Two conference talksfollowed byapanel discussion Robert Sholl (Royal Academy ofMusicandUniversity ofWest London), chair Rehearsal Room2 1C InMemoriamPierreBoulez(Panel) Th Lu A Rehearsal Room1 1 Four 15-minuteindividualpapers, followed byachaired discussionandaQ&Asession Peter Tregear (Royal Holloway, University ofLondon), chair Jonathan Owen Clark (Trinity Laban Conservatoire ofMusicandDance), convenor SaturdayMorningSessions Concert Hall 1A CriticalPedagogy andMusicEducation(Panel) Exhibition 11am –12.30pm 10.45am –10.55amWelcome 9.30am –6pm 9.30am –10.30am Saturday 3September Conference Programme • • • • • • • • • • B Music,Violence,Justic n

ree kas Pairon(UniversityofGhent),chair n Cormac Newark (conference director) a music theory? The evidence ofthe Collègede France lectures’ Goldman andArnold ‘Canone Whittall,panel speakofBoulezian discussion: Jonathan Dunsby (EastmanSchool ofMusic,University of Rochester), Jonathan Jonathan Goldman(University ofMontreal), ‘Listening to Doubles instereo’ toBayreuth Beaubourg’ Arnold Whittall(King’s CollegeLondon), ‘Boulezianthemes fromthe 1970s: violence: aspects ofarelationship’ Morag Josephine Grant (Independent Scholar, Berlin), ‘Music—justice— detention centresofthe juntainGreece military (1967–74)’ Anna Papaeti (Independent Scholar, Berlin), ‘Music,soundandtorture inthe Chile), ‘Reciprocal effects ofresearch andhumanrights legislation inChile’ Katia Chornik (University ofManchester) andManuelGuerrero(University of participatory musiceducation’ change”: ethicsandinstrumentalism inthe research anddelivery of Kate Wakeling (Trinity Laban Conservatoire ofMusicandDance),‘“Affecting in aneraofglobalisation’ Biranda Ford (GuildhallSchool ofMusic&Drama),‘Aconservatoire education is asuitable “aesthetic education”?’ Jonathan Owen Clark (Trinity Laban Conservatoire ofMusicandDance), ‘What zones” ofmusicinhigher education’ Louise H.Jackson (Trinity Laban Conservatoire ofMusicandDance),‘“Dead 20-minutepapers anda3 Papaeti(IndependentSch Registration/Refreshments

(Panel) 0 - o m lar, Berlin),convenor inute chaired discussion

5 Saturday 3 September 6 Saturday 3 September Roy Howat (Royal Academy ofMusic&Royal Conservatoire ofScotland),chair Rehearsal Room3 ‘Gary, canyoubringinyourwetsuit?EvolutionofaNewContext forSong’ Roddy Hawkins (University ofManchester), convenor and chair Rehearsal Room 1 1F Aspectsof Ensemble Practiceinthe1970s (Panel) 1 .0m–4mSaturdayAfternoonSessions Concert Hall 2.30pm –4pm John Rink(University ofCambridge), chair Concert Hall in Western Art-Music Performance Culture’ ‘Current andFuturePerspectives ontheRevival ofClassicalImprovisation 1.30pm –2.15pmSaturdayLecture-Recitals 12.30pm –2.30pmRMACouncilmeeting surrounding area, oneofourstewards willbehappy toguideyou. Please notethat lunchwillnotbeprovided,but there are anumberoflunchoutletsinthe 12.30pm –1.30pmLunch/ Registration Three 20-minutepapers, followed bya30-minutediscussion Susan Rutherford (University ofManchester), chair Alexandra Wilson (Oxford Brookes University), convenor Rehearsal Room3 1D OperaticObjects(OBERTO OperaResearch Panel) • • • • • • • • • • • • E NewAudiences

for the firsttime’ orchestralbringing musicto young peopleinEngland in the 1920sand1930s David Kidger(OaklandUniversity), ‘The Robert Mayer Concerts for Children: Iain Burnside (GuildhallSchool ofMusic&Drama) Thomas Carroll, cellist(Royal CollegeofMusic) Eugene Feygelson (KingsCollege,London) Henrik Jensen (ImperialCollege,London) John Sloboda (GuildhallSchool ofMusic&Drama) David Dolan(GuildhallSchool ofMusic&Drama) Biography andMaterial Culture’ Alexandra Wilson (Oxford Brookes University), ‘Caruso’s Books:Opera, Research onDisplay’ Anna Maria (Oxford Barry Brookes University), ‘ExhibitingSirCharles Santley: Teatro dell’Opera diRoma’s New Production ofTosca’ Andrew Holden (Oxford Brookes University), Hohenstein ‘Bringing to life: School ofMusic&Drama),‘Journeys ofnew audiences’ Karen Wise (GuildhallSchool ofMusic&Drama)andJohn Sloboda (Guildhall intersections ofpopular andclassical in1960sAmerica’ Elizabeth Wells (Mount AllisonUniversity), ‘Bernstein andthe Beatles:

Julian Horton (Durham University), chair Rehearsal Room3 1H ComposerReminiscences 5.30pm –6.30pm Three 20-minutepapers, followed bya10-minuteresponse anda20-minutediscussion p .0mRefreshments Concert Hall, The Peter LeHurayLecture 4pm –4.30pm Two 45-minutesections,eachwithtwospeakers andanopportunityfor questions. Edward Dewhirst (University ofEdinburgh), convenor andchair Rehearsal Room2 (Panel) 1G StringedKeyboardInstrumentVariety- Pitch,TimbreandtheNovel T L Bob Holland(ProgrammingD Annabel Arden(Actor,Th C Mark Ravenhill (Playwrigh J Re • • • • • • • • • • • o o ranslator) harlotte Higgins(ChiefCu hn Deathridge(EmeritusK n cent developmentsinope don) Fauré’s Fantaisiepourpiano etorchestre’ James Sobaskie (MississippiState University), ‘The Role ofReminiscence in time: Anton Webern’s Langsamer Satz (1905)’ Sebastian Wedler (University ofOxford), ‘Tonal pairingasastrategy oflyrical recapturing aRomantic aesthetic ofearly music’ Reuben Phillips (Princeton University), ‘Brahms as“Kreislerder Jüngere”: late eighteenth-centuryBritain’ exploration ofthe more extreme adaptations andmodifications to the piano in Jenny Nex (University ofEdinburgh), ‘From the sublime to an the ridiculous: importance oforganised keyboards’ Eleanor Institute), Smith(Orpheus ‘No longeranovelty: re-establishing the sixteenth-century sound’ reconstructing David Gerrard (University ofEdinburgh), ‘Avirginalat “organ pitch”: Italian octave-pitch keyboard instruments’ Edward Dewhirst (University ofEdinburgh), ‘The and“inferior”: ignored Eric Drott(University ofTexas at Austin),respondent Complexity” inBritain’ more: exploringthe roleofensemble Suoraaninthe emergence of“New Roddy Hawkins (University ofManchester), ‘One complexity, two complexity, establishment ofFrench spectralmusic’ Liam Cagney (University CollegeDublin), ‘Ensemble L’Itinéraire’s roleinthe Philip GlassEnsemble’ incorporated: the business ofbecomingSteve Reich andMusicians andthe David Chapman (Rose-Hulman Institute ofTechnology), ‘Minimalism, 4pm –5.30pm Reception sponsor e a t lt , Actor,Journalist, Oper t i re andOperadirector,c u n i re WriteratTheGuardian) rector, EnglishNational g

r Edward ProfessorofMu a productionandreceptio ed byRoutledge a o

director, Librettist and -Founder ofComplicité)

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s pera) P , chair i c u , K blishing i ng’s College n - Panel 7 Saturday 3 September 8 Sunday 4 September Caroline Rae (Cardiff University), chair Rehearsal Room3 2D NationalismandInternationalisation Owen Rees (University ofOxford), chair Rehearsal Room2 2C SpanishMedievalandRenaissance Sources Amanda Bayley (Bath SpaUniversity), chair Rehearsal Room1 2B Twentieth-Century HungarianMusic Four 10-minutepapers, followed by a50-minutediscussionwithpanellist andaudience Michael Baumgartner (Cleveland State University), convenor andchair Concert Hall European ColdWar Cinema(Panel) 2E Music,IdeologyandProduction ConditionsinWestern andEastern 11am –12.30pm 10.30am –11amRefreshments/Registration Rachel Cowgill (University ofHuddersfield), chair PublisherExhibition Concert Hall 2A Englishness 9.30am –10.30amSundayMorningSessions 9.15am –6pm 9.15am –9.30amRegistration Sunday 4September • • • • • • • • • •

production ofBritishsymphonies’ school ofcomposition”:anational debate andits interrelation withthe Dorothea Hilzinger(Berlin University ofthe Arts), ‘“Wanted, anEnglish exclusive performances ofnew musicinpost-WWI Paris’ Barbara Kelly (Royal Northern CollegeofMusic),‘Full foreign promise: hall: Santiago Kastner’s lifetime Antonio de Cabezón project:acasestudy’ Sonia GonzaloDelgado (University ofZaragoza), ‘From the archive to the concert world ofmiracles inthe Cantigasde SantaMaria’ Henry T. (University Drummond ofOxford), ‘Hearing the sacred word: the sonic score: overtones inLigeti’s Touches bloquées’ Qianqian Zheng (Chinese University ofHong Kong), ‘Notes hidden fromthe Contrasts withorthographic insights’ Hei Yeung John Lai(Chinese University ofHong Kong), ‘Performing Bartók’s national music’ Matthew (University Riley ofBirmingham),‘Diatonicism andEnglish present day—constructing ahistoryofEnglishsong’ Rachel Landgren(University ofMelbourne), ‘Elizabethans throughto the Tobias Pontara (University ofGothenburg), ‘Classicalmusicin the films of post-Stalinist youth inthe 1960sfilms ofJerzy Skolimowski’ Ewelina Boczkowska (Youngstown State University), and ‘Music,ideology SundayL

ate MorningSessions David Charlton (Royal Holloway, University ofLondon), chair Rehearsal Room3 2H TheLongEighteenthCentury A 5minuteintroductorypaper (Bent),four 15-minutepapers, a25minutediscussion Ian Bent(Columbia University/University ofCambridge), chair Vienna), convenor Kirstie Hewlett (BritishLibrary/University ofMusicandPerforming Arts, Rehearsal Room1 2G HeinrichSchenker andVienneseMusicalCulture(Panel) Byron Dueck(OpenUniversity), chair Rehearsal Room1 Space 2F BritishForumforEthnomusicologyPanel: MusicinContestedUrban 12.30pm –1.30pm Committeemeetings surrounding area, oneofourstewards will behappy toguideyou. Please notethat lunchwillnot beprovided,butthere are anumberoflunchoutletsinthe 12.30pm –2.30pmLunch/ Registration • • • • • • • • • • • •

RMA Student Committee Shanghai, c.1930–50’ west”? multi/jurisdictionalsoundsandaplural historyoflive musicin Yvonne Liao(King’s CollegeLondon), ‘“Paris ofthe east,New York ofthe multinational: the gramophone inSingapore c.1900’ Gavin Williams (University ofCambridge), ‘Sound,colonyandthe an art-house musicalaesthetic’ ap Pwyll Siôn(BangorUniversity), ‘Michael Nymanandthe development of Schlagerfilm andthe new world order’ Guido Heldt (University ofBristol), ‘Power chords: The German Andrei Tarkovsky’ Music andRegime Change Duringthe French ofMainz,1792–93’ Occupation Austin Glatthorn (Dalhousie University), ‘Outwiththe Old,in withthe New: England andScotland’ musical affects andmechanist philosophyinearly eighteenth-century Tomas McAuley (University ofCambridge), ‘Hearing the Enlightenment: responses to the Lulliantragédie at the endofthe seventeenth century’ Natasha Roule (Harvard University), ‘The riseandfall ofPhaëton: Lyonnais Schenker’s late writings’ William Drabkin (University ofSouthampton), ‘The warden: Heinrich ininterwarculture Vienna’ Vienna), ‘A“quietself-education at the radio”: Heinrich Schenker andradio Kirstie Hewlett University (BritishLibrary/ ofMusicandPerforming Arts, and opera’ Georg Burgstaller (RILM/CityUniversity ofNew York), ‘Heinrich Schenker Schenker, Otto andSchubert’s ErichDeutsch “Prize Song”’ Marko Deisinger(University ofMusicandPerforming Arts, Vienna), ‘Heinrich contemporary soundscapes’ Laudan Nooshin (CityUniversity London), ‘Soundingthe city:Tehran’s 9 Sunday 4 September 10 Sunday 4 September Keith Howard (School ofOrientalandAfricanStudies),chair Rehearsal Room2 2K UsesofMusicalObjects Five 15-minutepapers followed bya 15-minute discussion Peter Holman (University ofLeeds),convenor andchair Rehearsal Room1 2J ThomasArneRevisited (Panel) 2L Music andMusicians onScreen ‘ Concert Hall Four 15-minutepresentations, followed byadiscussionandquestions Jan Hendrickse (GuildhallSchool ofMusic&Drama),convenor andchair Concert Hall (Panel) 2I SiteandSound:PracticeBasedExplorationsofMusicSpace 2.30pm –4pm 1.30pm –2.15pmSundayLecture-Recital • • • • • • • • • • • • Scarlatti MSSinSpain:Bi Barry IfeBarry (GuildhallSchool ofMusic&Drama) RMA AnnualConference 2017Programme Committee Uchebnik Garmonii: the legacy of aSoviet Harmony textbook inChina’ (Chinese University ofHong Kong), ‘B.A.Arapov, I.V. Sposobin, and Hong Ding(Soochow University School ofMusic)andCheong Wai-Ling Peter Holman (University ofLeeds),‘Thomas Arne andCharles Burney’ of ThePrince’ Fairy John Cunningham(Bangor University), ‘New lightonThomas Arne’s setting Suzanne Aspden (University ofOxford), ‘Arne the “affected imitator”?’ Scholar), ‘Thomas Arne asateacher ofsingers’ Olive Baldwin (Independent Scholar) andThelma Wilson (Independent on amusician”:Arne’s Oratorio Judithinits wider musicalandsocialcontexts’ Britannica Trust), ‘“One ofthe most noble compositions that ever stamptfame Simon McVeigh (Goldsmiths, University ofLondon) andPeter Lynan (Musica soundartsecological practice’ Matthew Sansom (University ‘Inthe ofSurrey), making:insights gained from Claudia Molitor (CityUniversity London), ‘Sonorama’ landscape andmateriality’ Nell Catchpole (GuildhallSchool ofMusic&Drama),‘Interventions: Jan Hendrickse (GuildhallSchool ofMusic&Drama),‘Isolations’ Philippine presidential elections, 1953–98’ James Gabrillo (University of Cambridge), ‘The soundandspectacle of schools fromRiode Janeiro’ practice andaesthetics ofcompositionincomposers’collectives ofthe samba- Friederike Jurth(University ofMusicFranz Liszt),‘From the idea to samba: Sunday AfternoonSessions blioteca deCatalunyaMS M1 9 6 4 ’ 6pm –7pm The EdwardJ. DentMedalPresentationandLecture 4.30pm –6pmAnnualGeneralMeeting 4pm –4.30pmRefreshments Carlo Cenciarelli (Cardiff University), chair Rehearsal Room3 • • • musicality’ Mera (CityUniversityMiguel London), ‘The comedy ofaudio-visual Nürnberg onscreenin1920sGermany’ Áine Sheil (University ofYork), ‘From operato film:DieMeistersinger von between research andpopular culture’ Joanne Cormac (University ofNottingham), ‘Composerbiopics:interfaces Mark Everist (University ofSouthampton, President ofthe RMA), chair Marina Frolova-Walker (University ofCambridge) Reception sponsor ed byMusicaBrittanica 11 Sunday 4 September 12 Monday 5 September 3D MusicinTerez Shay Loya (CityUniversity London), chair Rehearsal Room2 3C TheCimbalominArtMusic Rehearsal Room1 G J Concert Hall 9.15am –2.30pmPublisherExhibition 9.15am –9.30amRegistration Monday 5September Three 20minutepresentations, followed bya30minutediscussion Richard Glover (University ofWolverhampton), convenor andchair Concert Hall Processes asResearch 3E RMAMusicand/asProcessStudyGroupPanel: CreativePerformance 11am –12.30pm 10.30am –11am 3 3 9.30am –10.30am David Fligg(University ofLeeds), chair Rehearsal Room3 • • • • • • • • • ul B MusicandVisualArt A Composersand‘GroupSelf-Contempt’ i llian Moore(SouthbankCent i an Anderson(GuildhallS Listening to Sound:Extended Audiovisuality Film’ inDocumentary Holly Rodgers (Goldsmiths, University ofLondon), ‘Hearing Musicand chansons détournées: notes for asituationist music’ Lola SanMartín-Arbide (University ofOxford), ‘From ambient musicto to intonation in John Cage’s Four for string quartet’ Mira Benjamin (University ofHuddersfield), ‘Exploringasystematic approach critical andmethodological reflections from aperformer-scholar’ Ian Pace (CityUniversity London), ‘Between academia andaudiences: some portable keyboards’ Xenia Pestova (University ofNottingham), ‘Pocket pianos: working with and viciouscirclesinPavel Haas’s Four SongsfromTerezín’ influence ofTheresienstadt onselected Lieder ofViktor Ullmann’ Rachel Bergman (George MasonUniversity), ‘Shakingdeath’s hand:the playing’ creativity: Liszt’sgypsy representations cimbalom ofHungarian-gypsy Hyun Joo Kim(Independent Scholar, New York), ‘Interpretive fidelity to Bohemian folk instruments inlate eighteenth-century Europeancourts’ Samuel Girling (University ofAuckland), ‘Exotictastes: the appearance of M a rt i n Curda(CardiffUniversit Refreshments/Registration

Í n Monday L

Monday MorningSessions

c h ool ofMusic&Drama),c re), respondent y ate MorningSessions ), ‘Grief,melancholia,un onv enor c a

n n y reflections James Davies (University ofCalifornia), chair Rehearsal Room3 3H SingingPractices Three 20-minutepapers, eachfollowed by10minutesofdiscussion Benjamin Walton (University ofCambridge), chair Katherine Hambridge (Durham University), convenor Rehearsal Room2 (Panel) 3G BeyondPropaganda:MusicandPolitics intheNapoleonicTheatre 3 3I Performing Notations: Relational ApproachestoMusicalMaterials 2.30pm –4pm MondayAfternoon Sessions David Milsom(University ofHuddersfield), chair Concert Hall ‘ClaraSchumann’s Romances Op. 22’ 1.30pm –2.15pmMonday Lecture-recital 12.30pm –1.30pm surrounding area, oneof ourstewards willbehappy toguideyou. Please notethat lunchwillnotbeprovided,butthere are anumberoflunchoutletsinthe 12.30pm –2.30pmLunch Fo Rehearsal Room1 • • • • • • • • • • • F u MusicasaMatrixforActi r 15-minutepapers, follo of the musictherapist: exploring Donald Wetherick (GuildhallSchool ofMusic&Drama),‘The musicianship exploring presenceandrepresentation throughpractice-based research’ Stuart Wood (GuildhallSchool ofMusic&Drama),‘“Care, The Musical”: vocal improvisation asamusictherapy technique inamental health setting’ Irene PujolTorras (GuildhallSchool ofMusic&Drama),‘The useofgroup the Norfolk countyasylum’ Rosemary Golding(OpenUniversity), ‘Outofmind,outearshot: musicin Laura Roberts (Guildhall School ofMusic&Drama) studio-laboratories: operaandsoundrecordinginthe nineteenth century’ Karen Henson (Frost School ofMusic,University ofMiami),‘Ofinventors and Pasta andthe Rossini belcanto style Anna McCready (Royal CollegeofMusic),‘‘Adistinctphysiognomy’: Mme “portamento” inlate eighteenth-centuryvocal chamber music’ Mhairi Lawson (GuildhallSchool ofMusic&Drama),‘The useof Napoleonic theatre’ Katherine Hambridge (Durham University), ‘Genreconsciousness inthe Cortez andthe aesthetic ofspectacle’ Sarah Hibberd(University ofNottingham), ‘“L’épique enaction”: Fernand Sueur’s OssianoulesBardes’ Annelies Andries (Yale University), ‘Dreaming‘Opérade Luxe’:Spectacle inLe BFE/RMAConferencesSub

wed

b on inHealthcareSettings(Panel) y a30-minutediscussion

-Committee 13 Monday 5 September 14 Monday 5 September Three 20-minutepapers followed bya30-minutediscussion Keith Potter (Goldsmiths, University ofLondon), convenor Rehearsal Room3 (Panel) 3L NewPerspectives onSteveReich viatheStudyofhisSketch Materials Andy Fry (KingsCollegeLondon), chair Rehearsal Room2 3K SourcesforPerformance PracticeStudies 3 Rehearsal Room1 4pm –4.30pm Four 15-minutepapers followed bya30-minutediscussion convenors/chairs) Emily Payne (University ofLeeds)andFlorisSchuiling(UtrechtUniversity), co- Concert Hall (Panel) • • • • • • • • • • • • • J TheMusicIndustry Steve Reich’s Musicfor 18Musicians: what the composer’s sketchbooks tell us’ Keith Potter (Goldsmiths, University ofLondon), ‘Tonality andharmony in of alterity’ Ross Cole(University ofCambridge), ‘Transatlantic bluesandthe performance tempo andrubato inrecordingsof Alexander Scriabin’s early piano preludes’ Stijn Vervliet (LUCASchool ofArts, KU Leuven), ‘Mapping performances: Conservatory’Brussels ‘Sources ofearly nineteenth-century violinperformance practice inthe Richard Sutcliffe (Royal Conservatoire ofBrussels/University ofBirmingham), practitioners andglobal learners’ Mark Thorley (Coventry University), ‘Global Patchbay—connecting industry the scene’ psytrance Christopher Charles (University ofBristol), ‘Ektoplazm.com—free musicand years ofthe Musicians’ Union’ Glasgow), ‘Protecting musicians fromthemselves? Criticalreflections on123 Martin Cloonan(University ofGlasgow) andJohn Williamson (University of notation andperformance inBeethoven’s late stringquartets’ Rachel Stroud(University ofCambridge), ‘“Notation associalnetwork”: Orchestra: acreative conundrum?’ Emily Payne (University ofLeeds),‘Performing Cage’s Concertfor Piano and material inthe performances culture ofthe ICPOrchestra’ Floris Schuiling(UtrechtUniversity), ‘Musicnotation astechnologyand notation andthe collapse ofthe Stockhausen Ensemble’ Sean Williams (Independent Scholar), ‘Creative agency innon-standard melodies”: understanding Steve Reich’s Octet through hissketches’ apPwyll Siôn(BangorUniversity), ‘“From resulting patterns to extended (Portrait der Schola 1981)’ Cantorum, which Ispeak:Gottwald, identity Reich inMein and linguistic Name Ist... John Pymm(University ofWolverhampton), ‘Englishisthe onlylanguage

