Robert Schumann, Eduard Krueger, and ‘Merely the Exploitation of Formulae?’ Finding the New Authentic in Indian the Reception of Bach’s Organ Chorales in Learning the Art of Forgery in fin-de-siècle Classical Music: An Analysis of the Album Nineteenth-Century Germany Conservatoires ‘Undone’ by Tarang. Russell Stinson (Lyon College) Frederick Reece (Harvard University) Alok Nayak (University of Liverpool)

In this paper, I examine (1) a lost anthology of At the dawn of the twentieth century Fritz Kreisler My PhD research investigates the creation of new fourteen organ chorales by J. S. Bach compiled by and Marius and Henri Casadesus capitalised on Indian music in Britain, and whether it can be Robert Schumann for the critic and organist Eduard the burgeoning ‘early music’ revival by producing identified as distinctive and identifiable by the Krueger and (2) Krueger’s detailed commentaries compositional forgeries falsely attributed to cultural, geographical and contemporary context on these works as preserved in letters written by historical musicians—from Vivaldi to Mozart in which it has arisen. Focusing on the forthcoming him to Schumann (largely unpublished) and to and beyond. The subsequent revelation that album ‘Undone’ by Tarang, to be released in the hymnologist Carl von Winterfeld. Krueger’s these works were not what they seemed troubled March 2017, this paper will demonstrate how commentaries touch interestingly not only on fundamental axioms about the correspondence Indian music created in Britain may be considered aspects of Bach’s compositional style but also on between compositional style and historical context different from what is considered traditional, matters of performance practice. On the basis that underpinned early musicological thought. In a including how various musical influences or ideas of another missive from Krueger to Schumann 1935 defence of his discipline’s claims to authority, are infiltrating the form. In addition to the process (completely unpublished), I can demonstrate that Ernest Newman asserted that Kreisler’s forgeries of production, music creation and performance, when Krueger visited Schumann in Leipzig during only appeared to have ‘fooled the experts’ because I will present different factors that have played a the summer of 1843, Schumann promised to send ‘a vast amount of seventeenth- and eighteenth- role in the creation and development of an Indian him unpublished works by Bach. These pieces century music was merely the exploitation of musical identity that is apparently distinctive or reached Krueger a few months later. Although the formulae’. ‘new’. This includes discussion up of the culture manuscript of the anthology has not survived, it is This paper interrogates Newman’s hypothesis of the Indian diaspora, the arts industry and clear that this source contained eight works from by turning to the forgeries themselves. Original the contribution of individual producers and the so-called Great Eighteen Chorales (BWV 651- analyses are complemented by consultation of organisations. The connection between musical 668) and five from the ‘Orgelbuechlein’ (BWV Kreisler’s compositional sketches (preserved identity and appreciation in the artists and 599-644), as well as the miscellaneous setting of in the Library of Congress) and the Leçons audiences is also central to the research. Recorded ‘Wir glauben all an einen Gott, Vater’ (BWV 740). d’Harmonie of Albert Lavignac, who taught both audio and video artifacts, in the form of the The anthology has gone essentially unnoticed in the Casadesus brothers and Kreisler at the Paris album and video recordings, will help to focus on scholarly literature, despite the fascinating light it Conservatoire. Inescapably a product of its time, elements that link to the broader research topic. sheds on nineteenth-century Bach reception and on Lavignac’s partimento-based pedagogy serves one of that era’s most prominent personages. as a compelling model for the ‘formulaic’ style Biography of historical composition of which Newman Alok Nayak is currently undertaking PhD research Biography complained. Considered seriously not despite but in the subject of ‘new’ Indian Classical music, Russell Stinson is the Josephine Emily Brown because of its anachronisms, the art of forgery investigating the creation, context and environment Professor of Music and College Organist at Lyon yields vital new insights into historical ways of of innovations in the form in Britain. The research College in Batesville, Arkansas, USA. He is the listening to—and recomposing—the musical past. reflects on and examines his role as Artistic Director author of five books on J. S. Bach, including, most and Producer at Milapfest, the UK’s Indian Arts recently, J. S. Bach at His Royal Instrument (Oxford Biography development trust. Alok leads on new music University Press, 2012). Frederick Reece is a PhD candidate in Music Theory development projects, produces performances and at Harvard University where he is completing a recordings, and is involved in the development of dissertation entitled ‘Ringing False: Music Analysis, academic and education projects in indian arts. Forgery, and the Technologies of Truth.’ When Alok followed graduate and postgraduate study in not writing about forgeries, his research spans a languages, literature and politics and experience broad range of topics from the history of tonal in Indian music and dance, with a career in arts theory to the representation of speech impediments management and production in musical performance. A recipient of the ‘Paul A. Pisk Prize’ from the American Musicological Society and a DAAD Research Fellowship, he has presented widely at conference including the RMA, AMS, and IMS, and has published his work on the songs of Hugo Wolf in the Mosaic Journal of Music Research. Session 7D. Music and Conflict 1 Áine Mangaoang (University of Oslo), chair

Ballet Music in Paris during the Nazi Communist Intimacies: Luigi Nono and Paul ‘Opera de rebellione boëmica Occupation, 1940-1944: Collaboration and Dessau in the German Democratic Republic rusticorum’ (1777) – subjugation and Resistance at the Paris Opéra Martha Sprigge (University of California, Santa political conflict on the Bohemian stage in Abaigh McKee (University of Southampton) Barbara) the age of Enlightenment’ Robert Rawson (Canterbury Christ Church The occupation of France during the Second World Throughout the 1960s, Luigi Nono traveled University) War is a complicated and controversial period regularly to the German Democratic Republic of history. While many suffered the hardship of (GDR) on visits spearheaded by his friend, Paul One of the more remarkable pieces of poitically- life under Nazi rule, one area flourished: the Dessau. For Nono, these trips were an extension of inspired opera in the second half of the eighteenth occupation is one of the most productive periods his political sympathies: he was a lifelong member century is the Czech language Opera de Rebellione in Paris’ artistic history. Existing literature examines of the Italian Communist Party and engaged Boëmica Rusticorum [Opera on the Bohemian cultural life during the occupation but there is little with socialism in his musical works at this time. Peasant Rebellion] (1777) by the church composer that looks at the Paris Opéra and the new ballets For the GDR, a visit from a Western avant-garde Jan Antoš. It is an extremely rare example of commissioned and performed by the company, composer was an opportunity to demonstrate the a composer’s operatic account of first-hand despite their success during the period. Using nation’s cultural prestige in a post-Stalinist artistic experience in political conflict (in this case, the archival material from a range of European landscape. Bohemian rebellion of 1775). In much 20th century archives, this paper discusses the Paris Opéra Nono’s visits were also personal, with Dessau Czech musicology it was regarded as a proto- ballet company’s activities during the occupation serving as both orchestrator of official activities nationalist and folk-inspired work pointing toward from a musicological, historical, political and and a host with whom he had a longstanding (or even part of) the National Awakening of the cultural perspective. This inter-disciplinary paper friendship. The trips informed Nono’s homage 19th century. I will argue in this paper that the will examine changes in repertoire at the Opéra piece, Für Paul Dessau (1974). This paper simple style of the music owes much to Italianate house and discuss the new ballets composed, elucidates how the composers developed intimate intermezzi of the first half of the century, rather than choreographed and produced as commissions forms of musical expression in contexts where they hypothesized folk-music inspiration; and while a from the Vichy government. The extent to which the were being upheld as figureheads for politically proto-nationalist strain is present in the work, it also Opéra’s activities during this time can be seen as engaged art. While the tension between political reveals something of internal anxieties and tensions a reaction to the political climate will be discussed, idealism and socialist reality fueled Nono’s turn (historical and contemporary) between Catholics asking whether it was wrong to be successful during away from writing explicitly political music in and Protestants. I also hope to make a space for the war. This paper also presents evidence that the the late 1970s, Dessau and Nono’s relationship this work in the Anglophone narrative of music and Opéra ballet company travelled to Germany during indicates that this compositional intimacy had politics on the European stage in the eighteenth the occupation, and discusses whether the post-war earlier precedents, fostered during visits to friends century. accusations of collaboration have any foundation. in socialist states. These friendships reveal a complex nexus of political sympathies, artistic Biography Biography practices, and collaboration behind the official Robert Rawson is a musicologist and performer Abaigh McKee is a PhD candidate at the University exchange visits of composers across the Cold War with a special interest in Czech music, music of the of Southampton, funded by the Music in the divide. British Isles and performance practices of music of Holocaust studentship. She is researching ballet the seventeenth and eighteenth centuries. music in Paris during the Nazi occupation. Before Biography beginning her PhD, Abaigh studied music at the Martha Sprigge is an Assistant Professor of University of Sheffield where she received a BMus Musicology at the University of California, Santa (2013) and MMus (2015), researching ballet music Barbara. Her research examines the use of music in Paris and London during the first half of the as a vehicle for enacting the mourning process in twentieth century. postwar Europe, and she is currently writing a book about musical commemoration in the German Democratic Republic. She has essays published in Classical Music in the German Democratic Republic: Production and Reception and forthcoming in Twentieth-Century Music. Dr. Sprigge’s research has been supported by the Michigan Society of Fellows, the American Council of Learned Societies, the American Musicological Society, and the Andrew W. Mellon Foundation. Session 7E. RMA South East Asia Chapter Panel: The Role of Traditional Musics in Modern Asia

