Contents

Contents...........................................................................................................................................................1

Welcome..........................................................................................................................................................2

Practicalarrangements................................................................................................................................2

Schedule...........................................................................................................................................................3

Thursday:overview......................................................................................................................................3

Friday:overview...........................................................................................................................................4

Saturday:overview......................................................................................................................................5

Thursday:sessionbreakdown......................................................................................................................6

Friday:sessionbreakdown...........................................................................................................................8

Saturday:sessionbreakdown....................................................................................................................11

Keynotes.........................................................................................................................................................14

KevinDawe(UniversityofKent)Deeporganology:musicalinstrumentsinsideandout..........................14

KatherineHambridge(DurhamUniversity)Popularisingthe‘popular’.....................................................14

HardeepSinghSahota(UniversityofHuddersfield)Bhangrarenaissance:interviewandworkshop........15

Trainingsessiononeoptions(Friday,11-12.30)............................................................................................16

TheBritishMusicCollectionandarchivalsourcesformusicalresearchers...............................................16

Yoga,mindfulness,andmusic....................................................................................................................16

Empiricalmethodologiesformusicalresearch..........................................................................................16

Writingapplicationsforgrantsandfundingschemes...............................................................................16

Trainingsessiontwooptions(Saturday,11-12.00)........................................................................................17

Improvisingtofilm.....................................................................................................................................17

Musiceditingworkshop.............................................................................................................................17

Conferencepresentations:makingresearchaccessibleforyouraudience...............................................17

UpcomingRMA/BFE-sponsoredevents.........................................................................................................18

Gettingaround...............................................................................................................................................20

Huddersfieldtowncentre..........................................................................................................................20

Campusmap..............................................................................................................................................20

PlacestoeatanddrinkinHuddersfield.........................................................................................................21

Cafesandrestaurants................................................................................................................................21

Pubsandbars.............................................................................................................................................21

Abstracts(alphabetizedbysurname).............................................................................................................23

2

Welcome

Thankyouforjoiningusforthe2018BFE/RMAResearchStudents’Conference,andwelcometoHuddersfield!We’redelightedtohostthisyear’sconference,andlookforwardtohearingyourpresentations,compositions,andperformances.

Theconferencethemeof‘MusicInsideandOut’highlightsbothchallengesandopportunitiesformusicalresearchers.Today’sglobalpoliticsraisesfundamentalquestionsaroundpower,culturalexpression,andthestatusofknowledge,allofwhicharerelevantbothtoourownworkandtothefuturedevelopmentofourdiscipline–andtheacademy–morewidely.Asartsandhumanitiesresearchers,westronglysupporttheinclusiveandinterdisciplinaryapproachoftheRSCasastudent-focusedevent,andasabroaderforumforthesharingofideas,experience,andunderstanding:principlescentralnotonlytoscholarshipbutalsotocitizenshipitself.

Manypeoplehavehelpedtomakethisconferencepossible.SponsorshiphasbeenprovidedbytheRMA,theBFE,Routledge,OxfordUniversityPress,theNewBerliozEditionTrust,andMusicandMusicTechnologyattheUniversityofHuddersfield.ManystaffandstudentsoftheUniversity,aswellasthevariousofficersoftheRMAandBFE,havealsogivengenerouslyofboththeirtimeandexpertise:thankyouforallofyourhelpandsupport.

WehopeyouenjoyyourvisittoHuddersfield!Ifyouneedhelporhaveanyquestionsthenpleasedon’thesitatetoask:thecommitteeandstudenthelperswillhaveadotonournamebadgestohelpyoufindus.

Withverybestwishesonbehalfoftheconferencecommittee,

CatherineHaworth

Practicalarrangements

ThemajorityofconferencesessionswillbeheldintheCreativeArtsBuilding(CAB).RoomsG/01,G/03,G/04,andG/05areallonthegroundfloor,adjacenttotheAtriumwheretheregistrationdeskandallcateringwillbebased.CAM1/14(training)andPhippsHall(HISSsessions)areonthefirstandsecondfloorsoftheCAB,respectively:therearestairsateitherendofthebuilding,asmallliftinthecentre,andalargerliftattheoppositeendtotheregistrationarea.PerformancesessionsandtheconferencekeynoteswilltakeplaceinStPaul’shall,whichistheconvertedchurchashortdistancefromtheCAB.

TherearetoiletsinStPaul’sandoneachflooroftheCAB,includingRadar-accessdisabledfacilities.

BoththeCABandStPaul’sarewifienabled.YoushouldbeabletoaccesseduroamusingyourusualUniversitylogincredentials,andtheUni-Guestnetworkisnon-passwordprotected(andthereforecorrespondinglylesssecure).PleasespeaktothereceptiondeskifyouneedtoborrowatemporaryHuddersfieldguestlog-in.

Allpresentationroomsareequippedwithstandardaudio-visualprojectionfacilities,includingPCs,DVD/CDplayers,visualisers,andapiano.Youwillbeabletoconnectlaptopstothesystem,butforspeedandeasewesuggestthatyoubringpresentationsonamemorystickwhereverpossible.Pleasearriveearlyforyoursessioninordertocheckyourtechnicalrequirementswithyoursessionchair.

3

Schedule

Thursday:overview

4

Friday:overview

5

Saturday:overview

Thursday:sessionbreakdown11.30 Atrium Registration,teaandcoffeeavailable12.00 G/01 WorkshopforsessionchairswithRobertAdlington12.45 Atrium Welcomeaddress13.00 G/01 Session1A:

Spacesandenvironments

TimKnowles(UniversityofSheffield)Scene,nothe(a)rd:objectsasmediatorsatparticipatoryeventsMaximeLeMée(DublinCityUniversity)Romanticismandmusicasliminalspace,areflectiveinterplay:thenocturnesofJohnFieldCristianMorales-Ossio(UniversityofHuddersfield)Recursivityanddistributioninthetrianglecomposer/machine/performer:articulatingacomplexenvironmentinmyrecentworks

G/03 Session1B:Hegemony

IgnacioAgrimbau(SOAS,UniveristyofLondon)EvocationsoftheoldstyleamongIraniansantoorplayers:acaseofoverlappinghegemoniesandcounter-hegemonies

MossFreed(UniversityofHull)Whoexactlyisinchargehere?

AminHashemi(SOAS,UniversityofLondon)HegemonicshiftsinarticulationsofnationalidentityinIranianmusic

G/04 Session1C:Digitalconsumers

AnnaKent-Muller(UniversityofSouthampton)Aformulaformusicsimilarity:utilisingscore-basedrecommendation

VictorÁvilaTorres(UniversityofYork)Makingplaylists:newpracticesandattachmentstomusic

HaiderJavedUppal(LahoreUniversityofManagementSciences)andJavedYunasUppal(PFAET)Methodologiestogoacrossbordersinmusic

14.30 Atrium Shortteaandcoffeebreak 14.45

StPaul’s Session2A:Subjectivityandembodiment

incontemporaryperformance

ColinFrank(UniversityofHuddersfield)Performingthemedium:hybridapproachestonewinstrumentsVeraFonte(RoyalCollegeofMusic)Exploringmemorisationstrategiesinnon-tonalpianomusic:aself-casestudyKathrynWilliams(UniversityofHuddersfield)Comingupforair

G/01 Session2B:Musiconstage

JúliaCoelho(UniversityofMissouri)ClaudioMonteverdiandLaFavolad’Orfeo:characterconstructionanddepictionofemotion

DominikaMoravčíková(CharlesUniversity)Iguessit'sinmyblood':folklore-ingdisabilityintheSlovakfolkloreTVtalentshowTheEarthSings(2017)

PhilipRobinson(UniversityofManchester)Betweenorientalismandtransnationalism:thepoliticsofearlyKazakhopera

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14.45(cont.)

G/03 Session2C:Broadcastingandrecording

SusanDaniels(King’sCollegeLondon)1933,L’oiseauLyre,FrançoisCouperinandRuffledFeathersHelenGubbins(UniversityofSheffield)SimulatedlivenessinhistoricalradiobroadcastsofIrishmusicWillFinch(UniversityofBristol)Inandout-sidethePanoram:BBCArena’sjazzvisualjukebox

16.15 Atrium Afternoontea17.00 G/01 Session3A:Empirical

approachestoperformance

PéturJónasson(RoyalCollegeofMusic)Attentionandvisualmemoryprocessesforcomplex,contemporarymusicstimuliAgataKubiakandBartoszSzafranski(UniversityofWestLondon)Advantagesofrehearsingandperformingwithtechnology-enhancedscorepresentation

G/03 Session3B:Resituatingchambermusic

JohnFallas(UniversityofLeeds)Stringquartetintheexpandedfield:genreandChristopherFox’sTheWeddingatCana

LuizMantovani(RoyalCollegeofMusic,sponsoredbyCAPES-Brazil)FerdinandRebayandthereinventionofguitarchambermusic

18.15 StPaul’s RMAJeromeRochePrizekeynoteaddress

KatherineHambridge(DurhamUniversity)Popularisingthe‘popular’

19.15 Atrium Winereception,sponsoredbyRoutledgeToincludeRMAstudentrepresentativehustings

Evening Pubquiz,openmic,food,andjolliesatTheZetland,29Queensgate,HD12RD(justoppositetheCreativeArtsBuilding)

8

Friday:sessionbreakdown09.00 G/01

Session4A:Creativeidentities,

games,andplay

JenniferSmith(UniversityofHuddersfield)TherepresentationoftimeandplaceinTheWitcher3:WildHuntJasonHodgson(CanterburyChristChurchUniversity)NeurodiversityasacompositionaltoolClarissaBrough(UniversityofSouthampton)Constructionsofonlineidentity:activeandreflexiveidentityworkonSpotify

G/03 Session4B:Analyticalidentities

ClaireMcGinn(UniversityofYork)‘Youcan’tharmoniseregilaul':linkingalternativeanalyseswith20th-centuryEstonianculturalpoeticsdiscourseinTormis’s‘magicalminimalist’music

LeahStuttard(UniversityofHuddersfield)Whatmeaningsdoperformersmake?Howa12thcenturysongcanbemadeexpressivethroughmusicalgestureandsound

AyatNasserAl-Matani(SultanQaboosUniversity)MicrotonalityinEastandWest:spacesbetweenkeys

G/03 Session4C:Ritual,religion,and

transcendence

SophieMahar(LiverpoolHopeUniversity)Oratorioasdevotionalworship:AlessandroScarlatti'sSt.JohnPassion

XueyangFang(UniversityofHuddersfield)StudyonninechimestonesfoundfromEasternZhoutombinHebiChina

AdeleFranghiadi(UniversityofBirmingham)Thepsychedeliclegacy:apostcolonialexaminationoforientalisminpsychedelicrock,anditsimpactsonGoatranceincontemporaryIndia

G/04 Session4D:Race,ethnicity,and

diaspora

AlexandraKaufman(MacquarieUniversity)Klezmerbeyondborders

CiaraConway(Queen’sUniversityBelfast)JohnO'KeeffeandtheSouthSeas:Omai,oraTripRoundtheWorld

GabrielleMesseder(City,UniversityofLondon)‘Obrigada,Shukran’:BrazilianmusicalencountersinLebanon

10.30 Atrium Teaandcoffee 11.00 Heritage

Quay/CAM1/14

Trainingsessions:meetintheAtriumat10.55tobetakentotheseroomsa)TheBritishMusicCollectionandarchivalsourcesformusicalresearch(RobertAdlingtonandSarahWickham)b)Yoga,mindfulness,andmusic(Juliod’Escrivan)

G/02 Trainingsession:Empiricalmethodologiesformusicalresearch(StevenJanandKagariShibazaki)

G/04 Trainingsession:Writingapplicationsforgrantsandfundingschemes(SallyPedley)

9

12.30 Atrium Lunch 13.15 StPaul’s Session:5A:

Legaciesandresistance

SusannahSelf(BirminghamCityUniversity)Newopera:creatingresistancetopatriarchalcommissioningXiaoshanYin(SOAS,UniversityofLondon)Reconstructionoftraditionasresistancetoinstitutionalizationandreconstructionofidentity:thecaseoftheChineseqinSarundaSiasiriwatana(PrincessGalyaniVadhanaInstituteofMusic)GenderstudiesandFannyMendelssohn

Phipps Session5B:HISS

performances/papers

NuriaBonet(PlymouthUniversity)TheVoiceoftheSea

OliverLarkin(UniversityofHuddersfield)Anintroductiontohighorderambisonicsworkflowforspatialcomposition

G/03 Session5C:Musiconscreen

SvenRaeymaekers(KingstonUniversity)Silence,and...action!HistoryandanalysisofsilenceintheHollywoodsoundfilm

EdwinRunagle(UniversityofLeeds)ConstructingandrejectingidentitiesinJackParow'sBloubek(2014)

KatyHomden(BournemouthUniversity)Poppyandthecultofcriticaltheory

G/04 Session5D:Popularmusicandsocial

change

SamuelMurray(CardiffUniversity/TeesideUniversity)Bridgesnotwalls:theroleofthepopularmusicresearcherinsocialchangeNathanLandes(IndianaUniversity)Subgenrehierarchies,canonization,andtheboundariesofmetalidentityEmma-JayneReekie(UniversityofLiverpool)TheTimesTheyAreA-Changin’:politicians,musiciansandthepoliticalaward

14.45 Atrium Teaandcoffee15.15 StPaul’s Session:6A:

Newapproachesto

nineteenth-century

pianism

[sessionfinish:16.55]

LucasBerton(ParisSciencesetLettresResearchUniversity)ApresenceofancientliteratureinFranzLiszt’smusic:theHungarianrhapsodyasanechotoHomer’srhapsodiesRuthMinton(LiverpoolHopeUniversity)Improvisationintocomposition:interpretingSchubert'spianomusicXiaoyunCloudyLim(TrinityLabanConservatoireofMusicandDance)RevisitingtheanalysisofChopin’smaturepianosonatas:aperformer’sperspective

Phipps Session6B:HISS

performances/papers

SophieStone(CanterburyChristChurchUniversity)AsSureAsTime…(2016)HannahFirmin(UniversityofLeeds)Partsandwholes:openformandmicro-dramaturgyinmyquartetRockFormation(2017)

10

15.15(cont.)