Depart transformational, butalsoits disruptive potential. on the wider political andstrategic roleof an arts education, that emphasises its to existing teaching practice. In contrast, this session offers a more holistic perspective research pedagogic inmusichasoftencurrent clustered solely around improvements main focus onmusicalmaterial and its historical reception,while simultaneously, systems isroutinely under-represented research, withits inexistingmusicological strong ethicalandpoliticalfocus. Inaddition, the contributionofeducation to cultural obvious linkswithprofessional practice, andit should beclear that the session hasa emphasis onconservatoire training,andresearch into the nature ofthistraining,has The sessionwill contribute to the conference themes inthe following ways. The contexts (Wakeling; Ford). transformational andethicalbenefits ofthe arts, situating them firmlyincommunity Jackson) andpostcolonial theory (Clark; Ford), the four talksstressthe social, variously fromphenomenology (Clark; Wakeling), philosophyofeducation (Ford; inevitability ofthe effects onindividuals ofglobalised economies. Using approaches unique, perhaps autonomous roleto play inresistingthe conformity, inequality and if allowed to fulfilits criticalandcreative potential, aspecialistarts education hasa of musiceducation, andspecialistarts education ingeneral, insociety. We that argue literature,this recent criticalpedagogical with a view to the reimagining function This themed sessionwillbring the conservatoire context with squarely into dialogue perspectives.philosophical, politicalandpedagogical sustained criticalscrutiny, usingapproaches fromarange ofhistorical, sociological, implied bythese same trends,not surprisinglythey have come recentlyunder conservatoire andthe art school ingeneral. Butgiven the inherent reductionism crossed over fromthe large cross-faculty higher education institution to the music emphasis onthe essentialutilityofknowledge. Andmanyofthese trendshave production that exists to contribute to aknowledge economy, coupledwithapolitical dominant idea withinhigher education that the university subscribes to amode of research activity. within learning andteaching; afocusandincome onrecruitment generation from learner; money; afundamental changeinthe relationship between institution, teacher and similarly promotes consumerism ofthe throughtheprotection guise ofpublic the notion ofconsumer satisfaction; anincreasingaccountability framework that education throughthe introductionofstudent fees, resultinginthe ubiquity of arguably detrimental side-effects, including:the increasingmarketisation ofhigher on solelyquantifiable andmeasurable benefits. Thishasbeencoupledwithsome on its intrinsic value, withthe debate regarding societalcontributionoften centred Recent concerns over the role andfunding of higher education have focused attention 1A CriticalPedagogy andMusicEducation(Panel) Saturday 3September Abstracts Peter Tregear (Royal Holloway, University ofLondon), chair Jonathan Owen Clark (Trinity Laban Conservatoire ofMusicandDance),convenor Concert Hall,11am reductions inteaching grants andthe promotion of‘bestpractice’ themes These factors have all contributed to the of the construction now 15 Saturdaay 3 September 16 Saturday 3 September to similar themes inthe talksofFord andWakeling. transformative, qualitative andethicalaspects ofmusic andarts education linkdirectly Only anaesthetic education cancontinueto prepare usfor this’(Gayatri Spivak). These experiencing beingexceptinsofar asitwas always implicitinits vanishing outlines. aspect ofourlives. Globalisation cannever happen to the sensory equipment ofthe pernicious presuppositiontoday is that globalisation hashappily happened in every rooted in the perceptualand communicative potentiality inherent in all arts: ‘The most the conservatoire asthe idiomatic home ofa suitable ‘aesthetic education’ which is these disciplines assimple adjuncts to the entertainment industry, andwe for argue music and art that hasbeenside-lined models in current ofhigher education that sees both the inherent, andpotentially subversive perceptual-communicative nature of inherence inthe world, seenfromaphenomenological perspective. Itisprecisely aesthetically exemplifiesfactors which are basicto ourcognitive andmetaphysical in Luhmann Rancière and Adorno). We extend these ideas to also show how art communication incontemporary society(following similar argumentative tropes can causedisturbances, perturbations and‘irritations’ into more general networks of which extends to the manner inwhich the perceptualtransformations enacted byart nature that is rooted in the perceptive and sensory capabilities of the experiencer, but we canperhaps start fromthe unique idiomatic nature ofmusicandart itself; a suggested in the first paper by Jackson, the second talk in the session will claim that (Schiller; Spivak) may beconstructed outofthe framework criticalpedagogical In attempting to answer inmore detail how asuitable musicalor‘aesthetic education’ Jonathan Owen Clark(Trinity LabanConservatoire ofMusicandDance) What isasuitable‘aestheticeducation’? links withthe papers ofbothFord andWakeling. educational practices that rediscover critical and creative socialengagement, which music education canthen beunderstood asapotential site for developing alternative (Alvesson); ofrepression (Giroux). The pedagogy paper concludes byclaimingthat ofhope’ (Friere);of: ‘pedagogy stultification (Rancière);educational fundamentalism can bebetter understood andcontextualised throughthe concepts criticalpedagogical ofneoliberal freemarkets,structures socialjusticeandthe roleofhigher education erode genuine democratic engagement. The relationship between the intersecting is perceived asaninherent ‘good’for democracy at the same time asthey simultaneously political models. Suchmodels containaparadox whereby obtaining ahigher education dispelling the ‘illusion’ofsocialjustice promoted pedagogical- throughcurrent vocabularies andmethodologies, drawing onthe work ofWendy Brown, to assistin The disruptive potential ofmusicandarts issuggested asaninitialpointinestablishing ‘aesthetically negative’ (Adorno) linksthe material withthe following paper byClark. normative neoliberal discourses.Furthermore, thisaspectofthe ability ofmusicto be context to reshape and reimagine its practices, inorder to resistwhat have become engagement can enable music within a higher with critical pedagogy education contexts becoming ‘Dead Zones of the Imagination’ (Graeber) that it argues an higher education. Inparticular, following HenryGiroux’s critiqueofeducational pedagogy, and continues by connecting this literature to the topic of music within This paper prepares for the others bysketching the recentliterature oncritical Louise H.Jackson (Trinity LabanConservatoire ofMusicandDance) ‘Dead zones’ofmusicinhighereducation programme analysis anddelivery, the paper thusfollows applied theatre practitioner relations among participants. Incallingfor amore nuanced andreflexive approach to between past,presentand future experiences,while building richnew self/other paper demonstrates how suchactivity cancreate andenrichinglinkages intriguing closely withthe first-handexperiencesofparticipants andpractitioners involved, the methodology proposedinthe earlier talkbyClark). Using thismethodology to engage and phenomenological analysis (which linkssquarely withthe phenomenological such activity’s ‘own terms’, as revealed through ethnographic participant-observation possibilities ofdiscovery andtransformation that music-makingcan initiate, buton model of project design and research that better embraces the complex processes and Laban Learning andParticipation department, the paper then sets outanalternative much participatory arts activity. Focusing on the cross-arts work of the Trinity outcomes among children) which drive the funding,delivery andassessment of and well-being outcomes among older peopleor improved non-arts-based learning outlines some of the increasingly prevalent ‘impact’ agendas (e.g. enhanced health such activities that are at oncemore ethical,democratic andreflexive. The paper first proposes alternative approaches to the design pedagogical andresearch analysis of and Participation department, particularly its work witholder people,the paper music education programmes. Drawing onthe work ofTrinity Laban’s Learning that aimat analysing bestpractice insuchparticipatory andcommunity-based widespread instrumentalism found to underpin the evaluative research methodologies provision for engagement withtheir localcommunities.Thispaper challengesthe higher education, manyconservatoires andmusicdepartments have augmented their Following the introductionofimpact andknowledge exchangeimperatives into Kate Wakeling (Trinity LabanConservatoire ofMusicandDance) delivery ofparticipatorymusiceducation ‘Affecting change’: ethics and instrumentalism in the research and and develop the conservatoire asacreative andcriticalspace. exchange between withthe host potential andvisitingcultures, to renew traditions performance couldenrichthe conservatoire environment byoffering anequitable and explore howlanguage, ideas of glocalisation, cosmopolitanism and intercultural the assumed innocence ofclassicalmusicasareadily exportable international writings onpost-colonialtheory(Bhabha, Spivak) asastarting point,Iquestion political and ethical implications of the internationalisation of conservatoires. Taking music inChinaandsurroundingcountries.Thispaper examines some ofthe cultural, drivesrecruitment inEastAsiadesigned to benefit fromthe popularity ofclassical national barriers, conservatoires are well placed to capitalise onthismodern trendwith as abusiness model. With musicpositioned asaninternational transcending language exporting our degrees by offering courses in satellite institutions, has been successful growth of a British education, in both increasing numbers of visiting students and in funding have resulted inwhat hasbeencalledthe marketisation ofthe sector, andthe internationalisation of higher education is economic necessity. Cuts to government students, professors andinstitutions alike, rationale asignificant behindthe increasing Though international exchangecanmake strongclaims to offering benefits to focused onthe effects ofglobalisation andthe internationalisation ofdegree courses. Over the lastfifteen years, strandofresearch onhigher asignificant education has Biranda Ford (Guildhall School ofMusic&Drama) A conservatoireeducationinaneraofglobalisation 17 Saturday 3 September 18 Saturday 3 September shootings ofJews inEastern Europeinthe early 1940s. of musicintorture, war crimes andgenocide aswell, includinginthe caseofmass paper usesanalyses ofthese discoursesto offer new perspectives onmore recentuses tendencies inhow ofoutlaws the music andlanguage andoutsiders isportrayed, the order. Starting withthe so-called‘charivari’ traditions offolk justice, andalsocovering to portray butalsoenact ideas ofharmony andtransgression withregard to the social Middle Ages onwards how to discuss have music and musical symbolism been used violence: aspects ofarelationship’. Thispaper usesseveral examples fromthe European from the perspective ofmusical,socialandlegalhistory inthe paper ‘Music—justice— music in ill-treatment. The relationship between music, violence and justice is explored as the contributionofmusicinstitutions, suchasRMA,inmaking public the usesof music research canplay inrevisiting andupdating legaldefinitions oftorture, aswell by law commissions to andtruth the presentday. the potential Itdiscusses rolethat grasp musicaspart ofthe torture techniques dueto the restrictive definitions used of research andhumanrights legislation inChile’examines the shared inability to notion ofmusicasaninherently enlightening art-form. The paper ‘Reciprocal effects used, butsaw itas something separate; this separation is also indebted to the humanistic number ofthemsignificant didnot understand musicaspart ofthe torture techniques acknowledged the terror anddamage suffered asaresultofthe useofmusic,a the interviewees’ understanding oftorture. Inbothcases,even though interviewees shared withthe paper onChile,about the way locallegalnotions oftorture shaped discrepancies withregard to the useofmusicindetention. Italsoraisesconcerns, naturechallenging ofsurvivor testimony, the papermemory lapses discusses and of techniques, stillemployed today inthe so-called‘War onTerror’. Drawing onthe It focuses onthe continuoususeofpopular songsaspart ofasophisticated combination (1967–74)’ shows how sound andmusicwere usedbythe Juntainthe context oftorture. ‘Music, soundandtorture inthe detention centresofthe juntainGreece military of politicalprisoners throughinterviews withsurvivors andperpetrators. The paper Ages. The papers onGreece andChileexplorethe useofmusicduringthe detention between concepts ofmusicalsound,violenceandjusticeinEuropesince the Middle 90). These papers willbesupplemented byareflectiononthe historical connections points offocus are the Colonels’ Greece Pinochet’s (1967–74),andAugusto Chile(1973– This sessionexamines the useofmusicintorture, conflict,andgenocide. Geographical of music,they have generally failed tothat recognise thismay beclassedas torture or interviewees have identified physical andpsychological damage asaresultofmisuses being employed bythe Pinochet regime (1973–90)uponpolitical prisoners. Although we have interviewed victims andperpetrators oftorture who have referred to music As part (Chornik) ofourethnomusicological andapplied ethics(Guerrero) research, Katia Chornik(University ofManchester) andManuel Guerrero (University ofChile) Reciprocal effectsofresearchandhuman rights legislationinChile 1B Music,Violence,Justice(Panel) towards ‘affect’ inthe participatory arts. Thompson (2009)instressing the profound need to move away from‘effect’ and L Anna Papaeti(IndependentS Rehearsal Room2,11am u kas Pairon(UniversityofGhent),chair c holar, Berlin ), convenor in which aform of‘anti-music’or‘paramusic’ played role.The asignificant musical recent times. Mystarting point will beso-called‘charivari’ traditions offolk justice, a new perspective onthe useofmusicintorture, war crimes andgenocide in more music, law andjusticefromthe EuropeanMiddleAgesonwards, asaway to gain In thispaper Iwant some to aspects discuss ofthe historical relationship between Morag Josephine Grant (IndependentScholar, Berlin) Music—justice—violence: aspects ofarelationship detention. moments are keys to the coded messages they withregard carry to the useofmusicin the ofacute traumaandits psychic manifestations structures these inlanguage, memory lapses, contradictions, repetitions andmemory blocks.Taking into account the elusivenessdiscusses ofso-called‘music torture’. Italsoconsiders the status of accountsand benign for suchomissions andmisperceptions. Inthiscontext, the paper trials in 1975, the humanistic perception of music as something inherently positive torture at first.Inaddition to the restrictive legaldefinitions usedfor the torturers’ the discourse.Even interviewees themselves failed to graspmusic’s implications for Greece (1975),the useofmusicandsoundhassofar absent beenconspicuously from withseminal trialsinStrasbourgthe (1969)and juntahasbeenasubject ofscrutiny drink deprivation andcontinuous standing,among others). Although torture under it combined together rather banalmethods (suchascontinuousmusic,sleep,food and more effective way ofshattering subjectivity, while not leaving anymarks onthe body, interrogationcutting-edge methods of the time, practiced at EAT/ESA. Devised as a Piraeus), andthe Athens-based SpecialInterrogation Unit EAT/ESA. Itfocuses on and silence were used in the detention Forces centres of the Security (Athens and testimony inexistingsources,thispaper exposesanddocuments how music,sound (1967–74). Drawing onnew interviews withsurvivors, supported byoverlooked humiliate and‘break’politicalprisoners inGreece under the dictatorship military This paper examines the various usesofmusicandsoundasameans to terrorise, Anna Papaeti (IndependentScholar, Berlin) in Greece(1967–74) Music, soundandtortureinthedetentioncentresofmilitaryjunta iii. ii. i. paper discusses: on international andlocallegislation, andourresearch practice. Inparticular, the to victims. Thispaper addresses the reciprocaleffects ofresearch andpolicy, drawing eradicate torture, to investigate andpunishperpetrators, andto provide compensation ratified (1988)the UNConvention against Torture (1984),inwhich nations agreed to Chile hasstillnot updated its internal legislation despite having signed(1987)and is linkedrecognition to the lack of typification of torture in Chile, and to the fact that other forms inhuman and degrading of cruel, treatment. We that argue this lack of

the AmericanSociety(2008). Musicological Position Statements onTorture ofthe Societyfor (2007)and Ethnomusicology attention to mis-usesofmusic and in exertingchanges in policy, following the the potential roleofthe Royal MusicalAssociation indrawing the wider public’s in helping makers policy to typifyandupdate humanrights legislation, and the potential roleofmusicresearch, linked to the moral consideration ofvictims, own understandings ofwhat isandnot torture how the limited definitions commissions have usedbylocaltruth shaped victims’ 19 Saturday 3 September 20 Saturday 3 September two-channel stereophony lay at the horizon ofexpectations ofcontemporary listeners discourse onthis work aswell asananalysis ofthe extent to which the experienceof apparently anodyne question requiresanevaluation ofBoulez’s constantly evolving of stereophony inscribed into the fabric ofthiswork? Answering thisunusualif music fromGabrieli orBerlioz, to what extent isanallusionto the technology question immediately arises: even if sound technologyinto homes throughout the western world. Ahistoriographical introduction ofstereo long-playing records that ledto the mass-distribution ofstereo place inthe domain recording andsoundreproduction,specificallythe commercial the important technological developments of this era as far as music is concerned took the orchestral choirs are divided into several groupsandscattered across the stage. One of Boulez’s 1958orchestral work Jonathan Goldman(University ofMontréal) Listening toDoublesinStereo Boulez: Lemaîtreetsonmarteau. from that to be found in the 2005 book around the topic by Philippe Olivier, Pierre the years between 1966 and1977—andaimto provide arather different perspective the counterpoints between GallicandGermanic—mainlybutnot exclusively during France, profoundly affected hisdevelopment. Sointhispaper Iwillexploreafew of things German,American orFar Eastern, andhisexperiencesinplaces other than mean that he can be properly assessedbyFrench criteria alone. Boulez’s awareness of Pierre Boulezisroutinely described asaFrench composerandconductor. Butthat doesn’t Arnold Whittall(King’s College London) Boulezian ThemesFromthe1970s:BayreuthtoBeaubourg 2018. translation bythe three panel participants willbepublished byFaber &Faber inSpring Collège de France (1976–95),collected inLeçons de musique(2005),whose English conference talksfollowed that byapanel discussion focusses onBoulez’s lecturesat the This panel proposesto honour the memory ofPierre Boulez(1925–2016)throughtwo 1C InMemoriamPierreBoulez(Panel) in eastern Europeinthe early 1940s. times, drawing amongst other thingsoneyewitness reports ofmassshootings ofJews we thinkabout the useofmusicinthe context oftorture andgenocide inmore recent paper, how Iwilldiscuss these examplescanprovide adifferent kindofcontext to how HaCohen’s musicalhistory ofantisemitisminEurope.Inthe thirdandfinalpart ofthe as noisy, unpleasantordisruptive, asIwillexplorewithparticular reference to Ruth ofoutlawsor language andoutsiders have sinceantiquityoften beencharacterised the late medieval andearly modern periods.Alinkcanbedrawn here to how the music examples include musicaliconography inimages ofjudgement andpunishment from on the one hand, and transgressions against that normative order on the other: further frequent recourseto inthe musicalsymbolism portrayal ofa‘harmonious’ socialorder calls, andtakingplace at nightto maximisethe disturbance—is justone exampleofa component ofcharivari—typically consisting ofloudandinharmonious soundsand Robert Sholl (Royal Academy ofMusicandUniversity ofWest London), chair Rehearsal Room2,11am Doubles Doubles makes useofanunusualseating planin which partakes inthe tradition ofantiphonal Talevi, the 2015 costume designs were surviving basedonoriginal costumes from the anddesigns staging indetail sources. Directed fromoriginal by Alessandro Opera diRoma, inthe theatre for which their own interpretation ofthe settingsofeach act, onlythe 2015productionat Teatro Although manysubsequent productions borrowed elements fromthisdesign, orfrom that, even under thissystem, the productionevolved. many years. Surviving licensing ofproductions at the time itremained the onlyauthorised productionfor artistic licence,for the dramatic andsonicworld of1800Rome. Under the system of Sant’Angelo, echoing Puccini’s own topographical andhistorical research, with have beenmade onlocation, at leastfor ActIat Sant’Andrea della Valle andCastel La Bohème sets andcostumes for muchofRicordi’s inthe catalogue 1890sincluding Puccini’s Costanzi, Rome, was designed byAdolfo Hohenstein, who had already produced The productionof original Andrew Holden (Oxford BrookesUniversity) production ofTosca Bringing Hohenstein to life:Teatro dell’OperadiRoma’s new may changeacross time. andindividuals createcultures ‘meaning’ throughobjects andhow suchmeanings historical research andpresent-day professional practice andwillconsider how more traditionally conceived. The panel asawhole willexplorethe interface between the roleofobjects andpossessions withinlife research as writingandmusicological collectionsthe withinthe roleofmuseum studyofmusic.The thirdpaper examines tool for non-specialist encouraging audiencesto learn about operaanddiscussing second paper engages withthe impact agenda, considering how objects canbeauseful of ‘authentic’ objects inrecreating historically-informed operatic performances. The scholarship. The first paper is concerned with operatic practice, interrogating the role early twentieth centuriescanbeusefulinthreeverydifferent areas ofopera-focused this sessionwillconsider the ways inwhich material objects fromthe nineteenth and comparativelydiscussed rarely withinthe discipline ofmusicology.The threepapers in no longeranew area sofar associalhistorians are concerned, butitissomething that is historical narratives within the field of opera studies. The study of material is culture This panel sessionwillexamine the relationship between physical artefacts and 1D OperaticObjects(OBERTO OperaResearch Panel) Jonathan Dunsby,Jonathan GoldmanandArnoldWhittall Evidence oftheCollègedeFranceLectures Panel Discussion:CanOneSpeakofBoulezian MusicTheory?The Boulez’s ascension into the eleganthighsocietyofParisian orchestral concerts. might evoke inalistener akindof‘unplugged’stereophony inthiswork that marked of Doubles Susan Rutherford (University ofManchester), chair Alexandra Wilson (Oxford Brookes University), convenor Rehearsal Room3,11am . Moreover, it must be ascertained whether the score contains gestures which and Falstaff disposizioni sceniche . The Tosca Tosca setdesigns were basedonsketches which must , which opened on 14January 1900at Teatro Tosca at CasaRicordifor later productions show was written, hasattempted to reproduce 21 Saturday 3 September 22 Saturday 3 September the ways inwhich analysing the contents can ofthe auctioncatalogues Caruso methodologies drawn thispaper fromthe study ofcollectingculture, willexplore lives throughtheirfigures’ personallibraries. Informed bysuchapproaches andby Several suchasJungandWilde recentbiographies offigures have ‘read’ historical including manywithanoperatic connection. collection ofexquisitely boundandillustrated books, eclecticinsubject matter but as wigs,buckles,whips anddaggers. The finalday ofthe salewas devoted to Caruso’s complete costumes worn infourteen byCaruso operas,together withaccessories such porcelain, antiqueItalianfurnitureandmedieval iconography. Alongside these were including ancientglassfromthe Near andMiddleEast,gold coins, French andOriental a vast collectionofart. Among the objects onsalewas anarray items, ofrare luxury fortune during the 1900s and was estimated to have spent over $500,000 on amassing personal effects ofthe recentlydeceased tenor The EnricoCaruso. singerhad made a American ArtGalleries,East57thStreet,New York City. Under the hammer were the Over the courseoffour days inMarch 1923,alarge scaleauction took place at the Alexandra Wilson (Oxford BrookesUniversity) Caruso’s books:Opera,biographyandmaterialculture recording technology. that objects canoffer aneffective way ofconnecting withamusicalworld that predated consider how historians ofmusicmightmake better useofmaterial arguing culture, considering boththe advantages andpotential pitfalls ofthistypeproject.Iwill an effective vehicle for public engagement and the dissemination of academic research, story throughanexhibition.Itwillexplorethe ways inwhich exhibitions mightact as This paper willoffer a reflection onthe processbywhich Iwas able to tell Santley’s as personaleffects includinghisjewellery andsmoking pipe. feature aremarkable collectionofawards andhonours bestowed uponSantley, aswell and letters that shed light onhiscareer, connections andcelebritystatus. Itwillalso exhibition willfeature portraits andhiscircle,aswell ofSantley askey documents in April2016.Iwillcurate thisexhibition, drawing uponmydoctoral research. The neglected in a basement, will form the basis for a new to exhibition about Santley open at the Records Office in Liverpool, the city ofhisbirth.These collections, which lay On his death in1922,a collection of Santley’s papers andpersonaleffects was deposited landscape inthebecame cultural ofthe animportantfigure late nineteenth century. six decades. With Victoria illustrioussupporters includingQueen andDickens, Santley international celebrity. The first singer ever to be knighted in Britain, his career spanned The baritone SirCharles was Santley astar ofthe Victorian operatic stage andan Anna Maria Barry(Oxford BrookesUniversity) Exhibiting SirCharlesSantley:researchondisplay which bothRoman productions took place. audience receptionwhich the context productionprocessraisedandthe in cultural This paper will examine questions of dramaturgy, technology, artistic motivation and collection at CasaRicordi. the company’s own collection,aswell asthe costume sketches andsetdesigns inthe The purposeofthissessionisthreefold: improvisation intheir Masters’ andDoctorate finalconcertassessments projects. several levels ofintensity, allowing those who sochoose to include elements ofclassical 1990s. Classicalimprovisation isnow beingtaughtthroughalldepartments with this art, throughcoursesandworkshops, performances andresearch, sincethe early leading musicinstitutions to include the teaching andlearning, aswell aspractice of The GuildhallSchool ofMusic&DramainLondon hasbeenone ofthe firstworld- exceptions. teaching andpractice inthe context ofclassicalmusicrepertoire, withonlyafew improvisation. However, interestingly, thisrenaissancedoes not include its (yet?) of absence, the Western to re-discover hasbegun art-music the industry powers of enhanced engagement between performers and their listeners. After a century-long performance up until the twentieth culture century, providing an element of Adventurous extemporisations usedto beanintegral part ofWestern art-music 3. 2. 1. Classical ImprovisationinWestern Art-Music Performance Culture CurrentandFuturePerspectivesLecture-Recital: ontheRevival of particular public persona. their readingdiscussed habits andtaste inbooksthe pressasastrategy to presenta Operaticbook culture. recordswere marketed muchlike popular novels andsingers will alsoexamine broader intersections between early twentieth-centuryoperaand inform ourunderstanding ofhisbiography. Focusing onthe booksinparticular, it

Following the above, to reflectonthe implications for professional practice and Thomas Carroll, cellist(Royal CollegeofMusic) Eugene Feygelson (KingsCollege,London, Henrik Jensen (ImperialCollege,London) John Sloboda (GuildhallSchool ofMusic&Drama) David Dolan(GuildhallSchool ofMusic&Drama) John Rink(University ofCambridge), chair Concert Hall,1.30pm Dolan, andwillbedivided between: piano duo.Thispart willinclude aperformance byThomas Carroll andDavid listening andteam-work, risk-takingandexpressionbyaprofessional celloand To share aperformance ofclassicalimprovisations andits impact onactive enhance the revival ofextemporisation ofthe culture in the context ofWestern To actual outline and potential anddiscuss developments, which mightfurther and performers’ engagements andexperience. perspectives about the impact ofimprovisation inclassicalmusiconaudiences’ studycombining psychologicaldisciplinary neuroscience, andmusicological public receptionofthe results, feedback andimpact sofar ofathree-year inter- .Approaching repertoire performance bymeans ofsearching for harmonic b. Duo improvisations (both tonal in classical styles and tonally- and structures a. extemporising onthem. reductions oftheand structural work andinternalising those reductions by awareness.structural free), focusing onactive listening, andthe fusionofspontaneity and 23 Saturday 3 September 24 Saturday 3 September 1E NewAudiences flavour ofthisinterdisciplinary probing. composer’s life andwork. Inthislecturerecitalsingersandpianists combine to give a focus, deepened not just his approach to Schubert, but to the relationship between any The detailed background research required,combined withhisunexpected dramatic pianist Ed,too, to findhimself castasFranz Schubert inafullystaged theatre piece. the power ofthe experience,to the shock ofthe new. Itcame asasurpriseto postgraduate the introductionto Ives’s From the Swimmers the conviction totestified hissinging to to plungehishead into abucket ofwater onstage. When he emerged, gaspingfor air, to editorial engagement. Postgraduate baritone Gary, oncezippedinhiswetsuit, was asked the processbothnew perspectives oncomposerbiography and aheightened relevance of commit to anunfamiliar combination ofsong,speechandmovement, experiencingin nor practise. pedagogical Instead itmaps outafertile middleground,where students recital aims to sumupanapproach which isneither exclusively practise asresearch draw outfrombothsingersandpianists anew level ofimaginative input.Thislecture both skillsetandrepertoire, song in specially devised staging narrative contexts that has over the last8years developed auniqueform ofmusic theatre which expands what their coreskillsmightbe.Responding to these challengesthe GuildhallSchool it means to beasingerandpianistinthe 21stcentury, together withareappraisal of core repertoire. Changesinthe musicindustry, however, demand afreshlookat what Conservatoire trainingfor singersandpianists tends to revolve around coreskillsand New Context forSong Gary,Lecture-Recital: canyoubringinyourwetsuit?Evolutionofa to include venues inGreater London andmajorcities inthe north ofEngland. of Parliament the andBuckinghamPalace. organisation Quickly of concerts expanded held at the Methodist CentralHall,Westminster, andastone’s throw fromthe Houses in seriesofsixto eightconcerts perseason, each concertat 11amonaSaturday morning, provided the foundation for the success of the enterprise. The concerts were organised as well as the Continent, and his ability to negotiate reduced halland performing fees, The combination ofMayer’s philanthropy, his socialnetwork ofmusicians fromthe UK Mayer Concerts for Children were afixtureofthe musical programminginLondon. From the early 1920suntilthe late 1970s,withthe exceptionofwartime, the Robert David Kidger (OaklandUniversity) young peopleinEnglandthe1920sand1930sfor thefirsttime The Robert Mayer ConcertsforChildren:bringingorchestralmusicto Concert Hall,2.30pm Roy Howat (Ro Rehearsal Room,1.30pm I practitioners, researchers, teachers andadvanced students together. for improvisation inart-music pedagogy, research andpractice, bringing particular the sessionwillexplorewhat rolemightbeplayed byaglobal forum art-music performance, impacting audiences,musicians andcommunities. In ain Burnside