Monika Hennemann (Cardiff University), convenor and chair; “Dangdut Karawang: Exploring the Female the resemblances between traditional and Andrew Killick (University of Sheffield), respondent Body between Rite and Fiesta” contemporary, ‘listening to music’ and “making Outline: 5 short papers (10 minutes each), followed by a response (15 minutes) and panel discussion. Citra Aryandari (Performance Art Faculty, Institut music”, performing and composing, so that we will Seni Indonesia Yogyakarta) find pleasure even in the most supposedly hideous and unmeaning attempts, from musics that are not “Influences of traditional Chinese theatre, “Ondel-Ondel: From Rituals to Street This study is a straightforward presentation about from our time, our races, or our civilisations? politics and modern media on current vocal Performance” the phenomenon known as Goyang Karawang, performance practices in China” Jibrilla Oktaviela Islamey Herwan (Citra Research which emphasises the eroticism of the female Islamic influences in Music in Modern Day Suzanne Scherr (Zhengzhou University, SIAS Center, Yogyakarta, Indonesia) body in every show, from the point of view of Malaysia International College, Department of Music, ethnography and cultural studies. Goyang Shahanum Mohamad Shah (University Teknologi Xinzheng (Henan), P.R. China) Betawi people–the indigenous people of Jakarta, Karawang’s eroticism, mainly represented through MARA, Selangor Darul Ehsan, Malaysia) the capital city of Indonesia–have many forms swaying hips, is inseparable from the history that Chinese performers face unique challenges: of art and culture. Ondel-ondel, a folk tradition surrounds it. The Karawang district (32 miles of Although Malaysia today displays clear connections the long history of traditional musics in China by the Betawi people formerly used in their ritual Jakarta, Indonesia) has been transformed from an with global, modern culture, the influence of Islam– (closely allied with dance, costumes/masks, and ceremonies to ward off bad vibes, diseases, and agricultural to an industrial area. In the agriculture which first entered the Malay Archipelago in the acrobatics), strong political agendas which promote unfortunate things, is one of them. Ondel-ondel is period, during which almost the entire population 13th century–can undoubtedly still be seen in many 20th century nationalistic musics, and contact with represented by two big puppets. As they play, the of Karawang worked as farmers, a fertility rite aspects of society, including music. It is evident the west limited by travel restrictions and internet puppets dance and follow the music. The music known as Bajidoran was used to celebrate not only in the types of music and instruments controls. Most influential now is the selective and itself is partially in the style of Gambang Kromong, the harvest. The swaying hips of the dancers favoured, but naturally also in religious musical unbalanced exposure to western media which a music ensemble created by Bek Teng Tjoe in in Bajidoran later became part of the cultural traditions. This presentation seeks to highlight shapes the expectations of the modern Chinese 1880, who mixed some Chinese music instruments identity of the region, and was known as Goyang the Islamic influences on music that relate to the audience. Performers also face the tension of Indonesian ones. Karawang. In the 1990s, Goyang Karawang everyday life of Malaysian Muslims. west vs. east dramaturgy: in China where the was also familiar as a type of dangdut song that absolute ideal governs art forms, every character’s Later on, Ondel-ondel became a symbol of the city described the condition of the culture. Now that Biographies makeup (literal and emotional) remains static from of Jakarta–or rather, the Betawi people’s icon. For Karawang has been turned into an industrial This session is sponsored by the South-East Asia beginning to end. Given this perspective of art, the example, it was used by the Jakarta International city, Bajidoran has been adapted to the new era Chapter of the RMA, inaugurating the Chapter’s greatest challenge to the Chinese mind is allowing Java Jazz Festival in 2017, and as a mascot for the and, the tradition now widely known as Goyang participation in the RMA Annual Conference. a genuine human character to wear the theatrical tourism program Enjoy Jakarta. Although Ondel- Karawang has become potentially expoitative. mask. ondel seems well established, this is deceptive. The South-East Asia Chapter was founded in 2015 When the Betawi people lost their belief in rituals, He(a)r(e) & The(i)r(e) to broaden the scope and outreach of the RMA in a it became mere entertainment. And players now Anothai Nibithon (Princess Galyani Vadhana globalised musical world, to strengthen significantly have difficulty finding suitable performance venues. Institute of Music) the profile of high-level musical scholarship in SEA, Therefore, Ondel-ondel is often offered as a So different is the taste of the several races, that our to provide a scholarly ‘home’ for music graduates mobile street performance around Jakarta. music gives no pleasure to savages, and their music (especially, but not exclusively, those from is to us in most cases hideous and unmeaning. British universities), and to join forces with other The main question here is: can the culture of (Charles relevant organisations to create events of greater the Betawi people be sustained without the Darwin, The Descent of Man, 1871) impact. It aims to fulfil this role by organising relevant rituals? This study attempts an answer by Fortunately for musicians today, we recognize that and coordinating symposia, workshops and other examining Ondel-ondel street performance from music from different cultures must be heard and events, by creating and maintaining a database of the perspective of cultural studies and ethnography. understood in different ways. How we perceive local contacts, resources and activities on the RMA ‘authenticity’ in those musics is also much more website, and by enabling collaborative research, sophisticated than before. But although we are teaching, and performance activities. aware that the acoustic, ecological, and social environments are likely to shape the ways in which Suzanne Scherr is best known for editorial we perform music, when we discuss the process of work on Puccini operas, with a major tome on music creation in music, it seems that we tend to Manon Lescaut. She is currently completing a limit ourselves to only a few possibilities among the commissioned research work on Tempo in Puccini many in which music is made and experienced. operas. Since 2013 Dr Scherr has served on In traditional music, ‘new’ music often springs from the music faculty of a large private university the ‘old’, for it evolves in some mysterious way in north-central China, coaching teachers and as if it can “reincarnate” its former sound world students with singing bel canto and promoting the and breathe new life into a sonic phenomenon. internationalisation of the Chinese music education How can we trace musical history, and discover curriculum. Session 8A. Opera Studies 2 Helen Minors (Kingston University), chair

Andrew Killick is a Reader in Ethnomusicology Opera in the Literary Imagination: Writing Singing in Madness: La Pazzia d’Isabella at at the University of Sheffield. His main research about Nineteenth-Century New Orleans the Medici Wedding in 1589 area has been the music of Korea, especially Charlotte Bentley (University of Cambridge) Momoko Uchisaka (The University of Sheffield) developments in traditional music since c. 1900. His publications include In Search For much of the nineteenth century, opera was a The intermedi for a comedy La pellegrina staged of Korean Traditional Opera: Discourses of fundamental part of social life in New Orleans. at the 1589 Medici Wedding in Florence offers Ch’anggŭk (University of Hawaii Press, 2010) Between 1819 and 1859, the francophone troupe a long-standing debate over the kinship of this and Hwang Byungki: Traditional Music and the of the city’s Théâtre d’Orléans, recruited annually multi-media spectacle with opera in form and Contemporary Composer in the Republic of from Europe, performed operas as often as four subject. However, music historians have paid little Korea (Ashgate, 2013). He also has research nights a week. While aspects of the theatre’s attention to La pellegrina and the two substitutive interests in Northumbrian piping and in world repertoire have already been explored to varying comedies, the latter of which were performed by music pedagogy. extents, little attention has been paid to the way the commedia dell’arte troupe, the Compagnia in which New Orleans fitted into expanding dei Gelosi. This paper examines one of the Monika Hennemann is a founding member and transatlantic networks of operatic production and Gelosi’s comedies, La pazzia d’Isabella, in which the current convenor of the RMA’s Southeast Asia reception, or to how its vibrant opera scene shaped a renowned actress Isabella Andreini acted a mad Chapter. In her daytime job, she is Programme perceptions of the city within the United States and woman, and particularly highlights her singing Director of German and Co-Director of the Centre abroad. Exploring a wealth of literature published during the absurd performance. for Interdisciplinary Research into Opera and on both sides of the Atlantic, from travel accounts Drama (CIRO) at Cardiff University. Her current to Parisian novels, my paper explores how visitors Decades of theatrical scholarship have attempted research focuses on cultural conflict, transfer and to New Orleans and locals alike wrote about the to understand ‘Isabella’s madness’ in her comedy. assimilation in music, literature and art of the Théâtre d’Orléans’s operatic activities in order to Some scholars read social and psychological German- and English- speaking world during the project diverse images of the city. I will argue that meanings while others interpret Isabella’s comedy 19th and early 20th centuries, especially on the operatic performances of various kinds shaped in terms of contemporary literary and philosophical interface between culture and propaganda. New Orleans’s image abroad, especially in France. conventions, especially Neoplatonism. Naturally, Opera, therefore, provides a vital lens on the the latter context invites an interpretation of Jibrilla Oktaviela Islamey Herwan studied negotiation of local, national and global identities Isabella’s music as a reflection of the harmony Ethnomusicology at the Institut Seni Indonesia for the city in the first half of the nineteenth century of the sphere, just like the intermedi. This paper Yogyakarta and is working at Citra Research Center and, in particular, allows us to reflect back upon draws another context of her singing, namely the as Co-Researcher. pressing European cultural concerns of the period. uses of music of improvised plays of the commedia dell’arte as well as in the Italian theatres, and Citra Aryandari received her PhD in Performance Biography argues that La pazzia d’Isabella offers a small Arts and Visual Arts Studies at the School of Charlotte Bentley is an AHRC-funded PhD contribution to the discussion of ‘madness’ in Graduate Studies, Gadjah Mada University, in student at the University of Cambridge working opera. 2012. She is a lecturer at the Department of under the supervision of Benjamin Walton. Her Ethnomusicology, Indonesian Institute of Arts, doctoral research focuses on the production and Biography Yogyakarta. reception of French opera in New Orleans between Momoko Uchisaka is a PhD student at the 1819 and 1859, exploring the city’s role in the University of Sheffield. Her current research project Anothai Nitibhon, a composer, curator and development of transatlantic operatic networks pursues the musical representations of ‘madness’ educator, explores possibilities to discover new during that period. Her other research interests in Italian theatres in the sixteenth and seventeenth directions for classical/new music in ASEAN include operatic realism and the relationship centuries. context using various art forms including concert between media technologies and operatic culture in programing, performances and installations, the late nineteenth century. exhibitions and community projects.

Shahanum Shah is Associate Professor of Music Education at the Faculty of Music, University Teknologi MARA in Malaysia. She obtained her PhD and Masters in Music Education from Indiana University, Bloomington and the Bachelor of Music (Performance) from the University of Adelaide. Her research interests include the teaching and learning of traditional music and assessment. Session 8B. Music Analysis 2 Anne Hyland (University of Manchester), chair

The Critique of Bourgeois Rites in Thomas Form in Mendelssohn’s Late Chamber Music: Suspended Time: Cyclicity of Schubert’s Adès’s The Exterminating Angel Thematic, Textural and Timbral Saliency in Expanded Secondary Theme Area Edward Venn (University of Leeds) the Quartet Op. 80 and Quintet Op. 87 Yi Eun Chung (The University of Hong Kong) Dr. Benedict Taylor (University of Edinburgh) Thomas Adès’s third opera, The Exterminating Schubert’s late works convey a sense of time not Angel (2016), is based closely upon Luis Buñuel’s This paper explores the rotational formal designs only through its chronologically attuned label ‘late’, 1962 film El ángel Exterminador, in which the of Mendelssohn’s late chamber music, viewed but also in their disjunctive and non-teleological hosts and guests at a high society dinner party find as part of a radical reconfiguration of the tonal and formal procedures. The secondary themselves inexplicably unable to leave the dining relationship between theme, texture and timbre in theme area is vastly expanded, creating a sense room. Characteristic of both film and opera is the his music of the later 1840s. Both the B-flat major of timelessness – recalling Schumann’s famous scrutiny of bourgeois niceties. The film scholar Quintet (1845) and F minor Quartet (1847) have description of the C-major Symphony’s “heavenly Gwynne Edwards has suggested that Buñuel’s been received as examples of a putative ‘late length.” Furthermore, the lyrical secondary theme use of ‘some twenty’ formal repetitions in the film style’ in their downplaying of organic thematic constantly returns after deviations within the serve to ‘underline the repetitive nature of human interconnection, violent contrasts, and new focus secondary theme area, as if functioning as a point lives and actions as a whole, formalized into rites on athemetic figuration, texture, and sonority. of reference or signpost on the seemingly endless, and rituals of the bourgeoisie’. Yet Buñuel and Focussing on the first and third movements of Op. goalless path. Adès inject subversive elements into these ‘rituals’ 87 and outer movements of Op. 80, this paper through the use of inexact or excessive repetitions examines the abrupt juxtaposition of intrathematic In this paper, I will investigate Schubert’s expanded and non-sequiturs. These devices bring to the fore groups and the role of figuration, texture and secondary theme in terms of a temporal process the excess at the margins of identity that makes timbre as formally articulatory devices, showing wherein the lyrical secondary theme returns critique possible; they summon significations only to how these elements are drawn into the strongly again and again, creating multiple direction of displace and unmoor them. In order to interrogate rotational tendencies of these movements. In this, time. The cyclic nature of the secondary theme the thresholds between ritualised and non-ritualised Mendelssohn is both continuing his own ‘middle- will be examined for the possibility of reading activities as they are constituted in Adès’s music, period’ techniques and Beethovenian precedent, Schubert’s secondary theme area as an “inner this paper shall draw on similar explorations but differing quite substantially in his music’s cycle embedded within a sonata-form trajectory.” of boundaries in ritual studies (e.g. Bell 1992). syntactical implications. If syntactic radicality and Additionally, in the tripartite tonal structure of Construing Adès’s opera in such terms allows parametric non-congruence lie under the ostensibly the expositional and recapitulatory rotations, the deeper understanding of both its musico-dramatic smooth surface of Mendelssohn’s middle-period minimized role of the closing zone – almost merely techniques and the cultural work that it performs. works, the late examples examined here openly varied repetition of the secondary theme, when flaunt such discontinuities, albeit still in the service viewed from the perspective of Sonata Theory Biography of a larger teleology whereby the rotational cycling – complicates further the cyclic nature of the Edward Venn is Associate Professor in Music at through an ordered series of opposed thematic secondary theme area, which challenges the sonata the University of Leeds and the Associate Editor of events attains a tragic telos. teleology eventually. Music Analysis. His research focuses on twentieth- century and contemporary music. His second Biography Biography monograph, on Thomas Adès’s ‘Asyla’, supported Benedict Taylor is the author of Mendelssohn, Time YI Eun Chung is a PhD candidate in Musicology/ by a Leverhulme Research Fellowship, was and Memory: The Romantic Conception of Cyclic Music Theory at the University of Hong Kong. Prior published by Routledge in December 2016. Form (Cambridge, 2011), The Melody of Time: to joining HKU in 2014, he obtained B.A in Music Music and Temporality in the Romantic Era (Oxford, Theory from Seoul National University and M.Phil 2016), Towards a Harmonic Grammar of Grieg’s from University of Cambridge. He is the recipient Late Piano Music (RMA Monographs, 2016), and of Hong Kong PhD Fellowship Scheme. His the edited collection Mendelssohn in Ashgate’s dissertation examines temporality in Schubert’s late The Early Romantic Composers series (2015). The music, especially from the perspective of listener’s 2011 recipient of the Jerome Roche Prize from the subjective experience of time. Royal Musical Association, he is also co-editing the forthcoming volume Rethinking Mendelssohn from Oxford in 2018 and a special issue of 19th-Century Music on subjectivity in song (Spring 2017). Session 8C. Performance and Pedagogy 2 Monica Esslin-Peard (chair)