G/02 Session6C:Symphoniesand

orchestras

IngridBols(UniversityofGlasgow)Identitiesandsymphonyorchestras:programmingchoicesinFranceandintheUK

OwenBurton(UniversityofYork)Manipulationsofform:tracingspiralsinEinojuhaniRautavaara’sSymphonyNo.8

JonChurchill(DukeUniversity)Asecondbattlefield:semanticexchangebetweenRalphVaughanWilliams’sLondonandPastoralsymphonies

G/03 Session6D:Criticism

AlexdeLacy(GoldsmithsCollege,UniversityofLondon)Restartthat!The(mis)representationofgrimemusicandtherecentriseof‘in-house’criticismMichaelWhitten(Queen’sUniversityBelfast)Disagreeingaboutmusicaltaste:respect,esteem,andrecognition

LeonClowes(UniversityofHuddersfield)MakeItEasyOnYourself:Bacharachandthemiddlebrowintheageoftheemergingsinger-songwriters

16.45 Atrium Afternoontea

17.30 StPaul’s Session7A:BhangraRenaissance

InterviewwithHardeepSinghSahotaandTobyMartinFollowedbybhangradanceworkshop

Phipps Session7B:HISSperformances

Performancestoinclude:BriceCatherin(UniversityofHull):MotionlessOpera[ActI]andTheFutureofanIllusionAnnaTerzaroli(SantaCeciliaConservatory,Rome):DarkPath#2PeterFalconer(UniversityofSouthampton):HiThereAlexandraKaufman(MacquarieUniversity):performanceforbanjoandelectronics

Evening Ownarrangements,ormeetforthepre-bookedconferencedinnerat20.00,ThaiSakon,5SaintJohn’sRoad,HD15AY

11

Saturday:sessionbreakdown09.00 G/01 Session8A:

Londonhistories

CatherineGarry(UniversityofSouthampton)Italiansingingmastersandtheirstudents:thevocaltuitionofdomesticperformersinGeorgianBritainCasparFrankford(UniversityofBirmingham)Thesonicconstructionofrace:unpickingtheblacknesspresentedbyblackfacestreetminstrelsinVictorianLondonJoyceTang(UniversityofSouthampton)PianosinStJames’Hall(1880-1904)

G/03 Session8B:Rethinking‘new’music

DanielGalbreath(BirminghamConservatoire)Embodyingcomplexity:choralaleatorismandtheconstructionofagency

MaxErwin(UniversityofLeeds)Theadventoftheavant-garde:Goeyvaerts/Eimert/Stockhausenand'post-Webern'music

HakanUlus(UniversityofHuddersfield)Theidentityofcontemporaryartmusic:currentmanneristtendenciesintheseconddecadeofthe21stcentury,withafocusonthesceneinGermany

G/04 Session8C:Musicandtext

ArturPereira(UniversityofManchester)DedicationsineighteenthcenturyEnglishsources

CharlotteAnkers(UniversityofSalford)Tobe,ornottobe?Exploringtheinstrumentalsoliloquyanditsdefinitionwithinmusic

StephanieNaisbett(NewcastleUniversity)CharacterisationandempatheticreinterpretationinthesongsofKateBush

G/05 Session8D:Communityandidentity

PeterLell(UniversityofLeeds/UniversityofMusicFranzLizstWeimar)Whatisknowledge?Visitorslearningexperiencesatworldmusicfestivals

TaichiImanishi(SOAS,UniversityofLondon)Cantoday’stechnologymake‘non-portablemusic’portable?Changesinpeople’sperceptionsofmusicsacrosstheglobe

KhetsinChuchan,DhornTaksinwarajan,KawiratSaimek,andSelinaJones(PrincessGalyaniVadhanaInstituteofMusic)Thisandthat:polaritiesandtransitionsinthemusicofThailand

10.30 Atrium Teaandcoffee 11.00 G/01 Trainingsession:

Musiceditingworkshoppart1(sponsoredbytheNewBerliozEditionTrust)[attendeesshouldgotobothpartsofthisworkshop]G/03 Trainingsession:

Conferencepresentations:makingresearchaccessibletoyouraudience(ElizabethFairweather)StPaul’s Trainingsession:

Improvisingtofilm(JonathanBest)

12

12.15 StPaul’s Session:9A:Transformingtraditions

(75mins)

MaksimStsura(RoyalCollegeofMusic)Lostintranscription:limitationsof21stcenturymusicnotationStephanSchönlau(UniversityofManchester)‘SoundslikeBach’:alecture-recitalexploringthecaseforcompositioninhistoricalstyles

G/01 NewBerliozEditionTrustmusiceditingworkshopcontinued[attendeesshouldgotobothpartsofthisworkshop]

G/03 Session9B:Learningandpedagogy

VeroniqueWalsh(SOAS,UniversityofLondon)Insideandoutsidetheteacher’sdomain:powerstrugglesandteachingmethodsintraditionalsongfromWestJava

PatrickOlsen(UniversityofCambridge)Assessing‘Improvisation’InsideandOutofFormalGradedMusicExaminations

G/04 Session9C:Quotationandallusion

DominikaMicał(AcademyofMusicinKraków)Musicinsidetheothermusic:quotationsandallusionsinmadrigal-connectedworksbyAlexanderGoehr,CalliopeTsoupakiandAndrzejKwiecińskiJohnShanks(CanterburyChristChurchUniversity)Canmemoryandnostalgiahelpusunderstandhistorically-informedperformance?

13.15 Atrium Lunch14.00 G/01 Session10A:

TechnologyandagencySamCleeve(BirminghamCityUniversity)WhereIendandyoubegin:musicalagencyandvirtualperformanceenvironmentsNickMorrishRarity(RoyalCollegeofMusic)Flatteningthephonograph:composingthroughbio-technologicalnetworksCaitlinMockridge(UniversityofLeeds)Thehistorical-innovationparadigm:acasestudyofcreativepracticeanditsmodesofdisseminationinthesoundingworksofHughDavies

G/03

Session10B:Genderandsexuality

EnyaDoyle(DurhamUniversity)Withonevoice:anexaminationoftheincreasinginclusionofwomenandgirlsinEnglishcathedralmusicRichardPiatak(UniversityofHuddersfield)Makingdesiresreality:centrepieceandsoundtrackinDerekJarman’sJubileeDavidBuschmann(UniversityofMusicandPerformingArts,Graz)MusicasresistanceinthequeerclubsceneofBerlin

13

14.00(cont.)

G/04

Session10C:Nineteenth-century

narratives

KoichiKato(UniversityofSouthampton)Insearchof'circularwandering'inSchubertJessicaBeck(RoyalNorthernCollegeofMusic)Lostidentities:reimaginingnineteenth-centurywomenmusiciansthroughliteratureBryanWhitelaw(Queen’sUniversityBelfast)FranzLiszt’spianoSonatainBMinor:thematictypologyandhermeneuticnarrative

14.15 G/05 Session10D:Drop-insession

Shortmentoringappointmentsavailableforstudentsinterestedinmusiceditingorpublishing,withmembersoftheNewBerliozEditionTrustandMusicPublishersAssociation

15.30 AtriumShortteaandcoffeebreak15.45 StPaul’s BFEkeynoteaddress KevinDawe(UniversityofKent)

Deeporganology:musicalinstrumentsinsideandout17.00Conferenceclose

14

Keynotes

KevinDawe(UniversityofKent)

Deeporganology:musicalinstrumentsinsideandout

Arguably,wearenowworkingwithanewparadigminmusicalinstrumentresearch.Icallit‘DeepOrganology’,thesubjectofmylatestbookproject,whichisaboutthestudyofcommunity,wellbeingandenvironmentthroughmusicalinstrumentresearch.Iarguethatinstrumentsplayacentralrolewithinthisgoldentriangleofinterdisciplinaryandimpactgeneratingresearchinvolvingissuesofsociety,healthandsustainability.Importantly,musicalinstrumentsenablemusicresearcherstoprobefurtherintothematerialeconomy,issuesofinclusionandexclusion,powerandagency,culturalexpression,andthestatusofknowledgetosuchanextentthattheirin-depthstudyhasbecomeincreasinglyurgent.

***

KevinDaweisProfessorofMusicintheSchoolofMusicandFineArtattheUniversityofKent.Heisanethnomusicologistwhoresearchesawiderangeofmusicalgenresandstyles,musicindustriesandmusicalinfrastructuresaroundtheworldbyworkingcloselywithmusicians,bands,instrumentmakers,teachers,artistandlabelmanagers,retailers,andcreative,culturalandcommunityorganisations.AmemberoftheUniversityofKent’sCentreforEthnographicResearch,hisownethnographicfieldresearchincludestimespentinGreece,Turkey,Spain,Canada,USA,PapuaNewGuinea,andEastandWestAfrica.Hisresearchisorientatedtowardstheanthropologyofsoundandmusic,musicalinstrumentandmaterialculturestudies,popularmusicandmusicindustrystudies,ecomusicologyandenvironmentalstudies,musiceducation,andcommunityandwellbeingprojects.HispublicationsincludemonographsonbandleadersandentrepreneurshipinCrete,andthecross-culturalandcontemporarystudyoftheguitar.

KatherineHambridge(DurhamUniversity)Popularisingthe‘popular’

Theconceptofthepopularhasbeensufficientlyproblematizedthatitisnowusedself-consciouslywithintheacademy.Buttheworkoftracingitshistoricalusageandemergenceinthenineteenthcentury,notwithstandingthesignificantcontributionsmadebyMatthewGelbart,BerndSponheuer,DerekScott,andDavidGramit,haslaggedbehindtheattentiongivento‘absolutemusic’,‘programmemusic’,‘virtuosity’,andotherkeytermsusedtocategorisenineteenthcenturymusicandmusicallife,atthetime,andsince.Wasitaquestionofvenue,ofstatisticalconsumption,ofstyle,oflisteningmode,ofgenre?Andwhatpreciselywasitsutilitytothosethatwieldedthisterm?Whatprocessesofinclusionandexclusiondiditenable?

Inmypaper,Iarguethattheextremeself-consciousnessofmusicandtheatrecriticsinBerlinc.1800providesausefulwindowintothedevelopmentofthenineteenth-centuryNorthGermandiscourseofthepopularthathasbeensoinfluentialwithinmusicology.ReactingtotheinfluxofParisian‘boulevard’andViennese‘suburban’theatre,writersprojectedconsiderableanxietyabouttheirroleinguidingpublictaste.InBerlinatthispointallgenresappearedattheNationaltheater,inGerman:withoutasystemofalternativetheatrestoseparatespatiallythehighandlow,audiences—somethought—werenotdistinguishingsufficientlybetweentheworksplayedtothem.Probingthemotivationsandprocessesdrivingtherhetoricalfashioningofa

15

conceptofthepopularasaresponsetothisproblem,Ishowhowonecity’smusicprofessionalsnegotiatedtheuneasyquestionofcommercialart,populartaste,andagencyinthepost-revolutionaryperiod.Thisanalysisthenleadsmetoreflectonthevaluessystemsstillinhibitingtheintegrationofpopularmusicintohistoricalmusicology.

***

KatherineHambridgeisLecturerinMusicologyatDurhamUniversity.ShespecializesinFrenchandGermanmusicallifeinthefirsthalfofthenineteenthcentury,inparticular,musicandpolitics,musictheatre,andissuesofgenreandperformance.ShehaspublicationsintheAnnalesdelaRévolutionfrançaise,CambridgeOperaJournal,andtheOxfordHandbookoftheOperaticCanon,andherarticlefortheJournaloftheAmericanMusicologicalSociety,‘StagingSingingintheTheaterofWar(Berlin,1805),’wontheRoyalMusicalAssociation’sJeromeRochePrize2016.TogetherwithJonathanHicksshehaseditedthevolumeTheMelodramaticMoment:MusicandTheatricalCulture,1790-1820,whichisforthcomingwiththeUniversityofChicagoPressinSpring2018.

HardeepSinghSahota(UniversityofHuddersfield)

Bhangrarenaissance:interviewandworkshop

InconversationwithTobyMartin,HardeepwilldiscussaspectsofhisworkonbhangrainthePanjabicommunitiesofHuddersfieldandWestYorkshire.ThesessionwillalsointroduceHardeep’srecentresearchaspartoftheBritishCouncil-sponsoredArtists’InternationalDevelopmentFundscheme.ThisincludestraveltoIndiatolearnfromacclaimedbhangraartistAvtarChanna,andaresidencywithTomohiroKuritainTokyotodevelopagreaterunderstandingofbhangracultureinthefarEast.Hardeepwillthenleadaparticipatoryworkshoptogivedelegatessomefirst-handexperienceofbhangra.

***

HardeepSinghSahotaisaleadingauthorityonbhangraanditsmigrationtotheUK,wherethePanjabicommunityinHuddersfieldplayedakeyroleisestablishingthedanceanditsmusicinanewhome.HisHeritageLotteryFundproject‘BhangraRenaissance’focusedontheoriginsofthedanceformanditsimpactontheidentityandsharedheritageofparticipantsinYorkshire.HardeepisamemberofVIRSA,acommunitygroupmadeupofyoungprofessionalsandvolunteersfromthecommunitywhoresearch,practiceandcelebratetheheritageofSouthAsianArtsinKirklees.Workingwitharangeofservicesfromthemuseumsandlibrariestothesportsdevelopmentteamsandlocalschools,collegesaswellastheUniversityofHuddersfield,theyaimtostrengthentheunderstandingandthepreservationofmemoriesbasedaroundbhangra.Hardeep’sbook,Bhangra:Mystics,MusicandMigrationwaspublishedin2014.