(Guildhall Sc yal Academy

h ool ofMusic o f Music&Royal Conservatoire ofSc &Drama) otland), cha ir ultimate legacy to twentieth-century music. as composers (as opposed to performers) raises interesting questions as to the Beatles’ Bernstein’s uniqueappeal to both.Atthe same time, Bernstein’s emphasis ontheir role togethervalues andprioritiesinbringing youth through and adult cultures Beatles, then, played roleininforming acrucial andenrichingAmerican cultural gaps between inAmerica different throughthe milieus British invasion. cultural The notoriety ofthe Beatles to bolster interest inclassicalmusicperse,attempting to bridge art music inthe twentieth century. Atthe same time, Bernstein usedthe fame and and thereby tiethem into anarrative ofprogressthat is familiar fromhistories of see how Bernstein helped to situate the Beatles inalongerline ofclassical composers aspects ofthe Beatles’ art were identified, exploredandpresented to audiences,we can Inlookingata lively what dialogue. andengaging melodic, harmonic, andlyrical Beatles’ musicto anaudienceduringaperiod when classicalandpopular styles enjoyed in these broadcasts, but also considers Bernstein’s interpretation and presentation of the note. This paper explores the intersections of classical and popular music as evidenced the notable occasions, specifically onanepisode of classical andpopular realms into hisbroader musicalappreciation agenda. Onafew music. Aninclusive musician,Bernstein attempted to bringperspectives fromboth Young People’s Concerts of the New York Philharmonic, throughhistelevision programmes a considerable influenceonAmerican public taste throughhiswork asaconductor Leonard Bernstein, hailedasone ofAmerica’s greatest home-grown musicians, exerted Elizabeth Wells (Mount AllisonUniversity) 1960s America Bernstein andtheBeatles:intersectionsofpopular and classicalin continental Europe. which bythe 1930sincluded anumber ofémigrémusicians andcomposers from endeavours, and an examination of Mayer’s growing artistic, socialand political circle, includes areappraisal ofMayer’s early life inEnglandpriorto hisphilanthropic the newly available MalcolmSargent Archive, andthe Royal CollegeofMusic.It Hamilton, Ontario, andrelated archival collections at the BritishLibrary, including This paper isbasedonresearch at the Robert Mayer Archive at McMaster University in basisfromtheconcerts 1930sonward. onaregular with newspapers showing photos ofmembers ofthe Royal Family, who attended the marketed withsome skill.Threegenerations ofthe Royal Familyattended the concerts, London, includingAdrian Boult,MalcolmSargent, andJohn Barbirolli. They were These concerts were directed bysome ofthe most importantyounger conductors in being made upfor the most part ofgroups ofchildren fromschools, andfamily groups. The by-line ‘No adult admitted without achild’,tells its own story, withthe audiences relatively new conceptofmusicappreciation. taste andaudiencedevelopment, aswell asthe integration ofmusiceducation andthe concert platform. Assuchthey presentauniquewindow onthe shaping ofcultural These concerts almost always incorporated introductions andcommentaries fromthe This paper concentrates on the concert series from 1923 until the outbreak of war. Harvard Lectures , Bernstein invoked the Beatles asmodern composersofparticular , andthe Harvard Lectures The Young People’s Concerts , aswell asthroughhisbookson Omnibus, The Omnibus, The and during andduring · · · · · 25 Saturday 3 September 26 Saturday 3 September the reproductionofmusichistory, suchthat ‘the’ new music ensemble andits musical, influence ofensembles andinvite usto reconsider the (in)visibility ofensembles in and formation of music history, these studies help to frame the art-world position and sonic politicsofmodernism in1970sBritain.With ourear to the processes,discourses new genreofmusic-musicfor the Pierrot ensemble- andwithitwhat we mightcallthe The FiresofLondon) anddemonstrates the ways inwhich ensemble practice spawned a canonisation, Dromey’s studyfocuses onthe Britishensemble The Pierrot Players (later programmed duringthe twentieth century. With anemphasisonconcerthistory and Pierrot Ensemble, astudywhich exploresthe ways inwhich ensembles. Andin2012,Christopher Dromey published ahistory ofwhat he terms The of new musicinBritainsincethe 1960s,focusing on‘resident’ groupsaswell astouring between those repertoire-led andcomposer-ledensembles dedicated to the performance In his 2005 essay on the London Sinfonietta, David Wright identifies a distinction 1F AspectsofEnsemblePracticeinthe1970s(Panel) 3. 2. 1. with repeat attenders? The projecthasthreephases: for newcomers to connect with the ensemble and its identity? How does this compare journeys ofaudiencemembers attending ausualBritten Sinfonia event? How isit easy London scene presents different challenges. The project asks, what are the motivational venues, with core audience members who are highly attuned to the orchestra’s ethos, the in London. Whilethe organisation hasanestablished loyal following inits regional projectshiftsThe current the focus to the ensemble’s relationship withits audiences the ensemble adeep insight into the orchestra andits working relationships. classical music, and the enhanced experience gave even participants who were new to participants were either established audiencemembers oralready highlyengaged with largely served to confirmits audienceengagement ethos andstrategies. However, the with thewere organisation’s strikingly congruent sense of identity, such that results process andthe professionals involved. Participants’ views ofthe Britten Sinfonia engagement inthe concert,enabling audiencemembers to connect withthe artistic concerts. Itshowed that pre-andpost-concertevents were perceived to deepen experiences ofacurated seriesof‘enhancements’ builtaround two Britten Sinfonia Guildhall School, andCambridge University, which exploredaudiencemembers’ This research buildsonacollaborative projectinvolving the Britten Sinfonia, the Music &Drama) Karen Wise (Guildhall School ofMusic&Drama) Journeys ofnewaudiences Eric Drott(University ofTexas at Austin),respondent Roddy Hawkins (University ofManchester), convenor andchair Rehearsal Room1,2.30pm individual motivations for attending. perspectives ofthe organisation itself andmultipleaudienceviewpoints, andinto three months later. Data give insight into the organisation’s identity fromthe Follow-up interviews withseven respondents (new-comers andrepeat attenders) Britten Sinfonia event; An online questionnaireanswered by109audiencemembers after attending a main concerns andshape the research agenda; . In-depth interviews withBritten Sinfonia personnel to clarify the organisation’s and John Sloboda(Guildhall School of Pierrot Lunaire has been hasbeen Liam Cagney(U Ensemble L’Itinéraire’srole intheestablishmentofFrenchspectralmusic composers (Gr music-making. they testify to the uniquecomplexitiesinvolved inlate twentieth-century American illuminate minimalism asacommunitypractice, situated withinbroader and milieus, with anyfeud between the two groups’namesake composers.These insights further with contract negotiations, non-competition clausesandlabour hierarchies asitdid fraught relationships amongst the musicians. Their separation had asmuch to do period. Incorporation, on the other hand, also compounded a network of already- certain instrumental practices which we now associate withminimalistmusicofthis motivated aminimumnumber to ofconcertdates secure peryear, thereby stabilising advantage of the new as it went policy into effect in 1972. Reich and Glass were thus unemployment support to workers in small firms. Musicians and artists to rushed take A majorNixon-eraeconomic reform, moreover, greatly expanded for eligibility years insimilar bidsfor andsurvival. legitimacy the New York art-and-performance communityalsoremade themselves duringthese unprecedented expansion in government arts funding in the United States. Many in in order to demonstrate fitness aspotential grantrecipients duringaperiodof unexamined roleinthisfamiliar history. Groups like these needed incorporation this presentation that argues legalincorporation played butpreviously asignificant Philip GlassEnsemble. Drawing uponinterviews, archives andgovernment reports, organisations. The latter are known to ustoday asSteve Reich andMusicians andthe split acrimoniously andincorporated themselves astwo separate professional In the early 1970s, asingle, informal group of performers in downtown Manhattan David Chapman (Rose-Hulman InstituteofTechnology) Musicians andthePhilipGlassEnsemb Minimalism, incorporated:thebusinessofbecomingSteveReich and only apart butalsoanactor. viewed inrelation to the established historiographical accounts ofwhich they are not 1970s ensemble practice inorder to tease out the ways inwhich ensembles mightbe against Spectralism,andsoon.Thissessiontherefore focuses onthreeexamplesof practice, where New Complexityispitted against neo-Romanticism, Minimalism asameansparticularly fruitful ofrethinkingprevailing accounts of1970sart music dimensional groupingstrategy inthe identification ofpost-war art music.Thisseems and historiography provocatively argues for a new conception of genre as a multi- ofperiodsandtendencies.ontology Inarelated way, EricDrott’s recentessay ongenre ofpost-war musicstilltendsmusicology to recountthroughacomposer-based involved inthe historyofmusicscenes (andbyextension, styles andgenres)which ensemble practices form part ofawider analysis ofthe visibleandinvisible actors New York and London is the most prominent example.In Piekut’s accounts, though, actor-network theory. Here BenjaminPiekut’s recentwork onexperimentalism in But the functionofensembles mightalsobeviewed throughthe Latourian lens of historical andsocialresonancescanbemore fullyconceptualisedandheard. w Research onFrench spectr orks, without i

sey, Murail, D n iversity Coll a l musictodate has tendedtofocu ege Dublin) u fourt and soon ) andwhat are le perceived ast s onspecific h e ir key

27 Saturday 3 September 28 Saturday 3 September m music; French v c M Murail a Suoraan in the emergence of ‘New Complexity’ inBritain Suoraan intheemergenceof‘NewComplexity’ One complexity, twocomplexity, more:exploring theroleofEnsemble S compos the in performers th from subsidy t of closure the writte report s data primary Drawing Le and Dufourt commissioning rise tospect new French the on appearing collective the discusses a T a serve ausefulhistoriographical function. on performance andreceptionrather thancomposition, New Complexitymay yet term and idea ‘New Complexity’ in the British new music art world. With the emphasis paper assessesthe importanceofSuoraanfor anunderstanding ofthe emergence ofthe and long-lastingrelationship withthisrepertoire, using the same coreofplayers.) This younger complexcomposers.(Ensemble Exposé went onto form amuchmore explicit part in the Britishperformances of works by the Finnissy, Ferneyhough andthe initially onthe instrumentation ofthe FiresofLondon, the ensemble played apivotal formed in London by composers James Clarke and Richard Emsley in 1977. Modelled Suoraan (Finnishfor ‘straight-ahead’) was a‘composer-driven’ new musicensemble primacy ofthe composerat the expense ofother elements. rather thanasinglegrouping,isitself problematical becauseitcontinuesto assertthe those composersassociated withthem). Inother words, the idea of‘two complexities’, the individuality of Ferneyhough’s andFinnissy’s musicalvoices (and,byextension, all about geographical influenceandcompositionalstyle; it is alsoadevice usedto assert the secondcloserto (inLondon). Michael Finnissy Thisdistinction issimultaneously Complexity’ coalesced: one group based closer to Brian Ferneyhough (in Freiburg), were around which two different distinctfigures composersassociated with‘New In rejectingthe label inthisway akey part ofthe argument rests onthe idea that there validity asamodel for understanding thisbrandofpost-serialcompositioninBritain. supporters which the term points toward) acommon theme isthe total rejectionofits In recentrevisionist scholarship onthe New Complexity(i.e. those composersand Roddy Hawkins (University ofManchester) anonical st anonical scae with ssociated s considerat ny a . Thus, aturne. i ppr xmns h foun the examines paper his usic communi urail’s ube platf luable M i c haël Levinas puts it, it was Ensemble L’Itinéraire, foun L’Itinéraire, Ensemble was it it, puts Levinas haël a Mémoire-érosi d oe Tessie Roger nd o ra itriw w interviews n a n tus in the in tus l music. c o greater visibility will visibility greater n 90 on 1980 in i and it was under was it and m o these for rm , o o e oan mus Domaine he t ircumstances e ia presente vinas n of the role the of n urces workshopping y atDarmsta L French state; the paper then paper the state; French ’ I iéar in tinéraire o icuig a (including n Duf and n h istory of spectral music. Ensemble L’It Ensemble music. spectral of istory i , ht gv brh o spectral to birth ‘gave that r, tional process of one of process tional ’tnries organisatio L’Itinéraire’s i of on compose young dt h eti of certain th o their d in1982. and dissemi and hs r, s el s rhvl eerh o research archival as well as era, this f the perfor the f i the umbrella the a) that cal) L o ig n 1970s and ding ihro unex hitherto Iiéar’ ceto, the creation, ’Itinéraire’s be afforde be u rt’s olcie etei t th to aesthetic collective music scene a scene music wor Saturne, n t m loe recei allowed s n h int the in rs a ting of work of ting e e e compos key he

d to d rs who premi who rs of L’Itinérai of e xamines the role of L’Itinéraire of role the xamines particular spectral work, Dufourt’s work, spectral particular a ie sixty- mined the performers the a structure nal t prtos o operations a propitious m propitious a s ht ae oe o h to come have that ks pt e s ncn env rnecine such as Grisey’s as such f gnru a generous a of re that Grise that re ui’ throug music’ ded in 1973 b 1973 in ded e p red those work those red e e s n performers and rs e i nentoa new international th n rformer-compos , h paper the ), éraire provided a provided éraire e-ae inter ree-page that helped give helped that oment (that of (that oment L’Itinéraire. f rnet of ironment h f y y , Murail, , P istorical Tristan ériodes, h s. Yet, s. n fi the n a ual n’s rst ve e ’ r s Novel (Panel) 1G StringedKeyboardInstrumentVariety -Pitch,Timbreandthe survive anddate frombefore the middleofthe seventeenth century. The revival of research of stringed keyboard instruments. Large numbers of these instruments of their time orlater times, have inthe beenignored twentieth-century revival and Octave-pitch keyboard instruments, which soundone octave higher thaninstruments Edward Dewhirst (University ofEdinburgh) keyboard Italian octave-pitch instruments The ignoredand‘inferior’: responded to popular demand for the new andnovel. contemporary comment, thispaper willillustrate how London’s instrument makers of the piano’s hammer action. Drawing uponadvertisements, legaldocuments, and be developed throughthe eighteenth andnineteenth centurieswiththe inclusion revealed. The how finalspeaker willdiscuss combination instruments continuedto Holy Roman Empire,the varied musicalcoloursandrolesofthe claviorgan willbe courts ofEnglandandSpain,the ducalstates ofItaly, andthe various outposts ofthe the courts of fifteenth- andsixteenth-century Europe.With examplesfromthe linked instruments, and the their first speaker prevalence will discuss and ubiquity throughout documents regarding stringed keyboard instruments refer to these combination ofinstrumentssignificance which combine pipesandstrings.Some ofthe earliest The secondforty-five-minute segmentfocusses ontimbre andthe particular the musicalqualitiesspecificto aninstrument at thispitch level. of suitable repertoire (bothvocal intabulations andsolokeyboard pieces)willshow available instrument while makingtechniques abriefperformance willbediscussed, organs). The process of designing such aninstrument and the useofhistorically sounding afourth above ‘normal’ pitch (correspondingto contemporary English life throughademonstration of a reconstructed sixteenth-centuryEnglishvirginal ofpitch,used. Questions transposition andtone colour willbefurther broughtto generally the firstdeveloped and,for several subsequent centuries,the most widely Far frombeingderivations oflarger instruments, these smallkeyboards were to iconographic anddocumentary evidence fromthe mid-fifteenth onwards. century pitch instrument popular inthe sixteenth andseventeenth centurieswithreference octave higher than‘normal’, providing new insights into the typesofItalianoctave- focus on pitch, with the opening presentation instruments which discussing sound an five minute segments, including opportunityfor questions. The firstpairofspeakers audio examplesandalive performance. The sessionwillbedivided into two forty- drawing fromhistoric manuscripts, images andinstruments, andincorporating Four varied speakers willdiscuss aspects ofstringedkeyboard instrument history, musician. ofthesignificance manyshapes andsizesofinstrument available to the historical the emphasesofmodern scholarship do not necessarily reflectthe prevalence or loud andthe elaborately decorated that have received the most attention. However, based onbroad national/regional styles. Within these groupings,itisthe large, the The studyofkeyboard instruments hastended to establish archetypes andcategories Edward Dewhirst (University ofEdinburgh), convenor andchair Rehearsal Room2,2.30pm 29 Saturday 3 September 30 Saturday 3 September instruments that would have required transposition in certain musical contexts. considerable evidence for the use and popularity of high-pitched plucking keyboard extensively, the same issuesandpractices alsoaffected stringedkeyboards. There is While the roleoftransposition inEnglishchoral andorgan musichasbeendiscussed David Gerrard (University ofEdinburgh) Eleanor Smith(OrpheusInstitute) keyboards the importanceof‘organised’ No longeranovelty:re-establishing in soloperformance. this pitch level, aswell asfacilitating ofthe practicalities adiscussion oftransposition the paper’s consideration ofthe specificmusical/timbral qualitiesofaninstrument at suitable repertoire (bothvocal intabulations andsolokeyboard pieces)willilluminate instrument maker,century Ademonstration andthese issueswillbediscussed. of lower pitch levels, aswell asthe useofgeometrical techniques available to asixteenth- such ahypothetical instrument reliesuponevidence fromsurviving instruments of 5-foot, orprincipal,pitch ofcontemporary Englishorgans). The processofdesigning virginal sounding a fourth above ‘normal’ pitch (a pitch level that corresponds to the This lecture-demonstration presentsofasixteenth-century English areconstruction modification, andwere more easilydiscarded. keyboard instruments were not preserved, perhaps asthey proved lesssuitable for later However, astimbral tastes andmusicalrequirements changedover time, higher pitched seventeenth centuriesindicate some ofthe pitch levels incontemporary usage. Surviving Englishharpsichords andvirginalsfromthe late sixteenth andearly of combinations ofpipesand strings within asingleinstrument. Although fewer in historical instrument building. Indeed, the term has been used to describe all manner has revealed the importance ofthe ‘organised’ keyboard orclaviorgan inthe œuvre of Long dismissedbyinstrument historians asmere novelties, recentdoctoral research A virginalat‘organpitch’: sound reconstructingsixteenth-century noveltycentury automatic instruments willbeilluminated. Finally,society willalsobediscussed. the association ofoctave pitch withseventeenth- Documents which indicate the positionofsuchinstruments withinmusicpractice and will bedemonstrated, withrecorded examples,andthe acoustics willbeanalysed. of instrument available to the historical musician.The repertoire for suchinstruments pitch harpsichords, virginals,clavichords andspinets inorder to understand the types followed byasurvey ofsurviving sixteenth- andseventeenth-century Italianoctave- drawings ofthe clavichord, harpsichord Thiswillbe andvirginal,willbediscussed. Henri Arnaultde Zwolle manuscript,which includes detailed descriptions and including the prevalence ofoctave-pitch instruments andtheirThe origin. c.1440 stringed keyboard instruments inthe fifteenth andsixteenth willberevealed, century Drawing onimages fromItalyandacross Europe,the international pictureof particularly those at octave pitch. invariably had access to arangeoftypesandpitches ofstringedkeyboard instrument, researchers andaudienceswere However, thusignored. the historical musician and the small,octave-pitch keyboard instruments were thought to beinferior by historic keyboard instruments focused onthe large, elaborately decorated harpsichords The zealwithwhich Johannes Brahms devoured Germanromanticfiction is Reuben Phillips (PrincetonUniversity) of earlymusic Brahms as‘Kreislerder Jüngere’: recapturingaromanticaesthetic 1H ComposerReminiscences wider desire for novelty inthe market place ofearly-industrial Britain. the instruments willbeframed asitems ofmaterial withinthe context culture ofthe Cheese will be presented. As well as considering the musical aspects of these objects, makers includingJohn Joseph Merlin, &Broderip, Longman William Rolfe andJames action andchangesinmaterials for important component parts. Contributions from revealed aswell as‘improvements’ to the piano itself involving modifications to the harpsichord/pianos. Also,‘new’ instruments suchasthe grand harmonica willbe (a type of cittern with a miniatureguittar piano mechanism inside) and combined as the ‘organised’ piano (where anorgan andpiano are combined), the pianoforte examples willbeconsidered. willcover Discussions combination instruments, such main sourcesare archival, most notably newspapers andpatents, although extant second halfofthe eighteenth century. Sincefew relevant instruments survive, the and concepts which are further offthe radar which appeared inLondon duringthe However, here we willexamine some ofthe modifications, more obscure additions in asense tangentialbutnevertheless contributed to the general directionoftravel. later andbeyond. There have alsobeenexplorations ofsome ofthe ideas which were Cristofori’s ideas original inthe early 1700sto Erard’s double escapement 100years rehearsed: today we caneasilyread about the linear evolution ofthe instrument from The development ofthe piano inthe eighteenth andnineteenth centuriesiswell Jenny Nex (University ofEdinburgh) century Britain adaptations andmodificationstothepianoinlateeighteenth- From the sublime tothe ridiculous: an exploration ofthe more extreme the timbral combination. of the period,played on a combination instrument to demonstrate the effectiveness of accounts andinventories. Thiswillalsobeillustrated withrecorded examplesofmusic can be ascertained from the surviving examples, but also in references to historical Roman willalsoconsider Empire.The discussion the value of‘organised’ keyboards as Spain, aswell asthe importantducalstates ofItaly, andthe various outposts ofthe Holy forms andgenres.Thiswillinclude consideration ofthe linked courts ofEnglandand instruments are found, andhow claviorgans were usedinperformance ofnew musical consideration willbemade ofthe musicalactivities ofthe courts inwhich such courts ofEurope,focussingcentury onboththeir prevalence andubiquity. Particular This paperthe evidence willdiscuss for claviorgans inthe fifteenth- andsixteenth- organ pipeswere added. Indeed, the evidence suggests that almost assoonthe harpsichord was invented, instruments are found across Europeantraditions fromthe late fourteenth century. surviving numbers thantheir more conventional counterparts, suchcombination Julian Horton (Durham University), chair Rehearsal Room3,2.30pm 31 Saturday 3 September 32 Saturday 3 September analytical issues ofnineteenth-century music andtheir temporal implications. ideas; butalsoproves apertinent place to thinkthrough some ofthe crucial with, rather than(asiscommonly heralded) aone-sided adoption of,Schoenberg’s Langsamer Satz conception oftonal pairingsasinstances of‘directional tonality’. Assuch,the this tonal pairing throughout the work, incontradistinction to the more common explore the compositional strategies which Webern utilisedinorder to maintain study ofthe manuscripts andsketches archived at the PaulSacher Foundation, Iwill a combination ofSchenkerian analysis andneo-Riemannian theories, aswell asa in the firsteightbars, astonics operating onthe same hierarchical level. Through my interpretation isthe work’s pairingofCminor andE-flat major, setupalready pre-existing idiosyncratic concern for ‘lyrical temporality’. The starting point of developing variation) asexpressive means anddevices bywhich to reformulate his had introducedhimto (the traditional Formenlehre, functionalharmony and Webernshall argue, interpreted the ‘Brahmsian techniques’ that Schoenberg ‘the Brahms fog’ (W. Frisch) would beto misunderstand the work. Rather, asI Yet to locate the importanceofWebern’s evidence of Brahms’s influence upon Schoenberg’s musical thought and didactics. has beenmade subject to scholarly onlyinasmuchasitprovides inquiry early Webern produced under the tutelage ofArnold Schoenberg, the Completed inJune 1905asone ofthe earliest compositionalstudieswhich Anton Sebastian Wedler (University ofOxford) Satz (1905) Tonal pairingasastrategyoflyricaltime:AntonWebern’s Langsamer with which he setabout assimilating historical compositionaltechniques. Brahms’s initialinvolvement withearly musicandto recover the sense ofplayfulness Hoffmann’s alluring musical fiction. My investigation thus seeks to recontextualise and contrapuntal choral works ofthese years mightbeviewed asextensions of exploration ofpastmusicalstyles andgenres,that the pastiche keyboard music that the cultivation facilitated ofKreislerasacompositional‘secondself’ Brahms’s during the 1850sinrelation to hisburgeoning interest inearly music.Isuggest by aselectfew). Secondly, Iexamine Brahms’s deployment ofthe Kreislerpersona between popular virtuosicworks (enjoyed bythe masses)andhighart (appreciated instrumental music withinthe hierarchy ofmusicalgenres,andastark opposition ’60s. These include the veneration ofasmallcanon ofpastcomposers,esteem for writings that resonate withBrahms’s compositionalprioritiesinthe 1850sand Kapellmeister Kreisler. To Ioutline begin, acluster ofmusicalvalues inHoffmann’s In mypaper Iwillexploretwo aspects ofBrahms’s adolescent entanglement with Brahms byhisreading ofHoffmann hasnot beensufficientlyscrutinised. later romanticrelationships, butthe richmusic-aesthetic legacy bequeathed to acknowledge the implications ofBrahms’s youthful literary enthusiasms for his ego—that ofthe hapless Kapellmeister Johannes Kreisler. Scholars increasingly lengths that he appropriated the identity ofaHoffmann character for hisalter infatuation withthe writingsofE.T. A.Hoffmann, inparticular, ranto such mentioned inmost biographical accounts ofthe composer’s youth. Brahms’s invites usnot onlyto seethe early Webern entering into dialogue Langsamer Satz onlystylistically within Langsamer Satz