The Interaction of Structure and Design in of the Italian Gruppo Analisi e Teoria Musicale Flow in Music Education: Orff-Schulwerk Improvisation and an Inclusive HE Music Interruption-Based Forms (GATM). approach and Optimal Experiences Curriculum: ‘Taking Race Live’ Catello Gallotti (G. Martucci Conservatory of Music João Cristiano Rodrigues Cunha (University of Helen Julia Minors (Kingston University) - Salerno, Italy) Aveiro, Portugal) In response to the need to construct an inclusive It has become almost accepted practice to This article shows that musical activities based music curriculum in HE, the funded-project “Taking consider Schenker’s principle of interruption on the Orff-Schulwerk approach (OSA) provide Race Live” (2014-2017) sought to acknowledge as a middleground division of the Urlinie into a flow sustained strategy during Music Education students’ prior experience while ensuring to two equally weighted branches. Nevertheless, classes and enhance musical learning. Global enhance their engagement through a wider both Peter Smith and Nicholas Marston have results, from a two-year study on music pedagogy variety of student-led activities. Appointing student recently highlighted that such an interpretation and musical development in a Portuguese Music partners, the project and the musical improvisations is an oversimplification, since actually two Education context, report that ‘optimal experiences/ worked on a principal of distributed leadership, contrasting readings problematically coexist in flow states’ were experienced by 5th and 6th grade which we hoped would impact positively on Free Composition, ones in which structural priority students during Music Education classes based students’ confidence, resilience and sense of accrues to either the first or the final 2^/V of a OSA. The research developed also intends to inclusion. divided Urlinie, so emphasizing one branch over contribute to an area where information is scarce the other. on the connection between learning through the With KPIs regarding the BAME attainment gap, the OSA and flow-related behaviours of ‘optimal work of this project demonstrated positive impact. I first discuss such controversial readings – experiences/flow states’. The empirical process is Evidenced through qualitative/quantitative analysis renamed, respectively, ‘beginning-emphasized’ based on Csikszentmihalyi’s Flow Theory (1975, in this paper, I show how an inclusive curriculum and ‘end-emphasized’ patterns – then try to 1990, 1997, 2002), and consequent adaptation and research with student partners benefits demonstrate the way each structure interacts of the FIMA (Flow Indicators in Musical Activity) pedagogic research in Music. with different formal designs. The beginning- and AFIMA (Adapted Flow Indicators in Musical emphasized pattern displays an interruptive Activity), both developed by Custodero (1998, Running in collaboration with Sociology the project paradigm where both the first-branch tonic 1999, 2002, 2003, 2005). The study was based won the University’s “Rose Award” for “Teaching, and the Kopfton are retroactively reinforced by on action research methodology, according to four Learning and Assessment Research” (October the double return of the tonic and the opening stages: ‘plan’, ‘act’, ‘evaluate’ and ‘reflect’. At each 2016) – this paper reassesses the work through the thematic material, so matching the way we stage, data were collected based on Custodero’s lens of the music educator. Presenting the results of actually experience ‘antecedent-consequent’ or studies and instruments: direct observation; video a long ‘exposition-reprise/recapitulation’ designs. The and audio recording of all sessions (FIMA) and end-emphasized pattern is instead more responsive questionnaires (AFIMA). Audio and video data Biography to lower- and higher-level configurations where were analysed based on Custodero ‘FIMA coding Helen Julia Minors is Head of Department of the absence of double return de-emphasizes the scheme data analysis’. Following Custodero Music and Associate Professor of Music at Kingston first-branch dominant, consequently outlining (2005), AFIMA assumes central role in ‘flow’ University. She is chair of the National Association a structural curve forward oriented towards the and Music Education studies, quantitative and for Music in Higher Education. She has published second-branch 2/V–1/I. Finally, I conclude by qualitative results here presented mainly concern to widely on: intercultural music research, French claiming that the tension arising between the two AFIMA and includes three different flow monitoring music of the early twentieth century (inc. Paul interruptive patterns actually reveals Schenker’s dimensions: “Affective Indicator”; “Challenges and Dukas), on improvisation (esp. Soundpainting) difficulty in fully disavowing a conformational Skills Indicator” and “Subjective Indicator”. The and on notions of translation and music, including approach to musical form. “Affective Indicator” and “Challenge and Skills the edited volume ‘Music, Text and Translation’ Indicator” data were coded and studied using (Bloomsbury 2013). Biography statistical analysis. Complementarily, in order to Catello Gallotti is professor of Theory of better capture the potentialities of the indicators, Harmony and Music Analysis at the ‘G. Martucci’ the “Subjective Indicator” reinforces the results Conservatory of Music of Salerno, where he also obtained with the other two AFIMA dimensions. served as chair of the Department for Music Theory, The findings have specific relevance for Music Analysis, Composition, and Conducting. His Education teachers interested on Csikszentmihalyi’s degrees are in Pianoforte and Polyphonic Music ‘flow paradigm’ and OSA, since they reveal that and Choir Conducting. As a theorist, his main OSA activities promote ‘optimal experiences/flow research interests include classical Formenlehre, states’ in Music Education context. Schenkerian analysis and history and pedagogy of harmony. Currently, he is member of the Scientific Committee and vice-chair of the Executive Board Session 8D. Music and Conflict 2 Áine Mangaoang (University of Oslo), chair

Performing Cramer Piano Sonatas with a Hospital Magazines, Transnational Powers of Hearing: Acoustic Defense and Variety of Articulation Communities, and Music Therapy on the Technologies of Listening during the First Jing Ouyang (Royal Northern College of Music) British Home Front During World War I World War Michelle Meinhart (Trinity Laban Conservatoire of Gascia Ouzounian (University of Oxford) Cramer was well-known for his colourful tone Music and Dance) production and broad range of touches provided During the First World War large-scale aerial in performances. The detailed performance Military hospitals in Britain during the First warfare necessitated new, acoustic methods of indications in Cramer’s piano sonatas enable World War cultivated a variety of activities for defense: sensing the position of a hidden enemy keyboard performers to seek possible interpretation the wounded British and dominion soldiers they by listening to it. This paper investigates the of articulations for producing different timbre. treated, of which music was central. This music emergence of acoustic defense, and examines the Nevertheless, the meaning of different indications making of soldiers, hospital staff, and other development of military auditory technologies in was ambiguous such as the utilization of dots civilians, soldiers-turned-critics was documented in relation to new ways of listening: cooperative forms and strokes. Composers either used a single sign hospital magazines, such as The Craigleith Hospital of listening, alt-azimuth listening, ‘acoustic sensing’, or mixture of dots and strokes, but Cramer did Chronicle (Second Scottish General Hospital), among others. Referencing now-declassified not adhere to the same method of indicating the The Pavilion Blues (Royal Pavilion, Brighton), The military reports, military manuals, and scientific detached notes which is worthy for investigation Ration: The Magazine of Reading War Hospitals, writing from the period, this paper uncovers the from a performer’s perspective. Despite the fact and The Canadian Hospital News: Official Organ development of such wide-ranging, now-defunct that dots and strokes have the same meaning for of the Granville Special Hospital, Ramsgate. As acoustic technologies as geophones, sound- some composers, the multiple meanings are shown this paper shows, these witty, comical, often self- locating trumpets, binaural sound-locators, sound when combining other musical elements such as deprecating, reviews document the specifics of plotting devices, listening wells, sound mirrors, the slurs, tempo and dynamics. the rich musical life at their respective hospitals, Baillaud paraboloïde and the Perrin télésitemètre. chronicling repertoire performed, amateur It uncovers historical developments like the In my presentation, I will firstly compare various musicians, and audiences’ reactions. Additionally, establishment of ‘schools of hearing’ where Allied definition on dots and strokes in the eighteenth and they evidence the positive emotional and physical soldiers received training in operating acoustic nineteenth centuries, in order to help performers effects musical participation had on soldiers and defense technologies. It argues that, during nowadays to understand the complexity of point to the formation of unprecedented musical this period, the listening act was reconfigured articulation in the music at the time. Secondly I communities—transnational networks comprised as a fragmented act of data collection in ways will draw from those meanings and seek possible of soldiers, civilians, and the magazines’ local, that prefigured modern concepts of ‘machine interpretations of dots and strokes in Cramer’s national, and international readers. Such musical listening’. Similarly, directional listening, which was piano sonatas related to the musical context closely. activities and the act of writing and reading about previously studied in terms of human physiology By doing so, other functions of dots and strokes them, this paper argues, functioned as cathartic, and psychology, was newly understood in strategic other than as a staccato sign will be realized. Since group-oriented therapy that was central to the terms: a tactical activity that could determine the musical indications have multiple meanings, British empiricist approach to ‘managing’ trauma human and even national survival. it is important to provide careful consideration on and maintaining public support for the war. interpretation of each notation in performances. Biography Biography Gascia Ouzounian is Associate Professor of Music Biography Michelle is a Fulbright scholar at Durham University at the University of Oxford. She is co-director Trained as a pianist, Jing Ouyang is now on the (2016-7) and Assistant Professor of Music at Martin of Recomposing the City, a group that brings PhD in performance programme at the Royal Methodist College in Tennessee. She received her together sound artists, musicians, urban planners Northern College of Music. She has given papers PhD in musicology at the University of Cincinnati and architects in investigating urban acoustic at the International conference ‘Muzio Clementi College-Conservatory of Music in 2013. Her environments. and the British Musical Scene’ in Italy and ‘Doctors current work focuses on music making in cultures in Performance 2016’ in Dublin. of care giving on the British home front during the First World War. In addition to the Fulbright commission, her research has been funded by the National Endowment for the Humanities, the American Association of University Women, and the Music and Letters Trust. Session 8E. Panel: Sound Substance(s) – Practice-Based Understandings of Compositional Making