16

Trainingsessiononeoptions(Friday,11-12.30)

TheBritishMusicCollectionandarchivalsourcesformusicalresearchers

RobertAdlingtonandSarahWickham

ThissessionoffersanopportunitytolearnabouttheBritishMusicCollection,auniquecollectionofover40,000scores,recordings,concertdocumentationandcomposerdossiersrelatingtoBritishmusicofthepast100years.ThephysicalcollectionisnowhousedattheUniversityofHuddersfield,andthecollectioncontinuestogrowonlineathttps://britishmusiccollection.org.uk/.Ourworkshopwillincludeanintroductiontothehistoryofthecollection,itspotentialforacademicresearch(postgraduateandpostdoctoral),atourofthestoreroom,andtimetoperusesomeofthematerials.

Yoga,mindfulness,andmusic

Juliod’Escrivan

Aworkshoponcurrentapproachestomindfulnessfromtheperspectiveofamusicianandyogainstructor.Wewilltryvariousmeditationtechniques,relatethemtoeverydaylifeasamusicianthatpracticesanddoesacademicresearch,andrelateittopsycho-physicalpracticeswithafocusonYoga.Nopreviousexperienceisnecessary,accessibletoeveryone.(Placeslimitedto16forspace.)

Empiricalmethodologiesformusicalresearch

StevenJanandKagariShibazaki

Thissessionwillbedividedintothreeparts.Thefirstpartwillcomparetwostylesofobservation,namelyopenandsystematic(usefulinavarietyofmusic-researchcontextswhenstudyingmusiciansatworkandininteraction),usingavideoexampletoextractquantitativedata.Thesecondpartwillcoverapproachestothecomputer-aidedanalysisofmusic,lookingattheHumdrumToolkitandtheTonalitiessoftware.Thethirdpartwillbeaquestionandanswer/discussionsession,andparticipantsareencouragedtobringexamplesoftheirownresearchworkinprogress(methodologies,datasets,etc.)fordiscussionand(friendly)critique.

Writingapplicationsforgrantsandfundingschemes

SallyPedley

Thissessionwilllookatthestyleandlanguagerequiredtosuccessfullycommunicateyourproposaltoagrantschemeorfundingbody,aswellasgivinganoverviewofsomeofthemajorcurrentfundersofpostgraduateandpostdoctoralresearchinmusic.Participantsareencouragedtobringexamples/ideasfromtheirownresearchtouseaspracticalexamples.

17

Trainingsessiontwooptions(Saturday,11-12.00)

Improvisingtofilm

JonathanBest

Thistrainingsessionwilltaketheformofanopenworkshopforthreestudentpianists,workingwithJonnyinamasterclassformattocreatetheirownaccompanimentstothreeshortfilmexcerpts.Aswellasdiscussingbroaderideastodowithimprovisation,communication,andcollaboration,thesessionwillfocusinparticularonhowanimprovisingpianistreadsafilmandtranslatesmovingimagesintomusicalsound.Thiswillbeanentertainingandinformativesessionforanyonewithaninterestinfilmmusicorimprovisation.

Musiceditingworkshop

OrganisedandsponsoredbytheNewBerliozEditionTrust

Traininginthescholarlyeditingofmusicfromhistoricalrepertoiresnolongeroccupiesaprominentpositioninhistoricalmusicologycourses,butthemusicpublishingindustrycontinuestoofferflexiblecareeroptionsforthosewithsuchskillsand/orexperienceinmusicsetting.TheNewBerliozEditionandtheMusicPublishersAssociationjoinforcesintwoworkshopsessionstoofferinsightsintotheavailabletrainingandprofessionalopportunitiesandtastersessionsprovidingglimpsesintothescholarlyandpracticalissuesthatpractitionersinthefieldshavetoaddress.SpeakerswillincludeChrisBanks(vice-president,RMA),Prof.HughMacdonald(GeneralEditoroftheNBE),RobertPercival(bassoonist,scholarlyeditorandmusicsetter)andElaineGould(SeniorNewMusicEditor,FaberMusicLtdandauthorofBehindBars:TheDefinitiveGuidetoMusicNotation(2011)).

Drop-inmentoringappointmentswiththesespeakersarealsoavailableafterlunchonSaturdayafternoon,inG/05followingtheRMAStudentPanelMeeting.

Conferencepresentations:makingresearchaccessibleforyouraudience

ElizabethFairweather

Manyconferencepresentationsstruggletoreachtheirintendedaudienceconvincingly.Often,thisisnotduetoanyresearchproblem,butresultsmorefromalackofconfidenceandexpertiseinbothpreparingfor,anddeliveringthepresentationitself.Havingwrittenyourconferencepaper,wheredoyougonext?andwhatcanyoudotoenthuseyouraudience?

Thesessionwillbeinthreesections:thefirstwilllookatthepreparationneededtoensurethatyourpaperisaccessibleandengaging,includingtheuseofeffectiveAV.Thesecondsectionwillfocusonpublicspeakingtechniques,andthethird(non-compulsoryparticipation)willbeabriefmasterclassforanystudentswhowouldliketoreadashortsectionoftheirpapertothegrouptoreceivekindandconstructivehelp.

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UpcomingRMA/BFE-sponsoredevents

NewPerspectivesontheMusicofSirPeterMaxwellDavies3March2018,CanterburyChristChurchUniversity

MusicalCultureintheWarsofReligion(1550-1650)17-18March2018,StCatharine’sCollege,Cambridge

ClaudeDebussyin2018:aCentenaryCelebration19-23Mar2018,RNCMManchester/UniversityofGlasgow

BritishForumforEthnomusicologyAnnualConference201812–15April2018,NewcastleUniversity

Queerness,Voice,Embodiment:2ndSymposiumoftheLGBTQ+MusicStudyGroup20-21Apr2018,MaynoothUniversity

RalphVaughanWilliamsandtheChurch:AnRMAStudyDay4Jun2018,DurhamUniversity

RMA54thAnnualConference13-15Sep2018,UniversityofBristol

2019BFE/RMAResearchStudents’Conference10-12January2019,UniversityofSheffield

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Gettingaround

Huddersfieldtowncentre

Postcodes

• University:HD13DH• Railstation:HD11JB• Busstation:HD12JN• ThaiSakon:HD15AY

Campusmap

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PlacestoeatanddrinkinHuddersfield

Cafesandrestaurants

Nawaab(33-35Westgate,HD11NY)Curryhouseneartherailwaystation,offeringawiderangeofIndiandisheswithextensivevegetarianoptions.

Gringos(8RailwayArches,HD15DL)MexicanandAmericansmokehouse-stylefood.Usefullook-aheadallergysectionontheironlinemenuhttp://gringos-restaurant.co.uk/.

CoffeeEvolution(8ChurchStreet,HD11DD)ServingBeanBrotherscoffee,togetherwithagoodselectionofsandwiches,cakes,andlightlunches.

Lala’s(5StGeorge’sSquare,HD11LG)Kashmirirestaurantjustnearthetrainstation,withplentyofvegetariandishes.

TheKeys(ByramStreet,HD11BU)CaféhousedinthevaultsofHuddersfieldparishchurch,withbreakfastandlunchoptions.

MedOne(10-12Westgate,HD11NN)RestaurantwithLebanesespecialtiesandbroaderMediterraneanchoices.

Epicure(Queensgate,HD12RD)JustacrosstheroadfromtheCAB:fancyteaandcoffeeduringtheday,beersandginduringtheevening.Breakfasts,sandwiches,andhotfood,togetherwitharangeofcakes.

BarMaroc(120NewStreet,HD12UD)RelaxedmixtureofMoroccanfoodandhomemadepizzas,withbeersandminttea.Goodvalueandgoodveggieandveganoptions.

TherearealsomostoftheusualchainsinHuddersfield,includingNando’s,Subway,TurtleBay,PizzaHut,Revolution,Wetherspoonsetc.

Pubsandbars

Rhubarb(oppositeCreativeArtsBuilding)Welcomingpubwithfoodavailable.Showsmajorsportsandtendstofillwithstudents.Usuallytwoalesavailable,andahalf-pricefooddealonThursdays.

RatandRatchet(40ChapelHill,HD13EB)Traditionalcosypubsellingawiderangeofales,cidersandmilds,includingtheirownbeersbrewedonsite.Nofood.

TheGrove(2SpringGrove,HD14BP)Amazingrangeofliterallyhundredsofales,cidersandBelgianbeers,includingmanylocalbrews.Nofood.

HeadofSteam(Railwaystation,St.George’sSquare)Traditionalpubwithfoodoptions.Usuallyplentyofguestbeersavailable,aswellasteaandcoffee:excellentforsqueezinginabeveragebeforeyourtrain.

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MagicRockTapRoom(WillowParkBusinessCentre,HD15EB)Abitmoreofawalkoutpasttherailwaystation,butworthit.AbrewerytapbarwithMagicRock’scraftalesontapandarangeofwinesandsoftdrinks.GueststreetfoodtrucksonsiteFriday-Sunday,andcharcuterieboardsavailableduringtherestoftheweek.

TheCorner(5MarketWalk,HD12QA)AMallinson’staphousewitharelaxedpub/barvibe,plentyofcaskandkegbeers,wines,gins,andsoftdrinks.Goodrangeoffoodoptions.

SmallSeeds(120NewStreet,HD12UD)Eclecticlivemusicvenueandbar:seewhat’sonathttps://www.facebook.com/smallseedstalltrees/.

Parish(28Kirkgate,HD11QQ)Astudentfavourite:cheapandcheerful,withbeers,wines,milkshakes,softdrinks,andcocktails.Burgersandbarfoodavailableuntil8pmandagoodprogrammeoflivegigs.Seewhat’sonathttps://parishpub.co.uk/gigs.

Otherusefulthings

TheSUShopisinStudentCentral,adjacenttotheCAB.Thisisanewsagentandminisupermarket,sellingcoffee,arangeofsandwiches,snacksanddrinks,tobaccoandlimitedgroceriesandstationery.IfyouwantasouvenirUniversityofHuddersfieldhoodieyoucanbuyonehere.

ThenearestcashmachinestotheconferencearejustoppositetheCreativeArtsBuilding,onthesideoftheSchwannBuilding.You’llalsofindapostboxjustnexttothem.

UniversityreceptionishousedintheHaroldWilsonBuilding,justoffthemainentrancetocampusfromQueensgate.Ifyouneedtocontactcampussecurity,pleasephone01484472550,or01484472222inanemergency.

Taxis

Bob’sTaxis 01484434967

ExServiceTaxis 01484421111

HuddersfieldTaxis 01484517517

MountTaxis 01484515006

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Abstracts(alphabetizedbysurname)

IgnacioAgrimbau(SchoolofOrientalandAfricanStudies,UniversityofLondon)

EvocationsoftheOldStyleAmongIranianSantoorPlayers:ACaseofOverlappingHegemoniesandCounter-hegemonies

Thispaperexploreshowconflictingevocationsoftheshive-yeghadimi(oldstyle)wereusedtoarticulatereactionsagainstperceivedstylisticandpedagogicalhegemonies.IsituatemyanalysiswithinwiderdiscussionsabouttheimpactofWesternmodernizationinIranwhichproliferatedinthe1960sinresponsetothePahlaviregime’s(1925-1979)modernizationpolicies.

ThereactionagainstfeelingsoflossofidentityandtheencroachingWesterninfluenceinIranianmusicledtorevivalistmovementsinthe1960sand1980s(Nooshin2014).Whereasfactionswithinthesemovementswereinfluencedbythepolarizedviewsconveyedinthepejorativetermgharbzadegi(‘occidentosis’),othermusicianselaborateddialogicperspectivesaboutchangeandauthenticity.Amongsantoorplayers,adherencestoatransmissionconduitrepresentedbythesantoorlegendHabibSoma’i(1901-1946)wherepermeatedbythehybriditythatpervadednotionsoftraditionandmodernity.Firstly,theauthorityofaninfluentialpreservationiststrandwaschallengedbyfollowersofthesantoor-enovim(newsantoor),whoobjectedtopreservationistpolaritiesandclaimedamoreauthenticlinkagetotheoldstyle.Secondly,thepreservationistapproachbecameunderinternalscrutinybyayoungergenerationofmusiciansandscholarswhosawintheirteachers’orthodoxyamodernreconfigurationofthepastasmuchasapreservationeffort.

BuildingonrelevantAreaStudiesliterature(e.g.Jahanbegloo2004,Semati2008,Nooshin2015),ethnomusicologicalperspectivesoncanon-formation(e.g.Bohlman1992,Harris2008)anddifferentconstructionistconceptionsoftradition(e.g.Keesing1989,Otto&Pedersen2005),Ipresentacasestudyoftheperformativeinterdependencebetweenhegemonicandcounter-hegemonicnarratives.

AyatAl-Matani(SultanQaboosUniversity)

MicrotonalityinEastandWest:SpacesBetweenKeys

Thistitleconsiderstheuse,conceptualisationandunderstandingofmicrotonalityinmusicfrombothWesternandEasterntraditionsandpractices.Since“probably…theeighteenthcentury”,1musicofAraboriginhasoftenusedascaleofquarter-tones,inwhichthereare24notesperoctave.Thiscontrastswiththestandard-practiceWesternmusicalcanonofthesametimeperiod,whichbroadlyspeakingisbasedonsemitonesandwholetonesaslaidoutonapianokeyboard.However,intheWesternmusicaltraditiontoo,microtonalityisused.Non-keyboardinstrumentssuchasthevoice,orstringandwindinstruments,aremorethancapableofplayingmicrotonally,andcertaincomposersandartistshaveexploitedthisabilityforinterestingmusicaleffect.2

Theproposedtitlewouldexamine,fromamusicologicalperspective,microtonalmusicinArabmusicaltraditionsfromtheeighteenthcenturytothepresent;microtonalmusicalcompositionandperformanceintheglobalWestduringthissametimeperiodwouldalsobeexamined.Theform,andfunction,ofmicrotonalityinbothsettingswillbeconsidered,andmusic-theorytextsrelatingtomicrotonalityandthe

1Marcus,Scott."Theinterfacebetweentheoryandpractice:IntonationinArabmusic."AsianMusic24,no.2(1993):39.2Bake,Jamil,SimonShaheen,andNearEasternMusicEnsemble."Arabicmusic:samaiefarhafzaanalysis."(2003).