Re Translator) Bob Holland(ProgrammingD Mark Ravenhill(Playwright London) J A C in Fauré’s Fantaisie pourpianoetorchestre of its ternary form. Thispresentation willreveal the roleofallusive reminiscences process involving competingtonal centresthat dramatically resolves near the end et orchestre œuvre. Elicitingreminiscencesofthese genresandworks, his mélodies and instrumental by those music readily familiar recognised with his from hisrecentlyricdrama others duringthe firsthalfofthe nineteenth century. For thisFauréusedmotifs whose improvised originswere formalised withinpopular works byLisztand Equally essential,however, are elements derived fromthe operatic paraphrase, references to features concerto grossoandsinfonia fromfugue, concertante. The Peter le Huray Lecture The Peter leHurayLecture Fauré’s the premiseofreminiscenceinuniqueand subtle ways listeners. that stillintrigue a sophisticated Parisian audiencefamiliar withhisstyle andrepertoire, exploiting Symbolist aesthetic, plus his expansive grasp of musical history, the composer addressed and inanticipating them, hasnot attracted similar attention. Drawing uponhis irony andburdened belatedness that later distinguished exemplars ofthat movement, Neoclassicism. However, Fauré’s imaginative andconfident work lacked the implicit orchestre, offering aninnovative illustration ofwhat would become adominant trend, During the summer of1918,Gabriel Faurécomposedhis James Sobaskie (MississippiStateUniversity) The roleofreminiscenceinFauré’sFantaisiepourpianoetorchestre o harlotte Higgins(ChiefCu n hn Deathridge(EmeritusK cent developmentsinopera n a bel Arden(Actor,Theatr Cormac Newark (GuildhallSchool ofMusic&Drama),chair Concert Hall,4.30pm Fantaisie pourpianoetorchestre evokes the ways, pastinengaging boundbyacomprehensive contextual lt , A i u n e i re WriteratTheGuardi c rector, EnglishNational g

and Operadirector,co-F Pénélope (1913),adding self-borrowings fromhis tor, Journalist,Opera

Edward ProfessorofMusi production andreception and demonstrate its determined modernity. alludes to multipletemporalities via dir a