The Great War and Anti-German Matthew Sergeant (Bath Spa University), co-convenor and chair; Propaganda in Music Scott McLaughlin (University of Leeds), co-convenor; Monika Hennemann (Cardiff University) Laura Tunbridge (University of Oxford), respondent and chair of round-table discussion Six 5-minute position papers (30 minutes), a formal response (15 minutes), round-table discussion (45 Music can be the ultimate propaganda—bypassing minutes) logic and appealing directly to the emotions. But music itself doesn’t have political opinions; they Scott McLaughlin (University of Leeds) have to be imposed by association. And only by Patricia Alessandrini (Goldsmiths, University of London) creating these associations can music be used or Richard Glover (University of Wolverhampton) abused for propagandistic purposes. Larry Goves (Royal Northern College of Music, Manchester) Matthew Sergeant (Bath Spa University) This is all too obvious in times of war, because Nina Whiteman (Royal Northern College of Music, Manchester) everyone knows that the devil has the best tunes. The First World War raised special issues, when the Makers (in this case composers, sonic artists, etc.) do ‘something’ with ‘stuff.’ Making is a process of allied nations needed anti-German propaganda as ‘deutero-learning’ (Bateson 1973), knowledge of making arises from the doing of making itself. This much on the concert stage as in the newspapers, particular session will allow creative practitioners to share and critically discuss knowledges and ‘onto- but was saddled with a concert repertoire that epistemologies’ (Barad 2007) of the ‘somethings’ and ‘stuffs’ gleaned through and of their making. was German through and through. How was the repertoire to be rendered fit for propaganda A selection of position statements from invited speakers will explore what composers consider as the purposes? Should all German composers be ontologies of their musical material, and explore the connection to the physical materiality involved in affected, or only those, like Wagner, who were very composing or performing their work. The content of this session is underpinned by the philosophical loudly German? And what about performers? turn towards material-agency, new-materialisms, and posthumanity represented by authors such as Jane Bennett, Karen Barad, Tim Ingold, Graham Harman, Andrew Pickering (etc.) and speakers have been Based on a case study of Liszt’s St Elisabeth on selected for their interest in this field. the stages of the Met in an effort to substitute the crowd-pulling productions of Wagner – certainly Patricia Alessandrini’s works actively engage with the concert music repertoire, and issues of one of the strangest cases of musical propaganda representation, interpretation, perception and memory, often in the context of social and political issues. – this paper chronicles the fate of German music The recent work of Larry Goves (Royal Northern College of Music) has moved to explicate models of the in the English-speaking ‘enemy’ countries during inter-performer co-ordination of bodies as a material concern in his music. Richard Glover (University and after WW1. In addition to the American opera of Wolverhampton) is a founding member of the RMA ‘Music and/as Process’ study group and has world, it touches upon British musical reactions to developed a compositional ideology based on prioritizing temporally unfolding procedures as a given wartime needs: What were the sometimes bizarre work’s primary content. Scott McGlaughlin’s (University of Leeds) work explores relationships across choices to address the nationalist issues at hand metastable sounding-states generated from material indeterminacy of acoustic instruments. Matthew in the UK? And how did the longer-lasting effect Sergeant (University of Huddersfield) has published on the foregrounding of musical instruments as of the war on musical life differ from the United agential Baradian apparatuses in his recent music, whereas Nina Whiteman (Royal Northern College of States, given the close cultural affinities between Music) has been developing a practiced forged on the collision of topos via inter-media mappings. Britiain and Germany? Whilst the global session format is intended to be discursive, matters arising from the participants will Biography included (but are not restricted to) issues concerning intransitive notions of making (Ingold), the materiality Dr Monika Hennemann is Programme Director of sound, the ‘thing-power’ (Bennett) of vibrating objects, the various ways that the process of composition of German, Co-Director of the Centre for ‘surfs the contours of material agency’ (Pickering 1995) and the extent to which musical making forms an Interdisciplinary Research into Opera and Drama emblem of ‘intra-action’ (Barad 2012). (CIRO) at Cardiff University and an RMA Council Member. Her current research focuses on cultural As such, this session will activate ‘artistic practice [as] as the production of knowledge or philosophy in conflict, transfer and assimilation in music, action’ (Barrett & Bolt 2010) and offer a positive model of practice-as-research in musical composition that literature and art of the German- and English- goes beyond self-score-analysis and reflection, but equally is not entirely subservient to representation. speaking world during the nineteenth and early twentieth century, especially on the interface between culture and propaganda. Session 9A. RMA Music and/as Process Study Group Panel: Performing Temporal Processes

Lauren Redhead (Canterbury Christ Church University), convenor and chair Programme Notes (internally) spoken voice (derived from the original Musical performances (60 minutes), round-table discussion (30 minutes) Iterative Music is an ongoing series of pieces that French and translated English of the Blanchot text) Steve Gisby has been composing since 2014. which is tracked by the computer to trigger changes Steve Gisby (independent scholar, London), Iterative Music (2014–16) There are four in the series so far, which are all in the compressor and filter settings. While playing, Alistair Zaldua (Canterbury Christ Church University), Foreign Languages (2013–16) identical in terms of both structure and duration. harmonics are accessed using simple paper Mathias Spahlinger (independent composer, Germany), ‘Eigenzeit’ from Vorschläge (1992–3) They were created using a simple mathematical beakers, and this, as well as the tracked spoken Sophie Stone (Canterbury Christ Church University), As Sure as Time (2016) process that involves gradually assembling and rhythms, in turn influences the filter settings in the then superimposing five layers of audio material, electronics. All process music deals with time as a part of its material. However, in the case of this music, the with each layer building up in the exact same way. experience of time in music is not simply the experience of music as Zeitkunst (in Adorno’s terms), but The process itself is fundamentally very simple eigenzeit is one of over 25 concepts contained the experience of time itself. Where many musical works offer an experience of time as an experience but, even if it has been correctly perceived by in Mathias Spahlinger’s work (written in 1993) of change or development, process works offer the opportunity to experience time as time. That is to the listener, there is no possibility of predicting vorschläge (suggestions). The instructions read: say, these works offer the expression and experience of units of time that are defined by, and enclose, exactly what musical material each new step “find or invent possible objects or performance processes. Where the duration of a non-process work might be defined by its form, here the work’s form in the process will bring - meaning the piece is methods that are barely modifiable regarding their is defined by its duration. simultaneously predictable and unpredictable. tempo, rhythm, and total duration; and which, once The project has now been developed for live they have begun, cannot be further influenced; and This experience of musical time has been described by Lawrence Kramer as ‘vertical time’ (1981/1988): performance. Using pre-prepared audio material, whose processes cannot be reversed. examples the extended perception of a single moment. Such an experience of vertical time might be easily Ableton Live and MaxMSP, a piece can be created and suggestions: circling plates and cymbals, identified in Steve Gisby’s Iterative Music and Alistair Zaldua’s Foreign Languages. Both works are that follows the same mathematical process. It is falling ping-pong balls, pendulating giant feathers, entirely prescriptive—even to the level of moment-to-moment duration in the case of the Gisby. Yet, impossible, from the outset of a piece that uses buzzing/snapping a ruler held over a table-edge, in their performance, the moment-to-moment sonic details of the work remain undefined and are this process, to conceive of the composite patterns marbles thrown over a marble lane, rubber balls discoverable only as they unfold highlighting an unexpected characteristic of highly prescriptive music: its that will emerge as a result. A key feature in the thrown down the stairs, etc. each player decides by unpredictability. approach to performing the piece live has been themselves when to play, and how they ‘stage’ their the incorporation of a degree of indeterminacy in unique, and unmistakable sounds, bearing in mind Henri Bergson’s (1889;1910) Time and Free Will outlines the distinction between a ‘scientific’ regard to the rate at which the process progresses. their approximate duration. frequent accumulation understanding of time—as units of duration understood as a spatial metaphor—and ‘real duration’ In Music As A Gradual Process, Steve Reich stated of density and vain repetitions are to be avoided.” which is the experience of time passing in the present. This is expressed as a differentiation between that “One can’t improvise in a musical process - the a quantitative and a qualitative multiplicity. In the latter case “several conscious states are organised concepts are mutually exclusive.” Gisby believes “As sure as time…” is part of an ongoing series into a whole, permeate one another, gradually gain a richer content.” (1910, p.122). By enacting such this depends on where one sets the parameters of of performances that use the same score. It is ‘scientific’ processes of spatial duration in their approach to time in their works, the composers featured a process: what material, or elements of a piece a spoken word piece that can be performed by in this session conversely allow the experience of ‘real duration’ through the reification of the quantitative are determined by the process, and what aren’t? one to four vocalists, and includes a variety of multiplicity of time on the surface of their music. In Mathias Spahlinger’s ‘eigenzeit’ the duration of the This juxtaposition of performer autonomy as a structural elements, sound/vocal techniques and piece is clearly determined by the duration of its processes, although these durations remain undetermined counterpoint to strict, logical systems has been a movements. The score consists of a quote from until they are enacted. In foreign languages time is determined by a series of actions that have no feature his work. Harper Lee’s Go Set a Watchman (London: William duration until they are enacted. Heinemann, 2015): “As sure as time, history is foreign languages for solo percussion and live repeating itself, and as sure as man is man, history Sophie Stone takes this further in “As sure as time…” by imagining each performance of the piece to be electronics was inspired by reading both Maurice is the last place he’ll look for his lesson”. The work a unit of duration in a theoretical meta-performance of the work, and hearing the spaces between them Blanchot’s Death Sentence which is a short novel in allows for performer interpretation with the vocalist as silence. These composers, then, show how the performance of temporal process “un-mixes” space and two cryptically related parts, and Jacques Derrida’s performing an individual compositional process; time through making concrete the quantitative nature of units of duration and shifting the focus of the commentary on Blanchot’s text. This work is not where there are several performers, several listener to an experience of vertical time. representational in any way; Zaldua’s interest compositional processes occur simultaneously. was to foreground the problem of translation in Rather than a traditional concert performance, This session foregrounds the experience of these works, first presenting them as compositional research a work for percussion. More than works for any the listener should experience the work as an outcomes. Each performance involves the piece’s composer, excepting that by Mathias Spahlinger which other instrument percussions pieces define their installation in a gallery or other environment, will be performed by members of the study group. The performance will be followed by a round table cumulative ‘instrument’ anew with almost every allowing them to explore the environment as they discussion of the temporal processes and issues in the music, bringing out the common research themes piece. wish to, talk and enter/leave when they like. When and interests between the composers. observed in its entirety, the series presents a new The composer will be performing the 2nd part sense of extended duration with long silences of this two-part piece, for solo cymbal and live separating the performances and the totality being electronics. The deliberately curtailed notation the performance of the work itself. The work also presents the performer with a map of the cymbal highlights the numerous interpretations of silence with a set of directions for the beater to follow. The as silences of unpredictable length are used within rhythm used is the rhythm of the performer’s own the performances and between each performance; Session 9B. Music Analysis 3 William Drabkin (University of Southampton), chair the interpretation of silence is thus questioned as it Hochschule für Musik und Darstellende Kunst. In Virtuosity in Liszt’s Late Works ‘Non spero d’aver posa’: Musical Rests, never truly exists. 1978 he became guest lecturer in music theory at Shay Loya (City, University of London) Poetic Repose, and Metrical Cesurae in the the Hochschule der Künste in Berlin, and in 1984 Trecento Song Biographies professor for composition and music theory at the Liszt’s ‘late style’ is famous for sparse textures, Mikhail Lopatin (University of Oxford, St Hugh’s Steve Gisby is a composer, bassist and educator Staatliche Hochschule für Musik in Karlsruhe. From compact and repetitive phrases, dissonance, College) based near London, UK. He holds a PhD in 1990 to 2009 he held the position of professor borderline post-tonality and general oddness. It is composition from Brunel University and his music of composition and head of the institute for new largely a small group of miniature piano works that This paper examines the use of the word ‘posa’ (a has been performed across the UK, Europe and music at the Staatliche Hochschule für Musik (state have sealed this particular reputation for enigmatic, pause, rest, repose) at the intersection of metrics, the USA. Two of his works appear on Symmetry academy of music) in Freiburg. He currently lives in intransigent, and prophetic ‘lateness’ (Loya, 2011; poetry, and music in Trecento repertoire. I will | Reflection, the recent CD by US percussion duo Potsdam near berlin. Pesce, 2014). Moreover, it is a lateness that is argue that there is a correlation between the poetic Novus Percutere, alongside music by Steve Reich, invariably constructed as a modernist antithesis motif of repose and its liminal metrical position at John Psathas, Chrisopher Adler, Ivan Trevino Sophie Stone is a PhD student in music composition to the perceived crowd-pleasing exuberance of the end of a section, right before a major metrical and Luis Rivera. In May 2014, along with pianist at Canterbury Christ Church University working Liszt’s virtuoso years, as seen in aesthetic and break: that is, the poet’s desperate search for Michael Bonaventure, he gave the world premiere under the supervision of Lauren Redhead and biographical discussions from Dahlhaus (trans. repose in the narrative is reflected in the way the performance of Tom Johnson’s Intervals. He has Matt Wright. She received her bachelor and 1989; 1991) to Walker (1997), and as reinforced poem introduces cesurae (metrical ‘rests’) that split given papers and presentations at IRCAM, the master of music degrees at CCCU specialising in the analytical literature. Thus, despite a recent up the metrical body of the piece. This metrico- Sibelius Academy in Helsinki, Furman University in in composition. Her research interests include tendency to theorize a plurality of late styles poetic combination is then echoed in the musical South Carolina, California State University at Long extended duration music and the compositional (McMullan and Smiles, 2016), Liszt studies have medium: on the one hand, ‘pausa’ serves as a Beach, Canterbury Christ Church University, the and performance strategies that surround this yet to catch up, and virtuosity in Liszt’s late works representation of ‘divisio soni/vocis’ (the definition University of Surrey, the University of Birmingham genre. remains a particularly undertheorized area. occurs in several music treatises of the period), and the University of Huddersfield. He is on the thus reflecting in its musical division the metrical committee for the Society for Minimalist Music. As part of a monograph on Liszt’s Late Styles, split-up; and, on the other, rests that accompany He also works as an examiner for Trinity College this paper tackles virtuosity from four angles: the word ‘posa’ in musical settings (e.g., within London on their Rock & Pop syllabus, having (1) a formal comparison of Liszt’s early and a penultimate melisma of a madrigal) seem to conducted exams in the UK, Northern Ireland, Italy, late virtuosity; (2) Liszt’s transcriptions as critical answer musically the poet’s unceasing search for India, Vietnam, South Africa, Malaysia, Brunei, commentary on virtuosity; (3) Recordings of repose. Focusing on several musical examples Thailand, Hong Kong and Macau. www.stevegisby. late works as a form of reception; (4) Historical drawn from Trecento repertoire, particularly from com / www.iterative-music.com reception of Liszt’s virtuosity in his final years. ‘Late Francesco Landini’s corpus, I will argue that ‘posa’ style’ is, of course, a usefully imaginative but highly may be seen as one of such intermedial devices Alistair Zaldua is a composer and conductor problematic construct. This paper intends to further that helps establish a link between metrics, poetry, of contemporary and experimental music who test its tenability. and music. currently teaches at Canterbury Christ Church University. His work has been performed both Biography Biography internationally and in the UK: Huddersfield Shay Loya (PhD, KCL) is a Lecturer in Music at City, Mikhail Lopatin received his PhD in Musicology Festival (2014), Sampler Series Barcelona (2014), University of London. His research interests include in 2011 from the Moscow P.I. Tchaikovsky Borealis (Bergen, Norway, 2014), Leeds New Liszt, Hungarian-Gypsy music, analysing musical Conservatory, Russia. From 2011 onwards, his Music Festival (2013), UsineSonore (Malleray- transculturation, and other critical, analytical and research interests lie mainly in Italian music of Bevilard, Switzerland, 2012), Quantensprünge aesthetic issues in music of the long nineteenth the Trecento and early Quattrocento. In 2011/12 ZKM (Karlsruhe, 2007 & 2008), Música Nova century. His main publications include Liszt’s he conducted post-doctoral research on canonic (Sao Paolo, 2006). Alistair currently works with Transcultural Modernism and the Hungarian-Gypsy techniques in the Italian caccia at the Schola Lauren Redhead in performances for organ and Tradition (University of Rochester Press, 2011), Cantorum Basiliensis (Basel). In 2014, he was a live electronics, and improvises in a duet with film and, recently, ‘Recomposing National Identity: Four Mellon Visiting Fellow at the Villa I Tatti, Florence. maker Adam Hodgkins (violin and live electronics). Transcultural Readings of Liszt’s Marche hongroise From 2015, he is working at the University of alistiar-zaldua.de d’après Schubert’, Journal of the American Oxford as a Newton International Fellow, looking Musicological Society, 69.2 (2016): 409–67. He is at musico-textual relationships in Italian repertoire Mathias Spahlinger was born in Frankfurt in 1944. currently working on a project entitled ‘Liszt’s Late of the Trecento and early Quattrocento. He studied with Konrad Lechner at the Städtischen Styles’. Akademie für Tonkunst in Darmstadt. In 1968 he took up a teaching position at the Stuttgart Musikschule (music school), teaching piano, theory, musical education for children and experimental music. From 1973-1977 he studied composition with Erhard Karkoschka at Stuttgart’s Staatliche Session 9C. Performance and Pedagogy 3 Nick Baragwanath (Nottingham University), chair