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divisionofthemusicaloctavewillbeconsulted.Thereasonsandmeaningfortheuseofmicrotonalitywillbeexplored,aswilltherelationshipofmicrotonalmusicalactivitytocontemporaryandhistoricaltuningpracticesastheyrelatetotheorchestra,thechamberensemble,bandsandsoloinstrumentalistsinEasternandWesterntraditions.3Developmentssuchasequal-temperamenttuninginWesterntraditionswillbeconsideredalongsidetheuseofmicrotonaltraditionsandpractices.Togiveoneexample,Westernpianotunerscommonly“stretch”thepianosothatthehighendisbrighterorsharperandthelowendisalittleflatteranddarker.Thiscanbeconsideredamodernmanifestationofmicrotonality.ItwillbecomparedwithArabicmicrotonalpracticesanddevelopmentthatarecommonlybasedontheplacementofpitchesonstringedinstrumentssuchastheoud,andthehumanvoicewhichhasfullmicrotonalpotential.TheroutesandchannelsofinfluencebetweenEastandWest,inrelationtomicrotonality,willalsobeexplored.4Thisisaninterestingtopicforstudy,asmicrotonalitygenerallyisanareaofmusicthathasbeensomewhatneglectedbycomparisontosimpler,moretangibleelementssuchaspitch,rhythm,melodyandharmony.ThemusicologicalcontextofmicrotonalityintheArabandWesternworlds–andintheinteractionbetweentheseworlds–canprovidefreshmusicologicalinsightandunderstanding.

CharlotteAnkers(UniversityofSalford)

ToBe,orNottoBe?ExploringtheInstrumentalSoliloquyanditsDefinitionWithinMusic

Thetheatricalformofasoliloquyhasbeenameansofcommunicatingandengagingwithaudiencesforgenerations.WhilstitsoriginsarethoughttohavebeenwithinGreektheatrewheretheywereusedtoaddresstheaudiencedirectly,itspopularitypeakedintheJacobeanera,perhapsmostnotablythroughtheworksofWilliamShakespeare.Inrecentdecadestherehasbeenadeclineinplaywrightsusingthisformofmonologue;howeverIhaverecognisedagrowingtrendofcomposersusingthistermtodescribetheirworks–particularlywithinsoloinstrumentalrepertoire.Initialobservationshavesuggestedthatcomposersaredeviatingfromthetraditionalandetymologicaldefinitionofthesoliloquy,whichwouldsuggestthatare-definitionwithinthecontextofmusicmaybeappropriate.InthispaperIwillexamineadatabaseofrepertoirecollatedtosuggesthowcomposersareusingtheformandhowthismayimpactonthepresentationofaninstrumentalsolotoanaudience.

JessicaBeck(RoyalNorthernCollegeofMusic)

LostIdentities:ReimaginingNineteenth-CenturyWomenMusiciansThroughLiterature

Linksbetweenmusicandliteraturehavebeendrawnsincethenineteenthcentury,andmorerecently,scholarssuchasPhylissWeliverhavemadeenlighteningconnectionsbetweenmusic,literature,poetryandgender.Usually,theseconnectionsareusedtoidentifytropesinculture,theartsandwidersociety,ortoextractalternativemeaningsfromtextsormusic.Inthispaper,however,Iwillattempttouseliteratureasatooltoreconstructthelivesandoutputsofmusicalwomenfromthenineteenthcentury,whosemusicalworkisonlypartiallytobefoundtoday.

ThewomenmusiciansatSouthPlaceEthicalSocietybetween1880and1914playedintegralandvariedroles,undertakingtaskssuchasconcertorganising,educating,performingandcomposinghymns,songsandchambermusic.Theirimpactwasvitaltothesociety’songoingsuccessandwasfairlywellrecognisedbytheircontemporaries,butsubsequenthistoriesofSouthPlacehavefocusedonmaleleaders,leavingunanswered

3MacErlaine,Seán."Microtonalityasanexpressivedevice:Anapproachforthecontemporarysaxophonist."(2009).4Burstyn,Shai."FromOrientaltoOccidentalMusicalIdiom."MediterraneanCulturalInteraction(2000):229.

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questionsaroundtheidentitiesofwomensuchasJosephineTroupandEdithSwepstone.Therefore,IwillattempttouseTroup’ssubstantialpoeticalwritingspublishedintheSouthPlacemagazinetoshedlightonherworkasacomposer,andfurthermore,lookathowherchoiceofpoetryforhymnsallowsinsightintoherinfluences,idealsandgoalsasamusician.Swepstone’sreferencestoliteratureinhercompositiontitlesanddescriptionsalsoprovideanalternativeangletoconsiderthemusicianshipofanintriguingcomposerwhoseworksarenolongertobefound.ThroughthisapproachIhopetoshowanewperspectiveonthewordsandnotesofmusicalwomeninthenineteenthcentury.

LucasBerton(ÉcoledesHautesÉtudesenSciencesSociales)

APresenceofAncientLiteratureinFranzLiszt’sMusic:theHungarianRhapsodyasanEchotoHomer’sRhapsodies

ThepresenceofliteratureinFranzLiszt’smusicandwritingsishuge,andIwillfocusonthepresenceofancientliterature.WewillstartfromtheworkLaNotte,inwhichLisztwroteonthescoreaquotationbyVirgil,showingthewilltobeidentifiedtoAntares,acharacterwhoappearsintheAeneid.Wewilltrytoexplainhowhismusiccouldthenbeconsideredasanillustrationofwhatwecallmusicalautobiography.ThiswillleadustotheimportanceofancientliteratureforthecompositionofLiszt’sHungarianrhapsodies.AsLisztconsideredancientGreeceasagoldenageforourcivilisation,wemustwonderhowmuchhethoughtHomer’srhapsodieswereapartofhisownidentity.WemayconsidertheHungarianRhapsodiesnotjustasworkscomposedbyLiszt,butmoreastherepresentationofanunconsciousgeniusofaspecificpopulation.AndsowecanconsidertheworkswrittenbyHomer.AtatimewhendifferentEuropeancountriestriedtofindtheirownidentities,Lisztwantedtocomposeaworkwhichwouldrepresentthespiritofanation.VladimirJankélévitchaddsthattheearly19thcenturybegantofightagainstthesymphonictraditionthatwasfixedbytheconservatoryinVienna.Amongseveralotherspecificitiesthatwillbediscussed,Liszt’srhapsodiesbreakthesonataformandshowaveryspontaneousmelodicline,representingthereforeanechotoHomer’srhapsodies.

IngridBols(UniversityofGlasgow)

IdentitiesandSymphonyOrchestras:ProgrammingChoicesinFranceandintheUK

Symphonyorchestrasseemtobestandardisedinstitutionsaroundtheworld.FromBerlintoNewYork,fromJohannesburgtoTokyo,internationalmusiciansandconductorsperformpiecesfromasharedWesternmusicalCanon.Nevertheless,acloserlookontheconcertprotocolrevealsthanFrenchandBritishorchestrasdonotcomeonstageinthesamewayforexample.Orchestrashavebeenstudiedasartisticstructures,ascompaniestomanageandassociologicalgroups.Nonetheless,evenifmajorsymphonyorchestrasarehighlyinternationalstructures,nocross-borderstudyhasbeenmadeonthecontentoftheirconcerts.

ThisstudyfocussesonFranceandtheUnitedKingdom.EveniftheyareneighbouringEuropeancountries,FranceandtheUKhavemajordifferencesinrunningsymphonyorchestras.BritishorchestrasepitomiseamoreliberalandprivatelyfundedwayofmanagingartstructureswhereasFrenchorchestrasrelyalmostcompletelyonpublicfundingandstatepolicies.DespitebeingbasedonasharedWesternmusicalCanon,programmesechomajorculturaldifferences.Handel’sMessiahisamust-haveononesideoftheChannel,asecondarypieceontheotherside.

ComparingtheprogrammesoftheRoyalScottishSymphonyOrchestra,theLondonSymphonyOrchestra,theStrasbourgPhilharmonicOrchestraandtheParisOrchestrarevealshowsymphonyorchestrasdoexpress

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nationalspecificitiesandevensomeregionalidentitiessuchasScotland’sstrongmusiccultureandAlsace’sdistinctiveplacebetweenFrenchandGermantraditions.

NúriaBonet(PlymouthUniversity)

TheVoiceoftheSea

TheVoiceoftheSeaisapieceofliveelectronicswhichuseslivedatafromabuoyoutatseaatLooe(Cornwall)todeterminecompositionalchoices.ItcombinessynthesisedsoundsandrecordingsfromthecoastalsoundscapeofLooe.Dependingontheweather,thepiece’scharactercanrangefromcalmandsoothingtotempestuous.TheperformanceoftheVoiceoftheSeacontainsasimplevisualelement;ascreenwhichdisplaystheincomingdatafromthebuoyandawebcamofLooebay.

ThepaperpresentedinconjunctionwiththepiecedrawsonthesonificationframeworkIhavedevelopedduringmyPhD.ItdescribesthecompositionprocessofTheVoiceoftheSeafromatheoreticalandpracticalpointofview.Finally,thepapermakesacasefortheuseofsonificationinmusicalpracticeasacontinuationoftheromanticpracticeofProgramMusicforacontemporaryaudience.

ClarissaBrough(UniversityofSouthampton)

ConstructionsofOnlineIdentity:ActiveandReflexiveIdentityWorkonSpotify

Forsome,theemergenceofinteractivemusictechnologiesduringthetwenty-firstcenturyhastransformedthedisseminationandconsumptionofmusic.Oneofthemostrecentinnovationshasbeenthedevelopmentandincreaseinon-demandmusicstreamingplatforms,suchasSpotify,PandoraandAppleMusic.Manylistenersengageinthesenetworks,whichprovideopenforumsforlistening,sharing,ratingandrecommendingmusic.Sincetheplatformscontainvastanddiversemusiccatalogues,theyseektoreducethevolumeofpossiblesongchoicesbyemployinguserdatatogeneratepersonalisedrecommendations.

Musicisapowerfulresourceforindividualandcollectiveidentityconstruction,performanceandmanagement,sowhatdotheseonlinemusicstreamingplatformsmeanforouridentitywork?Inthispaper,Iexplorehowmusicaccumulatedonaparticularplatform,Spotify,canenableuserstoeffectivelyconstructandperformtheironlineidentity.Additionally,IconveyhowSpotifyattemptstoreflectauser’sonlineidentitybygeneratingpersonalisedrecommendations,anactthatIterm‘profileconstruction’.Ultimately,Idemonstratehowprocessesofself-fashioningthroughmusicarepotentiallybeinggovernedbythetechnologyofrecommendersystems.

OwenBurton(UniversityofYork)

ManipulationsofForm:TracingSpiralsinEinojuhaniRautavaara’sSymphonyNo.8

Often,inthestructureofalarge-scalework,thereisauniquebalancebetweenperceivingtemporallinearityandarchitecturaldiscontinuity.Late-twentieth-centurymusic–wherelinearorientationcomesintoquestion–offerscomplexandambiguouscasesofform.Thisisespeciallytrueinthecontextofthefragmenteddiscontinuityofmusicalmodernism.TheFinnishcomposer,EinojuhaniRautavaara(1928-2016),developednewstrategiestoreassertalinearemphasisinhisfinalsymphony“TheJourney”(1999).Thiscompositionalmentality,whichoftencentresonprocessesofslowtransformationandphasedreturn,demonstrates

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Rautavaara’sindependentapproachandcreatesafluidityofformthatchallengesourauralperceptionofthesymphonicprocess.

DavidBuschmann(UniversityofMusicandPerformingArts,Graz,KUG)

MusicasResistanceintheQueerClubSceneofBerlin

SaferSpacesareacommonconceptioninqueerclubcultures.Theyaretheattempttocreatespacesinwhichallkindsofqueerperformancesareaccepted.SincequeeridentitiesandexpressionsarewidelymarginalisedsuchSaferSpacesareavitalneed.QueerSaferSpacesmostlyexistinclubs,thatismusicalspaces,anditsuggestsitselftoresearchtheroleofmusicinthecreationofSaferSpacesinqueerclubculture.

Usingsociologicalspacetheory(MartinaLöw2001)IamgoingtoexamineifandhowmusicaltextandactionservesasameansforqueeringasanactionintheprocessofconstructingSpaceingeneralandforqueerSaferSpacesinspecial.DuringmyethnographicresearchinBerlin(observingparticipationandinterviews)IfoundthatthepositionalityandqueerperformanceofDJsisthekeyelementfortheinterpretationofmusicasqueerandtherewiththeactofclubbingasaqueeraction.

IamgoingtoshowhowidentitypoliticsinfluencemusicalactioninthequeerclubsceneofBerlinandhowagentsofthescenethinkofmusicasaresourceforinclusivespaces,alsoconcerningthelatestmigrationmovementstowardsGermany.ThepoliciesofthequeerclubsceneofBerlincanbesummarisedas(musical)resistance.Resistanceisunderstoodasproductiveandtherealizationofutopicspaces.WiththisresearchIfill"ethnomusicology'squeersilences"(Cheng,Barz2015)andforthefirsttime,makesociologicalspacetheoryadaptableinmusicologicalresearch.

BriceCatherin(UniversityofHull)

HISSperformances

Extractsfrom‘OperaImmobile’[MotionlessOpera](4channels)and‘DieZukunfteinerIllusion’[TheFutureofanIllusion](4channelswithvideo).

KhetsinChuchan(PrincessGalyaniVadhanaInstituteofMusic)

ThisandThat:polaritiesandtransitionsinthemusicofThailand

Thecurrentstateoftheworlddenotessignsoftransition,whetherinpolitics,economyandculture.Thailand,aswellasothercountriesintheSoutheastAsia,arenowundergoingasignificanttransformation.Asaresult,'culturalpolarities'donothavethesameconstituentsasbeforeinoursociety.Thisleadstonewchallengesformusicianstoreadjustourperspectivesofthemusicwepractice.