O n o e u ), chair pera) c nder ofComplicité) tor, Librettistand c , K Fantaisie pourpianoet in Fantaisie pourpiano g’s College - Panel 33 Saturday 3 September 34 Sunday 4 September musical pastcontributed to the ofalongdesired construction historyofEnglishsong. between English songs of the past and present and reveals how an engagement with the Violin (1916)andthe 12Humbert Wolfe Songs(1929), thispaper exploresthe links Focusing onthe genesis, compositionandreceptionofHolst’s Four Songsfor Voice and break the ‘shackles of300years andregainlibertyinthe spirit’ofearly madrigalists. powerful appeal’ ofsixteenth- andseventeenth-century composersallowed them to the spiritoftheir Tudor predecessors. One criticeven suggested that the ‘new and such asVaughan Williams, Gustav Holst and Herbert Howells were seenasembracing foundation ofanEnglish composer’s ‘whole-art’, became afocal point.Composers epitomised bythe Elizabethans andconsidered byEdward Dentasthe most important English composerswould beunable to findadistinctnational voice. Song-writing, and scholars agreed that without aseriousunderstanding oftheir musicalpast, lines ofChaucerandSpenser andonlyseenafew scenes ofShakespeare’. Musicians past. He compared the modern English composer to a ‘poet who has read only a few the challengesfacing Englishcomposerslay intheir oftheir ignorance musical Writing for the Carnegie United Kingdom Trust in 1916, H.C. Colles observed that much current musicological writing onnational musicological music. much current longue dureé literate producer andlistener communities andasthey grow anddevelop over the It addresses questions ofpoetics,aesthetics andreceptionasthese operate within of Anthony D.Smith’s nationalism analyses ofcultural inthe visualartsmusic. and This paper probes the ‘inner world’ ofEnglishnational music,somewhat inthe spirit finding renewed impetusthroughfile-sharing and socialmedia. variety ofartistic projects andisstillinstantly byliterate recognised listeners today, mysticism andagony. The diatonic complexsustained aremarkable quantityand ways, contributingto alayered semanticfieldconnoting nobility, serenity, elegy, the drawing room,notably viaQuilter. These intermingled currents inmanifold music, viaHandel, the Victorian organists andParry, butsimultaneously ‘up’from textures and solos. English diatonicism came ‘down’ from sacred and ceremonial progressions, andthe realisation ofthese features throughcharacteristic string and ‘open’sonorities, subdominant relaxation, parallel-sixth textures, 2–5melodic heightened diatonic dissonance,characteristic sevenths, secondary diatonic tritones of the idiomandits subtle deployment inthe repertory, focusing onaspects suchas proposed some fifteen years ago. Thispaper further reconstructsthe expressive world examined systematically beyond studyofmy own apreliminary first inmusicology early complexofdiatonic twentieth isapeculiar century idioms that hasnever been Central to the experienceofstandard-repertory Britishart-music compositions ofthe Matthew Riley(University ofBirmingham) Diatonicism andEnglishnationalmusic Rachel Landgren (University ofMelbourne) English Song ahistoryof ‘Elizabethans throughtothepresentday’—constructing 2A Englishness Sunday 4September Rachel Cowgill (University of Huddersfield), chair Concert Hall,9.30am . Inthisway itdevelops analternative to the constructivism that regulates . his innovation caninfact betraced back to Boulez’s thatI argue Ligeti was conscious of andeven intended these overtone effects, and that depressed, which have sofar beenoverlooked inthe existing literature. Throughanalysis, mainly onthe fascinating overtone effects associated withthe keys held after being This paper presents an in-depth study of the piano étude not onlynew possibilitiesofrhythmic articulation butalsonew harmonic phenomena. Siedentopf’s article andLigeti’s compositions reveals that the blocked keys bringabout and complexityresultingfrommobile key blocking.However, acloserstudyofboth Understandably, scholarly attention has largely been drawn to the rhythmic irregularity essay Wege ‘Neue der Klaviertechnik’ published inMelos. according to Ligeti, isdeveloped andillustrated byHenning Siedentopf inhis1973 keys evenly andsuccessively, thusresultingina‘stuttering’ effect. Thistechnique, one hand, while the fingers of the over other hand run the sounding and blocked compositions, several keys are held after being depressed (either silentlyornot) by Selbstportrait technique referred to asmobile key blocking,which alsofeatures prominently in books ofaltogether eighteen piano études for its systematic employment ofaspecial Ligeti’s thirdpiano étude, Qianqian Zheng (ChineseUniversity ofHong Kong) Notes hiddenfromthescore:overtonesinLigeti’sTouches bloquées impactmuch ignored ofmusicalnotation onperformance. thinking as conveyed through his orthography, and lead to an evaluation of the is captured at different levels. Allthese structural add to shed lightonBartók’s tonal may help decode the referential tones init. The dramatic changeofthe A-D♯tritone the 9-12collection,andthe aggregate inBartók’s ‘Verbunkos’ how andargue they beyond thisto examine the orthographic implications ofthe hexatonic collection, which conventional are retrievable triadic structures (Cheong, 1993).Iventure of octatonic orthography singlesoutone ofthe four ic3-related pitch classesupon possible impact onperforming interpretation. Bartók’s specificapproach to the issue Bartók’s with invaluable information. Thispaper takes ‘Verbunkos’, the firstmovement of analyses decode the inherent dramatics ofstaffnotation andmay provide performers factors oforthography benefits the musicperformance concerned. Orthographic further that andhierarchy astudyoftonal that structure takes into consideration convey the teleological anddramatic processofthe tonal trajectory(1989).Iargue Gillies’s claimthat Bartók’s orthography maximisesthe capacity ofstaffnotation to character ofthe work (1985).Thisresonates withinits structure’ withMalcolm in terms of dramatic action … speaks directly to the performer’s need to find the According to Janet Schmalfeldt, ‘the analyst’s interpretation offormal structure Hei Yeung John Lai(ChineseUniversity ofHong Kong) Contrastswithorthographicinsights Performing Bartók’s 2B Twentieth-Century HungarianMusic Amanda Bayley (Bath SpaUniversity), chair Rehearsal Room1,9.30am Contrasts , the secondpieceofhis asacasestudyto investigate his specialisedorthography andits Touches bloquées Three Piecesfor Two Pianos (1985), isdistinctive among histhree Improvisation IIsurMallarmé Touches bloquées (1976).Inthese two , focusing , focusing (1957) 35 Sunday 4 September 36 Sunday 4 September Hernando de Cabezón: Eine Chronik dargestellt amLebenzweier Generationen von de Cabezón (1510–66), crowned byKastner’s monumental monograph in hiscareer: hislifetime projectto lift the veil onthe SpanishcomposerAntonio twentieth-century Iberianmusicology, sothispaper focuses onone particular topic to eighteenth-century Iberiankeyboard music. Kastner voice was arecognised in performer settledinLisbonwhose lifetime focus was the uncovering ofsixteenth- Macario Santiago Kastner (1908–92)was arenowned and Britishmusicologist Sonia GonzaloDelgado (University ofZaragoza) Antonio deCabezónproject:acasestudy lifetime From thearchivetoconcerthall:SantiagoKastner’s in the CSMandwithinother miracle collections. and listeners. Thisinvites areconsideration ofhow texts were read andlistened to, both musical andliterary criticism,canreveal muchabout the expected rolesofbothreaders Greater studyofmiracles’ sonicproperties,informed byanalyticalmethodologies from the dangersofpoorly articulated song, especiallywhen not understood byits auditors. miracle. However, this song also instructs on the ethical values of sound, highlighting distinctive listeners ormemorable througha guiding itcanfunctionasan auralcue, of song.Using CSM202asacasestudy, that Iargue ifrepeated melody orrhyme is germane to thisstudyofsound,sinceits own narrative addresses the composition as amnemonic device to the listener. ‘Muito áSantaMaria’ (CSM202)isparticularly highlydependentstructure, uponthe reiteration ofrhyme soundandmelody, acted to survive withmusical notation. Thispaper suggests that the CSM’s poeticandmusical circulating throughout Europe,the CSMare uniquesincethey are the onlymajorcase and how did they listen to them? Among the large number of miracle collections music, we have not soextensively assessedtheir consumption. Who heard these stories, set to song.Whilewe have taken substantial steps inanalysing the CSM’s and poetry later years presentauniqueandfascinating ofhisreign, instance ofmiracle narratives The Cantigasde SantaMaría (CSM),made at the courtofAlfonso XofCastileinthe Henry T. Drummond(University ofOxford) de SantaMaria Hearing thesacredword:sonicworldofmiraclesinCantigas 2C SpanishMedievalandRenaissance Sources in includingit in international concertprogramming. interpretative tradition ofsixteenth-century Iberian keyboard repertoire and hisrole case ofAntonio de Cabezón, to assertKastner’s authority inthe of an construction students, complemented bytheir own recordings, allow us,focusing onthe particular systematic analysis ofthese sources,inaddition to the testimonies ofsome ofhis for the seriesMonumentos Históricos de laMúsicaEspañola (Spain,1972).The Fuguen in MainzbySchott’s Söhne ( editions made byFelipe Pedrell. Kastner later edited manyCabezón pieces,published Diferencias sobre elCanto delCaballero the programming of Cabezón’s best-known pieces, the Spanning four decades ofhiscareer, Kastner’s interest inCabezón started with Organisten Owen Rees (University ofOxford), chair Rehearsal Room2,9.30am , 1958and (Tutzing, 1977). Silva Ibéricavol.2 Claviermusik , 1965)andrecorded them onhisclavichord , inhisrecitalsduringthe 1930s,basedon , 1951; Silva Ibéricavol.1 Pavana Italiana , 1954; Antonio und Antonio und Tentos und and the work had its concert premiere. This paper willshow how the musical characteristics Cromwell: ACharacter Symphony’ (1904),although itwas not until2005that the British Music’ (1906) in part series about ‘Studies inthe Young BritishSchool’ (1899)and‘StudiesinModern William Henry BellandJoseph Holbrooke. Iwillconnect RutlandBoughton’s multi- Villiers Stanford, alsoconsiders mydiscussion including lesser-known figures, In addition to suchwell-known composersasRalphVaughan Williams orCharles output interacted andoverlapped. The aimofthispaper isto examine the way the public debate andthe symphonic tracing these changes, various linksto the discourse about Britishsymphonies emerge. arguments for specificcomposersorworks have changed withthe passingoftime. In of the broader context ofadynamicartistic cultural environment. Naturally, the amongmusic histories. critics,composers,andreaders Thisdiscussion emerged out composition appeared inBritishmagazines andnewspapers, aswell asincontemporary Between 1880andWorld War I,alively debate about aBritish/Englishschool of Dorothea Hilzinger (BerlinUniversity oftheArts) interrelation withtheproductionofBritishsymphonies anEnglish school ofcomposition’:‘Wanted, a nationaldebateandits internationalisation. of contemporary musicandessentialparticipants inadeliberate ofpost-conflict policy the lastmoment. Thusself-selectingconsumers ofavant-garde became patrons culture extra for ‘private concerts for the elite’ where programmes would bekept secretuntil such asSegovia, at the officesof musicale concerts, for instance, were invited shoulders to rub withcelebritymusicians, celebrated musicians from allover Europeandbeyond. Subscribers to the Revue used advertising to entice new audienceswiththe promiseofprivileged access to Mobilised byacommitment to internationalisation, Wiéner Prunières, andStraram presented arealthreat to their ofanational construction tradition. Louis Vuillermin andLéonVallas, openingupconcertvenues to foreign musicandjazz musicians were working against firmlyheld chauvinist attitudes; for Charles Tenroc, Bartók, Szymanowsky, Prokofiev, Hindemith andSchoenberg. These entrepreneurial changed the soundscape ofParisian concerthalls.Itwas possibleto hear the latest and ensembles, includingMarya Freund, ClaireCroixaandthe Pro Arte Quartet, they had beenunavailable duringthe war. Working inpartnership withkey performers JeanPrunières, Wiéner andWalther Straram, acted to ensure access to new music,which among the elites for unknown works fromother countries’.Conscious ofthispotential, Revue musicale,‘when the killingwas finallyat anend,there was ageneral curiosity foreign contemporary musicinParis. Accordingto Director Henry Prunières, ofthe This paper examines anumber ofinitiatives immediately after World War Ito promote Barbara Kelly (Royal Northern College ofMusic) World-War-I Paris Full offoreignpromise:exclusive performancesofnewmusicinpost- 2D NationalismandInternationalisation Caroline Rae (Cardiff University), chair Rehearsal Room3,9.30am The MusicalStandard La Revue musicale withhisSymphony No. 1 ‘Oliver . Indeed, the most daring couldpay 37 Sunday 4 September 38 Sunday 4 September Heldt discusses theHeldt GermanSchlagerfilm discusses ofthe 1950s and1960s.These formally transcendence. themerecurring of existential alienation and promisesredemption and absolute in two radically different ways inthe director’s later films: itbothunderscores a Pontara concentrates onAndrei Tarkovsky’s useof Western art music,which works of the World War IIgeneration. mediate hiscoming-of-age protagonists’ rebellionagainst patriotism andreligiosity of the radical Polish filmmaker Jerzy Skolimowski, whose allegoricalsoundtracks Boczkowska examines representations ofpost-Stalinistyouth inthe 1960sfilms and Great Britainofthe 1970sand1980s. the 1960s,the Soviet Union ofthe 1970s,West Germanyofthe 1950sto the 1970s Western Europe were created. The four case studies focus on film music in Poland of understanding ofthe productionconditions under which films inEastern and tool to mediate distinctWestern orEastern ideological values, and to convey an each give aten-minute positionpaper investigating music’s roleasthe pre-eminent ap Siôn),chairedbyMichael Baumgartner (Cleveland State University, Ohio),will The four panellists (Ewelina Boczkowska, Tobias Pontara, Guido Heldt, andPwyll industries onbothsides ofthe former IronCurtain. session proposesthe andproductionconditions casestudyofmusic,ideology infilm intoof entry developing atheoretical model for Europeanfilmmusic,thisthemed European film music is an area that requiresmore scholarly attention. As a point Eastern EuropeanColdWar Cinema(Panel) and ProductionConditionsinWestern2E Music,Ideology and music willalsobediscussed. invention, variety of thought vs. imitation, as well as the appraisal of programme ‘diatonic healthiness’ to (contrary ‘ugliness insound’),‘freshness’, novelty ofmelodic shape instead—interrelated withsymphonic concepts ofthe period.Categories like national musicbyusingEnglishfolk songsor should concentrate onacosmopolitan of the ‘Englishschool’ —suchasthe questionofwhether the school oughtto produce differently inart-house cinema incomparison to mainstream cinema onbothside the selection of a particular musical style? In what way did filmmakers use music Eastern and Western Europeancinema. How didthe different ideologies influence the production conditions for film music differed within the specific context of After the position papers, the chair will moderate that a discussion explores how should remainincoexistence isakey-feature ofearly minimalistandambient music. the late 1970sandearly 1980s.NymanandGreenaway’s beliefthat musicandimage Ap Siônfocuses onMichael Nyman’s collaborations withPeter Greenaway during changed world. and displayed anattempt ofthe two Germaniesto findtheir respective places ina unadventurous ‘hit films’ and music after repositioned German culture the war, Michael Baumgartner (Cleveland State University), convenor andchair Concert Hall,11am one hand, musicunderscores theme arecurring ofhuman andexistential alienation, music works intwo radically different manners in Tarkovsky’s later films. Onthe the same time multi-layered symbolically andhighlyideologically charged, classical My paper the use of Western discusses classical music in Tarkovsky’s cinema. Being at Giuseppe Verdi. van Beethoven, MauriceRavel, Giovanni Battista Pergolesi, Richard Wagner, and (1983) and all containclassicalmusic. Andrei Tarkovsky are no exceptions. Of Tarkovsky’s seven feature films, the last five film andEuropeanart cinema upto the presentday. The films ofRussiandirector phenomenon that can becontinuouslyobserved inbothHollywood mainstream throughout the historyofcinema. Widespread already duringthe silent era,itisa The practice of using Western persistent classicalmusicinfilmiscuriously Tobias Pontara (University ofGothenburg) Classical musicinthefilmsofAndreiTarkovsky career inPoland. of post-Stalinistera, and musicofthe While youth (jazz). screams, dissonantclusters), liturgicalreferences (chant,chimes), songs, nostalgic intricately woven into the scoringofthe films, includingwar sounds(explosions, and the ‘old’traditional values ofCatholicism andpatriotism. These tensions are relationship ofthe generation ofSkolimowski’s peersto the ‘new’ politicalregime imperativescultural of inner freedom and patriotic duty, tapping into the complex In bothfilms, the protagonists’ search for material comforts conflicts withthe university mistake ofpaintingStalinwithadouble setofeyes. is. the SecondWorld War generation outwho while simultaneouslyto he trying figure carefree maleprotagonist inhismid-twenties who rebelsagainst bothhispeersand films of the radical Polish filmmaker, Jerzy Skolimowski. My positionpaper examines representations ofpost-Stalinistyouth intwo 1960s through their creation ofdeeply personal,allegoricalfilms andfilmsoundtracks. status quoandsocialconformism oftheir generation duringthispost-Stalinistera, failed to exertanyrealsocio-politicalchange.These young filmmakers critiquedthe stabilizacja’, or‘littlestabilisation’, duringwhich the new communistgovernment the October 1956revolution andthe subsequent decade ofthe so-called‘mała ‘Third Wave’), marked agroupofdirectors whose formative years coincided with The post-war generation of filmmakers, called Polish ThirdCinema (orthe Ewelina Boczkowska (Youngstown StateUniversity) Skolimowski Music, ideology and Post-Stalinist youth in the 1960s films of Jerzy production. about theoretical implicationsa dialogue of European film music, ideology, and don’t have? Such questions are best addressed in a themed session, which initiates withideological premisesthatexpression ofaligning other cinematic devices of the IronCurtain?How ismusicuniquelysituated to participate withcinematic Hands Up! The Sacrifice shows offriendsintheir thirtieswho areunion reminisceabout their Hands Up! (1986) feature musicbyJohann SebastianBach, Ludwig Solaris exposed their limits, inturnendingSkolimowski’s (1972), The Barrier Mirror navigates the ideological imperatives (1974), Stalker ( The Barrier 1979), features a Nostalghia 39 Sunday 4 September 40 Sunday 4 September The Guido Heldt (University ofBristol) Power chords:theGermanSchlagerfilmandnewworldorder music, suchaselectronicandfolk music. music isinterwoven into a complex soundscape and juxtaposed to other kindsof 1990s? By drawing onseveral examples, mypaper willattempt to provide amore musical style come to an endwithhisGreenaway collaborations inthe early Did the art-house aesthetic that formed suchanimportantpart ofNyman’s earlier other—is aparticular feature ofbothearly minimalistand ambient music. should remaininastate ofrelative coexistence rather thanone merely supportingthe lay behindNymanandGreenaway’s audio-visualaesthetic—that musicandimage Peter Greenaway duringthe late 1970sandearly 1980s.The basicpremisewhich British composerMichael Nyman’s filmoutputinrelation to hiscollaborations with My presentation willaddress these questions bylookingat the development of how do they serve to enrichthe film’s visualandcinematic dimensions? themselves better to anart-house approach? What are the musicalcomponents and films? Docertainstyles, such asminimalist,ambient andexperimental music,lend and how do they differ fromsoundtracks composedfor other, more mainstream house andIndiefilms themselves intheir writings?Ifso,what are these elements Aidan O’Donnell and Laurent Jullier have attempted to describe the nature of art- cinema, in the same way that authors such as Barbara Wilinsky, Michael Z. Newman, Can one speak of a distinctive musical aesthetic for art-house, Indie films and European Pwyll apSiôn(Bangor University) Michael Nymanandthedevelopmentofanart-house musical aesthetic traditional Germanconstructions ofmusic had become obsolete. contrast how these films use music to negotiate politics in a world cultural in which and GDRfilms withsingerFrank Schöbel fromthe late 1960s.Iwillcompare and such FRGfilms as belie the ofthe simpleconstruction films. Mypaper willpresentshort clipsfrom translation, butalsoresistance,combined inoften andcomplexways, ambiguous could bepart ofthat. Different forms offilmicandmusicalimitation, emulation, the requirements ofthe regime,andwhich pre-war traditions andWestern trends the GDRnegotiated the questionofwhat was popular permissibleunder culture The FRGnegotiated the relationship withthe new hegemon, the United States; their places inachangedworld. afterGerman culture the war, part ofthe attempts ofthe two new Germaniesto find formally and musically unadventurous, these films were also a way of repositioning of West Germanfilmproduction;even the GDRmade afew suchfilms. And,while singers andwithcomedic plots centredonlove andmusicalsuccess,were amainstay However, between the endofthe 1940sandthe 1970s,films builtaround popular formulaic plots, stock characters, andcareless integration ofmusicalnumbers. permeating Tarkovsky’s films. Specificallyin part, throughthe association ofthe musicwithcentralspiritualandethicalconcerns transcendence. Thisdichotomous appearance ofclassicalmusicisestablished, inlarge and, onthe other hand,musicholds outapromiseofredemption andabsolute Schlagerfilm (‘hit film’)ishardly the most reputable ofgenres,criticisedfor Hallo Fräulein! (1949) to the 1970sfilms ofpop-star Heintje, Solaris, Stalker and Nostalghia, classical classical considers musicalsound vis-à-visjurisdictionandsocial discourse.Threeshort Drawing surviving sourcesfromthis ‘chequered’ on multilingual, past,the paper takeover in1949. occupation, abriefperiodofChinese Nationalist sovereignty andthe Communist colony, the citywitnessed foreign-and-Chinese municipalities,Japanese military Shanghai’s complexjurisdictionallandscapes inthe 1930sand1940s.Never aformal on adifferent trajectory. Itseeksto ‘hear’ the various soundworlds emerging from of the West’ continuesto capture the historical imagination. Thispaper embarks undertones notwithstanding, the contemporary epithet ‘Paris ofthe East,New York Yet they have by andlarge focused onthe city asaglobal metropolis. Orientalist Studies ofwestern inRepublican, culture pre-Communist Shanghaiabound. Yvonne Liao (King’s College London) and apluralhistoryoflivemusicinShanghai,c.1930–50 ‘Paris oftheEast,NewYork Multi/jurisdictionalsounds oftheWest’? gramophone its globalizing techniques—as culture—and aproducerof urban space. elsewhere inthe city, creating aprocessofmutualinfluencethat canilluminate early These performances interacted incomplexways withthe recorded bandsheard place (weather permitting)inSingapore’s botanicalgardens onevery fullmoon. I consider the outdoor concerts given bythe 16thMadras Infantry Bandthat took performance withinthe city’s spaces—spaces that embraced abroader socialmilieu. elite society. Yet recorded music interacted with longer-standing networks of live band repertoire. These recordswere enthusiasticallyreceived withinSingapore’s twentieth-century Singapore asacasestudy, andfocus inparticular onthe military everyday experiencesofrecorded soundwithinBritishcolonialsociety. Itake early My paper examines the ‘disconnect’ between the gramophone’s imperialfuturesand of atransnational commercial environment. being lived asarealitybysome ofthe Empire’s distantsubjects, and was already part British multinational corporation, much like Dunlop, or Cadbury—was already the brave new musicmarket envisioned bythe Gramophone Company—anearly who keep watch over the outposts ofthe Empireentertained’ ( some far-away corner ofthe earth where musicnever was before, to keep the men world. Newspaper ads prophesied that in London might be mailed ‘to records cut the gramophone would allow music of ‘quality’ to be transported throughout the consumers that their technology was serviceable for music.Not onlyserviceable: In 1905the BritishGramophone Companyrenewed to its campaign convince Gavin Williams (University ofCambridge) 1900 c. Sound, colonyandthemultinational:gramophoneinSingapore Urban Space 2F BritishForumforEthnomusicologyPanel: MusicinContested of the twentieth century. developments andtransformations inEuropeanfilmmusicduringthe finalquarter nuanced understanding of the musicalaesthetic that has evolved alongside creative Byron Dueck(OpenUniversity), chair Rehearsal Room1,11am The Times, 1905).Yet 41 Sunday 4 September 42 Sunday 4 September than 8million.Particularly was the significant periodofPahlavi (1925–79) rule this time ithasexperiencedexponential growth fromasmalltown to acityofmore mountains, and the centre for country’s political and cultural over 200 years. During Iran’s capital cityisa vibrant metropolis, cradled inthe foothills ofthe Alborz Laudan Nooshin (CityUniversity London) and, inhisearly career, was active asacomposer, pianistandconductor. He later schedulefulfilled abusy ofprivate teaching, wrote alarge bodyofmusiccriticism work as a theorist was just one aspectof arichandvaried career as a musician.He devoted groupof students andanenduring place inthe academic Yet curriculum. his Heinrich Schenker’s ground-breakingtheoretical ideas gained himthe respectof a 2G HeinrichSchenker andViennese MusicalCulture(Panel) mediated experiences? And how does sound acquire meaning in relation to both public and private, live and context? How are contesting claims over urban space negotiated throughsound? the urban environment: how does soundshape, and how isitshaped by, the urban and exploresanumber ofquestions concerningthe relationship between soundand Sakakeeny andAbigailWood, this paper examines the city’s soundscapes changing Drawing on recent fieldwork in Tehran andon the writingsof scholars suchas Matt tradition andthe resultingtensions are stillfelt inmanyareas ofIranianlife. and secular. Their discourses promoted the idea of modernity as incompatible with Qajar monarchs. The Pahlavis envisioned a city that was modern, Western-facing historic the buildingsseenassymbolizing regressive traditionalism ofthe preceding during which anextensive programme ofurban expansion led to the of destruction Sounding thecity:Tehran’s contemporarysoundscapes ‘globalmetropolis’. that complements, butalsonuances,the potentially sweeping notion ofmusicina jurisdictional soundssuggestapluralhistoryoflive music—anevidential listening paper then migrates frommicroto macro concerns, contemplating how the multi/ themselves fromcommercial dancevenues amidharsh Nationalist taxation. The and restaurants in post-war Shanghai, and their assertions on paper to differentiate the Nazis. The thirdinvestigates the purportedly distinctsoundworld ofcafés, bars zone inwhich the Japanese Armyconfined EuropeanJewish refugeeswho had fled in wartime Shanghai,notably how andwhy quasi-Viennese cafés flourished ina conscious district.The secondexamines the perplexingsoundworld of‘LittleVienna’ Concession, and attends to licensing and musical realities in a noise- regulation case studiesfollow. The firstanalyses the ‘discordant’soundworld ofthe French Rehearsal Room2,11am Ian Bent(Columbia University/University ofCambridge), chair Vienna), convenor Kirstie Hewlett (BritishLibrary/University ofMusicand Performing Arts, notes, 2015) mountains; adistantringtone; the low-level humofthe citybelow.’(Field mosques; arockbeat fromapassingcar; the callofbirdscirclingthe immersed insound:the strains ofthe callto prayer echoing fromlocal onaflat‘Standing rooftop innorth Tehran onasummer’s evening Iam station’s magazine, under the Mahler; Mary pseudonym Mader alsoreceived 100 emerged as the winner. Her award-winning text was printed inRadio Wien, the From around 500 participants, Prisca Maria Mader, alittle-known poet andpianist, Schenker to the reconstruct ending. Speyer. As the manuscript was also missing its closing bars, commissioned Deutsch lost before itwas discovered inthe byDeutsch autograph collectionofEdward by Franz Schubert for which the text was missing. The song had long been considered competition at Deutsch’s suggestion, in which a suitable poem was sought for a song 25 September 1934,the AustrianBroadcasting Corporation, RAVAG, staged a Their final collaboration took place only months before Schenker’s death. On ‘Musical Rarities’ series. of Beethoven’s ‘Moonlight’ Sonata, which Schenker producedaspart ofDeutsch’s until the 1920s that they embarked on their first collaboration—a facsimile edition contained alively exchangeofknowledge onthe subject ofmusic.Yet itwas not datesDeutsch back to 1913.Their correspondence intensified after World War Iand The acquaintance between Heinrich Schenker and Schubert scholar Otto Erich Marko Deisinger (University ofMusicandPerforming Arts,Vienna) Heinrich Schenker, ‘Prize Song’ OttoErichDeutsch andSchubert’s Vienna to the arrival ofbroadcasting inthe 1920s. in societyduringhislifetime, spanningthe burgeoning concertlife offin-de-siècle on Schenker’s life andwork butthey illuminate the rapidly roleofmusic changing theoretical ideas, DerfreieSatz. The contributions to thissessionnot onlyshed light work even asamusicologist, when working onthe definitive formulation ofhis a young man; and we also contemplate how he was mindful not to neglect his of hisengagement withopera,we willexplorehisimmersion inconcertlife as RAVAG, aswell ashisown consumption ofradio broadcasts. Throughthe lens only attempt to foster acollaboration withthe AustrianBroadcasting Corporation, We learn about hisforays into the world tracing ofpopular hisfirstand culture, illuminate adifferent aspectofhisparticipation inVienna’s broader musicallife. Rather thanfocusing onSchenker the theorist, the papers inthissessioneach Vienna. headed byProf. Martin Eybl at the Universität fürMusikunddarstellende Kunst in for 2014–17, which focuses on the diaries from 1930 to 1935 and 1912 to 1914, is der wissenschaftlichen Forschung andthe Leverhulme Trust. The principalproject death in1935.Ithasbeengenerously funded bythe AHRC,the Fonds zurFörderung items entriesfrom1918untilSchenker’s ofdiary ofcorrespondence andafullrun grown into anaward-winning humanitiesresource,yielding over digital 1,500 by publishing hiscorrespondence inanonline scholarly edition.The site hassince stimulate biographical, studyofSchenker historical andsocio-cultural andhiscircle these aspects ofSchenker’s life. The projectwas founded in2004withthe aimto Schenker Documents Online hasplayed roleinanimating asignificant interest in Music Manuscripts at the AustrianNational Library. manuscript studies,conceiving andhelping to establish the Photogram Archive of Wilhelm Walter, Furtwängler andBruno andmade apioneering contributionto published critical editions, which won the admiration as of such eminent figures 43 Sunday 4 September 44 Sunday 4 September offered of hisimmediate littlesign andenduring interest inradio. But,asI will show by enmeshing itinthe ofeveryday humdrum life. In hispublications, Schenker, too, reception among Vienna’s elite, many ofwhom cultural claimed itdevalued music offered for professional musicians, presenting a striking contrast to its ambivalent habits andimpressions offers remarkable insight into the potential that radio on over 1,000broadcasts over the next ten years. Thisrichrecord ofhislistening Schenker listener remained aregular for the restofhislife, commenting inhisdiary performers andworks that he had previously encountered onlyviascoresand reviews. the flickofa switch, he couldnow samplethe breadth ofmusicallife, listening to his diminishingconcertlife: itwas a radically new way of consuming music.With lighter repertory. Yet this ‘quiet self-education at the radio’ was no surrogate for of the masterworks aswell asbolstering hisknowledge ofcontemporary and Schenker listened broadly to what was broadcast, critiquingabundant performances steadily declining, radio quicklybecame animportantconnection life. to cultural of Austria’s firstofficialstation, Radio Wien. Atatime when hisconcert-goingwas Heinrich Schenker boughtaradio inOctober 1924,justdays after the inauguration Kirstie Hewlett (BritishLibrary/ University ofMusic and Performing Arts) culture ininterwarVienna A ‘quiet attheradio’:HeinrichSchenker self-education andradio canon ofmasterworks. Schenker came to shape hisviews onagenrethat he ultimately denied into entry his paper Iwillinvestigate these sourcesto discover under what circumstances cultural wroteregularly about operainalessformal fashion asajournalistanddiarist. Inthis As akeen participant inturn-of-the-centuryViennese life, cultural however, he of Wagner’s presented close readings of three numbers from Don Giovanni and critiqued aspects decade before his‘discovery’ ofthe Urlinie. ofother Amongst operas,he discussion theatre ononlyone occasion, in applying histheoryto operatic music,Schenker himself formally analysed music the stage andhumanrelationships. Although thishasnot prevented scholars from additional dramatic dimension transplants musicinto asettingthat involves atext, its own inner His problem with opera is therefore logic. self-evident: the art form’s investigation that isnot subordinate to anypoeticordramatic narrative other than In hismature theory, Schenker presents the musicaltext asastable object of absolute theory:‘the laws that reside inmusicitself’. an autonomous object to bejudgedonits own terms. Absolute musicwas akinto his mean anythingornothing, that the itcansignify voice of anation ormutate into advocacy ofitresonates withbothWagner’s andHanslick’s claims that musiccan Schenker never stipulated afixeddefinition of‘absolute music’.Yet hisreactionary Georg Burgstaller (RILM/CityUniversity ofNew York) Heinrich Schenker andopera November 1934,complete withMader’s text andSchenker’s ending. a letter she personallywrote to Schenker, the songwas broadcast bythe RAVAG on28 singer Josef Hueber. Despite being dissatisfied withthe closingbars, asisevident from schillings andhad the pleasureofhearing her text performed onthe radio bythe Ring cycle. The DeclineoftheArtComposition (c. 1905–7)—a (c.1905–7)—a conflict between royal identity. andregional Lyonnais artistic product exemplifies how the city used Lully’s operas to negotiate its community’s socio-politicalidentity. LeGrand’s transformation ofPhaëton into a Louis XIV, andthat they perceived aconflictbetween these ideologies andtheir Lyonnais understood Lully’s operasasrepresentative ofthe absolutist ideologies of royal authority ofthe asitwas Académie. aridiculing The parody reveals that the that the parody was asmuchanexpressionofLyonnais sentiment towards localand score, which comprisedapatchwork ofpopular selections from Lully’s music,Ishow the parody’s performance context andlibretto, its andbyreconstructing missing of Lully’s quintessentially royal genreonceitleft Paris andVersailles. Byanalysing defunct company. that Iargue thislittle-studiedparody invites anew understanding withastory aboutdestruction the vain attempts ofthe Lyon Académie its to rescue substitutes Phaëton’s taleofhow original the hubris ofademigod leads to hisfiery Chûte de Phaëton (The FallofPhaëton). Premiered inLyon in1694,the parody Lully (1632–87)andPhilippe(1635–88).LeGrand Quinault titledhiswork, La Académie had produced,namely, Phaëton, the tragédie enmusiquebyJean-Baptiste the institution’s scandalous fall by composing a parody of the first opera that the laughing stock ofthe city. Localplaywright Marc Antoine LeGrand profited from establishment in1687,the institution andits Parisian repertorybecame the When the Académie de MusiqueofLyon withinadecade went bankrupt ofits Natasha Roule (Harvard University) at theendofseventeenthcentury The riseandfallofPhaëton:Lyonnais responsestotheLulliantragédie 2H TheLongEighteenthCentury pursuits. never abandoned hisvisionofthe unityofhistorical, theoretical andeditorial music theorist ofhisday didnot give uphisbroader and remitasamusicologist, they demonstrate that the manwhom manycontemporaries regarded asthe greatest which they were intended andofSchenker’s life andwork inhisfinalyears. Together paper willexplorethese little-known writingsinthe context bothofthe journalfor and made extensive notes for a fifth—on Haydn—which he never completed. My Hermann Rinn.Between 1931and1934Schenker wrote four more articles for Rinn a long-established journal, had led to German cultural a friendship with its editor, progress. Anarticle ontext-critical problems inSchubert (1929)for DerKunstwart, When he felt well enough to resume work, other commitments interrupted back into the 1910s. completed, the ArtofPerformance andFree Composition,bothofwhich reached in Berlin by his pupil Hans Weisse. There were now only two major projects to be coincide with an important lecture onhistheories given at theof Education Ministry the month that saw the publication ofthe EroicaSymphony monograph, timed to In December 1930Heinrich Schenker lay illinbedfor about afortnight. Thiswas William Drabkin (University ofSouthampton) latewritings The warden:HeinrichSchenker’s music over the finalyears ofhislife. in this paper, thisdemocratising technology became his most dominant exposure to David Charlton (Royal Holloway, University ofLondon), chair Rehearsal Room3,11am 45 Sunday 4 September 46 Sunday 4 September Musica (1729). its laws ofmotion, for Malcolm’s Treatise ofMusic(1721)andBrowne’s Medicina I uncover theofNewton’s significance Principia Mathematica (1687),especially medical orethicalgoals.Myexamplesare fromEnglandandScotland.Specifically, Second, justifications for usingthispower became increasinglyfocused onspecific human nervous system, asopposedto the practical means ofachieving suchpower. towards the underlying causesofmusic’s affective power, suchasthe workings ofthe The effects primary ofmechanist philosophywere twofold. First,itshifted attention of music’s affective force inthe early eighteenth century. histories, thispaper that argues mechanist philosophytransformed understandings rather bypriorevents intime. Weaving together musical,medical, andphilosophical spread ofEnlightenment thought, events are causednot by finalpurposes,but to thisnew philosophy, whose dissemination was virtuallysynonymous withthe life ofthisperiod:the emergence andascendanceofmechanist philosophy. According Such subtlety isinvaluable, butrisks overlooking abroader inthe intellectual rupture allowing nuancedexamination ofchangesintheir relation to that tradition. underpinnings ofsuchtheories, thusconnecting them to avenerable tradition whilst affect Scholars haslongbeenrecognised. have stressedinparticular the rhetorical That eighteenth-centurymusicalthought was dominated bytheories ofmusical Tomas McAuley (University ofCambridge) occupation of Mainz on musicians whose livelihood depended on the now-absent as the enemy approached their city. This paper explores the effects of the French musicians were now faced withthe choice to remain orseekemployment elsewhere infavourswung of the French, whose troopsadvanced into the Rhineland. Mainz’s coronation ofFranz II. Atthe height ofthe company’s renown, the tide ofwar had Mainz Nationaltheater enjoyed the prestigeofhaving performed at the imperial momentexplain thissignificant inmusichistory. That summer members ofthe A collectionofletters written byMainzmusicians inthe autumnof1792helps to musical life at the crossroads ofthe OldandNew Regimes. court musicinMainzduringthe French occupationof1792–3to shed new lighton ensembles inthe years ofrevolution remainalmost unknown. This paper investigates and 1792—among the bestinthe Empire.Yet despite their