Using Reflection to Develop Insights into What is Good Timing?: Performing Tōru The relationship between the music, text Musical Practice and Performance: A Pilot Takemitsu’s Orion for cello and piano with and pedal application Study with Chinese MMus students. the Japanese concept of ma Chi-fang Cheng (The University of Manchester) Monica Esslin-Peard (University of Liverpool) Ikuko Inoguchi (City, University of London) Recent research by several music scholars has Reflection has been a part of tertiary education Keeping time and achieving a clean investigated the music interpretation, music in England and Wales for over twenty years. synchronization between performers can be structure, the use of articulation and characters Reflective practice is employed in the training of considered vital for a good ensemble, especially in Beethoven’s song settings with piano teachers, medical staff, engineers and students of in the performance of pre-twentieth-century music. accompaniment. However, all previous research the performing arts. The development of reflective The performers may achieve this through diligent has ignored the many appearances of pedal skills, as Boud (2010, p.33) points out, may lead to counting. However, the Japanese composer Tōru markings in Beethoven’s songs, which this paper surprising outcomes which challenge students to re- Takemitsu (1930-1996) challenges this traditional can throw much light on. Thus, a necessary consider their approaches to individual and group rhythmic ideal through incorporating the Japanese investigation of the relationship between the music, learning. Assessed written reflection has been a aesthetic and performance practice of ma. In text and pedal becomes a major issue. part of undergraduate performance modules at traditional Japanese performing arts and music, the University of Liverpool for the last ten years the length of a good ma is understood as a This paper draws a perspective on Beethoven’s and research is currently being conducting into mathematically indefinite duration. In this paper, I possible interests in the literature and his the role of reflection and musical maturation of will discuss how ma works in the duo context based engagement with the text in his song works, while undergraduate classical and popular musicians on my practice-based research on Takemitsu’s revealing a new aspect on the investigation of the which is described by Esslin-Peard et al. (2015). Orion for cello and piano (1984). In the work, the pedal. The main aim of this paper is to examine his composer employs time signatures to organize original idea of the pedalling. Firstly, it is to classify In addition, the University of Liverpool offers a musical time; the notation does not specify when the main features in using the pedal; Secondly, it M Mus in performance which, over the last five and how to incorporate the performance practice is to examine the contextual, figuration and text years, has attracted increasing numbers of Chinese of ma. While referring to my rehearsal diaries aspect of the work in employing the pedal, and students. According to Wu & Hammond (2005), as well as consulting the composer’s interviews also to find relationships within his composing South East Asian students must deal with linguistic, and the manuscript of the work, I will propose process. Finally, it is to explore and understand the academic, social and cultural challenges. In this interpretive possibilities to solve the dilemma of pedal application and relationship between the pilot research project, we analyse the reflective dealing with both countable and uncountable use of the pedal and work itself, then emphasizing writing of Chinese MA students in an effort to durations. As the conclusion of the paper, I will the close connection with the musical setting, the understand whether cultural heritage, a Confucian discuss whether performing with the concept of ma content of the text and how the pedal interworked approach to pedagogy based on effort and rote is only a composer and work specific phenomenon with them. learning and individual musical biographies help or whether this performance style can be applied to or hinder the development of reflective practice. any other ensemble contexts. Biography This study offers insights into the challenges facing Chi-fang Cheng in her third year of Phd in both Chinese students and faculty staff whilst also Biography Musicology at the University of Manchester now. suggesting that reflective practice may help to Acclaimed for her ‘subtle sonority and fascinating Before starting her research, she had received her overcome cultural differences in musical learning. colourful tones’ (Der Kessener), the Japanese master of Performance and had concerts in Taiwan, pianist Ikuko Inoguchi has been excelling both as China and Korea. Her Children music book, The Biography a concert pianist and as a performer-scholar since Adventure of Natan and Yoda: The Stolen Note, has Monica Esslin-Peard, MA (Oxon), MA Mus Ed completing her first doctorate (Doctor of Musical been released in Asian countries. Her professional (London), mPGCE (London) is Head of Instrumental Arts) in the U.S. in 2009. After holding a Visiting career outside of academia includes sound mixing Studies at a secondary school in London and a Scholar Fellowship at the Institute of Musical and editing such Discovery Channel, business part-time doctoral research student at the University Research in London during 2010-2011, she was commercial advertisements, children music channel of Liverpool. Her research interests include musical awarded a PhD for her thesis entitled “Concepts and animas; a representative of culture and arts maturation in classical and popular musicians of Time in the Works of John Cage, George among Asian countries. and the role of reflection in musical learning. Crumb, and Tōru Takemitsu, and Implications for Monica has presented at conferences in Ireland, Performance” from City University London in May the UK (SEMPRE, ISME) and Germany (AMPF) and 2016. Norway (CEMPE – The teaching of practising). Her publications include book reviews for Psychology of Music, two chapters for the Proceedings of the AMPF conferences and a chapter in the A&HHE digital special issue: ‘The Reflective Conservatoire’. Session 9D. Edge Hill University Panel: The Annual Session 10A. Panel: Vocality/Instrumentality – Perspectives Eurovision Song Contest on Voice in Instrumental Performance Richard Witts (Edge Hill University, Ormskirk), convenor and chair Kristine Healy (University of Huddersfield), convenor; George Kennaway (University of Leeds), chair Jon Ola Sand (executive supervisor, Eurovision Song Contest), This session offers the work of three musicians whose research interrogates notions of vocality in Catherine Baker (University of Hull), the practice of instrumental music-making. Their collaboration was initiated through participation Marie Bennett (University of Winchester), in the RMAsupported conference, Vocality/Instrumentality 2017, held in January at the University of Philip Jackson (Edge Hill University), Huddersfield. Brian Singleton (Trinity College, Dublin) Derek Scott (Leeds University) Collectively, from various historical, stylistic, and methodological standpoints, they seek to examine what it means for an instrumentalist to pursue, manipulate and make meaning of aspects of vocality in The annual Eurovision Song Contest, (ESC) founded in 1956 by the European Broadcasting Union (EBU), performance. attracts songs representing each of 42 broadcasting members in national heats culminating each May in two televised live shows and a three-and-a-half hour finale which is claimed to watched by nearly Violin and Voice: Nineteenth-Century Imagined Vocalities: Exploring Voice in the 200 million viewers. There is also a Junior version of the competition. Technically adventurous, it is Perspectives Practice of Instrumental Music Performance the generator of complex statistics based on sophisticated voting systems. Academically it represents a David Milsom Kristine Healy significant supra-national musical project centred on sociopolitical concepts of shared European identity, with their shifting aesthetic parities and diversities, but in the form of a symbolic contest between separate A vast array of pedagogical material encourages For centuries, in pedagogical texts and sovereign entities. instrumentalists to ‘sing’ on their instruments; most performance critiques, instrumentalists have told instrument advocates claim that their instrument each other stories about what it means to play in The aim of this panel is to contribute to the expanding body of interdisciplinary academic research on (above all others) is capable of finely imitating a vocal way, describing the human voice as the the ESC, and reject the dated view that it is nothing more than television light-entertainment on the one the human voice, and that this is the raison d’etre ultimate musical model. Musicians in the twenty- side, and, on the other, a notorious exemplar of how hegemonic affiliations benefit from factional polling. behind stylish execution. This is very much the case first century who work primarily in the ‘mainstream The session will take the form of a sequence of short papers from the panel of five, which will include as regards violin playing, with ready comparisons classical’ tradition continue to participate in and an executive representative of the EBU and - we hope - a former Eurovision finalist, to be followed by a with the art of the soprano voice, and numerous perpetuate the practice of talking about, evaluating, round-table discussion on the issues raised. aesthetic similarities. But how do these comparisons and understanding instrumental musicianship in work in a pre-twentieth-century setting? What kind relation to vocality. They attribute vocal qualities Five short papers, followed by a round-table discussion on the issues raised of singing did violinists imitate in the nineteenth and characteristics to particular instruments and century, how did they do so, and to what extent did deny them to others, and produce connections they achieve this? I discuss this with allusion to a with the voice that ‘prove’ the musical worth of one range of evidence, especially treatises, and early way of realising a text over another. In this paper, recordings; his paper concludes that expressivity using examples from the text and talk of currently is not an immobile aesthetic concept and, in practising instrumental performers in interviews so doing, presents unrequited challenges for and masterclasses, vocality for instrumentalists is historically-interested musicians. addressed critically and opened up to questioning. What does it mean to be vocal, as an instrumental musician performing in a contemporary context? And if an instrumentalist can only qualify as ‘musical’ by participating in a tradition that glorifies the voice, whose voice should they be emulating? Session 10B. Music Analysis 4 William Drabkin (University of Southampton), chair