Inunderstandingandadaptingtothistransformationinourregion,wehaveobservedhowculturalpolaritiesplayaroleinoursocietyandourmusic.Howdoesitcreateimaginedborders?Howdoesitaffectrealities?Howhasitinfluencedotherkindsofmusicandplaceditselfinthewidersociety?

ThispresentationwillshowcasetherelationshipbetweenpolaritiesandtransitionsinthemusicofThailandandhowmusicrepresentsbothideasintheworld,especiallyinSoutheastAsia,throughtheperspectiveofthe

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studentsofPrincessGalyaniVadhanaInstituteofMusic(PGVIM).

JonChurchill(DukeUniversity,USA)ASecondBattlefield:SemanticExchangesBetweenRalphVaughanWilliams'sLondonandPastoralSymphonies

AsastretcherbearerinWWI,RalphVaughanWilliamssurvivedeventsthatfundamentallyalteredhispersonallifeandlaterworks.TheclearestmusicalchangesemergeinALondonSymphony(1912),begunbeforethewarandeditedduring,andthePastoralSymphony(1921),aworkfirstconceivedontheWesternFront.Whilethelatterworkearnedthemoniker“VaughanWilliams’swarrequiem,”thetrenches’effectsfirstappearintheeditstoALondonSymphony.There,VaughanWilliamsdeletesagesturally-richsectionnamed“Nocturne”thatcontainsthreefeaturescommonthroughouthislargeroeuvre:sarabanderhythms,harmonicstasis,andarchshapedinterruptivegestures.Pagesofnearsilencetaketheirplace.

Thefeatures’reappearanceinthePastoralrevealstheirdarkassociationsandsuggestsaprotectivedrivebehindtheirremoval.Byengagingthecomposer’sownremarks,semiotics,andtraditionalanalysis,thisworkfirstshowsapsychologicallinkbetweensarabandesandtheheavylabourofnighttimestretcherbearing.Aconnectionbetweenharmonicstasisandtheanxiety-riddenbattlefieldritualof“stand-to”isrevealedinthesamemanner.Finally,thearch-shapedinterruptivegestureswillbeshowntoalignwithwartimeliterarydepictionsoftrench-scarredbattlefields.

ThisstudyisthefirsttoexaminethepuzzlingeditstoALondonSymphonyintermsoftheGreatWar,anditsnovelapproachuncoversspecificchangesinVaughanWilliam’scompositionallanguageandtheircauses.Bothdiscoveriesstandtorevealmuchabouttheworkingsofasparsely-researchedfigureandhisrelationshipwithoneofhumanity’sdarkestperiods.

SamuelCleeve(BirminghamCityUniversity)

WhereIEndandYouBegin:MusicalAgencyandVirtualPerformanceEnvironments

Inrecentyearsvirtualreality(VR)hasbecomeanincreasinglyprevalentplatformformusicalperformance—Björk,U2,Gorillaz,andeventheLAPhilharmonicallhavingtakentothevirtualstage.Suchvirtualencountersprofoundlydisruptconventionaldefinitionsoflivemusic,inparticularproblematisingnotionsofagency.Acommon-sensedefinitionofperformance,forinstance,mightdescribeacommunicativeactcontingentupontheinter-actingagenciesofperformerandaudience.Asimulatedperformer,whopossessesnoinherentcapacitytoactorreact,cannotthereforepartakeinaperformance.TispaperproposesthatthisimpassemaybebestnegotiatedwiththeaidandinsightsofActor-NetworkTeory(ANT).ProponentsofANTespouseanunderstandingofagencyconceivedintermsofeffects,ratherthanactions(Latour2005;Law2009).Inthisunderstanding,agencyisdecoupledfromnotionsofwillandpurposefulintent,andassuchisnolongerthereserveoftheembodiedsubject,beingfreelyattributedtoarangeofnon-humanentities.Byopeninguptheconceptualterritoryaroundagency,ANTaffordsaradicalnewwayofunderstandingperformanceinvirtualenvironments.Tisapproachhasrecentlybeendeployedelsewhereinordertoilluminatetheunpredictablecontributionsofinstrumentsanddigitaltechnologiesintheprocessofmusic-making(Bates2017;Strachan2017).Toelucidatethisidea,thispaperdrawsonaVRperformancebyLondon-basedmusicianSampha,inwhichtheviewerappearstooccupythebodyoftheperformer,therebydisplacingagencyfromtheembodiedsubject.

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LeonClowes(UniversityofHuddersfield)

MakeItEasyOnYourself:BurtBacharachandtheMiddlebrowintheAgeoftheemergingSinger-Songwriters

Inthemidtolate1960s,thedemiseinthepopularityoftheBrillBuilding’shitsongwriterscrossedoverwiththeascensionofsinger-songwriterssuchasDylanandLennon/McCartney.Theseemergingsinger-songwritersofthe1960swerehegemonichit-makingcreatorswho,significantly,wouldattractseriouscriticalattentioninawaypreviouslynotseeninpopularmusic.

Inparallelthough,withhissongwritinglyricistpartnerHalDavid,BurtBacharachinsomewaysbuckedthistrend.BacharachandDavidwerebothcommerciallysuccessfulandlaudedbyothermusicians.Butthereisaparadoxhere.Ononehand,Bacharachisa‘musician’smusician’,aninfluenceongenerationsofmusiciansacrossmanygenressincethe1960s.Ontheother,themusicindustryandcriticallabellingofBacharachas‘easy’listeningconfirmsthathiscanoninhabitsthemiddlebrowofpopularmusic.

Throughhistoricalanalysis,IwilladdressalackofscholarlyengagementofBacharach'saccomplishmentsasthiscomposer'scontributiontopopularmusicisarguablyamongthemostsignificantofthe1960s.Whataretheparticularitiesofthecomposer'smusic,givenwhatareseeminglyconflictingattitudestowardshisreception?Throughexaminationofthecriticalreceptionandmiddlebrowinterpretation,thecomposer'simportanceandinfluencewillbepositionedwithinthecontextofthetime(the1960s)whenitwasproduced.

JúliaCoelho(UniversityofMissouri)

ClaudioMonteverdiandLaFavolad’Orfeo:CharacterConstructionandDepictionofEmotion

TheconstructionofcharacterontheearlyoperaticstagebymeansofmusicalgesturesisanarrestingachievementofItalianmasterClaudioMonteverdi,apracticefirstevidentinhissignatureoperaL’Orfeo.InMonteverdi’sdepictionofcharacter,notablythatofOrfeoandApollo,hisdecisionstoexpressemotionthroughvoicetypeandmusical/rhetoricaldevicesappeartobeconnectedprimarilytocontemporaryaestheticconceptsandsingingstyleconventions,representingtheideasofmorality(ethos),reason(logos),andemotion(pathos)inmuchsubtlerwaysthaninhislateoperaIncoronazionediPoppea,withSenecaandNerone.

Monteverdi’soperaticstyleinOrfeoisindebtedtoseveralfactors,namelycultural,personal,andsocialconditions(e.g.,hisexposuretomusicalactivitiesinotherItaliancity-states,hisinvolvementwithculturalacademies,andtheconstraintsresultingfromhisMantuanpatronage).Lackingthefreedomtowriteforthepublictheatreasinhislateroperas,Orfeocanbeseenasaresultofthreedeterminingfactors:cultural/intellectualenvironment,particularlythepatronagesystem;influenceofacademies,namelytheAccademiadegliInvaghiti;andaestheticsofsinging/performancepractice.

Byre-examiningprimarysourcesandre-evaluatingseveralcontemporaryscholarlystudies,thispaperaimstofurtheranunderstandingofMonteverdi’saestheticpositionasitaffectedhisconstructionofoperaticcharactersandtheirmusicaldepiction,informedbythethreefactorsabove.SuchanimpactwillbediscernedusingOrfeo’s“PossenteSpirto”andtheduetbetweenApolloandOrfeo“Saliam,cantandoalcielo,"inwhichsimilarmusicalsettingsrepresentdifferentdramaticsituations.

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CiaraConway(Queen’sUniversity,Belfast)

JohnO'KeeffeandtheSouthSeas:Omai;oraTripRoundtheWorld

CaptainJamesCookisbestknownforhisexplorationofthesouthseasandhisdeathbyhomicideinHawaiiin1780.Cookmadeatotalofthreepacificjourneys;thefirstfrom1768-1771,thesecondfrom1772-1775andthethirdfrom1776-1780.WellacquaintedweretheBritishpublicwithCook’sjourneysduetothepublicationoffirst-handaccounts.JohnHawkesworth’sAnAccountofaVoyageroundtheWorld(1773)waswidelyreadandcritiqued,andsparkedhugeinterestinthatofunknownculturesinPolynesia.In1784AVoyagetothePacificOceanwaspublishedinthreevolumes;thefirsttwovolumescomprisedofCook’smemoirsandthethirdofJamesKing’smemoirs.NicelytimedandwellreceivedwasJohnO’KeeffeandWilliamShield’snewpantomimeOmai;or,aTriproundtheWorldinCoventGardeninDecember1785.ThemainplotfocusesonreallifeTahitiancharacters,thatofOmaiinparticularwhoaccompaniedCaptainCooktoLondonattheendofhissecondvoyage.Innovationsinspectacularmachineryandeffectsreceiveduniversalpraisefromreviewers;sotoodidauthenticityacrossset,stagingandcostumewhichwerebasedonthedrawingsofchiefillustratorJohnWebberaboardthefinalCookvoyage.However,thesameethnographiclegitimacycannotbeclaimedinthemusic.Eventhoughthepantomimeconsistsofthewell-knowncommediadell’artecharacters,itstraysfromtypicalpantomimicconventionswhichraisesquestionsnotonlyconcerningcharacterisationbutalsoitsallocationofborrowedmusic.ThispaperwillplaceOmaiinthecontextofmusicalcharacterisationontheLondonstageinthelateeighteenthcenturywhentheracialisationofthesouthseaswastakinghold.

SusanDaniels(King'sCollegeLondon)

1933:L’OiseauLyre,FrançoisCouperinandRuffledFeathers

ThispaperwillconsidertheinfluenceofLouiseDyerandherpressL’OiseauLyre’sconstructionofFrenchculturalheritage,throughherpublicationandlaunch,attheArsenalon29May1933,oftheŒuvresComplèteFrançoisCouperin,asetof12opulentlyproducedvolumes.1933,apivotalyearinEurope,alsomarkedthebicentenaryofthedeathofFrançoisCouperinandtheturningpointinre-confirmingCouperin’splaceinFrenchmusic’sculturalheritage.Italsore-energisedtheearlymusicrevivalinFrancethathadbeguninthe19thcenturywhenperformancesofCouperin’smusic,andothers,wasusedtodevelopasenseofidentity.ThispaperwillexplorehowLouiseDyer,anoutsider,relativelynewtoParisandamodernistapproach,influencedachangeintheacceptedrepertoireatthetime,aswellasblurredtheboundariesbetweenprivate,women’scultureandthepublicworldofpublishingandrecording.Dyerconsideredhermusiceditionsandlatertherecordings,ashermonuments:alegacyforscholars,musiciansandloversofmusicalike.Inaddition,L’OiseauLyregaveopportunitiestotalentedscholars,musicians,performersandartists,andproducedhigh-qualityinformededitionscreatingatrustedbrandforthoseseekingnewmusicalexperiences.UsingtheCouperineditions,thispaperwilldemonstratetheinterplayofthePress,asaninstitution,thenetworksinvolved,theeditorialandinnovativepractices.

AlexdeLacy(GoldsmithsCollege,UniversityofLondon)

RestartThat!The(Mis)representationofGrimeMusicandtheRecentRiseof‘In-House’Criticism

Grimemusicismorepopularthanit’severbeen.Tworadicalmisunderstandingsinthejournalisticsphereoverthepastyear,however,havebroughtthenarrativesurroundingthegenreintoacutefocus,particularlyamongstitscommunityofpractitioners.TheEveningStandard’sJohnAizlewoodmistookacritical

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performancetropethe“reload”foratechnicalmalfunctionatSkepta’sheadlineshowatAlexandraPalace,whilstMusicWeekpresentedJHus–anAfroBashmentartist–asthecoverstarfortheir‘GrimeWeek’issue.

Dissentingvoicesarerisingandaburgeoningschoolofin-housecriticismisraisinginterestingquestions.Thispaperwillunpacktheimplicationsofshowssuchas‘PlayedInFull’,Kwam’s‘UnpopularOpinions’andmediaplatformsincludingJosephPatterson’snewlylaunchedTrenchMag.Academicwritingwillalsobeconsidered:upuntilnowithasbeenheavilyatomized,localized,andsteepedinhagiographicaccountsthatfixateuponDizzeeRascalandWiley,whilstjournalisticreportageregularlylacksininsight.DJLoganSama–whocommentedontheMusicWeekdebacle–recentlyspokeoutonthisissue:“thisiswhathappenswhenjournalistsandpublicistsonlytalktoeachotherandnotactualfigureheads.”

UsingprimaryresearchfromparticipantobservationandinterviewsconductedwithDJs,photographers,journalistsandMCs,thispaperwillpresentimportantfindingsincludingreasonsforpriorlackofengagementwiththewrittenspherefromthe“mandem”,therolenowincumbentuponpractitionerstiredofjournalistswith“toomuchpower”,andwaystoreconciletheproblematicchasmbetweencriticsandcrafts(wo)men.