distinction,Mainz’s which staged over 430performances ofsixty-nine different operasbetween 1788 contemporary criticsconsidered the elector’s Hofkapelle andNationaltheater— that once flourished in this key electorate of the Holy Roman Empire. Indeed, Mainz. Thisevent the ofthe signalled beginning endfor the musicalensembles On 21October 1792French Republican troopsmarched into the Residenz cityof Austin Glatthorn(DalhousieUniversity) the FrenchOccupationofMainz,1792–93 Out withthe Old, in with the New: Music and Regime Change During that for musicitself was crucial the development ofmechanist philosophy. power ofphilosophy. Rather, Iconclude byusingNewton’s Opticks(1704)to argue This is no story, however, of the absent-minded submission of musical thought to the in early eighteenth-century EnglandandScotland in earlyeighteenth-century Hearing theEnlightenment:Musicalaffectsandmechanistphilosophy disused spaces to trains to the natural environment. the ways that audiencesreceive and understand musicindifferent settingsfrom creative challengesofworking andlogistical inthese contexts, aswell asconsidering session isto stimulate questioninganddebate. The sessionincludes ofthe discussion The four projects approach the theme fromdifferent perspectives, andthe aim of the Steven Feld’s acoustemology, orknowing throughsound. Also relevant isR.Murray to Schaeffer’s thisdiscussion work and in acoustic ecology Music, SoundandSpace (2013)hasmade amajorcontribution withinmusicology. extensively theorised, andrecently GeorginaBorn’s excellentcompilation ofessays listening outside the concerthall.Inthe visual arts site-specific practices have been political, acoustic and environmental questions raised by taking music-making and composition. Inthissessionweto willbegin address the philosophical, social, is familiar fromavariety ofpractices frominstallation art to electroacoustic the world. The awareness ofsoundasaspatial, aswell as temporal, phenomenon object, butas aprocessbywhichof music,not to simplyasacultural understand They willpresenttheir work its implications anddiscuss for ourunderstanding in investigations into the nature ofthe relationship between soundandits context. This sessionbringstogether four practice-based researchers who engaged are currently Space (Panel) Explorations of Music and 2I Site and Sound: Practice-Based the more importantvariant texts andtheir implications for performance. textual transmission throughcollections andwillillustrate oranthologies, some of paper some importantmethodological willdiscuss issuesinvolved inestablishing and in some cases predate the ‘official’, royal collections to entrusted Farinelli. This Parma andthe Esserciziandgive aglimpseofthe kindsofcompilations that liebehind the 1980s.The thirty-nine sonatas inthisMSoffer variants significant fromVenice, he published c.1905andwas thought lostuntil rediscovered byMaría Ester-Sala in Catalunya was usedbyEnriqueGranados for the two volumes ofpiano transcriptions textual transmission throughout the peninsula. MSM1964inthe Biblioteca de being identified inSpanisharchives andthese pointto amore complexpattern of challenged byeditors andperformers. Butagrowing number oflessersourcesare and Parma. These sourcestower over allothers withanauthority that israrely published inLondon in1738–9andthe two great MScompilations now inVenice The texts ofDomenico Scarlatti’s keyboard sonatas are dominated bythe Essercizi MS M1964 de Catalunya ScarlattiMSSinSpain:Biblioteca Lecture-Recital: and the collapse ofthe ensembles that onceprosperedinMainzunder the OldRegime. installationthe abrupt ofanew democratic government ledto amusical(e)migration court. Ireveal how, duringthisseminalperiodoftransformation inEuropeanhistory, Chair? Chair? IfeBarry (GuildhallSchool ofMusic&Drama) Concert Hall,1.30pm Jan Hendrickse (GuildhallSchool ofMusic&Drama),convenor andchair Concert Hall,2.30pm 47 Sunday 4 September 48 Sunday 4 September and rethinkingpractice-led research onthe other. Myresearch practice exploresthe distinctive kindof knowledge; asameans ofcountering reductivism onthe one hand, (Barrett andBolt,2009,2012;Haseman,2006).Bothforeground experienceasa (Ingold, 2006;Kohn, 2013)and recentthinkingonperformative research paradigms connections between studiesofanimicpractices andcultures anthropological This presentation considers myrecentarts practice throughwhich Iexplore Nell Catchpole(Guildhall School ofMusic&Drama) Interventions: landscapeandmateriality concert halls,andinformal orimprovised spaces for presentingwork. are the contrasts between officially sanctioned art-spaces, suchasconservatoires and ways that ourperceptions ofsoundare mediated byits context. Implicitinthissubject practice, ascontrasted withthe idea ofimposedisolation aspunishment, andthe engagement withthe space. These include the roleofvoluntary isolation inmusical I willbeconsidering the new perspectives andquestions arising fromthe creative audience. Thispresentation willfocus onthe nature ofthese Inparticular, discussions. at which the work was shared, followed byafacilitated withartists discussion and engaged with,the site insome way. There was apublic event inthe OldPolice Station Deptford asastudiofor sixdays. The briefwas to make awork that responded to, or were each given one ofthe disusedmaledetention cellsinThe OldPolice Station composition andinstallation practice. Inthisprojectfour composers/soundartists Drama, which investigates the creative use of urban space as a component of sound Isolations isaresearch project,supported bythe GuildhallSchool ofMusic& Jan Hendrickse (Guildhall School ofMusic&Drama) Isolations In thisshort presentation Iwillintroduce some themes relating to space, location and Claudia Molitor (CityUniversity) Sonorama examines the parallel questions concerningtheir representation inother contexts. and transformative potential ofthese sonic‘re-wilding’practices andthispaper interconnectivity. The research alsoexploresmyuncertainties around the meanings cross the peripheries of human/other-than-human sentience and other modes of with thisplace andmoment. Iaminterested inhow andifthese investigations might with found organic materials exists asthe interface or‘work space’ for interacting asto theirritualised, butambiguous sourceandpurpose.The physical connection forms. Icreate recordsofintimate interventions inthe natural environment—feral, materials insituandthe subsequent re-presentation ofthese experiencesinvarious perception ofthe natural environment throughsound performance usingorganic ( like, continuallyandreciprocallybringone another into existence.’ relations withinwhich beings of all kinds,more orless person-like orthing- ‘Animacy … is the dynamic, transformative potential of the entire field of (Kwon, 2002,p.12) of the site.’ All these imperatives came together in art’s new attachment to the actuality old Cartesian model to aphenomenological one oflived bodilyexperience…. contingencies of its context; the of the radical subject from an restructuring ‘…the challenge to relocate meaning from within the art object to the Rethinking theAnimate,Re-Animating Thought , Ingold,2006) was started bythe RMA in1951),andwillbelaunched duringthe Conference. Their McVeigh andPeter Lynan for MusicaBritannica.Itisvol. 100inthe series(which The impetusfor the sessionisthe publication ofArne’s oratorio Judith,edited bySimon in the composer, particularly among younger scholars. new work onArne fromavariety ofperspectives withthe aimofstimulating interest scholarship. Thisproposedthemed sessionaims to bringtogether across-sectionof many aspects ofhislife, theatrical career andmusic are virtuallyuntouched bymodern musical identity, ifonlyfor ‘Rule,Britannia!’andafew Shakespeare settings.Yet middle ofthe eighteenth century, andhasretained aspecialplace inournational Thomas Arne (1710–78)was the most importantEnglishtheatre composerinthe 2J ThomasArneRevisited (Panel) and asmore-than-representational, onthe other. subsequent artefacts, performances andinstallations removed fromthesite original artsecological practice, directly, asanin-situperformer onthe one hand,andwith Attention isgiven to the multifaceted ofexperiences of ontologicalsignificance expand andclarify the argument for participative environmental arts practice. how non-representational theory andTim Ingold’s conceptof‘dwelling’ help to practice-led research inthiscontext. A broader then theoretical outlines discussion experimentation andimprovisation), andthe particular epistemological value of critical basis,practical methodologies developed duringit(including the rolesof in Natural Environments’ (2012–14). The introduction covers the project’s eco- research project ‘Landscape Quartet: Creative Practice and Philosophical Reflexion This presentationthe arts discusses practice that emerged duringthe AHRC-funded Matthew Sansom (TheUniversity ofSurrey) In themaking:insightsgainedfromecologicalsoundartspractice geographical space into something approaching alandscape again. perhaps Sonorama, throughsound,willtransform the traveller’s experienceofthat ‘… transformation oflandscape into geographical space…’ when itfirstappeared then landscape that istravelled throughandusastravellers. Ifthe railroad represented a between-ness, suggestingapossiblere-establishment ofarelationship between the of Sonorama liberate the outside space (outside the traincarriage) fromits in- By proposingaquasi-sonicreading ofthe passingview the composedepisodes it no longertouches uslike a‘real’experiencedspace, butrather like afilmicspace. between space to us.Strippedofits soundsaswell asits smells andtactile sensations, The landscape we see passing by in between our station stops becomes a kind of in- of the window into the silentlypassinglandscape. could become anopportunityto daydream, to ponder, to ruminate whilst gazingout destination, butthat beinginthismoving space mightbeameaningfulexperience.It does not necessarily have to beanon-space to beenduredinorder to reach the desired their journey, i.e. their movement throughlandscape. Itsuggests that the traincarriage to the ‘disconnect’ between the traveller andthe space onthe trainthey inhabit, and the train journey between London St. Pancras andMargate. Sonorama isachallenge landscape inmycompositionalpractice byconsidering Sonorama, anaudiowork for Peter Holman (University ofLeeds),convenor andchair Rehearsal Room1,2.30pm 49 Sunday 4 September 50 Sunday 4 September most associated with himwas Charlotte Brent, whom he trained to beaspectacular male rolesspecially written for her inEnglishoperasandafterpieces. The pupil Margaret Farrell, became muchadmired asMacheath in voice andfor her powers actress. as atragic Avery different lower-voiced pupil, junior, who asMrsCibberbecame renowned for her emotionally moving contralto English female singers.Hisearliest pupilwas hissister Susannah, four years his that he ever lessons, had anysinging buthe trained anumber ofverysuccessful Weller were all taught by the composer. Arne was not a singer and it is unlikely Baddeley, Barthelemon Mary (née Young), andthe eighteen-year-old Elizabeth church duringDavid Garrick’s Shakespeare Jubilee the threefemale soloists, Sophia When Arne’s oratorio Olive Baldwin(IndependentScholar) andThelmaWilson (IndependentScholar) Thomas Arneasateacherofsingers today.recognition but seldom experiencedinperformance, the oratorio surelydeserves fullerpublic Dibdin inthe eighteenthandwidely century praisedinmodern criticalliterature, idioms andarichorchestral palette inthismost ambitious work. Exalted byCharles to appeal to elite andpopular audiencesalike, Arne advanced awide variety ofvocal Certainly, inseeking to assert himself asaworthy British successorto Handel and framework inahighlydistinctive way. new musicaldirections withwhich Arne soughtto energise the Handelian oratorio 1769 Shakespeare Jubilee; and in so doing it will offer some perspectives on the a variety fromplayhouse ofmilieus, oratorio seriesto provincial festivals andthe history ofthe oratorio, the paper willdemonstrate how the oratorio was adapted to the very first year of the new king’s In outlining the reign. early performance was indeedApocrypha one achallenging inview ofthe politicaluncertaintyof to the libretto byIsaac Bickerstaffe. The choice ofthisparticular story fromthe complex musicalandtextual sources,andon theandpoliticalbackground religious position the oratorio inabroad perspective that draws onnew research into the of 2016asvol. 100ofMusicaBritannica. Inthispaper the editors willseekto Arne’s solesurviving oratorio, Britannica Trust) Simon McVeigh (Goldsmiths,University ofLondon)andPeter Lynan (Musica musician’: Arne’soratorioJudithinitswidermusicalandsocialcontexts ‘One of the most noble compositions that ever stampt fame on a apprentice. suffers fromanuncriticalacceptance of the writingsofCharles Burney, hisformer Peter Holman that argues hismodern reputation asamanandcomposerstill created apatriotic musicalidentity, respondingto earlier Englishcomposers,while Two papers tackle Arne’s criticalreception.Suzanne Aspden exploresthe ways he part oftheir ground-breakingresearch into singersineighteenth-century England. teacherand influential singing is investigated by Olive Baldwin and Thelma Wilson, new sourcethat enables more ofitto bereconstructed. Arne’s roleasaninnovative Ben Jonson edition,throws lightonanimportantlate work, drawing attention to a Cunningham’s paper onThePrince, Fairy arising outofhiswork for the Cambridge history ofthe Englishoratorio, andmakes the casefor modern performances. John paper outlines the complexhistoryofthe work, situates itinArne’s outputandthe Judith was performed in1769Stratford-upon-Avon parish Judith (1761),willbepublished inthe summer The Beggar’s Opera andin recently beendiscovered, which supplies agood deal ofthe previously unknown recitatives were omitted. Aperforming part usedbyone ofthe mainactors has arrangements of the overture and thirteen and the dances, butthreechoruses secco works. A vocal scoreof ThePrince Fairy was published in1771;itincludes keyboard the lossofsuch sourceshasgreatly inhibited afullre-evaluation ofArne’s theatre the musicisof ahighqualitysoitisunfortunate that no fullscoresurvives. Indeed thirty-six nights over the season.Although the operawas never revived infull, passages fromShakespeare, Dryden andGilbertWest. ThePrince Fairy ranfor a hotchpotch, mostly basedon BenJonson’s masque elaborate entertainment, enlisting Arne to composethe music.Colman’s libretto is at Covent Garden Theatre, George Colmanconceived asimilarly patriotic and Lane, Garrick’sAt Drury entertainment was setto musicbyCharles Dibdin; Castle captured the public’s imagination andinspired two theatrical entertainments. among them KingGeorge III’s eldest sons. The spectacular ceremony at Windsor In the summer of1771 ten nobles were invested withthe order ofthe Garter, John Cunningham (Bangor University) New lightonThomasArne’ssettingofTheFairyPrince servile imitation ofhisapparently ‘matchless’ forebears. the uneasy taskofdemonstrating hisgenuinely ‘English’voice, while avoiding place inthe compositional canon. Inthe process,Iwillalsoaskhow Arne negotiated suchasPurcellandHandelcanonical asameans figures ofestablishing hisown output to show that he (like others) employed not justthe musicbutalsothe idea of In thispaper, Iwillexplorethisphenomenon byexaminingexamplesfromArne’s effectively narrativised, oldentering into adiscoursewithnew. strategy isevident fromthe processbywhich stylistic variation was framed and was not simply part of ongoing musical ‘development’, but a deliberate historicising active andcriticalengagement withthe legacy oftheir musicalforebears. That this of hisinterest: throughout the eighteenth century, Britishcomposersdemonstrated an generations. In this regard, Arne was not unusual for anything other than the longevity musical idioms, consciously appropriating andadapting the musicalstyles ofearlier did he work onnational narratives, however; at times Arne alsoexploited national based on indigenous literature or history, or concerning patriotic themes. Not only (1745) to consistency. From from the 1730sto the 1770s,displays muchvariety, butalsosome remarkable Thomas Arne’s longcareer, composingfor the London theatres for over four decades Suzanne Aspden(University ofOxford) Arne the‘affectedimitator’? concerts he mounted. Arne promoted his pupils, both in his dealings with theatre managers and in the careersordinary on the London stage andelsewhere. Itwillalsolookat how with hispupils,boththe famous ones andthose who were to have shorter ormore Arne’s teaching methods and consider what can be deduced about hisrelationship This paper willexamine the limited frustratingly number of anecdotes about in 1761,andcreated the taxingroleofMandane inArne’s opera Italianate soprano. She sangthe titleroleinthe premiereof Elfrida (1772), he showed an interest in writing ‘national’ works—works Rosamond (1733)to The Prophetess (1758), Oberon butinterspersed with The Temple ofDullness Judith Artaxerxes , at Drury Lane , at Drury . 51 Sunday 4 September 52 Sunday 4 September compose itfor his fellow-countryman in the firstplace. far they mighthave diverted fromthe sourceswhich had inspired Sposobin etal.to to beasked what exactly the impacts of Uchebnik garmonii are inChina,andhow theorists have published model answers to the exercisescontained init.Butitremains in the entrance examination syllabi ofnotable conservatories, andreputable music sometimes onlynominally, invirtuallyall musicinstitutions uptill now. Itislisted in 1957–58.The booksoonattained canonic status inChinaandhasbeenused,if The firstChinese translation ofthe whole bookbyZhuShiminwas then published in the 1980s, took the lead to publish achapter fromUchebnik garmonii in1955. at Moscow Conservatory inthe 1950sbefore he headed the CentralConservatory considered ethnicallydistinctwithfunctional harmony. Wu Zuqiang,who studied ethnicisation of harmony should be solved by combining musical elements that are held at the CentralConservatory ofMusicinChinathat the problem posedbythe more musicians inaforeign land.In1955–56B.A. Arapov decreed at meetings ‘scientifically basedfunctionalharmony’, thisbookwas destined to beread bymany of the Soviet Union’ (Protopopov, 1960).Characterised byits promulgation ofthe came to beadopted as‘the basictextbook for coursesonharmony inthe musicschools garmonii. Thisisthe firstofficiallyapproved harmony textbook inthe USSR,which In 1937–38I.V. Sposobin etal.at the Moscow Conservatory published Uchebnik Soviet harmonytextbook inChina B. A.Arapov, I.V. Sposobin,andUchebnikgarmonii:theLegacyofa 2K UsesofMusicalObjects opera, settingthe pattern for Englishcomicoperawell into the nineteenth century. the 1830s,while Love inaVillage (1762)was aninfluentialreinvention ofthe ballad a boldattempt to Anglicise Metastasian operaseriaandheld the London stage until style ofItalianintermezzi suchasPergolesi’s Laserva padrona. Artaxerxes(1762)was 1760s. Thomas andSally(1760)was the firstEnglishall-sungcomicoperainthe achievement asatheatrical innovator, particularly inthreekey works ofthe early it inthe musicofItalianandGermancomposers, andwas clearly blindto Arne’s agendas. ThusBurney criticisedArne for adopting the galantstyle while welcoming as acomposer, ostensibly impartial, isriddledwithdouble standards andhidden musical world represented byhisteacher. that Iargue Burney’s assessment ofArne by hisdesire to distancehimself fromhisown humble originsandthe professional own positionasapropagandist for modern ItalianandGermanmusic,above all was coloured by professional rivalry, factors, by murky personal and religious by his thatargue Burney’s account ofArne andhismusiccannot betaken at face value. It writings ofCharles Burney, hisapprentice between 1744and1748.Inthispaper I has beenbasedonanuncriticalacceptance ofthe account ofhimgiven inthe For more than two centuries Thomas Arne’s reputation as a man and as a composer Peter Holman (University ofLeeds) Thomas ArneandCharlesBurney Arne’s creative powers were asstrongever inthe early 1770s. This paper willre-examine ThePrince Fairy inlightofthisrediscovery, that arguing recitatives as well part; performing as a chorus parts for actors of this period are rare. University ofHong Kong) Hong Ding (Soochow University School ofMusic)andCheong Wai-Ling (Chinese Keith Howard (School ofOrientalandAfricanStudies),chair Rehearsal Room2,2.30pm four presidential elections held from1953to music 1998.Ingrantingcampaign with the aidofmusic.The order, inchronological casesare discussed encompassing case studies of presidential candidates who went on to win their respective elections Richard Dyer, Thomas Turino, Nicholas Cook,andTimothy Taylor, itfocuses onfour themselves. Basedonatheoretical andanalyticalframework invoking the ideas of utilised songsinorder to to voters sendcues about the images they seekto projectfor and Library, thispaper investigates how Philippine presidential candidates have oftheLibrary Philippines, andthe Republic ofthe Philippines Presidential Museum recordings andnewspaper clippingssourcedfromonline archives, the National Through the analysis music,aswell ofcampaign asthe examination ofaudio-visual James Gabrillo (University ofCambridge) The soundandspectacleofPhilippinepresidentialelections,1953–98 conditions, which form part ofandaffect the processofcreative work insamba-enredo. techniques ofcompositionaswell and asinquestions about surroundingrules The framework ofthe presentation willconsist incentralaspects ofaesthetics and professionalisation ofthe samba-schools andcarnival. tension that arises fromsocialandfinancialdevelopments andfromanew kindof samba-enredo andbalancethe composersbetween their passionfor samba anda andexternalcircumstances conditions that influencethe way ofcompositionin present the practical working techniques ofcompositioninparcerias aswell asthe results ofcase-studiesonthe Samba-School GRESUnidos de Vila Isabel, Iwill Based onmyfieldwork inRiode Janeiro from2012to 2016,usingespecially the followed inBrazilandallover the world. carnival parade inthe Sapucai, which hasbecome aninternational event andis for one seasonandispresented to anaudienceof90000peopleinRio’s famous of the year’ isselected. The winningsamba becomes the Samba-School’s ‘hymn’ untilOctober),in the inwhich composers’competition (from August the ‘samba schools. Every year, various groupsofcomposersprepare new sambas to take part the composers’collectives (so-called‘parcerias’) ofRiode Janeiro’s famous samba- theThis article practical discusses processofcompositionsamba-enredo in Friederike Jurth (University ofMusicFranz Liszt) fromRiodeJaneiro composers’ collectivesofthesamba-schools From theideatosamba:practiceandaestheticsofcompositionin 2L MusicandMusicians on Screen casts politicians not onlyaspublic servants, butalso ascelebritiesandentertainers. argument: that the songsinPhilippine tradition ofcampaign presidential elections between statesmen andthe society they serve. This leads to the paper’s most significant ‘starconstruct narratives’ the of politicians, relationship which inturnreconfigure formation andbrand-buildingofthe presidents, assertingthe capability ofsongsto voter sentiment. Crucially, the author evaluates music’s for repercussions the image- inferring that throughrepetitive performance andlistening, sonicregisters shape agency, the author exploresthe complexdynamicsbetween candidates andvoters, Composer biopics: interfacesbetween researchandpopularculture Carlo Cenciarelli (Cardiff University), chair Rehearsal Room 3,2.30pm 53 Sunday 4 September 54 Sunday 4 September a strong impact oncomedic effect. Inparticular, andtiming the musicalstructure which the musicalcontrolofrhythm, gesture,punctuation, and phrasingcanhave has traditionally beencalledmickey-mousing. Iwillexplore some ofthe ways in interaction andsynchronisation that move beyond abasicunderstanding ofwhat from film, television, and YouTube which highlight several aspects of audio-visual within the literature. Inthispresentation Iwill exploresome recentexamples generating, supportingoreven contradicting comictiminghasrarely been discussed The secret to comedy is timing, or so the adage goes. Yet curiously, the role of music in Miguel Mera (CityUniversity London) musicality The comedyofaudio-visual contradictions ofmodernity inherent inthistypeof1920scinema project. case ofpoliticisedoperaadaptation andreception,thispaper exploresthe various Focusing onthe largely unknown illustrate the uneasy relationship between silent-eraWeimar cinema and opera. those who regarded itasavulgarisation ofhighart. Taken together, these two films Richard StraussandHugovon Hofmannsthal collaborated, to the consternation of Nürnberg part of numerous Weimar commentators towards the filming of opera. von Nürnberg Nürnberg was butfreelyadapted, arecognisable, version ofWagner’s Capitol Cinema inBerlin; directed byLudwig Berger (1892–1969),DerMeister von On 5September 1927,asilentfilmwithorchestral accompaniment opened inthe Áine Sheil(University ofYork) Germany From operatofilm:DieMeistersingervonNürnbergonscreenin1920s mutual engagement withbiography. by exposingpoints ofcontact between academia informed andpopular culture, bytheir directorial vision.Ithighlights potential routes for public engagement withscholarship and media ornarrative exigencies,examiningtensions between academic inputand used byproducersofcomposerbiopics,andthe relationship between scholarship James Lapine’s Impromptu (1991). The paper identifies the types of scholarly sources and George Cukor’s Songwithout End(1960),Ken Russell’s Lisztomania (1975)and Chopin andLiszt,includingCharles Vidor’s ASongto Remember (1945),Charles Vidor Herrick inLA,andthe Library BFIarchives, thispaper examines arangeoffilms about Liszt. Drawing onarchival material fromthe USCCinema andTVlibrary, the Margaret the filmictreatment of two composerswho frequentlyappear inbiopics:Chopin and popular imagination. Itdoes thisbyanalysing the relationship between scholarship and This paper assessesthe influenceofacademia onthe positionofcomposersinthe biopics andscholarship. of genius and censorship,construction but does not trace the relationship between Movies provides ausefuloverview ofcomposerbiopics,examiningissuessuchasthe ways inwhich they are employed are yet to beestablished. Tibbetts’ Composersinthe biography typicallydraw onscholarship. However, the typesofsourcesusedandthe composers andtheir music.Researchers, writers, andproducersofpopular multimedia audio, visualandwritten. Accordingly, they influencepopular understandings of Composer biographies have afar-reaching influenceandare accessible inmanyforms: Joanne Cormac(University ofNottingham) followed in the wake of a 1926 film version of . The storm ofprotest itprovoked revealed hostility onthe significant Meistersinger filmasaparticularly complex Der Rosenkavalier Die Meistersinger Der Meister von , on which (2014). Prize: Soviet Culture andPolitics (Yale, 2016). of Nationalism fromGlinka toStalin of Cambridge, andFellow ofClare College. She isthe author of again divided? inclusive inaworld andfair culture that pictureof20th-and21st-century isonce is fullofthe rhetoric ofColdWar II.How do we maintainthe desire to buildan to rejoiceinsweeping away the finalremnants ofCold-War prejudices,the media We a paradoxical willalsodiscuss situation: as scholars in the humanitiescontinue isolationist mindsets respectively. post-So styles. We The EdwardJ. DentMedalPresentation andLecture Cucumber interactions that generate humour. Examples may include temporality, provide auseful starting point for an examination of audio-visual Wilson’s ofthe ‘musicality’offilm,particularly discussion oflinear the disruption can dissipate inthe face ofanawareness ofits existence) andDanijelaKulezic- Donnelly’s notion aesthetics’ ofthe ‘occult ofaudio-visualsynchronisation (which of the ‘punchline’ willbeexamined. Recent theoretical perspectives, suchasKevin Marina Frovola-WalkerMarina committed marg narrative musicbyrehabilitating of20th-century andincludingarangeof This paper willassessrecentscholarly efforts to revise the dominant modernist Marina Frovola-Walker(UniversityofCambridge) An InclusiveHistoryforaDividedWorld Music andSoviet Power, 1917-32(Boydell, 2012),andauthor ofStalin’s Music Mark Everist (University ofSouthampton, President ofthe RMA),chair Marina Frovola-Walker (University ofCambridge) Concert Hall,4.30pm inalized trends,beg viet Russia,andth shall lookat various models that have emerged bothinthe West andin (2015), populist music,andsprea Masterchef FBA isProfessor ofMusicat the ofMusic,University Faculty e inning withSocialistR resistance th (2015), (Yale, 2007),co-author (withJonathan Walker) ding W1A (2015),andCameron’s Conference Rap ese hav out to abroa e encount d rangeofmore ‘conservative’ ealism andoth ered frommod Paddington (2014), Russian Musicand er ernist and socially- 55 Sunday 4 September 56 Monday 5 September directors, dramatic music hasno place inthe ‘reality’ofthe documentary world. real-world noises passfreely between sound andmusicalcomposition. For many been treated more creatively than the captured image; in particular, instances when investigates moments when real-world soundcaptured fromthe location shoot has parametersdistinguishing ofdocumentary become more porousstill.Thisarticle interpretation. When adocumentary includes creative sounddesign ormusic,the responses to begin closethe gap between the aesthetics ofobservation andthose of unguarded view pavea truly the way for imaginative responses to reality. Such what liesinfrontofthe camera, others believe that ofpresenting the difficulties While manynonfiction filmdirectors strive for anunmediated representation of Holly Rodgers (Goldsmiths,University ofLondon) Documentary Film Hearing MusicandListeningtoSound:Extended Audiovisualityin and politicswithinthe movement. research willdeepen ourknowledge ofthe SIandofthe relationship between music comprised in 1974.Thisvinyl compiledpopular songsofthe revolutionary proletariat, and secondly, in the album work applied to music.Firstlyinthe work ofOlmo who, withthe pioneering multimedia the ItalianWalter Olmo. Thisstudywillexplorehow the conceptof considering that the movement included acomposer among its founding members, of the musicalactivities inthe SIcontext isdeemed necessary, especiallywhen punk oronthe Amsterdam-based avant-garde musicofthe 1960s.Anassessment overlooked. Scholarly studyhasfavoured the influenceofSituationist theoryonBritish The musicalactivities carried outwithinthe groupremain,however, largely arts byAsgerJorn (one ofthe founding members ofthe SI)to his in twistingpre-established notions to achieve new meanings, asapplied inthe visual work’. The key concept in getting beyond art was that of de l’art’) asone ofthe principalguidelines ofthe network, together with‘abolishing French leader ofthe group,famously advocated ‘getting beyond art’ (‘dépassement European avant-garde movement—and one. art isachallenging GuyE.Debord,the The relationship between the Situationist International (SI,1957–72)—apan- Lola San Martín-Arbide (University ofOxford) music From Ambientmusictochansons détournées: notes for aSituationist 3B MusicandVisualArt Blurb? 3A Composersand‘GroupSelf-Contempt’ Monday 5September Chair? Chair? Rehearsal Room1,9.30am Gillian Moore (Institution), respondent Julian Anderson (GuildhallSchool ofMusic&Drama),convenor Concert Hall,9.30am La cavernadell’antimateria chansons détournées Pour enfiniravecletravail by the Situationists, includingDebordhimself. This (1958), coined the expression ofambient music; (‘Putting anendto work’), released détournement peintures détournées. détournement . This consisted was was represent aturning pointaway fromTurkish exoticismto the increasing interest in order to indulge the unusual musical tastes of their patrons, or whether they in fact This paper considers whether these works acted composedin asmere curiosities, Duetto Concerto for violin andxylophone was dedicated to the EmperorandEmpress. into extended works, among them Schweigl Ignza (c. 1735–1803), whose Pastorale as novelty instruments, these instruments were alsoincorporated by some composers the ‘Hölzernes Gelächter’) was frequently composedfor. Although clearly regarded extended to the imperialcourtinVienna, where the peasantxylophone (known as tromba marina, trombe aTiroli andthe tudlsak.The useoffolk instruments even amongst Bohemian aristocrats) andHungarian folk wind instruments suchasthe orchestral works that alsoinclude parts for the cimbalom (apopular instrument at the court ofCardinal Batthyány inRechnitz, Georg wrote Druschetzky several paper considers two case studiesinorder to demonstrate this.Duringhisemployment uncommon inAustria,Bohemia inthe andHungary late eighteenthandthis century My recentresearch suggests that ataste for incorporating folk instruments was not time, namely the useoffolk instruments. anotherignore phenomenon that existed inseveral royal courts around the same Huntersuch asMary andNasser al-Tae, contemporary musichistories byandlarge Turkishness ineighteenth-centurymusichasbeenwell-documented byscholars ausdem Serail(1782).Whilsttheof Singspiel DieEntführung significance exhibit Janissary influencesare Haydn’s L’incontro Improvviso (1775)andMozart’s instruments inorchestral musicandopera.Among the best-known works that The late eighteenth saw century anincreasedinterest inthe useofpercussion Sam Girling (University ofAuckland) Europeancourts eighteenth-century Exotic tastes:theappearanceofBohemianfolkinstrumentsinlate 3C TheCimbalominArtMusic perhaps most significantly, the documented andthe document. presented, real-world soundandmusic,objective andsubjective representation and, space for audio-viewers to navigate the tensions between the recorded andthe the ways inwhich attentive listening to thiselongated realityopens upacoherent becomes hypersensitive andheightened, itpermeates andenlarges it.Here, Iexplore away fromthe representation ofunmediated ‘reality’:rather, asnatural sound When the creative flow of sound outstrips that of the image, documentary moves This simultaneity gives risetoimpressionofthematerial. atransfigured original our fictionfilmgoing. without completely abandoning the narrative shape we’ve become familiar within film embraces the verynature ofits own form assomething caughtonthe hoof, and between hearing andlistening. Inthisway, sonically-elongated documentary thatI argue suchmoments relyonaconfusionofreal-world soundsandmusic; nonfiction aesthetic. With reference to several recentdocumentary feature films, foot inthe image, thusallowing the filmto retainaloosegriponthe traditional Sonic elongation fromsoundto music,however, allows the soundtrack to keep one Shay Loya (CityUniversity London), chair Rehearsal Room2,9.30am 57 Monday 5 September 58 Monday 5 September methods approximate the instrument’s distinctive soundsandtechniques. The result and effect withaparticular typeofnotation andhow convincingly hisreworking cimbalom evocations illuminate how Liszt expresses each meticulously technique when itinteracts withthe violinist,and(4)cimbalom improvisation. Allofhis rebounding hammers onthe cimbalom, (3)the uniquetexture ofthe cimbalom the instrument’s timbres andtechniques: (1)visuallystunningcimbalom trills,(2) a systematic manner. Liszt’s renderings evoke five salientfeatures associated with provide usefulexamplesto exploreseveral essentialtechniques ofthe cimbalom in as the method book evocations, ‘DieMusikder Ungarn’ from his connections to the instrument. The contemporary articles about the cimbalom relationships withcimbalom players, provide makers, andpedagogues context for Liszt’s own remarks onthe cimbalom inhis distinctive soundsandeffects ofcimbalom playing inhiscreative pianisticrenderings. brilliant piano pieces?Throughout his what isthe meaning ofhisfidelity musicinthe midstofthese to highly gypsy-band Liszt faithfully emulates the elements bands.Then ofHungarian popular gypsy accounting for several possibilities:‘to place musicandtext inunison,to allow the Monelle (2000)provides aframework for understanding the music-text relationship, fellow inmate Dr. Hans Gunther Adler(1910–88). Wedekind (1864–1918), AlbertSteffen (1884–1963),Georg Trakl (1886–1914),and manifest inUllmann’s settingsoftexts byFriedrich Hölderlin (1770–1843), Frank fear ofthe unknown andsocialconflict,hope throughprayers. These themes are impending oractual death, homesickness andhomelessness, conditions inthe ghetto, Ullmann andothers) holding particular resonancefor those interned. These include articulated several themes recurring insongscomposedTheresienstadt (by before perishinginthe gaschambers ofAuschwitz in October 1944.Bloch(2006) community ofTheresienstadt, a‘model’ concentration campjustnorth ofPrague, by the Nazis duringthe Holocaust. He spentthe finaltwo years ofhislife inthe acclaimed member ofSchoenberg’s circle,was one ofthe millions ofJews murdered Viktor Ullmann(1898–1944),anAustro-Hungarian composerandinternationally Rachel Bergman (George Mason University) lieder ofViktorUllmann Shaking death’s hand:theinfluenceofTheresienstadtonselected 3D MusicinTerezín the instrument andhisinventive pianisticsolutions. of hisreworkings isaskilfulcoalescenceofhissensitive attention to the integrity of technical brilliance.Atthe other ofhis endofthe spectrum pianist-composer’s inshowmanship indulging throughthe predominant display of Liszt’s Hyun Joo Kim (IndependentScholar, New York) cimbalomplaying Hungarian-gypsy representationsof Interpretive fidelitytogypsycreativity:Liszt’s folk tunes that beginsto permeate agreat deal ofmusicinthe nineteenth century. David Fligg(University ofLeeds), chair Rehearsal Room3,9.30am Hungarian Rhapsodies Cimbalom iskola I–XV(1846–53)draw ourattention immediately to the [Cimbalom School] (1889)byGézaAllaga Rhapsodies Neue ZeitschriftfürMusik Des bohémiens , Liszteffectively captures the (1859) and his continuous (1859) andhiscontinuous Rhapsodies (1852),aswell , nevertheless, style structure whichstyle will be part way structure between a concertandconference session. gap between research presentations andpractice presentations ina lecture-recital inclusion within the wider musicalresearch environment. Itattempts to bridgethe under-represented at academic conferences, andthissessionaims to promote their line for of enquiry performer-researchers. Performers’ perspectives are often processes arising fromresearch imperativesof structured represents animportant in contemporary music-making.Asaresult,the treatment ofperformance asaseries Music andits creative processesrepresentawide research approaches rangeofcurrent interpretation ofscores,andpractice-led orpractice-as research. incorporates two ofits majorareas ofinterest: the creative processesinvolved inthe This sessionishosted bythe RMAMusicand/as Process StudyGroup, and Performance ProcessesasResearch (Panel) 3E RMA Music and/as Process Study Group Panel: Creative My analysis of Pavel Haas’s the broader intertextual u m i s methodolog S s T Martin Curda(CardiffUnivers Haas’s FourSongsfromTerezín’ held for the interned communityoflisteners. songs. The result is a greater understanding of the this repertoire special significance Monelle’s methodology to the themes Blochidentifies inUllmann’s Theresienstadt text in an aura of rhetoric, eloquence, or persuasion’ (p.19). My approach applies music to reflectironicallyonthe text, to contradict the text, ormerely to enclosethe genres, topics, andtechniques relevant to the autho o ‘ and melancholia. motionon circular andstasis),interms ofJuliaKristeva’s thoughts ontrauma,grief analyse patterns ofmusicaldeclamation, gesture,andagency (withparticular focus Mahler’s subjectivity (especiallybyjuxtaposition ofoppositionalmoods) to similar features in opera ‘mirrors’, parallel ‘shadows’, enharmonic ‘doubles’) withreference to Haas’s 1938 inbothlyricsandmusic(symmetrical ofuncannyimagery significance symbolic the protagonist’s subjective mood, andspecificmusicalfeatures. the Iwill discuss Symbolist reading, Iwillpointoutcorrespondences between images oflandscape, only what the work butalsohow signifies thismeaning isconveyed. Inmyquasi- n Gri uc tudy ofthe musiccom f historiographical evidenc ince muchofthe existingschol he u terpretation ofeach h as‘spiritualresistanc st start withthe m