Redefining the Cello’s Voice: Vocality, of Huddersfield is enabling her to explore ideas Ligeti and Spectralism: Distant Resonances Religious Patriotism and Grotesque Ridicule: Agency and the Contemporary Cello about voice in the context of instrumental music Benjamin Levy (University of California, Santa Responses to Nazi Oppression in Pavel Rebecca Thumpston performance practice. Kristine has presented her Barbara) Haas’s Unfinished War-Time Symphony work at several UK events, and recently organised Martin Čurda (University of Ostrava) Vocality, both actual and instrumental, is a strong a two-day international conference, Vocality/ György Ligeti is often mentioned as a forerunner agential cue; listeners afford subjectivities to Instrumentality (Huddersfield, 2017). and influence on composers including Grisey, Composed in 1940–41, Pavel Haas’s unfinished music by ‘tones of voice, with their emotional Murail, Rădulescu, Saariaho, and Vivier. This paper Symphony is a poignant expression of protest connotations, appearing in sound’ (Cumming, The Rebecca Thumpston is a Research Associate at explores the extent and limits of that connection. against the Nazi occupation of Czechoslovakia. Sonic Self, 2000, p.9). The traditional cantabile the Royal Northern College of Music. Her PhD, Ligeti’s comments on his own aesthetics resonate Although previous scholarship has noted Haas’s vocality often associated with the cello, typical ‘Agency in twentieth-century British cello music’, with foundational ideas in the spectral movement, references to the ‘Hymn to St Wenceslas’, the of Romantic cello writing and performance, was awarded by Keele University in 2015. Rebecca and an analysis of the Cello Concerto shows wealth of religious and patriotic symbolism in the encourages what Arnie Cox terms subvocalization, has published on topics including tripartite agency this common ground, with comparisons to works Symphony has not been fully explored. a form of mimetic participation through which in Britten’s Cello Symphony and manipulations by Grisey (Périodes and Partiels) and Saariaho listeners enact musical subjectivities (‘Embodying of vocal agency in the music of Simon Holt. She (Lichtbogen). All these works blur the distinction In my paper, I will show how Haas’s use of Music: Principles of the Mimetic Hypothesis’, Music is currently editing Music Analysis and the Body: between harmony and timbre, crossing perceptual particular musical topics articulates the twofold Theory Online, 2011). But what happens when this Experiments, Explorations and Embodiments thresholds through shared techniques, often legendary role of St Wenceslas as both a saint and cantabile vocality is removed? How is agency cued with Nicholas Reyland (Peeters, Leuven Studies in derived from electronic composition. Beyond a warrior. Drawing on the theory of markedness when the cello’s voice is distorted and redefined? Musicology, forthcoming). technique, however, spectralism involves a type of and correlation, I will explain how instrumental This paper will examine contemporary solo cello attitude where music is seen as an investigation of voices become associated with semantic binaries works that engage creatively with the instrument’s sonic reality through acoustics and perception. In such as individual / collective, divine / earthly, ‘voice’. Through discussion of performances of spectral composition, this basis of music in sound and despairing / rejoicing, and what role these passages from Benjamin Britten’s Third Cello Suite itself began as a quasi-scientific exploration, but connotations play in the movement’s programmatic (1971), Pēteris Vasks’ Dolcissimo (1978), and it quickly acquired almost mystical overtones, e.g. narrative, which is predicated, besides Czech Simon Holt’s feet of clay (2003), I will question in Rădulescu’s Credo or late works by Grisey and patriotic myths, on the biblical meta-narrative of how manipulations of the cello’s voice in speech, Vivier. While Ligeti admired their originality and the arrival of the prophesied Messiah. song, prayer, and anguish can cue agency in imagination, he could not accept the religiosity of different ways, inviting alternative forms of mimetic these compositions. Always thinking of himself as Finally, I will discuss the Symphony’s second engagement. an outsider in both life and work, Ligeti uses these movement, which represents a complementary expressive and technical resources not as a source facet of Haas’s artistic protest against Nazism, Biographies of sonic or spiritual unity, but rather as markers of based on grotesque depiction and satirical derision. David Milsom is a Senior Lecturer at the University distance, irony, and alienation. I will argue that this movement, featuring spooky of Huddersfield, teaching performance and instrumental effects and a puzzling superimposition musicology, and an honorary Visiting Research Biography of the Nazi song ‘Die Fahne Hoch’ and Chopin’s Fellow of the University of Leeds. David is an Benjamin Levy is an Assistant Professor of Music ‘Funeral March’ is a particular instance of the topic internationally recognised scholar of string Theory at the University of California, Santa of danse macabre. playing in general and nineteenth-century violin Barbara. His publications on Ligeti, Xenakis, and performing practice in particular; he is also an Feldman appear in Perspectives of New Music, Biography active professional violinist and violist in a range Twentieth-Century Music, The Contemporary Music Previously a graduate from Masaryk University of areas spanning ‘baroque’ performance on Review, and in volumes of collected essays. He won (Brno, Czech Republic), Martin Čurda is a final- period instruments to modern solo, chamber and the Society for Music Theory’s Emerging Scholar year PhD candidate of musicology at Cardiff orchestral playing. Since 2008, David has been a Award in 2011, and his book Metamorphosis of University, School of Music and a part-time lecturer recordings reviewer for The Strad magazine. In his Musical Form: The Compositions of György Ligeti in musicology at the University of Ostrava (Czech spare time, David is a choral tenor and Chairman in the 1950s and 60s is forthcoming with Oxford Republic). His PhD research concerns the music of of the Sheffield Chamber Choir. University Press. Pavel Haas in the context of inter-war avant-garde movements in Czechoslovakia and beyond. Kristine Healy studied initially at the University of Queensland and worked as an orchestral flute player, chamber musician, theatre musician, and music educator in Brisbane, Australia before moving to the UK for further studies in performance at the Royal Northern College of Music. Having spent many years being advised to ‘sing’ on her instrument, Kristine’s PhD research at the University Session 10C. Panel: Rereading Medieval Music – Analytical and Hermeneutic Approaches to Thirteenth-

Synthesising Folk and Punk Cultures: A Case Century Song of Billy Bragg’s ‘Between the Wars’ Meghan Quinlan (Merton College, Oxford), convenor Christopher Thorpe (University of Kent) Fabrice Fitch (Royal Northern College of Music, Manchester), chair With this paper, I plan to explore British folk Three 20-minute papers, each with 10 minutes for questions music and the relationship it can often share with punk music such as the assumed values that the Medieval song texts have inspired a rich body of literary interpretation, but music’s role in their listeners project onto these genres: mainly those of interpretation remains largely unexplored. Whether they be philosophical treatments of music as sounding expression of individuality and ‘DIY’ construction number, sound-studies inspired critiques of medieval sound, or source-oriented discussions of repertoire in both. Furthermore, the main point that I intend and transmission, accounts of medieval music have often lacked the close musical readings found in to focus upon is how both the musical and socio- accounts of other musical activity. Part of this musicological silence rests on the tacit assumption that cultural elements and practices that pertain to each musical content in these repertories is necessarily neutral, serving only to carry the text. Our session of the genres individually become synthesized into challenges this notion, considering the ways in which song could signify musically. Following a format of one genre in regards to a specific song’s audience three twenty-minute papers, each with ten minutes for questions, we explore approaches to song analysis, and impact. Billy Bragg’s song ‘Between the Wars’ text-music interaction, musical exchange, and the possibility of transcending the modern dichotomy of text will be my main focus during this discussion as I and melody. believe it is a musical example that exhibits a wide range of folk and punk practices in both its musical An Unexpected Liaison: Music, Poetry and Melodic Jousting: Musico-Poetic Competition composition and it’s socio-cultural impact. Narrative in the Cantigas de Santa María in the jeu-parti Henry T Drummond (Merton College, Oxford) Joseph Mason (Lincoln College, Oxford) Biography Central to the thirteenth-century Galician- While scholars have long promulgated the view I am currently studying for my MA in Popular Music Portuguese Cantigas de Santa María is the musico- that the jeu-parti was performed as a competition, (Research) at the University of Kent and plan to poetic zejel. This structure comprises alterations little attention has been paid to the role played further my studies into popular musicology with a between a refrain, and strophes that reiterate the by melody. The thirteenth-century jeu-parti was focus on how popular genres of the 20th and 21st refrain’s music and rhymes. Combining the linear a sung debate of alternating stanzas by a pair century interact with mainstream culture. As an cantiga narrative with this cyclical framework is of poet-singers known as trouvères. Composed undergraduate student, I wrote my final dissertation problematic: in essence, fusing the linear with the according to the same melody, syllable count and based on modern folk music and the previous folk circular should not work. This paper examines rhyme scheme, the exchanged stanzas enacted revivals in Britain, questioning how the various how the cantigas circumnavigate this dichotomy. a variety of ‘symbolic violence’ that is also found instances of folk musics in Britain might enable us Parsing the musical, poetic and narrative structures in contrafacture. This paper explores the ways to predict the future nature of the genre. of a handful of songs, I demonstrate how the in which trouvères exploited interlocking musical sonically tenacious refrain functions within strophes, and poetic structures to enact symbolic violence highlighting the narrative thrust of a miracle story. against one another in the jeu-parti. Oppositional The recurrence of refrain melodies and end rhymes pitch structures latent in the melody of a jeu-parti thereby works to separate the narratively central could be attached to poetic ideas in one stanza from the extraneous. Revealing the links between that were then undermined or contradicted by the such divergent forms, I hope to prove subtle second trouvère’s response. The presence of such interrelations between the musical and the semantic oppositional pitch structures across the trouvère in the CSM. corpus argues for a re-evaluation of melody as a channel for symbolic violence more generally. Session 10D. Panel: Sound Cultures in Spain Samuel Llano (University of Manchester), convenor, chair tbc