EnyaDoyle(DurhamUniversity)

WithOneVoice:AnExaminationoftheIncreasingInclusionofWomenandGirlsinEnglishCathedralMusic

Since1991thehistoricreluctancetomoveawayfromtheancienttraditionofall-malechoirsinEnglishcathedralshasbeenincreasinglychallenged.Nowadays,manycathedralsoffermusicalopportunitiestogirlsandwomenaswellasboysandmen.ThemostrecentChurchofEnglandstatisticsrevealthat690of1490choristers,and80outof550LayClerksarefemale.ThispaperusesthecaseoffemaleChoristers,LayClerks,andDirectorsofMusicinEnglishcathedralstoexploreandexplaintheideologicaltensionssurroundinggenderintheChurchofEngland.Questionssuchas‘do/shouldfemalemusicianssingdifferentmusicthantheirmalecounterparts?’;‘Howdothedifferentpersonaeadoptedbywomensingersreflectthemanywaysofbeingfemaleinthisscenario?’;and‘Isthemalechoristertheidealacousticmodel?’willbeinterrogatedto‘vindicatetheinsightsofthisalternativetraditionand…toreshapeandenlargethevisionandlifeofthechurchtoday’(Ruether,WomenofSpirit1979:28).

AfterabriefintroductiontothegenderedhistoryofEnglishcathedralmusicmaking,thispaperwillutilisequalitativeresearchcarriedoutinEnglishCathedrals(Guildford,Salisbury,andStAlbans)toreflectonhowmusicalchoices,rehearsalsandservices,leadership,andperformance(may)differforwomenandmen.Toconcludeitwilllooktothefutureofmusicalandtheologicaldiscussionofwomenandgirls,menandboysintheCathedralmusicworld.

MaxErwin(UniversityofLeeds)

TheAdventoftheAvant-Garde:Goeyvaerts/Eimert/Stockhausenand“Post-Webern”Music

ThetextbooknarrativeofEuropeanartmusicafterWorldWarII,mostsuccinctlyrepresentedinRichardTaruskin’sOxfordHistoryofWesternMusic,tellsofaclose-knitgroupofelitecomposerswho,havingdiscardedtheWesterntraditionintoto,reliedonlyonarcanescientismand,morepointedly,themusicofAntonWebern.However,recentresearchbyscholarssuchasMartinIddon,PascalDecroupet,andM.J.Grant(amongothers)havedemonstratedthatthereisvirtuallynocommonalityoftechniqueamongcomposersoftheso-calledDarmstadtschooland,furthermore,myownresearchrevealsthatbothKarlheinzStockhausenandKarelGoeyvaerts,twoofthecentralfiguresoftheDarmstadtSchool,hadonlyarudimentaryknowledgeoftheSecondVienneseSchoolwhentheywrotetheirfirstpiecesof“serial”music.Thequestionthen

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becomesobvious:what,orwho,propagatedtheideathatthisyoungergenerationofcomposershad“pledgedallegiancetoSchoenberg’sgreatpupil”?Thispaperinvestigatespreciselytheseforces,bothprivateandinstitutional,whichdevisedthenarrativeofthepost-warmusicalavant-garde.

PeterFalconer(UniversityofSouthampton)

HiThere(2017)

Promptedbytheconferencethemeof‘MusicasResistance,’thispiecerepresentsthefeelingofbeingoverwhelmedbyeverydaylife,andhowmusic-inthiscaseLowercasemusic-canactasa‘resetbutton’whenthingsgettoomuch.Lowercaseisabranchofelectronicaconcernedwithbarelyaudibleandoftenunnoticedmicrosounds.

ThesoundsinPart1ofthepieceareintrusivenoisessuchasheavytraffic,ascreamingchild,and-fromtheperspectiveofaself-employedmusician-spokenphrasesassociatedwithclientstryingtogetsomeworkdoneforfree.Part2’ssoundsareintrospective-mybreathing,andapeacefulEb2chordsynthesisedfromthesamebreathingrecordedinsideapiano.Theunwantedsoundstrytoreturn,buttheLowercasesoundscontinuetoresist.

MycompositionsoverthecourseofmyPhDwillbeexploringLowercaseinconjunctionwithtechniquesusedinsoundscapecompositionandsonicjournalism,tocreateworksbasedon(andpartlycreatedfrom)thesoundsofabandonedbuildings.Theworkswillrecreatethesonicarchitectureofthebuildings,aswellasrepresentinganarrativeofthebuildings’histories.

JohnFallas(UniversityofLeeds)

Stringquartetintheexpandedfield:genreandChristopherFox’sTheWeddingatCana

Writingin1968,themusicologistCarlDahlhauswasabletofindcompellingevidenceinthenrecentcompositionforanexacerbationofthetendencyawayfromgenreandtowardstheindividuatedworkwhichhe,TheodorAdornoandothershadseenastypicalofnineteenth-andearliertwentieth-century‘highart’music.Mypapersurveysbothcompositionandmusicologyintheperiodsincethentopresentandexploreseveralcounternarratives:bothnewevidenceandnewmethodologieswhichcastdoubtonthesupposed‘declineofgenre’.

Yetevidenceandmethodologyinteractunpredictably.Thelargebodyofnewstringquartetscomposedsincearound1980undertheaegisoftheArdittiandKronosquartetsmightappeartoprovideanewbodyofgenredartmusic(twovolumesofContemporaryMusicReview,Toop&Albertson2013and2014,seemhappytotreatitassuch).Inroughlythesameperiod,however,musicology’sownassumptionsregardingthecentralityofartmusichavebeenchallengedtoapointwhereonemightquestionwhytheattempttorestoreagenericcontexttothestringquartetshouldexcludeotherdomainsinwhichthemediumcarriesculturalmeaning:TVthemetunes,forexample,orweddingreceptions.DrawingalsoontheartcriticandhistorianRosalindE.Krauss’sessay‘SculptureintheExpandedField’,IconcludebyreadingChristopherFox’sTheWeddingatCana(2013)–whichsitsself-consciouslyonthebordersbetweenfunctionalmusicand‘highart’–inthelightofthisproductivelyambivalentexpansionofthefieldofmusicology.

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XueyangFang(UniversityofHuddersfield)

StudyonNineChimeStonesFoundfromEasternZhouTombinHebiChina

AmongmanypercussioninstrumentsofOrientaloriginusedinmusicalperformance,thechimestoneisoneofthemostinterestingacoustically.AccordingtotheChineseclassicaltextZhouLi,Bayinwasaclassificationsystem.Musicalinstrumentsweredividedintoeightgroups,accordingtothematerialsfromwhichtheyweremade.Thechimestone(ChineseTerm�Quing),whichIwillintroduceinthispaper,belongstothecategoryofstoneanditisakindofpercussivelithophonewhichcanbecategorisedintoidiophoneswithintheH-Ssystem.

Between2009and2010,asetofchimestonesdatingtotheSpringandAutumnperiod(ca.770-476BCE)oftheEasternZhouDynasty(ca.770-221BCE)wasexcavatedinthetombM4atHebiQixianSongzhuanginHenan,China.Theshapeoftheseninechimestonesduringthisperiodhadgraduallybecomeunifiedandstandardised.Thentheyarestuckbymalletrespectively,theycanproduceasoundwhichconstructsatetrachordinpentatonicscalemode.Theyalsohadritualmeaningwhentheywereusedinanancientroyalcourt.Duetothefactthatthereareneitherpreviousnotcurrentresearchrelatingtochimestonesfromthistomb,thereforefurtherinvestigationisneededtodosystematicresearchonchimestonesincludingtypology,soundarchaeologyaswellastheirsocialandpoliticalmeaningsbasedupontheLi-yue(ritualmusic)culturalsystem.Inthispresentation,Iwillcombinemyfieldworkwiththeoreticalresearchtomakeanexhaustivestudyoftheseinstruments,includingtonemeasurement,totalanalysisandsoforth.

WillFinch(UniversityofBristol)

InandOut-SidethePanoram:BBCArena’sJazzVisualJukeBox

ThispaperexplorestwoTVprogrammesbytheBBC’sdocumentarystrand,Arena.Itdemonstratesjazzculture’sinterrelationshipwithaudio-visualtechnologiesthroughanexaminationofJazzJukeBoxIandII(BBC2,1983).Iconsidertwointerdependentlayers:firstly,Iaddresstheprogrammes’aestheticandformalpresentationofjazzanditsaudio-visualmateriality.Secondly,Iexaminetheexpositorymaterialpresentedintheprogrammesandthemeaningitgenerates.

Jazz’sVisualJuke-Boxmighthaveservedasanothertitlefortheprogrammesaseachre-presentsaselectionofpromotionaljazz‘shorts’and‘soundies’.ThefilmsareintroducedfromasmokybarbyGeorgeMellywhodirectsourattentiontowardsa1940svisualjuke-box(Panoram)whichre-playsthefilms.Iarguevisualtechniquesareusedtoblurtechnologicallinesbetweenthematerialityofjazz’saudio-visualmodesandalsospatio-temporallinesbetweentheplaceswherePanoramswereoriginallyfoundandthebarMellyinhabits.Thisblurringdrawsattentiontothesocio-culturalcontextthatsurroundthefilms’consumptionandtheprogramme’sconcernwiththe‘rareness’ofthe‘forgotten’footageanditsanaloguereproduction.

Mellydeliversaninterpretivescriptthat,althougheducational,doesnotrelyondidacticismnorfullyproblematizethefilms’stereotypeddepictionofblackmusicians.Nevertheless,theaudienceisofferedsomepossibleinterpretationsofthefilms’significancetohistoriesofjazzculture.ThispaperdiscussestheextenttowhichArenaandMelly’spresentationoftheshortfilmsisconditionedbydiscoursesofraceandjazzonsmall-screensin1980sBritain.

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HannahFirmin(UniversityofLeeds)

PartsandWholes:OpenFormandMicro-dramaturgyinmyQuartet:RockFormation(2017)

MathiasSpahlinger’s128erfüllteaugenblicke(1975)forsoprano,clarinetand‘cello,presents128miniaturesallofwhichareprintedonasinglepage.Thedurationofeachrangesfrom1”to4’;theexactchoice,order,andtotaldurationisdecidedbytheperformers.ThisisatypicalexampleofanopenformpieceasdescribedbyUmbertoEcoinhisbook‘TheOpenWork’[1989].

ThecompositionaltechniqueSpahlingerusesallowseachminiaturetobelocatedona4-by-4,three-dimensionalmatrix,orgrid;byplacingeachfragmentinthecontextofanopenform,Spahlinger’sworksuggeststhefollowingquestion:ifaformcanbetruly‘open’anddeterminedbytheperformers,howdoesthisaffectalistener’s/performer’sperceptionoftherelationshipbetweenthepartsandthewhole?

Formypiece,RockFormation,writtenformalesinger,trumpet,trombone,andbassclarinet,IusedSpahlinger’spre-compositionalmatrixasamodeltocreateaseriesof20miniatureswhichIorderedintoasequence.Iwasinterestedinexaminingthecumulativerelationshipbetweenhearingmanyshortfragmentarydramas,or‘micro-dramaturgy’amongsttheinstruments,andtheeffecttheyhaveonthewholepiece.

FormypaperIwilldemonstratethesemethodsandstrategiesandIwillcomparemyworkwithexamplestakenfromtheSpahlingeroriginal.InfutureIaimtocomposeamoreextendedopenformpiecewhichbuildsupontheexperiencesgainedbyworkingonandcriticallyevaluatingthispiece.

VeraFonte(RoyalCollegeofMusic)

ExploringMemorisationStrategiesinNon-TonalPianoMusic:aSelf-CaseStudy

Musicalmemorisationhasbeenadominanttopicamongmusicpsychologists.Previousstudies,mainlybasedontonalmusic,suggestthatprofessionalmusiciansdevelopretrievalschemes,usingtheirknowledgeoftonalmusiclanguagetohierarchicallyorganizetheinformation.Moreover,theydeveloplandmarksofdifferenttypes,oftenidentifiedasPerformanceCues(PCs),toguidetheirmemorisedperformance.Nevertheless,moreresearchisneededtoinvestigatememorisationprocessesinthecontextofmusicnotfollowingatonalapproach.

Inthisstudy,theauthorcloselyobservedherownprocessoflearningandmemorisingacommissionednon-tonalpianopiece.Theaimwastoinvestigatehow,andtowhatextent,theretrievalschemescommonlyusedintonalmusicapplytothememorisationofnon-tonalmusic.

Theauthorvideo-recordedsixtypracticesessions,whilecommentingtothecameraandannotatingondifferentcopiesofthescorehermaingoalsofpractice,aswellasmusicalandtechnicaldecisions.Followingaprotocoldevelopedinpreviouslongitudinalcasestudies,qualitativeanalysisofthereportswascombinedwithmultipleregressionanalysisofthebehaviouraldataextractedfromtherecordings.Thispresentationwillfocusmainlyonthequalitativeanalysisofthepianist’sreports.

ThepianistdevelopedtypesofPCsnotreportedinprevious,suchaslandmarksbasedonherbodypositionorpatternspersonallydevelopedtoorganizethemusicpitches.Resultswillbediscussedwiththeintentofprovidingunderstandingonhowmusiciansdevelopretrievalschemesinthecontextofmusicthatistonallyandstructurallylessfamiliar.

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AdeleFranghiadi(UniversityofBirmingham)Thepsychedeliclegacy:apostcolonialexaminationoforientalisminpsychedelicrockculture,anditsimpactsonGoatranceincontemporaryIndia

Psychedelicrockgenresfrom1960sBritainandAmericahaveseeminglyevadedpostcolonialsociopoliticalcriticism,despiteboththemusicandfanculturereadilyadoptingOrientalisttropes.UsingSaid’stheories(1978)toanalysethesecolonialresonances,thispaperobserveshowpsychedelicrock,anditsmoderndevelopmentssuchasGoaTrance,relyontheirfascinationswith“ImaginedIndia”,andthatsuchattitudesaremanifestedinWesternmusicians,fans,andtourists’questsfor“authenticity”;thiscanrangefromconceptionsofauthenticIndia,throughtoconstructionsofanauthentic“Self”,asevidentfromtheauthor’sownresearchintopsychedelicrockfans’responsestomusicandpostcolonialcriticism.InanalysingtheapproachesofWesternfans,itemergesthatcommonlyheldidealsaboutauthenticIndiaarefabricatedaccordingtoAnglo-centricstandards,asinfluencedbyBritishandFrenchOrientalists.Yeteventoday,theimpactofOrientalistcolonialism,andthesociopoliticallegacyof1960spsychedelicrockhasledtosevereoutcomeswithincontemporaryIndia,fromthedisruptionofeconomicpatternswithincertainmusicaltraditions,throughtotheinfluenceofracismandsegregationwithinmodernmusicscenes,suchasGoaTrance.Astherealitiesandimpactsofcolonial,Orientalistattitudeswithinpsychedelicrockhaveseeminglynotbeenstudiedwithinacademia,ithasbeenimportanttosynthesiseseminalpostcolonialtextswithliteraturefromavarietyoffields–suchastourismandauthenticitytheory–whichhavebeenputindialoguewithGoaTranceethnography,toexposehistoricallinksbetweenthescenes,andrevealthesociopoliticalpostcoloniallegacyofpsychedelicrock.