traumatic context ofthe Holocaust c posessignificant ef, Richard Glover (University ofWolverhampton), convenor and chair Concert Hall,11am Charlatan. Iwillcompare Haas’s portrayal ambiguous ofthe protagonist’s melancholia,uncannyreflectionsandviciouscirclesinPavel The Song of the Earth. Finally, following Naomi Cumming’s method, I will i c a l b a ckground, wor particular work (without u po s i c sed inthe concentrati n e al and/orliterary te iverse ofWestern music, Four Songs onChinese Poetry ’ (criticisedbyShirli Gil e

ity) about the camp,coupledwit arship lacks sufficienther ks fromT e rezín a xt andconsider its o disregarding the h n campofTerezín ( r r’s previous œuvre, aswell bert). I argue thatbert). Iargue as ar e oft ts, andculture. (Terezín, 1944)questions not h e meneutical andanalytical n a llenges to hermeneutical

i nterpret h

pre-conceived ideas a is ffi Theresienstadt). tori e d o n ity to styles, c a n ati l context) th sfactory e bas

as to is 59 Monday 5 September 60 Monday 5 September are involved. respect), independently ofwhether unusualtechniques, instruments orelectronics (mentioning my recently documented work on the Dukas Piano Sonata in this musical interpretation most fundamentally being a form of sophisticated research and beingable to write about them withsome for criticaldistance,and argue ofmaintainingacloseworkingstudies, the difficulties relationship withcomposers about myengagements withhistorically-informed performance andperformance worlds without subsuming either withinthe other. Inthistalk,Ispeakbriefly period attempted to findsome possibilitiesfor dialecticalunitybetween these two whose written work isnot directlyrelated to performance—I have over anextended Working inroughlyequalmeasure asaconcertpianistandmusicologist—someof Ian Pace(CityUniversity London) reflections fromaperformer-scholar Between academia and audiences: some criticalandmethodological and keyboard performers throughcontemporary composition. examples, demonstrating theroleandperceptionofkeyboard changing instruments harmonium willbesupplemented instruments. anddigital Discussion bymusical historical andtraditionalwriting, discussing repertoire for the toy piano, portable feminine. Iwillexamine recentideas ininstrument development andinstrumental largely non-portable, keyboards have beenassociated withthe home andthe in context withhistorical gendering ofkeyboard instruments. Traditionally In thispaper, performance Iwilldiscuss practice onportable keyboard instruments Xenia Pestova (University ofNottingham) This paper will explorehow aJustIntonation-based analysis ofthe pitch material in intentions and the imperatives oftheir instruments. throughout aperformance, to suchanextent that disparities arise between the players’ toward relational tuningsmay causethe ensemble to modulate microtonally performers. Without appropriate preparation, astringquartet’s natural tendency with durational time brackets, creating auniquekindofintonational challengeto John Cage’s Four for stringquartet (1989)projects CP pitch notation incombination additional challenges. where suchhierarchies are either modular orabsent, aplayer may encounter a sense ofharmonic consistency across aperformance. Inopenscoreenvironments, intonational hierarchies are often established among instrumental voices, creating within asurroundingmusicalcontext. Inthe caseofconventionally notated scores, player develops apractice ofintonation throughunderstanding pitch relationships left unspecified byCPpitch notation, isunderstood implicitlybyplayers. Astring pitch, the practice ofintonation ofmicrotonal reveals nuancethat, aspectrum while tone equaltemperament. However, for stringsandother instruments offlexible placed onaconventional five-line staff,mighteasilybeassumed to represent twelve- Common Practice pitch notation, inwhich twelve chromatically spaced pitches are Mira Benjamin (University ofHuddersfield) string quartet Exploring asystematicapproachtointonationinJohnCage’sFourfor Pocket Pianos:workingwithportablekeyboards is alsoaplatform that to ordifficulties mightbevery explore interpersonal struggles format within the profession. Group work offers benefits and suchascost-efficiency This studyaddresses groupmusictherapy clinicalpractice, which isawell-established Irene PujolTorras (Guildhall School ofMusic&Drama) a mentalhealthsetting The useofgroupvocalimprovisation asamusictherapytechniquein development ofmoral treatment for insanity. Asylum, Iwilladdress the meaning ofmusicwithinthe asylum andits roleinthe ofasylum life.roles inthe structure Together withevidence fromthe nearby City deliberate part oftherapy inthe modern sense, musicnevertheless took onimportant in which musicwas encountered bypatients andstaff.Whilerarely considered a Asylum at Thorpe, near Norwich, investigating the different locations andforms consider the role of music in one large public asylum, the County Pauper Lunatic of lunatics beganto form animportantpart of thistreatment. Inthispaper Iwill might be solved, rather than just removed, and the occupation and entertainment to beconsidered fromamoral andmedical standpoint.Patients were aproblem that were andfromthe changing, late eighteenththe century treatment ofinsanity began care implemented onamassscale.Yet at the same time attitudes towards the insane time, asylums were characterised bypoorsafety andhygiene, together withpatient the problems ofkeeping lunatics inpoorhouses. Aswithalllarge institutions ofthe were intended to combat the unregulated assortment ofprivate arrangements, and Large, publicly-funded institutions founded inthe firsthalfofthe nineteenth century The Victorian lunatic asylum hasajustly-deserved reputation for unpleasantness. Rosemary Golding (OpenUniversity) Out ofmind,outearshot:musicintheNorfolkCountyAsylum synonymous? What‘itself’. does itmean to bemusical?What does itmean to bewell? Andare they the effectiveness ofmusicinhealth settingsbutalsoabout the ofmusic ontology to perceive andact’ (Clarke, not 2011,p.205).Thisopens onlyabout updiscussion table offers perspectives onmusicas‘anendlessly“multiple”environment inwhich Approaching notions ofmusicandhealthperspective, fromanecological the round presentation throughmusicaldramatisation. to health critiqueofhealth andwellbeing, institutions acultural andamode of for response. The sessioncovers musicasamode ofinteraction, abasisfor approaches participants willpresentmusicasasite for change,rather thansolelyasastimulus Seeking to lookbeyond what DeNora (2013)calls‘the “power ofmusic”trope’, This session explores aspects of how music gives us a means ofperforming health. 3F MusicasaMatrixforActioninHealthcareSettings(Panel) various approaches to notation. understanding ofintonation caninform andenrichperformative decisions across in performing openscoreworks for strings,anddescribe how amicrotonally-based over another. Itwillexplorethe benefits ofasystematised approach to intonation Four patterns canexposestructural that may lead aplayer to privilege one tuning Chair? Chair? Rehearsal Room1,11am 61 Monday 5 September 62 Monday 5 September This isrelated to literature about musictherapy training fromthe perspective ofboth the conceptof‘musicianship’ isunderstood inmusic therapy trainingandpractice. of musicianship expected of trainees at admission asa way to explore critically how requirementsentry andtraining orientations. The studysets outto identify the kind(s) programmes in the UKare compared, usingthe publicly available information about The musical audition requirements of seven Masters-level music therapy training in musictherapy. for trainingasone way ofidentifying aspects ofmusicianship considered important therapeutic development, thispaper investigates the musical admission requirements part ofinvestigating how musictherapy trainingsfacilitate the processofmusical/ or ‘musicianship’ generally, inrelation to musictherapy training andpractice. As critical investigation oftheattributed significance to practitioners’ musicalskills, These skillsare also further developed duringtraining.There hasasyet beenlittle skills aswell asskillsspecificallyrelated to musictherapy practice (e.g.improvisation). specialist training.Admissions criteria for trainingemphasiseconventional musical Practitioners are normally already trained musicians who undertake further Music therapy hasbeenaprofessional discipline inthe UKfor over forty years. Donald Wetherick (Guildhall School ofMusic&Drama) requirements forUKmusictherapytrainings The musicianshipofthemusictherapist:exploring musicaladmission rehearsal, workshop andperformance stages ofthe project. translation andperformativity inform illustrated the discussion, byextracts from and ofinnovative performance (Stigeetal,2010).Underlying themes ofbecoming, spotlight musictherapy asanemergent site bothofaesthetic theory(Aigen,2008) develop the role of aesthetic theory within arts & health practices. The paper will account of the development of a new musical on the subject of care, it seeks to illuminated by“Care”, aPractice-based Research project.Using adocumented This paper explorespresenceandrepresentation (Nancy, 2008;Ross, 2007)as Stuart Wood (Guildhall School ofMusic&Drama) research practice-based ‘Care, TheMusical’:exploring presenceandrepresentationthrough rich andprolificworld andthe ofimprovised singing world oftherapy. Therapy discipline. Thisproject willalsoattempt to buildsome bridgesbetween the contributing insight andnew methods to the growing fieldofresearch inthe Music The aims ofthisresearch are to provide abenefit for the participants whilst the useofvoice mightoffer adifferent potential thaninstruments to the therapy. might bebeneficial for the service users.Ithasbeensuggested inthe literature that improvisation might provide different therapeutic processes and dynamics which This studyaddresses thisarea ofinterest fromthe perspective that groupvocal voicework inagroupsetting does not appear inthe significantly literature. especially in community choirs. However, the combination of improvisation and an increasinginterest to address the voice asanimportantelement inmusictherapy, improvising witharangeofavailable instruments. Inthe lastdecade there hasbeen The standard useofgroupmusictherapy inmental health settingsconsists mainlyin relevant for the everyday functioningofpeoplesuffering fromamental health illness. Bardes Ossian ou les Dreaming ‘Opéra de Luxe’: spectacle in Le Sueur’s practice andpoliticalpower. panel alsocontributes to broader considerations ofthe relationship between creative Napoleon’s prescriptions were cultural obeyed, negotiated, andat times the ignored, of experimentation andmeta-theatrical reflection.Byshowing the way inwhich continuities withrevolutionary practices andideals, andby revealing itto beasite The panel thusreinserts Napoleonic theatre into musichistory, bothbypursuing genres were personifiedonstage. of musico-theatrical works fromthese years, includingaspate ofpiecesinwhich considers the phenomenon of‘genre-consciousness’ inthe productionandreception down of genres and institutions regulation did not gounchallenged;the third paper of the theatres in1806–7.After the freedom ofthe revolutionary period,thistop- legacy ofthe revolution canalsobeseeninreactions to Napoleon’s reorganisation reinforcing rather thancollapsing the distinctionbetween audienceanddrama. The Cortez builtonachievements ofthe previous decade butto quite different effect, spectacle. The innovative musicalandsceniceffects created inSpontini’s Fernand of aesthetic continuities,focusing on the evolving dynamic between audienceand practices installed under the revolution. The second paper extends thisexploration Sueur’s Ossian,aforerunner ofWagner’s musicdramas—which originated inthe new commitment to the unification ofthe different arts—as inthe dream scene ofLe political display. Yet, asthe first paper will show, they owe as muchto anaesthetic propaganda, andspectacular events there have often beeninterpreted asmere Opéra—as Paris’s theatre—was most prestigious centralto the regime’s theatrical responses from creative agents and audiences to Napoleon’s politics. The cultural This panel exploresthe demands andlimits ofgovernmental controlbylookingat artistic creativity, thusfindingnew meanings in‘official’artistic objects. productively exploited the multipletensions between governmental controland developments. However, recentstudiesofmusicunder authoritarian regimes have as propaganda spectacle, peripheral to mainstream nineteenth-century aesthetic period—in particular state-censored theatrical ones—have often beendismissed about French musiccomposedduringthe FirstEmpire(1804–14):works fromthis Beethoven’s ‘Eroica’Symphony. Yet have musicologists beenlessready to write important consequences for musichistory, featuring endlesslyinaccounts of In 1804Consul Bonaparte became EmperorNapoleon. The moment would have Theatre (Panel) 3G Beyond Propaganda: Music and Politics in the Napoleonic content ofmusictherapy trainingimpacts onmusictherapists’ formation. training inmusictherapy, which provisionally isconcerned withhow the musical in musictherapy training.Thisforms part ofthe author’s Ph.D. research into musical Potential lines ofresearch are suggested regarding musicalskilldevelopment processes trainers and trainees to identify themes relating to the musical content of trainings. Benjamin Walton (University ofCambridge), chair Katherine Hambridge (Durham University), convenor Rehearsal Room2,11am 63 Monday 5 September 64 Monday 5 September in the grandoperasofthe Restoration andJulyMonarchy. development that was rooted inthe 1790s,andthat found wider criticalrecognition seeks to situate it—andEmpireoperamore broadly—in the continuityofaesthetic Rather than understanding the opera as an empty example of propaganda, this paper audiences. Itwas withdrawn after justthirteen performances. was now badly and too executed pervasive, and that the intended effect was lost on suggests, however, that overwhelming spectacle—so admired inthe previous decade— attention on Cortez/Napoleon rather thanthe people.The opera’s criticalreception perspectival effects) contributed to adistancingeffect onaudiences, designed to focus (includingsheerstaging numbers andnoise ofpersonnel, innovative dalontano and among its multitudinous cast. The spatial expansion achieved by the music and piece celebrating heroism andsacrifice, andfamously featuring seventeen live horses the height ofthe Peninsular War, inthislight.Itwas essentiallyanextended battle Spontini’s Fernand Cortez, commissioned for the OpérabyNapoleon in1809at the dynamicbetween audience andspectacle was shifting. Thispaper examines Spectacular tableaux enjoyed continuing popularity duringthe Empire,but Robespierre had prompted thereafter. that politicaloratory promoted inthe firsthalf of the decade, andthat the fall of revolution. Animmersive aesthetic meshed withthe discourseofshared experience buildings seemto have captured something ofthe overwhelming experienceof On the operatic stage volcanoes ofthe 1790s,tableaux oferupting and burning Sarah Hibberd(University ofNottingham) ‘L’épique enaction’: Fernand Cortezandtheaestheticofspectacle perceive them asmere propaganda spectacle. the role of these operatic productions in larger aesthetic developments rather than the artistic andinstitutional prompts behindsuchscenes, mypaper seeksto unearth perhaps leading directlyto the extravagant tableaux ofgrandopéra.Byexamining vast resourcescreated acompetitionfor scenes withever more impressive effects, Opéra’s various creators). The dream scene’s innovative of the institution’s reunion in reorganisations around 1800that encouraged closercollaboration between the andits ambitionluxury to beacentrefor the fine reuniting arts (anambition reflected capitalised on the institution’s former reputation for unparalleled musicalandvisual in decline since1789.Consecutive revisions ofOssian,especiallythe dream scene, opportunity to reassert the Opéra’s prestige and artistic prowess, which had been Ossianic poems (1760–5)—the principal source of Ossian—provided the ideal Opéra’s artistic agenda. the Staging richvisual and musical world of Macpherson’s In contrast,thispaper the ‘total discusses spectacle’ inOssianasaproductofthe to Wagner’s Gesamtkunstwerk. propaganda, and Le Sueur’s operatic aesthetics have often been treated as a precursor of music,dance,costumes andstage sets hastraditionally beenlinked to Napoleonic astounding spectacle ever staged at the Opéra.Ossian’s relianceonthe combined effect raved about the dream scene inLeSueur’s Ossianoulesbardes, callingitthe most accompanied byeightharps, 111singersanddancerslamented Ossian’s fate. Critics On 10July1804anenormous aerial palace appeared onthe Opéra’s stage, and, Annelies Andries,(Yale University) How do we respondto the writings ofthese musicians astwenty-first-century composers expect the singer to add their own? ‘Ridente la calma’ as well as Haydn’s ‘The Wanderer’—to what extent didthese Examples ofnotated portamenti appear inMozart’s ‘DasVeilchen’, ‘AnChloe’and and those ofCorri’s. for alongside technique singing willbediscussed, acomparison ofurtext editions my hair’.The differences inapproach to performance preparation andimplications and portamenti in Haydn’s ‘She never told her love’ and ‘My mother bids me bind Domenico Corri’s ‘Singers’Preceptor’ contains suggested editorial appoggiaturas context inmusicalhistory andtheir writings. This paper willprovide ashort introductionto the aforementioned musicians, their voice, slurreddivision. appoggiatura, appuyer, portde voix, portamento, portare lavoce, dragging ofthe their publications of1723,1757and1809.The terms they usevary andinclude Domenico Corri (1746–1825) all write about the use of vocal portamento in Pier Francesco Tosi (1653–1732),Johann Friedrich Agricola(1720–74) and Mhairi Lawson(Guildhall School ofMusic&Drama) vocalchambermusic The Useof‘portamento’inlateeighteenth-century 3H SingingPractices experimentation, andtop-down, Napoleonic policy. cultural up new ways withestablished ofengaging narratives ofnineteenth-century generic consciousness among institutional committees, creative agents andaudiencesopens to certainmusicalvocabularies, forms oreffects. Suchanexamination ofgenre of generic andinstitutional boundaries, andofthe generic associations attached medium. Lemariage, for example,reveals anawareness bothofthe artificiality what extent, categories ofgenreshaped the useandreceptionofmusicasadramatic bureaucratic processofdefining genrecharacteristics. Ithen explorehow, andto the politicalandfinancialmotivations for the 1806retrenchment, andthe Using surviving administrative documents, mypaper beginsbyreconstructing basis of subject matter and the role and proportion of spoken word, music and dance. particular genresto particular theatres. Genredivisions were again asserted onthe and genrespost-Revolution, Napoleon re-introducedstrictregulations assigning the theatrical economy: in1806–7,after fifteen years ofproliferating institutions meta-theatrical production was one ofseveral staged responses to recentchangesto pantomime, mute characters, laughter andbattle scenes to her court.Thisknowing, petit vaudeville’ and ‘le mélodrame’, along withthe admission of dance, song, from opéras-comiques to debate the qualities of her competing generic suitors ‘le the institution of the Théâtre de la Gaîté uses vaudeville techniques and melodies In Martainville’s Katherine Hambridge (Durham University) Genre ConsciousnessintheNapoleonicTheatre James Davies (University ofCalifornia, Berkeley), chair Rehearsal Room3,11am Le Mariage du mélodrame et de la gaîté (1808), a personification of 65 Monday 5 September 66 Monday 5 September in order to create avocal biography ofMme Pasta.Itwill,therefore, take uscloserto of these writers, thispaper willpresentmaterial fromtreatises, reviews, andmemoirs describing the individual voice typesandcharisma ofsingers.Buildingonthe work tend to isolate vocal techniques andidentify broad stylistic rather currents, than Austin Caswell, William Roger Crutchfield, Freitas, John Potter, andJames Stark, coloratura, portamento, andvibrato. chiaroscuro, Writers inthese areas, including Current research into vocal-performance history examines issuessuchasthe useof evidence ofthe voice typesandperformance styles ofsingersthat pre-dated recording. of the early nineteenth century. We are left, frustratingly, withsparse anddisparate tothe was beginning capture recording industry the singers of the operatic works (p. 248).Stendhal’s to wishcame some true extent; before the endofthe century, time [her] sublime talents willhave adistinctphysiognomy inthe memory ofmen’ to ‘describe withexactness’ the talents ofMme Pasta,andthat ‘inone hundred years’ In hisVie de Rossini (1824)Stendhal expressedhishope that away mightbefound Anna McCready (Royal College ofMusic) the nineteenthcentury operaandsoundrecordingin Of inventorsandstudio-laboratories: Rossini’s vocal music. performance. Itopens awindow onto averydifferent, ‘authentic’ performance of day. Thisstudyhasramifications for singersborninto axiomofRossini the current a ‘distinctphysiognomy’ ofone ofthe most celebrated belcanto heroines ofRossini’s distinguished operatic asNewdistinguished milieux York’s Metropolitan Opera. Although clearly and ’90sbyamateur technicians, though amateur technicians associated withsuch paper willfocus onthe firstattempts to recordopera, which were made inthe 1880s innovators ofthe period,Thomas Edisonand EmileBerliner. The secondpart ofthe explore thisdiscourse,including contributions bytwo of the most important technical emerged about the potential that the new technologyhad for the art form. Iwill ’80s, when there were few practical attempts to recordopera,butwhen adiscourse nineteenth-century history. The firstpart ofthe paper willfocus onthe 1870sand In thispaper Iwilloffer the firstsustained account of operaandsoundrecording’s and soundrecordinghad arelationship too. phenomenon of the nineteenth andthat, century in the nineteenth century, opera What hassofar attracted lessattention isthat a soundrecordingwas originally from the inthe recordsofEnricoCaruso 1900sto today’s YouTube clipsandmp3s. of soundandaudio-visualrecordingsthanthat oflive, in-the-theatre performance, of the twentieth andtwenty-first centuriesengaged withoperamore inthe form Scholars ofoperaare becominginterested inthe fact that we have for alarge part Karen Henson (FrostSchool ofMusic,University ofMiami) ‘A MmePasta andtheRossini bel canto distinctphysiognomy’: techniques more readily associated withbelcanto opera. ‘classical’ performances oflate eighteenth-centurysongs,mustengage with This paper proposes that twenty-first-century singers, instead of delivering ‘clean’, importantly for students, how would anauditionpanel react? into ourperformances? Indoing so,how mightouraudiencesreact? More windows ofperformance practice andactually incorporate these stylistic techniques singers? Dowe defer to ourmodern tastes ordo we do more thanpeerthroughthese sty le on the speakers’ respective areas ofresearch, andwilladdress the following questions: the characterisation ofscoresas‘determining’ performance? Presentations willdraw a complete view onthe creative process?Inits opposition, does ittoo readily accept could itbethe casethatbeen crucial, thisoppositionto musicalnotation isinhibiting of the musical ‘work’ andthe critiqueofthe centralityofnotation have inmusicology engage withnotation inavariety ofreal-world settings. Though the deconstruction session we wish to soften suchoppositions byinvestigating how musicalpractitioners versus act, product versus process,ormusicasnoun versus musicasverb. Inthis assumptions ofthe discipline. Thisdevelopment isoften phrasedinterms oftext than justachangeofsubject, buthasinvolved arethinkingofsome fundamental informed performance. The ‘performative has entailed more turn’ in musicology including electronicmusic,improvised music,indeterminate music, andhistorically and aresourcefor action inavariety ofhistorical periods andmusicaltraditions, This sessioninvestigates the roleofmusicnotation asasourceof creative knowledge of the Romances (9mins.) andshort illustrative extracts fromother works. require the interpreter to undertake research. There willbeacomplete performance Joachim’s playing. There are problems inbothscores,even ofinaccuracy today, that to consider what the Romances mightalsotell usabout the qualitiesshe admired in and the Romances op.22show her fine understanding ofthe genre;itisfascinating Mendelssohn andothers. Clara Schumann’s two chamber works, the Piano Trio op.17 gifted performer infacilitating the development and revision ofworks bySchumann, of achamber concertseriesinDresden, andassessingthe importanceofsuchahighly as achamber musician,lookingat her rolewithinher musicalcircle,her foundation Italsofocusesgiven onthe sufficientrecognition. contributionClara Schumannmade this relationship to the development ofClara Schumann’s career after 1854hasbeen composers, Clara SchumannandJoseph Joachim, askingwhether theof significance This lecture-recitalexploresthe collaborative partnership between the two performer- admiration, butwas inspired several months earlier bythe arrival ofJoseph Joachim. with Brahms, when Robert andClara Schumannwere famously overwhelmed with several years came not, asmightseemmore likely, inresponse to her firstmeeting works withinthe space oftwo months. Thissudden burstofactivity after agap of period in the summer of 1853 when Clara Schumann composed three of her finest The Romances op. 22 for violin and piano were written during a creatively productive • (Panel) 3I Performing Notations:Relational ApproachestoMusicalMaterials ClaraSchumann’sLecture-Recital: Romances Op.22 faceted thanthe one that would dominate operaandsoundrecording’s later history. recording, one that, Iwillconclude was byarguing, more imaginative andmulti- very different, these early written and practical efforts share an approach to sound the materials withwhich musicians work? How mightnotation beunderstood, not primarily asaformal model butasone of David Milsom(University ofHuddersfield), chair Laura Roberts (GuildhallSchool ofMusic&Drama) Concert Hall,1.30pm convenors/chairs) Emily Payne (University ofLeeds)andFlorisSchuiling(UtrechtUniversity), co- Concert Hall,2.30pm 67 Monday 5 September 68 Monday 5 September required to play these scores.Different musicians had different conceptions ofwhat were problemsdiscussion ofcreative ownership, andthe kindsofpractices that were part to the musicians’ different relationships withthese kindsofscores.Key points of correspondence, the reasons behindthe break-upofthe ensemble are traced back in Through interviews withsurviving members, andarchival research onoriginal fulfil obligations untilthe endofthe Expo. reached acrisispointandleft the ensemble withimmediate effect, staying ononlyto accompanying text instructions. Inthe middleofthe Expothreekey members several text pieces,andothers that usedpredominantly +,-,and=signswithsome of Karlheinz Stockhausen. Aswell astraditionally notated piano pieces,there were auditorium ofthe West Germanpavilion bymanymusicians ofthe compositions The 1970World’s FairinOsakafeatured dailyperformances inthe spherical Sean Williams (IndependentScholar) Stockhausen Ensemble notationandthecollapseof Creative agencyinnon-standard and discipline. the dynamicsofsuchnegotiations complicate notions ofcreative liberty, constraint, how issuesofauthorship andauthority are negotiated insuchinteractions; andhow notation canbeanobject ofantagonism anddisagreement aswell ascollaboration; notational styles andtheir associated practices. Indifferent ways, they show how The performative contexts that the casestudiesexploreexemplifythe diversity of be releasedbythe performer’ (Cook,2013,p.338)? out something that isalready there inthe score,composedinto itandjustwaiting to discourse of‘reproduction’andits associated ‘idea that performance means bringing can functionasasourceofcreative knowledge for performers, while avoiding the to performed and/orimprovised transience. Isitpossibleto describe how notation of agency, inorder to move beyond aparadigm that opposesnotated permanence as opposedto the predominant view that understands notation asasite ofnegation The sessionwillexplorethe positive functions ofnotation withinthe creative process, • • • Floris Schuiling (Utrecht University) of theICPOrchestra Music notation as technology and material culture in the performances also examined, asis the impact oftechnology. elements described above, the ofpiecesusingsuchnon-standard ontology notation is assessment of the archival and ethnographic material. Inaddition to the social providescircumstances, anadditional perspective that isessentialfor abalanced My own experienceofhaving played anumber ofthese pieces,albeitin verydifferent instruments didnot leave the ensemble. questions became irreconcilable. performers Intriguingly, usingmore electronic more asbeingcomposersrather thanperformers were the ones for whom these it meant to interpret thisnotation, andtellingly, the musicians who self-identified How do notations mediate performers’ relationships to their instruments? performance? What roledo notations play inthe socio-musicalinteractions that characterise How do particular forms ofnotation triggerperformers’ musicalimaginations? project, ‘John Cage and the Concert for Piano andOrchestra’, includinganalysis of aspect ofthe creative draws process.Mydiscussion onoutline findingsofthe AHRC whether the Concertoffers anexample ofwhere notational ‘discipline’ isacrucial assumptions offreedom andconstraint inindeterminate performance. Iconsider creative negotiations that the notations afford, andthusdrawing outthe tacit This paper untanglessome ofthese problems andcontradictions, exploring the performer, the Concert posessomething ofaconundrum. Given these contextual andthe circumstances apparent adherence requiredfromthe shaped understandings of Cage’s musicalmost asmuchthe composerhimself. (Lochhead, 1994, 2001),influencedinpart by David Tudor, whose practices have accompanied byatightlydefined performance aesthetic of1950sexperimentalism response fromthe performer. Moreover, Cage’s indeterminate works were realization’ (Thomas, 2013, p.102),necessitating arigorousandocularcentric the notations’ complexitiesconceal‘acomparatively straightforward method of Despite the apparent performative libertiessuggested bythe Concert, some of sometimes deliberately subverting conventional means ofperformance. do not necessarily prescribetheir soundingresultnor their method ofrealisation, with other pieces)offer seeminglyendlessperformance possibilities.The notations (that the thirteen instrumental parts canbeplayed inanycombination, including most complexandabstract that he ever wrote; andthe piece’s formal instructions described byCage as‘awork indeterminate ofits performance’, are among the The graphic notations ofJohn Cage’s Concertfor Piano andOrchestra (1957–58), Emily Payne(University ofLeeds) conundrum? Performing Cage’sConcert for Piano andOrchestra: a creative ofcreativeecology behaviour. repertoire astechnologies (Gell,1998;Suchman,2007)that form part ofawider and technologyasmuchonmusicscholarship, Idescribe the piecesinthe ICP to reconsider this binary. Drawing of material on the media anthropology culture, been phrasedinterms oforalityversus literacy. The practice ofthe ICPrequiresus The growth inresearch into musical performance andimprovisation hasoften and become participants inthe improvisatory creation ofmusicalstructure. their performances, the piecescontribute to the heterogeneity ofcreative possibilities, but may beusedpreciselyto subvert the musicalsituation. Rather thanhomogenise performance practice ofthe ICP, these piecesdo not determine the musicinadvance, social and creative agency of the musicians in performance. Due to the particular of the musicians’ interaction witheach other. Inaddition, these piecesmediate the forculture the group,asitiscentralto the ICP’s identity and itisthe object ofmuch This repertoire hasbeenthe subject primary ofmyresearch. Itconstitutes amaterial possibilities for improvisation andcreative interaction inperformance. member Mengelberg composedadiverse repertoire ofpiecesthat different construct music. Influencedbyfreejazz,experimental music,andperformance art, founding performing, isone ofthe longestconsistently performing groupsinimprovised in 1967byMishaMengelberg, HanBenninkandWillem andstill Breuker improvising collective the Instant ComposersPool Orchestra. The ICP, founded This paper presents results ofanethnographic studyofAmsterdam-based 69 Monday 5 September 70 Monday 5 September The paper serves to the asprecursor bookWorkers’ Play Time: AHistoryofthe British of understanding musicians’ lives from 1893to the presentday. accounts that and arguing foregrounding musicians as workers provides the best way its failures. We provide examplesofkey battles, showing the limitations ofprevious The varied nature of the musicalworkforce canexplain boththe MU’s successesand provides key insights into the issueswhich the MUhasfaced andcontinuesto face. We that argue ineach caseunderstanding musicians asparticular sorts ofworker technology, competition,relations withthe musicindustriesandequalities issues. the key issues which the Union has faced during its history, including changing Based on a four-year research project (www.muhistory.com), this paper outlines Union Williams forged, the Musicians’ Union, isstillattempting to fulfilhisvision. employersunscrupulous andourselves’. One hundred andtwenty-three years later the the formation ofamusicians’ trade unionto protect its members from ‘amateurs, In 1893atwenty one year oldclarinettist inManchester, Joe Williams, proposed Martin Cloonan(University ofGlasgow)andJohn Williamson (University ofGlasgow) years oftheMusicians’Union Protecting MusiciansFromThemselves?Critical Reflections on123 3J TheMusicIndustry notational apparatus to greater levels ofexpressive prescription. and ashift inhiscompositionalcareer away fromamore performer-orientated early nineteenth-century performance instrumental practice, technology, changing I willcontextualise hisown idiosyncratic useofnotation alongside broader issuesof exploring Beethoven’s relationship withthe firstplayers ofthe quartets. Inparticular professional period instrumentalist, and complemented by a body of historical data playing. Thiswillbeinformed bymyown experienceofplaying the repertoire asa and its dependence upon the kinaesthetic andembodied aspects ofinstrumental semiotic theory, I will highlight the intrinsically social nature of Beethoven’s notation, Drawing on Roland Barthes’ distinction between ‘Text and Work’ and Peircean network ofsocialrelationships rather thaninadefinitive source. upon, socialinteraction, enabling meanings to belocated withinanemergent of the notation asasocialartefact. Notation asamedium prompts, andeven depends tendencies to treat Beethoven’s markings asauthoritatively prescriptive byconceiving the composerrather than inthe bodyofthe performer. Thispaper willchallenge this observation highlights atendency to locate notational meaning inthe mindof ‘a graphic representation ofthe way he heard musically’(1992,p.226).However, quartets. Lewis Lockwood observes that couldbedescribed suchidiosyncrasies as and criticsalike. liesinhiseccentricuseofnotation One sourceofdifficulty inthe works, andhave beena source of fascination to performers, (and difficulty) audiences Beethoven’s late string quartets are amongst his most and elusive extraordinary Rachel Stroud(University ofCambridge) late stringquartets notationandperformanceinBeethoven’s ‘Notation associalnetwork’: notations, performer realisations, andrecordings. Rehearsal Room1,2.30pm