Using the Domna to Dominate: Political Recent years have seen a growing interest in ‘sound studies’, a field of study that addresses the role of the Contrafacture in Thirteenth-Century France auditory in culture and society. Diverse and interdisciplinary in scope, sound studies examines the place of Meghan Quinlan (Merton College, Oxford) sound both across a range of contexts (architecture, geography, acoustic environments) and media (sound This paper considers the interpretive possibilities technologies and sound art, music and film, for instance). Sound studies scholars such as Jonathan Sterne, of the practice of musical contrafacture in two Brandon LaBelle and Emily Thompson have each challenged the epistemological dominance of the visual political songs (serventois) from thirteenth-century in Western culture, using sound as a means of rethinking our relationship to space and time. France. In both cases, contrafacture provides a way of evoking certain attitudes, emotions, and This panel brings together a group of scholars specialising in Spanish music and cultural studies, to textual associations in a sonic, non-textual space, take sound itself as the critical point of departure. In drawing on an eclectic range of critical approaches, and the task of uncovering such associations calls the works presented in this panel use the auditory to think through the following questions. How does for an investigation of each melody’s historical sound inform our understanding of history --and in particular, of Spain’s long and fraught road towards contexts, as well as their embeddedness in issues modernization? How might the categories of noise and silence, for instance, enable us to illuminate more of gender and class. The musical patterns of these fully historical junctures of crisis and contradiction within Spain? How might Spain’s attendant changes in shared melodies also provide layers of signification technology and culture be understood, or indeed rethought, through sound? Sound is as uncontainable accessible to those unaware of the original songs: as it is elusive: it is able to move through walls, corners, borders and landscapes. Correspondingly, sound instances of repetition, symmetric structures, studies similarly transgresses and eludes the borders between different academic divisions, an approach extremes in range, and various interval shifts all which is reflected in the broad scope of contributions in this panel. have the potential to change, undercut, or intensify the text, and this can have powerful effects on ‘Travelling phonographs in fin-de- terms of social mores, yet still ideologically the song maker’s intended political message. I siècle Spain: recording technologies and conservative Spain. In fact, whereas the arrival discuss how these serventois formed communities national regeneration in Ruperto Chapí’s El of a phonograph in an Andalusian village at the of emotional and intellectual power, allowing their fonógrafo ambulante’ beginning of the zarzuela is initially presented as makers to achieve their political ends. Eva Moreda Rodríguez a potential danger to social practices, reservations are quickly overcome when it becomes clear Biographies Through analysis of the zarzuela El fonógrafo that mobile recording technologies can make Joseph Mason is a third-year DPhil student in ambulante (1899; music by Ruperto Chapí, libretto the Spanish pueblo thrive through encouraging musicology at the University of Oxford. His by Juan González), this paper discusses how the mutual understanding between Spanish regions thesis, supervised by Professor Elizabeth Eva arrival of recording technologies in Spain (1877- and ensuring the preservation of gender roles. El Leach, concentrates on the jeu-parti and its 1900) was influenced by and in turn influenced fonógrafo ambulante, though, shies away from place in medieval French culture as a site for prevailing discourses concerning modernity, defending transformative uses of phonography explorations of musical violence. He employs a regional difference and mobility (rural-to-urban; that other, more regeneracionista sectors of the range of methodological approaches, embracing social; interregional). With recent critical accounts population anticipated; in doing so, it ultimately palaeography, close readings of music and text, of the early history of recording technologies presents a sceptical view of modernity as the path contextual study and critical theory. having emerged mostly from the study of to national regeneration. technologically and musically advanced countries, Henry Drummond is in the third year of his DPhil at this paper also intends to be a reminder of the the University of Oxford, where he isworking on the role of cultural context: the study of the arrival Cantigas de Santa María of Alfonso X el Sabio with of the phonograph in Spain indeed reveals how Professor Elizabeth Eva Leach. While his doctoral early users of recording technologies related their thesis focusses on the relations between narrative experiences and perceptions to broader discourses and song in the cantigas de miragre, Henry is of modernity and identity that had often been taken also interested in codicology, musical ontology, for granted elsewhere. thirteenth-century court culture, and medieval Intended to entertain big contingents of people historiography. across a variety of social classes, El fonógrafo ambulante portrayed an aspect of late nineteenth- century life in Spain its audiences would have been familiar with, i.e. the travelling phonographs paraded through Spanish cities, towns and villages during the 1890s. The work also embodies views on sound recording technologies which would have resonated with its audience– consonant with zarzuela’s defense of an integrative, progressively industrialized, urban, somewhat relaxed in Session 10E. RMA LGBTQ+ Music Study Group Panel – Music and Musical Expression in LGBTQ+ Activism

‘Socialism, Sound and Spaces of Resistance ‘Bakalao, sound and affect’ Danielle Sofer (Maynooth University), convenor and chair in Madrid: The Orfeón Socialista, 1900- Tom Whittaker (University of Liverpool) Five 10-minute position papers followed by general discussion among the panel’s participants and 1936’ members of the audience Samuel Llano (University of Manchester) While there has been much scholarship on the post-Franco cultural movement known as the LGBTQ+ Music Study Group board Questions raised by the group include: Many of the choral societies that proliferated in movida madrileña, the more marginal subculture members: 1. How do we as queer academics/activists late nineteenth-century Spain were conceived as of bakalao and its various styles of techno Danielle Sofer (Maynooth University) engage with the academy from LGBTQ+ instruments to indoctrinate and control the worker music have been overlooked in Spanish Cultural Alexander Harden (University of Surrey, Guildford), perspectives? How do we interrogate academic according to bourgeois moral standards (Vialette). Studies. Emerging from Valencia in the 1980s, the Shzr Ee Tan (Royal Holloway, University of London), structures? Yet, some of these societies had a markedly circulation and transmission of bakalao techno Richard Witts (Edge Hill University, Ormskirk) 2. How does one’s identity influence how they (re) socialist and revolutionary character that was brought with it a radical new ecology of sonic and present themselves in the profession? manifest in their repertoire and the use to which spatial contexts. From ‘after hour’ illegal night clubs This themed session on the role of music and 3. Is there an inherent queer subtext, meaning, or they were put, as was the case of Madrid’s Orfeón and ad hoc roadside raves to pirate radio stations musical expression in LGBTQ+ activism serves to encoding in music? Socialista (1900-1936). In Madrid’s fragmented that were often listened to within cars, the initial introduce the RMA’s new LGBTQ+ Study Group and complex public spaces, the meaning of sounds innovative and mobile energy of the subculture and to examine issues of import to members of the In response to these questions, the session includes and musical practices was highly unstable as soon became eclipsed by a moral panic which Group and those individuals it represents, namely discussion of the role of technology in forming they interacted with one another in unpredictable gripped the Spanish media in the early 1990s. music scholars identifying as LGBTQ+ and/or and informing queer musical identities, and an ways. The Orfeón’s public performances were Unlike the movida, whose songs and spectacular those interested in researching LGBTQ+ concerns. investigation of ‘representation’ in music, drawing enlisted by the authorities to help spread in Madrid styles of dress have easily lent themselves to connections between this central theme in music an ‘aural hygiene’ (Llano 2017). Legislation on interpretation, the hypnotic rhythms of bakalao The panel will be in two parts. The first part will aesthetics to the term’s alternative definition and hygiene was aimed at sanitising public space, techno can be more productively understood as consist of 10-minute position papers from select usage in gender theory and recent racial politics. making it safe and suitable for the comfort of a production of pure sound. Following Christoph members of the Group’s board, Danielle Sofer and the rising middle classes. Sounds and musical Cox, who argues that in searching for meaning Alexander Harden, and three additional members practices deemed to be harmful or to run contrary in music, critics too often overlook the materiality of the group. Five speakers will explore the integral to the well-being of citizens were displaced, and and texture of sound in itself, this paper explores role of queer music studies to the RMA community those responsible for spreading them were often the affective dimensions of bakalao. In considering by presenting the scholarly study of music as persecuted. This paper argues that the Orfeón what this dance subculture did rather than what a form of activism that is neither marginal nor Socialista’s revolutionary message was instrumental it meant, this paper explores the ways in which superfluous to issues of personal identity and group to this end as, in line with international socialism, Spanish techno alerts us to what Brian Massumi has politics in today’s political climate. In situating our it was predicated on an ideal of social harmony famously termed ‘the body’s capacity to act’ and Study Group’s musical concerns within the cloud (Mitchell). The mainstream media appropriated the general turn towards affect in Sound Studies of broader activism, this session seeks to show that message in order to generate a selective form (Ian Biddle, Jeremy Gilbert). In applying these the relevance of music to the wider concerns of of social cohesion from which those responsible critical writings to techno fanzines, testimonials LGBTQ+ activists while simultaneously providing a for the spread of unwanted sounds and ‘noises’ with DJs, media and press coverage, as well as platform for LGBTQ+ concerns among the interests were excluded. One of the consequences of this to the formal properties of bakalao music itself, of RMA members more generally. was the scapegoating and persecution of organ this paper explores how the affective force of the grinders in Madrid during the second half of the subculture can be seen as ‘irreducibly bodily’ The five position papers will be followed by general nineteenth century. The most likely reason why the and ‘autonomic’ of meaning (Massumi). In doing discussion among the panel’s participants and Orfeón offered private performances in theatres so, it shows how the sonic ecologies of bakalao members of the audience. to a select audience of socialist supporters was significantly brought about transformation that to avoid that its message be appropriated and was both equally corporeal and social, relieving misconstrued. The Orfeón’s need to rely on private its young participants momentarily from social performances in order to remain attached to its marginalization and increasing precariousness. socialist roots conforms with the tendency shown It also brought with it a transgressive sonorous by anarchism to produce a fragmentary social geography, whose mobile and fleeting dimensions space (Goyens). The Orfeón Socialista’s public and brought about a physical response that was in private performances contributed to generating a constant motion. This paper finally argues that multifaceted urban cartography (Lefebvre), and will bakalao’s non-representational and evanescent be analysed here as ‘spaces of resistance’ against form – one that exceeded and temporarily the spread of aural hygiene in Madrid, which was disrupted meaning -- ultimately contributed to the conceived as a technology of power. discourses of moral panic which surrounded it. The Le Huray Lecture The Dent Medal Lecture