ColinFrank(UniversityofHuddersfield)

PerformingtheMedium:HybridApproachestoNewInstruments

ByapplyingMarshallMcLuhan’sexclamationthat‘themediumisthemessage’tocontemporarymusicwecanconsidereachpiece’sinstrumentationasintegralroitsartisticexpression.Uniqueinstrumentalusagehasbeencommonplacesince1945,especiallyprevalentinthepercussionist’sart,effectingtheperformers’physicalmotionsaspiece-specificmusicalitydiffers.Physicalinstrumentsarefurthermystifiedbyelectronicextensionsthroughtapetracks,live-electronicaudio/video,andbodysensorinteraction,requiringbodilyapproachesthatextendintothevirtual.

MyMAresearchpracticallyinvestigatesthisproblembyperformingrecentpercussionliterature,primarilyutilisinguniqueinstrumentsinsmallsetupswithandwithoutliveDSP,sensorcontrollers,andvideo;improvisingwithnewinstrumentcombinationswithandwithoutelectronics;andcomposingforinstrumentselectronicallyextended.InanattempttocreatenewperformancepracticesthroughsolvingproblemsuniqueinstrumentsposeIplantodrawfromembodiedtraditionsnottypicallyassociatedwithcontemporarymusicpractice,suchasreedorganpumping,12thcenturyhistoricalre-enactment,Newfoundlandmummering,throatsinging,bossanova,dramaanddance.

Mypresentationisalecture-recital:aperformanceofBekahSimm’spieceforuglystickandvocalizations,OchreDust,withadescriptionofhowIsolvedproblemstheinstrumentandpieceproposed.Thiswillbeprecededbyanoverviewofmyresearchinprogressreferringtospecificpieces,performingpractices,andcurrentresearch.Contextualizedwithinthebroaderconferencediscussion,IwillquestionwhyIincludedthesetraditions,theimportanceofrepertoirechoice,andthebenefits/disadvantagesofcross-disciplinarymethodologies.

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CasparFrankford(UniversityofBirmingham)

TheSonicConstructionofRace:UnpickingtheBlacknessPresentedbyBlackfaceStreetMinstrelsinVictorianLondon

ThispaperwillexplorehowracewassonicallyconstructedinthemusicofblackfacestreetminstrelsinLondonfrom1846-1864.ScholarshipfocusingontheVictoriansoundscapehaslargelycentredontheanti-streetmusiccampaignthatbecamesynonymouswithanti-Italianorgangrindercampaigns,andthecrescendoofantipathytowardssomestreetmusiciansthatculminatedinthe1864StreetMusicAct,whilstissuesofraceandethnicityhavebeenneglected.IarguethatsoundprovidesacrucialsitetounpickthecomplexnatureofhowracewasconstructedinVictorianLondon.Thiswillbedonethroughananalysisofthereactionstothesoundsof‘streetnegroserenaders’(Mayhew1968:190),beforeunpickingtheblacknessthatwassonicallyconstructedbyblackfacestreetminstrelsymusicusingsheetmusicofasongpopularonLondon’sstreets.Throughthisanalysisofblackness’ssonicconstructionandthepublic’sresponsetothismusic,IsuggestthatVictorianattitudestoracestraddlesalinebetweensentimentalattachmenttoablackOtherwhorepresentedthe‘beneficenceoftheiraction’ofoutlawingslavery(Lorimer1978:70)whilstsimultaneouslydenigratingtheblackOtherastheantithesisoftheperceived‘purity’oftheEnglishrace.TurningupthevolumeonanalltoosilentpastthereforeenablesamoreholisticunderstandingofattitudestoraceconstructedonthestreetsofVictorianLondon.

MossFreed(UniversityofHull/UniversityofHuddersfield)

WhoExactlyisinChargeHere?

Asacomposerforimprovisersmyresearchbringsthetopicofmusicalhegemonyverydirectlyintothecompositionalprocess.Thispaperwillfocusonthreerecentpieces,composedaspartofmyPhDresearch,examiningthevariouscontrolsatthedisposalofcomposer,performerandlisteneragainstthebackdropofanincreasingunderstandingofthemusicasperformanceoverthepart40yearsorso(Small;Cooketc.).Iwilldiscussmydecision-makinginrelationtothetypesandlevelsofcontrolsgivento(ortakenby)thevariousparties,anddetailtheiterativeprocessthatinfluencestheprogressionofapproaches,allofwhichcanbeseenasformsof‘boundedimprovisation’thatseektogiveagreatamountofindividualperformerfreedomwhilstretainingasenseofcompositionalautonomy.Thisincludesquiteradicalchangesinperspectiveandtechniqueregardingnotation,structure,materialandtime.Temporaryhegemoniesandcounter-hegemoniesareparticularlyatplayinmymostrecentpiece(asyetuntitled),whereplayersarerequirednotonlytogeneratematerial,respondtotheirsurroundingsandinstigatesectionchanges(alsochoosingthematerials/mechanismsthatwillconstitutethatsection),butarealsoinvitedtoestablishindependencesub-ensemblesthatcanvieforsonicdominance.Relinquishingcompositionalcontrolincertainwaysinvitesanincreasingofcontrolinothers,andbegsquestionsregardingmusicalontologyandauthorship,andindeedwhatconstitutesapiece.Somewaysofconsideringsuchconceptsinthecontextwillbediscussed,examiningthelinkbetweencontrolandauthorship,andnotionsofdefiningpiecesbytheir‘performativity’.

DanielGalbreath(RoyalBirminghamConservatoire,BirminghamCityUniversity)

EmbodyingComplexity:ChoralAleatorismandtheConstructionofAgency

Thispaperrespondstothequestion:howmightcomplexitytheoryofferinsightsintotheperformanceofaleatorychoralmusic?Theperformanceoftheseworksisunder-studied,evenwhentheirartisticrationaleisdistinctivelypredicatedontheprimacyoftheagentive,physicalsinger.FollowingtheEuropean

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transformationofCagean‘indeterminacy’into‘aleatorism’(Feisst2002),improvisatorytexturesincreasinglyappearedinchoralcompositionsasawayofbalancingidiomaticvocalwritingwithtexturalcomplexity(Bodman1994),oraffordingsingersaliberatoryembodiedexperience(Oliveros2004).Complexitytheory–orthinking(Kuhn2008)–providesameansofunderstandinghowsingersconstructsharedauthorshipofthesepiecesviatheembodiedinteractionsofmultipleindeterminatemusicalelementsandprocesses.

Iwilldetailhowongoingactionresearchwithchoirs(rangingfromamateurtoprofessional;BirminghamandLondon,2015–2017)hassuggestedthatsingerscreate,andactbasedupon,constructionsofmusicalelementssuchasprocess,concept,composer,andcontextinrehearsalandperformance.Constructiontakesplaceonboththeindividualandthesocialplanes(followingtheworkofconstructivisttheoristssuchasPiagetandVygotsky).Theyareunpredictablyemergent;resultfromnumerous(largelysonic,oftenproximal)interactions;andexchangeenergybetweenmultiplenestedlevels.Theseaspectsofaleatoryperformancecorrespondtoimportanttenetsofcomplexitytheory(DavisandSumara2002,2006).DisruptingbothCartesianmind-body,andconstructivistindividual-social,dichotomies,Iconcludethatsingers’bodiesaresitesofknowledgeconstructionandtransmission,actingwithinthecomplex,interactiveenactmentofchoralaleatorism’sinherentlysharedcreativity.

CatherineGarry(UniversityofSouthampton)

ItalianSingingMastersandtheirStudents:TheVocalTuitionofDomesticPerformersinGeorgianBritain

Bythemid-eighteenthcentury,amateurmusicmakingwasasubstantialpartofeverydaylifeformanymiddleandupper-classfamilies.Domesticperformancewasseenasamarkofeliteculture;youngwomeninparticularwereencouragedtodevelopmusicalskillsinordertodisplaytheireducationandstatus.Meanwhile,ItalianoperahadtakenLondon’stheatricalscenebystorm,andattendingoperaperformancesattheKing’sTheatrewasaprestigioussocialactivity.DespitetheprominenceofbothdomesticmusicmakingandItalianoperainEnglandatthistime,therelationshipbetweenthetwoisyettobeexploredindetail.

Thispaperinvestigatesthedomestictuitionofamateurvocalists,focusingontheroleoftheprofessionalItalianmusiciansemployedinaristocratichouseholdsasvocalpedagogues.Exploringvocaltreatisesoftheeraalongsidesurvivingdomesticmusiccollectionsprovidesauniqueinsighttothevocallessonsundertakenbyamateurstudents,andtheextenttowhichvocalpedagogywasdominatedbyItalianoperatictrends.HowdidstudentsapproachthehighlyvirtuosicItalianoperaticarias?HowweretheytaughttoperformintheItalianlanguage?AndhowfardidtherepertoireofbothvocaltreatiesandprivatedomesticcollectionsreflectthecontemporaneousrepertoireoftheKing’sTheatre?AnsweringthesequestionsshedsnewlightonthedevelopmentofvocalpedagogyintheeighteenthandnineteenthcenturiesandassessestheextenttowhichdomesticmusicianswereengagingwithItalianoperathroughvocalperformance,exhibitingtheirelitetasteandidentity.

HelenGubbins(DepartmentofMusic,UniversityofSheffield)SimulatedLivenessinHistoricalRadioBroadcastsofIrishMusic

Theconceptof“liveness”isaprimaryoneinstudiesofradioandofthemediatizationofmusic.Itisoftenconnectedwiththeideasofco-presence,authenticityandintimacy.Inthispaper,IemploySanden’s(2013)theorisationaroundtheconceptandfunctionoflivenessinmodernmusictoexaminethespectrumofliveperformancesinhistoricalrecordingsofIrishtraditionalmusiconIrishpublicradiointheyears1974-1991.Irishpublicradiobroadcaster,RadioÉireann,wasoneofthekeysitesforIrishmusicalproductionanddebate

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inthetwentiethcentury,includingforIrishtraditionalmusic(White1998;Vallely,2011).IdiscussTheLongNote,aweeklyIrishtraditionalmusicradioprogrammethatbroadcastonthestationfrom1974-91,atimeperiodofmuchdebatewithinthatmusicaltradition.Aclosenetworkofpresenters,producers,andperformerswereinvolvedintheprogramme’sproduction,andpreliminaryinterviewsindicatethatTheLongNotewasasignificantdevelopmentfrompreviousradioprogrammingincertainways.Here,Ifocusontheshow’srhetoricofliveness,itsattemptedreproductionof“traditionalliveness”(Sanden,2013)andexploreitsembeddedhierarchiesof“live”versus“recorded”soundtoinvestigatehowRadioÉireannprogrammingrelatedtoIrishmusicalactivity,ideasanddiscourseinthattimeperiod.

AminHashemi(SOAS,UniversityofLondon)

HegemonicShiftsinArticulationsofNationalIdentityinIranianMusic

ThispaperexamineskeyexamplesofculturalhegemonyshiftsincontemporaryIraniansocietyinrelationtostate’sculturalapparatus,andeventualarticulatedunderstandingsoftheWest,nationalidentityandartisticvalues(1950s-2010s).Theshiftsinidentityparadigmshappenedduetorulingclass’pro-Westernculturalhegemonyduringthe1950s.However,twomajoreventschangedthetrajectoryofdiscursivearticulationsofnationalidentityinIranianmusic.Firstly,duringthe1960s,thehegemonyofleftdiscoursestookoverthestateinstitutionstoanextentto‘return’todomesticidentityinsteadofforgingawesternmusicallayoutforIranianmusic.Secondly,the1979revolutionpurgedtheelitediscourseandrenovatedanewclergyeliteclassthatinitiallycausedsuspensionofmusicalpracticesacrossthecountrybutlaterattemptedtograduallyresumethemusicalpracticesthroughasimilaryetdifferent‘return’project.Inotherwords,thepro-Westernsecularidentityarticulationofrulingclasses(the1950s)challengedfirstbythe(global)leftdiscourses(1961)andthenlaterbythetraditionalandanti-Westerndiscourses(1979).ThepaperdeconstructsseveralcompetingdiscoursesofnationalidentityduringthislongperiodandshowshowmusichasbeenfirstanobjectofresistanceandculturalhegemonyincontemporaryIranbefore1979andthenbecomesasubjectofdiscursivearticulations.Itilluminateshowandwhyseveralculturaldiscoursesconstitutetheirownmusicalapproacheswhiletheyhavealwaysbeenthemselvesasubjectofchangeandunfixity.

JasonHodgson(CanterburyChristChurchUniversity)

NeuroDiversityasaCompositionalTool

CurrentlystudyingMasterswithafocusonCompositionatCanterburyChristChurchUniversity,andWinnerofthe2015CanterburyFestivalCompositionCompetition.OneofthedrivingforcesinmyexplorationsofsoundandmusicismyrelationshipwithmyAsperger’sSyndromeandotherdisabilities.Ibelievethatmyuniqueoutlookonthesoundworldisdirectlyrelatedtotheseconditions.Withit,Ifeelcomfortabletoexploremoreunusualwaysofcreatingmusic.