3K Sourcesfor Performance PracticeStudies in the present climate for musicinhigher education. interfacing academic approaches withprofessional practice and how the projectsits practitioners and learners interfaced in reality, the challenges and opportunities of project hasinformed key practice inthe sector (Thorley, 2014),how leading some key outcomes and findings.Itwillshow how the practical approach ofthe As the projectcomes to the closeofits pilotactivity stage, thispaper willpresent learning (GauntandWesterland, 2013). 1997),andharnessbuild a‘thinkingcommunity’(Levy the benefits ofcollaborative and professionals to engage in‘peer-production’(Tapscott andWilliams, 2006),to barriers ofgeography, Bydoing institution this,itenabled andculture. learners emerging technology usedinprofessional circlesto breakdown the traditional institutions suchasNew York University. The projectsoughtto harness the through Joint AudioMedia andinternational Education Services (JAMES) music technology learners at Coventry University practitioners withindustry In 2013,the UK’s Higher Education Academy funded aprojectwhich would connect Mark Thorley(CoventryUniversity) learners Global patchbay—connecting industry practitionersand global Toynbee, Simon Frith, andauthors writingfromthe music‘scenes’ perspective. in Bristol—users ofEktoplazm—as well asthe writings ofTim Anderson, Jason doing business? Itwilldraw onmyown ethnographic musicians studyofpsytrance their music‘outthere’? What makes the scene psytrance sowell adapted to thisway of motivations of its curator-webmaster. What draws musicians to this way of getting This paper willexamine Ektoplazm’s freemusicdistributionmodel andthe music’withoverfree (andlegal)psytrance 50milliondownloads to date. a personalblog,Ektoplazm hasgone onto become ‘the world’s largest distributor of labels around the world, isaimed squarely at scene participants. Founded in2001as curated collectionoffreemusicfor download, representingpsychedelic artists and a radical distributionservice for producers,labels, DJsandfans Hisvast ofpsytrance. Operating withinthe esoteric global psychedelic trancescene, DJBasiliskhascreated revolution hasbeentakingplace withinmusicalnetworks far from the mainstream. Pandora have experimented withfreemiumandad-generated revenue, aquiet within themusiceconomy. digital Whilststreamingservices suchasSpotifyand and distributioncosts approach zero,freemusichasbecome atantalisingpossibility concern for new musicbusiness models intheIndeed, 21stcentury’. asreproduction at the dawn ofthe internet era,findingthat ‘[f]reeisarguably the dominant Tim Anderson (2014)hasgiven aconciseaccount ofthe trialsofthe musicindustry Christopher Charles (University ofBristol) Ektoplazm.com— FreeMusicandthePsytranceScene conference. Musicians’ History(Manchester University Press), which willbelaunched at the Andy Fry (KingsCollegeLondon), chair Rehearsal Room 2,2.30pm 71 Monday 5 September 72 Monday 5 September Transatlantic Blues andthePerformance of Alterity of interpretationsposition within thisspectrum andperformance traditions. of others, and,therefore enable them to take awell-informed andmore grounded choices more consciously anddeliberately, fullyaware ofandinrelation to those other hand,insights into the performance history enable them to make interpretative incorporate these playing techniques andenrichtheir personal playing style. Onthe For today’s pianists thisknowledge opens upopportunitiesto ‘relearn’, assimilate and gradually falling into disuseover time. playing, suchasspecifictypesofrubato playing or ‘microtiming’,seemto have been inthe performancesingularities history ofthe preludes. Certainways ofexpressive on the analyses, the researcher formulated hypotheses concerning tendencies and artistic decisions and provides insight of performance in a century history. Based data analyses, results inamapping ofthe differences andsimilarities inthe pianists’ the recordingsusingacombination ofauralanalysis methods, software tools and Scriabin’s early piano preludes between 1910and2010.Acomparative analysis of My doctoral research examines tempo andrubato inrecordings ofAlexander a performance: the performer’s creative space. requiringacreativeambiguities, artistic decision-making processinorder to result in of the musicitself. Incomplete information introducesuncertaintiesandeven its level ofdetail, the musicalscoreonlyprovides averyincomplete representation photographers). Do they ‘re-create’ or ‘co-create’ the composer’s musical ideas? Despite specific roleandpositioncompared to other artists (e.g. composers,filmmakers, When itcomes to the act ofcreation, performing musicians seemto claimarather Stijn Vervliet (LUCASchools ofArts,KULeuven) Scriabin’s EarlyPianoPreludes Mapping Performances: Tempo andRubatoinRecordings ofAlexander recently beenfounded. whicha vibrant picture of a flourishing school had of virtuosity in a country only teachers, former students andamateurs who followed itclosely. These sourcespresent frequently commented oninthe pressofthe periodand memoires published by exam piecesperformed bythe students ofthe time. was Thisthriving violinculture in its extensive collectionofnineteenth-century methods andétudes aswell asthe into the technique andrepertoire taughtbythe teachers ofthe nineteenth century including Viotti andMendelssohn. The conservatory’s collectionalsooffers aglimpse only for the composers’own works butalsothose oftheir teachers andmentors These sourcesprovide aglimpseinto performance techniques and adaptation, not collections of former teachers such as André Robberechts and Hubert Léonard. those fromthe early nineteenth century, includingmanuscripts fromthe personal present the uniqueviolinsourcesthat the conservatory’s holds library focusing on turn spread their teachings to further generations of violinists. In this paper I will Henryk Wieniawski and Eugène Ysaÿe attracted students worldwide, who in century. Well-known teachers suchasCharles-Auguste de Bériot,Henri Vieuxtemps, conservatoryThe Brussels was ahotbed ofviolinactivity throughout the nineteenth Richard Sutcliffe (Royal Conservatoire ofBrussels/University ofBirmingham) Brussels Conservatory ViolinPerformance Practiceinthe Sources ofEarlyNineteenth-century branches of“mainstream” Europeanmusic, arealignmentachieved, however, What Ronald Woodley hascalled Steve Reich’s ‘gradual realignment withcertain Keith Potter (Goldsmiths,University ofLondon), convenor sketchbooks tellus the composer’s Tonality andharmonyinSteveReich’s Musicfor18Musicians:what on hismusicandthe contexts ofits creation. deployed onaspects ofthisnow seminalcomposer’s outputto offer freshperspectives methodologies—including history—are sourcestudies, musicanalysis andcultural Taken together, these threepapers presentnew research inwhich arangeof material increating identity. repositioning ofReich’s music,andcasts new lightonthe composer’s useofspeech explores the lesswell-known work, Mein Name Ist(1981), to provide a geographical 1970s, onthe work known originally asOctet, composedin1979.The thirdpaper of the influence of Hebrew cantillation, which the composer studied in the mid and harmonic organisation. The secondpaper addresses the nature andextent scale work such as Musicfor 18Musicians (1974–6),especiallyinterms oftonal focus, the firstpaper examines the evidence concerninghow Reich planned alarge- Given order inchronological withrespectto the compositions onwhich they have now gained substantial experienceofworking withthisarchive. works byReich written between 1974and1981,presented byBritishscholars who of the rangeandscopeofresearch now beingdone there, viathreepapers basedon Stiftung inBasel,Switzerland in2009.Thissessionaims to demonstrate something acquisition ofthe composer’s sketchbooks andother materials bythe PaulSacher The studyofSteve Reich’s musichasbeenadvanced inanumber ofways bythe Materials (Panel) 3L New Perspectives on Steve Reich via the Study of his Sketch African American artists unable to fullyevade the preordained maskofalterity. contact of intercultural whilesyncretism acknowledging the lived experience of marginalisation. The challengefor isthusto heed musicology the relational via sungperformances that onthe obliquely signified coordinates oftheir own Subaltern musicians caught within this regime were nonetheless able to ‘speak’ colonialist display choreographing exoticisedbodiesfor Europeanconsumption. post-war youth, situating their privileged position within longer patterns of demand. I ask why these particular images found such zealous adherents among personification of difference driven by a lucrative fantasy on the terms of white coerced AfricanAmerican musicians into assumingblack masks––anactive Strategically inverting Fanon’s notion of‘white that masks’,Iargue bluesrevivalism performative aspects ofracialised spectatorship. and 1964to trace transatlantic attitudes toward black musicandto explorethe This paper willusetwo broadcasts staged byGranada Television between 1963 Ross Cole(University ofCambridge) Ross Cole(University ofCambridge), chair Keith Potter (Goldsmiths, University ofLondon), convenor Rehearsal Room3,2.30pm 73 Monday 5 September 74 Monday 5 September present paper. thus far writing inEnglish.Suchconsideration bymusicologists isthe aimofthe Is fashions identity anew for linguistic Reich’s music,which hasnot beenconsidered ofacomposition aswell asitsstructure melodic lines, thisGerman tropeofMyName As well as establishing the principle that speech material cangenerate the harmonic The matter andidentity oflanguage cannot bequite soeasilydismissed, however. which Iuserecordingsofspeech,willAmerican English’. which Ispeak,andunderstand fluently, Ihave decided that inallmycompositions in reasons centreonmatters identity: ‘SinceEnglish isthe oflinguistic onlylanguage this piece,Ihave’—appears to forbid further scholarly investigation. Reich’s stated subsequently deleted, andReich’s later correspondence withGeorg Sachse—‘Forget My Name Is.Yet the Bayer Records recordingofMein Name Ist,releasedin1993,was Name Ist...(Portrait der Schola 1981), derives Cantorum, froma 1967composition, by Gottwald in1960,the Stuttgart Schola The Cantorum. resultingpiece,Mein Despite thisunpromisingstart, Reich later producedawork for the ensemble founded translated. in the pages ofMelos/Neue Zeitschrift fürMusik,withReich’s contributionbeing debate withthe composer. The correspondence was published entirelyinGerman an industrialproductionline—his criticisms immediately triggeredawide-ranging (1970–1)—whichspecifically to he Drumming compared to the effect ofworking on with the composerin1975.Although Gottwald’s observations ofReich’s musicrelate Clytus Gottwald’s polemicalviews ofReich’s musicgenerated public correspondence John Pymm(University ofWolverhampton) identity inMeinNameIst...(Portrait derScholaCantorum,1981) English istheonlylanguagewhichIspeak:Gottwald,Reich andlinguistic • • • toQuestions beaddressed include: observations on the composer’s approach to tonality and harmony in this work. This paper willdraw onthe sketch materials for thiswork to make some fresh statements. is alsoapplied inthe forty-five minutes ofmusic‘bookended’ bythese slow chordal andendisresponsible forbeginning new asignificantly approach to harmony that pieces’ has frequently beentaken that as a signal the ‘cycle of 11 chords’ heard at its ‘harmonic movement plays amore importantrolehere thaninanyofmyearlier found ten years later, in Music for 18 Musicians (1974–6)? Reich’s own assertion that Western classicalassociations. Yet what ofthe approach to pitch organisation to be materials themselves so reduced that littleremained left inthem oftheir possible departure in the mid-1960sfromthe purging power of rhythmic repetition on pitch through radicalisation rather than compliant re-absorption’ took its point of illuminating methodologies to interrogate thismusic’s ‘new harmony’? what assistancedo these sketch materials provide the analyst seekingthe most to the organisation ofpitch materials inthiswork? what new evidence isrevealed bythese sketchbooks regarding Reich’s approach behind Musicfor 18Musicians? what role,exactly, didthis‘cycle of11chords’ play inthe compositionalprocess an analyticalstudyofthe work informed byarchival research. cantillation befound in Octet? Thispaper addresses thisquestion inthe context of If thisisindeed the case,then where actually mightthe influenceofHebrew and b)aconceptionofthe music’s interms macro-structure ofharmonic regions. technique ofgenerating resultingpatterns fromthe combination ofcanonic lines, these extended melodies most likely emerged froma)Reich’s own refinement ofhis However, evidence provided bythe studyofearlier drafts ofthe work reveals that 1976–77 ofthe cantillation …ofthe Hebrew Scriptures’(Writings onMusic,p.99). composed ofshorter patterns together, strung hasits roots in…mystudies Reich himself, who stated that ‘[this]interest insomewhat longermelodic lines, The melodic element of Octet, in particular, has received attention, not least from extended melodic lines lookahead to the post-minimalistworks ofthe 1980s. and Organ (1973),butits innovative pattern useoftonal construction, regions and canonic processesconsolidates methods usedinMusicfor MalletInstruments, Voices, innovative—Octet partakes of both elements. Its use of two simultaneously unfolding Whereas Reich’s musicarguably falls into one oftwo categories—consolidatory or works andone that the composerhimself considers among hismost successful. revision asEight Lines) hasremained one ofReich’s most importantmiddle-period Premiered inFrankfurt inJune 1979,Octet (now better known inthe titleofits 1983 Pwyll apSiôn(Bangor University) Reich’s Octetthroughhissketches ‘From resultingpatternstoextended melodies’:understanding Steve 75 Monday 5 September