‘Schubert the Successful’ Andrea Lindmayr-Brandl (University of Salzburg) ‘The Power of Musical Diplomacy in a Kenneth Smith (University of Liverpool), chair Divided World’ Mark Katz (University of North Carolina at Chapel Schubert was a failure in life, a composer neglect- Hill) ed by his contemporaries; or so goes the story, Mark Everist (University of Southampton, President traceable over generations, the appeal of which of the RMA), chair has been irresistible. Just as Schönberg sought to undermine the dominant narrative in his famous For more 75 years the U.S. Department of State essay ‘Brahms the Progressive’, I will challenge this has been sending American musicians abroad to story, presenting instead a composer who planned tour and teach, based on the belief that music is ambitiously for his career and for the publication an effective means to promote “people to people” of his works. Despite what we have been told, diplomacy, in which citizens rather than government these endeavours were not in vain. In a career of officials work to foster mutual understanding. In just over ten years, cut short by his early death, he 2001, and after much internal debate, the State achieved a remarkable level of success – success Department began deploying hip-hop artists as which has not yet been acknowledged by Schubert cultural ambassadors. In 2013 it established Next scholars, much less by the broader music-loving Level, a program that connects American hip- public. hop artists with youth in underserved communities around the world. This unconventional representation of the compos- er’s life is based on a rereading and reinterpre- I have served as Director of Next Level since its tation of the documents of his life (cf. Otto Erich inception, and have overseen programs in 19 Deutsch) from a new perspective, specifically look- countries. Based on this experience, and on nearly ing for indicators of success. I will discuss various one hundred interviews with hip-hop artists and potential meanings of success (personal, profes- government officials, I argue that hip-hop— sional, financial, etc.) and ask how we might be because of its global popularity, accessibility able to measure a musician’s success in the early to those with few resources, and appealing nineteenth century. One largely overlooked param- mythos—is an effective means for finding eter is the number of music prints and reprints with- common cause among people, especially youth, in and outside of Vienna. These can be determined of different cultures. Although I acknowledge, and with the help of the recently published catalogue am often haunted by, the risks that attend U.S. of Schubert’s first and early editions by Michael cultural diplomacy, I believe in its potential for Raab (Schubert-Drucke-Verzeichnis, Neue Ausgabe good and its continued relevance. Hip-hop, a voice sämtlicher Werke). Using selected examples of of struggle and celebration worldwide, has the famous compositions, I will show how quickly and power to build global community at time when it is continuously Schubert’s prints were distributed to a so desperately needed. music market eager to play and hear his songs and instrumental works both in public and in private. Biography Although often criticised, Grillparzer’s epitaph on Musicologist Mark Katz is the Ruel W. Tyson Schubert’s tombstone – The musical art here buried Jr. Distinguished Professor of the Humanities a rich possession, but still much fairer hopes – thus and the Director of the Institute for the Arts and gains new meaning for a composer in his early thir- Humanities at the University of North Carolina at ties, suddenly deprived of the remains of his prom- Chapel Hill. His books include Capturing Sound: ising and already successful professional career. How Technology has Changed Music and Groove Music: The Art and Culture of the Hip-Hop DJ. Since 2013 he has directed the U.S. Department of State–funded cultural diplomacy program, Next Level, which connects American hip-hop artists with underserved communities around the world. In 2016, Katz was awarded the Dent Medal by the Royal Musical Association. Lunchtime Concert (Leggate Lecture Theatre)

Liquid Study No. 2 (Dedicated to Ian Buckle) Lied, for violin and piano Liquid Study no. 2 (piano and electronic sound) is “The violin and piano fail to arrive at the same one of a series of pieces that explore an imagined metre - instead, they approach and move away sonic physics based on the behaviour of fluids. from one another in tempi that differ quite subtly. This particular work came about through my Sounds seem to possess memories: the opening admiration for Mario Davidovsky’s Synchronisms motif from Schubert’s song Auf dem Flusse seems no 6 for piano and electronics, a piece which itself to be audible from a distance, though it is not exhibits fluidity in a variety of musical domains. actually quoted” (Beat Furrer) My composition engages with three aspects of Davidosky’s work: (1) An isolated note, G, begins Thelma Handy was appointed Joint Leader of both pieces. This pitch is initially an object of the Royal Liverpool Philharmonic Orchestra in timbral intrigue, but later becomes a reference 2007 and has directed the orchestra and appeared point to which all other pitches (and actions) are as soloist on many occasions. Previously she tethered. (2) Tension from the mixture of a familiar toured worldwide as a member of the English and visually-present instrument (the piano) and Chamber Orchestra and worked extensively with an unfamiliar and visually-absent sonic force (the the Academy of Saint Martin in the Fields, the electronics). As in Davidovsky’s composition, these London Mozart Players and the London Symphony two forces are continuously intertwined in my work, Orchestra. She has made guest appearances as but friction also comes from the fact that while the Leader with many orchestras including the Hallé, piano and electronics share a similar sound world, BBC Philharmonic, Royal Scottish National, City the electronics perpetually transform the piano’s of Birmingham Symphony, Manchester Camerata sound in ways which directly contradict its physical and the Real Filharmonía de Galicia. Recent solo Pixels Ensemble: Thelma Handy (violin), Ian ‘Auf dem Flusse’ capabilities. (3) An intense, sudden and unexpected performances include concertos by Glazunov, Buckle (piano), Ben Hackbarth (electronics) Auf dem Flusse is the seventh song in Schubert’s tremolo. In the Davidovsky it is a climactic moment Sibelius, Bruch, Mendelssohn, Khatchaturian, song cycle Winterise (1827). It begins which acts as a keystone on an arch built out of Brahms; and Mozart’s Concerto no 5 with the Franz Schubert (transcribed Ian Buckle), ‘Auf many disjunct elements. In my piece this gesture is Queensland Philharmonic Orchestra as part of a dem Flusse’, for violin and piano River, once so restless more consequential in terms of form - the tremolo tour of Australia. She has worked in Japan with the Franz Schubert, Sonatina in G minor, D408 Flowing fast and bright marks a moment where the listener is suddenly Mito Chamber Orchestra and in France with the for violin and piano Why are you now so still plunged into a new medium, more viscous and baroque chamber ensemble Orfeo 55, and is in 1. Allegro giusto Lifeless, chilled and silent resistant than before. This watershed gesture frequent demand as a chamber music collaborator, 2. Andante irrevocably alters how musical time moves forward. most recently giving concerts with Catrin Finch, 3. Menuetto and concludes Julian Rachlin and directing an RLPO string 4. Allegro moderato Synchronisms No 6 ensemble in Mendelssohn’s Octet. She has recently Mario Davidovsky, Synchronisms No 6, for Does my heart see Synchronisations no. 6 (piano and electronic made a recording of the Kodály Duo with her cellist piano and electronic sounds Your image in this river? sounds) was written for the pianist Robert Miller brother, Lionel Handy. Thelma regularly plays in Ben Hackbarth, Liquid Study No 2, for piano Does it swell and quiver and was first performed at the Tanglewood Ensemble 10/10, with whom she has premiered and computer sound In its own icy case? Contemporary Music Festival in August 1970. This numerous new works and made several recordings, Beat Furrer, Lied, for violin and piano piece belongs to a series of compositions for leading the group in performances nationwide Sonata in G minor electronically synthesised sounds in combination including at Wigmore Hall and on BBC Radio 3. Pixels Ensemble is a collective of established Nothing is known about Schubert’s earliest works with conventional instruments. In this particular chamber music players with a shared passion for for violin and piano, the three sonatas in D major, piece, the electronic sounds in many instances Ian Buckle maintains a varied freelance career performing the finest repertoire, from the classical A minor and G minor, either from his own circle modulate the acoustical characteristics of the working as soloist, accompanist, chamber period to the present day. Vastly experienced of friends or from any other accounts. Schubert piano, by affecting its decay and attack musician, orchestral pianist and teacher. He and versatile, the group appears in a wide range never called them anything other than Sonatas, characteristics. The electronic segment should enjoys especially strong relationships with the of combinations and line-ups, lending itself to but like so much of his music they did not reach perhaps not be viewed as an independent Royal Liverpool Philharmonic and the John Wilson innovative programming and enabling huge variety printed form until several years after his death, polyphonic line but rather as if it were inlaid into Orchestra, having appeared with them as soloist within individual concerts. when the firm of Anton Diabelli published them the piano part. on numerous occasions; and has also played as ‘Sonatinas’ in 1836. Composed in 1816, concertos with the Royal Philharmonic, Opera after Beethoven had completed his ten Violin North, Sinfonia Viva and the Manchester Concert Sonatas, Schubert’s pieces are of the older, Orchestra. Committed to contemporary music, he Mozartian type, with the violin still playing a has been the pianist in Ensemble 10/10 since the somewhat subordinate role to that of the piano. group’s inception, and his piano duo with Richard Casey specialises in music from the last and current centuries. He frequently collaborates with former Poet Laureate Andrew Motion performing recitals of piano music and poetry, recent programmes including Shropshire and Other Lads, a celebration of A. E. Housman; Anthem for Doomed Youth, a commemoration of World War One; and Philip CONTACTS AND EMERGENCY Larkin’s England. He is a member of both the piano-and-wind ensemble Zephyr and the Elysnan Horn Trio, formed when the group were students at the Royal Northern College of Music; and is the director and pianist of Pixels Ensemble. Current CD releases include transcriptions for cello and piano Contact with Jonathan Aasgaard, a recital of new works for Kenneth Smith (conference director) clarinet and piano with former BBC Young Musician [email protected] winner Mark Simpson, and a disc of English music Department of Music, School of the Arts, with clarinettist Nicholas Cox. University of Liverpool, 80-82 Bedford St South,L69 7WW Ben Hackbarth composes music for instruments 0151 794 2647 and electronic sound, and is the director of the Interdisciplinary Centre for Composition and James Millea (conference administrator) Technology, the Artistic Director of the Open [email protected] Circuit Festival and the Head of Composition at the University of Liverpool. He has been Security Services named composer in research at IRCAM on three In Emergency contact on 0151 794 2222 occasions, developing software for electro-acoustic For non-emergency enquiries contact on composition. His research interests centre around 0151 794 32524 the intersection of musical intuition and computer analysis. Ben was affiliated with the Center for Emergency Research and Computing in the Arts at San Diego, In case of emergency during the conference, please and a Sonic Arts Researcher at CalIT2. He has had follow safety instructions displayed in the foyer residencies at Cité des Arts, Centre Internationale of the relevant building. Additionally, the Rendall de Récollets, Akademie Schloss Solitude and the Building has a building manager, located in the Santa Fe Chamber Music Festival. In addition to foyer, who can answer any safety / accessibility writing concert music, he collaborates with other concerns that you may have. artists to create multimedia installations with realtime graphics, sound and motion tracking. Accessibility Notable performances include those by the Arditti All buildings are wheelchair accessible. For the String Quartet, Ensemble InterContemporain, the Music Department please use the rear entrance. New York New Music Ensemble, the L.A. Percussion Please speak to our student helpers or the building Quartet and the Wet Ink Ensemble. His work manager to find the nearest lift in the relevant has been presented in venues such as Cité de la building. Musique in Paris, the MATA festival in New York, the Florida Electro-acoustic Music Festival, the Ingenuity Festival in Cleveland and Espace de Projection at IRCAM. Ben’s music can be heard on CD releases by the Carrier Records and EMF labels. MUSIC BOOKS. JOURNALS. ONLINE PRODUCTS. TEXTBOOKS.

CONGRATULATIONS TO AUTHOR MARK KATZ, WINNER OF THE 2016 DENT MEDAL!

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