Iamanadvocateofusing‘play’asacreativecatalyst.Thismeanstakingontheroleofachildandseeingeverythingwithfresheyes.Previousprojectshaveinvolvedtoolsandtechniquessuchasindeterminacy,sweets,theatre,improvisation,abox,dice,percussion,andadragon.

Inthispaper,Iwilldemonstrateanddiscussthisuseofplay,itsrelationshipwithmyconditions,andmycompositionalprocesses,withaliveperformancepresentation.IwillalsoexplainthetoolsIuseinlifeandhowIusethemforcompositionalinspiration.Iwilldiscusswhymore“mainstream”toolsprovidechallengesformeasaneuro-diverseartist,andsomeofthealternativeroutesIpursue.Duringthepresentation,Iwillpresentaliveperformanceoftheresultsofthesecompositionalsituationswiththebonkersandopenly

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notatedpiece‘ittakesallsorts’whichallowstheperformerstoexploreaversionofhyper-sensitivity,whilstcreatingalivemusicalinterpretation.

KatyHomden(BournemouthUniversity)

PoppyandtheCultofCriticalTheory

Poppy,alsoknownas‘ThatPoppy’istheYouTubesensationdirectedbyTitanicSinclairthatistakingtheinternetbystorm.PoppyisarepresentationofanAIpopstar,whobelievessheisarealperson.Sheappearsasaproduct,mostlikelythatofthe‘Illuminati’.HerofficialVEVOchannelshowcasesgenericpopmusicwithoccasionalsinisterlyrics.Poppy’sYouTubechannel,containsshort,strangevideospresentingIlluminatisymbolism,referencestotheoccult,religiousideologyandcriticismofpopularculture,whichareallsugarcoatedinpastelpinkandfunkyoutfits.YetwhatismostintriguingaboutthisonlinephenomenonistheengagementoftheYouTubecommunity.Usersseemfascinatedbythehidden‘message’ofPoppy.Manyusersarecreatingcontentreactingtothesymbolisminhervideosandencouragingtheiraudiencestoengageindiscussion.This,alongwiththecuriousnatureofPoppy’svideossuggeststhatTitanicSinclairhassuccessfullyimplementedtheconceptofcriticaltheory,whetherintentionalornot.

ThispaperwilloutlinethePoppyproject,Poppy’smusic,symbolisminhervideos,andanalysethestorysofar.ItwilldiscussYouTubepersonalitieswhoengagewithPoppyandsubsequentlycreatecontentwhichencouragesaudiencestothinkcriticallyaboutthisYouTubeartinstallation.ItwillalsodrawuponcriticaltheoryinanattempttounderstandPoppy’sparodyofpopculture,whichleadstothecriticalengagementofheraudiences.Poppy’sofficialYouTubechannel:https://www.youtube.com/user/thatPoppyTV.

TaichiImanishi(SOAS,UniversityofLondon)CanToday’sTechnologyMake‘Non-PortableMusic’Portable?ChangesinPeople’sPerceptionsofMusicAcrosstheGlobe

Theconceptofportablemusicandnon-portablemusicwasfirstcoinedinthelate1960sbyToruTakemitsu(1930–1966)who,asacontemporarycomposer,diligentlystudiedworldmusicsintheirindigenousplaces(seeKonuma2008).Throughsuchmusicalexperiences,heconcludedthatsometypesofmusicwereportablewhilesomewerenot.ToexplainthedifferencebetweenthesetypesbasedonTakemitsu’sviews,portablemusicismostlikelytobeakindofmusicthatcanbenotatedindetailsothatmusicianscaneasilylearntoplayfromit,whilenon-portablemusiccanbeakindofmusicthatislearntprimarilythroughverbaltransmission.

TheissuewithTakemitsu’sconceptisthatitwasconceivedalmosthalfacenturyagoandsincethattimemanypeople’sperceptionsofworldmusicshavechangedbecauseoftheadvancementoftechnology.Inotherwords,whatwasnon-portableinhistimeislessoralmostnotnon-portabletoday.Manyscholarshavelookedattheimpactofmoderntechnologyuponoursenseofspace;somehavedeeplyexaminedthechangesinourmusicalunderstandinginanumberofways(e.g.,Furini2010,Haynes2013,Tagg2013,Soderberg1995,Kellerman2017,Roads2015,Mantie2017,Burnett2016,Sykes2017).Therefore,Ibelieveitistimeforanewevolutionofthisconceptandthinkaboutalternativewaysofunderstandingdifferencesbetweenmusics,whichIbeginhere.

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PéturJónasson(CentreforPerformanceScience,RoyalCollegeofMusic)

AttentionandVisualMemoryProcessesforComplex,ContemporaryMusicStimuli

Musicians’visualbehaviourwhensight-readingisincreasinglybeingstudiedusingeye-trackingtechnology.Moststudiestodate,however,havefocusedontraditional,tonalmusic.Littleisthereforeknownonhowmusicians’eyesbehavewhenpresentedwiththemoreunusualandcomplexmusicalandrhythmicaspectsofcontemporaryclassicalmusic.Researchintomemorizationinthiscontextisalsoscarce.Theaimofthisstudyistocastalightonwhichmusicalfactorssummontheparticipants’attentionwhenpresentedwithexamplesofmusicalnotationforaveryshorttime,andhowthatmayenhancesubsequentvisualworkingmemoryprocess.

Inaneye-trackinglab,twogroups(experts/laymen)areshownslidescontainingtwotypesofmusicalmaterial:

1. Tonal,rhythmicallyregular2. Atonal,rhythmicallycomplex

Foreachslidethereisanotheridenticalonebutwhichhasbeenchangedinaspecificplace.Thetwoareflickeredinanalternating,loopingorder(~1000mseach).Participants’eyemovementshighlightfeaturestowhichtheirattentionissummoned.Thetaskofdetectingthedifferencebetweeneachpairofslidesallowedforthevisualworkingmemorytobeactivatedandstudies,timebeingthemeasureoftheperformance.BasedontheFindingsofJόnasson&Lisboa(2006)whereparticipantsfounditeasiertomemorizecomplex,atonalmusicalexamplesthattonal,thefollowinghypothesesareposited:attentionisdrawntopointswheremusicalmaterialismorecomplexandirregular,andperformanceonchangedetectiontestisbetteratthesepoints.Implicationsformusicandgeneraleducationarediscussed.

KoichiKato(UniversityofSouthampton)

InSearchof'CircularWandering'inSchubert

TherecentSchubertscholarshiphascultivatedacyclicaspectinhisuseofsonataform.SuzannahClarkhasassociatedthenatureofSchubert’scyclicalitywithlyricismandmemory,whileBrendelshowedthatSchubert’slatepianosonatas(D.958–960)haveacyclicalconstructionsimilartothegreatsongcycleWinterreise.Youensthoroughlyanalyzedthesongcycle,identifyingwhatshecallsthe“walkingmotive”astheprincipalkernellinkingallthetwenty-foursongs,andhasdemonstratedthereminiscenceofthewalkingmotiveinthefirstofImpromptusD.899.Inmyanalysis,thismotiveactuallypermeatesallthefourpiecesinD.899,suggestingthatthisworkcouldbeviewedassimilartothesongcycle.Cyclicmulti-movementorganizationinSchubert’soeuvrecanberecognizedsincetheearlyperiodbutparticularlyevidenttowardsthelateperiod(Chusid).Indeed,thefactthatSchubertreusedhisownsongmelodyinhisinstrumentalworksshowsthatsongcycleandsonatacanintersect,contributingtothedevelopmentofsonataintheearlyromanticera.Moreover,itsunderlyingconceptcanbetracedtoAdorno,whoviewedSchubert’sidiosyncraticmusicstructureinhislateSonatasandImpromptusasatypeofcyclicconstructioncountertotheorganic,lineardevelopmentoftheBeethovenianprototype.Thus,thisideachallengesafundamentalconceptofmusictheory:linearversuscycle.Thispaperwillexaminetheideaofthemulti-movementcycleinSchubert’slatepianoworksasanintersectionofsongcycle,approachingasonatathroughpoetic/narrativeperspective.

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AlexandraKaufman(MacquarieUniversity)

KlezmerBeyondBorders

ThispapertracesmigrationsinklezmerfromitsEasternEuropeanoriginstoitsplaceinmodernmusic.Theanalysisherecoversissuesofdiaspora,ethnicityandgenderandexplorestheinfluenceofreligioninthiscontext.Conceptsofculturalauthenticity,traditionandinnovationhaveinfluencedthewaysinwhichklezmerexiststodayasasitefornegotiationofidentity.Historicallyklezmerwasperformedalmostexclusivelybymalemusicians,whiletodaytherearemanyprominentfemaleklezmermusicians.Theplaceoffemaleklezmerperformersinthemusicallandscapeisinfluencedbyanarrayofsocialandculturalattitudes,includinggenderroleidealsrelatedtoJudaism.Thispaperexploreshowklezmerperformers,andespeciallyfemaleklezmerperformers,integratetheirmusicalpracticewiththeirethnicandreligiousidentities.ThefocusofthispaperrelatestoalargerstudycomparingdiasporicandculturalaspectsofJewishandWestAfricanmusics.ThemesofsurvivalandsubversioninthemusicsofthesepeoplecanbeidentifiedasarisingfromtheexperiencesofJewishandWestAfricanpopulationsandofferanopportunitytoconsiderconvergencesbetweenthesegroups.ForcedmigrationsofJewsandWestAfricansunderlieinvolvementofbothgroupsinsocialjusticeactivism.Somescholarsarguethat,inthecaseofAshkenazicJews,participationinsocialactivismrelatestoasenseofbeing‘off-white’stemmingfromaninclinationtoavoidpolarisingblack-whiteparadigms.

AnnaKent-Muller(UniversityofSouthampton)

AFormulaforMusicSimilarity:UtilisingScore-BasedRecommendation

ThereleaseofNapsterin1999sawexponentialgrowthofonlinemusicstreaming.Thishasinspiredthedevelopmentoftoolstodiscovernewmusic,typicallyaspartofapplicationssuchasSpotify.Musicrecommendationoftensuggestsnewmusictousersbasedontheirownandothers’preferences(Herlockeretal.,2004;Celma2010)oraudio-basedmethodsof“similarity”analysis(Downie,2008).Iproposethatscore-basedmusicalanalysiscanprovideamoreusefulsimilaritycomparisonthanaudioanalysis.

Todate,therehasbeenalackofsuccessinextractinghigh-levelmusicalfeaturesfromaudio.Incontrast,traditionalmusicanalysismethods(e.g.Schenker)enabletheevaluationofhigh-levelmusicalfeatures,includingharmony,timbreandmelody.Thesefeaturescouldbecomparedtodeterminethesimilarityoftwopiecesofmusic.Iwilldiscusshowtraditionalmusicanalysismethodscanbeutilisedtodeterminemusicalsimilarityandproposewaysofquantifyingsimilaritytoenablecomputation.Additionally,Iwillreportontheprovisionalfindingsofalistenerstudyexaminingtheperceivedaudibilityoftheoreticaldefinitionsofmusicalsimilarity.

Thisworkwillenablecross-genremusicalrecommendationbasedonthefundamentalfeaturesofapieceofmusic.Fortheconsumerthismeansmorerelevantandaccuraterecommendations,andforemergingartistsgreaterexposure.

TimKnowles(UniversityofSheffield)

Scene,NotHe(a)rd:ObjectsasMediatorsatParticipatoryEvents

Musicalscholarshiphastendedtoargue(orpresume)thatthoseengagingwiththesamemusic,ormusicalactivity,canbeinterpretedasconstitutingahomogeneous‘community’.Onejustificationforthishasbeentosuggestthatsharedenthusiasmistheresultofsimilarbackground.Anotherhasbeentopointtoexamplesin

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whichmusicalengagementhaspromotedafeelingofsolidaritybetweeneventhemostpoliticallydividedofindividuals(e.g.Brinner,2009),inordertostipulatethatindividualsinevitablydevelopadeeperbondthroughtheirmutualparticipation.IhavefoundthroughmyfieldworkatpublicparticipatorymusiceventsinSheffield(openmics,folksessions,andjazzjamsessions)thatco-participantscanhaveverylittleincommonbeyondtheirmutualinterestin,andengagementwith,theactivityathand;butalso,thatevenlong-termco-participantsoften,quitehappily,knowverylittleaboutoneanother’slivesbeyondtheevent.DrawingontheworkofLatour(2005),thispaperwillarguethattheapparentunifyingcapacityofmusicmaybetheresultofmusicalobjects(suchasrepertoire,andmusicalinstruments)servingasmediatorsbetweenparticipants,andsubstitutingforpersonalconversation.WithreferencetotheworkofRapport(1993)anddeCerteau(1984),Iwillventurethatparticipantsinterpretandappropriatetheseobjectsindifferentways,andconcludethatsuccessfulco-participationdependsonindividualsperceivingtheactionsandvaluesofotherparticipantsascompatiblewiththeirown,ratherthanonthesebeingidentical.

AgataKubiakandBartoszSzafranski(UniversityofWestLondon)

AdvantagesofRehearsingandPerformingwithTechnology-EnhancedScorePresentation

Theauthors,acomposer-performerduo,havebeencollaboratingonpractice-ledresearch,takingassubjectoftheirinvestigationmusic,whichfocusesonslowtransformationofparameters,requiringanalternativeapproachtopresentingthescoreandfacilitatingensembleperformance.

Fromthecomposer:Theproblemisaddressedbyproducinganimatedvideoscores,tobeprojectedduringperformances.Thismodeofpresentationcomeswithasetofuniquechallengesatscoreproductionandeditingstages,whichexerttraceableinfluenceontheendresult.

Fromtheperformer:Theclarityofsuchanapproachwouldmeanthatthegroupcanfocusmainlyonthemusicalaspectsofthepiecefromtheveryfirstrehearsal.Thevisualtimetriggertakesovertheresponsibilityfortimekeepingofthewholegroupandallowsfortheattentiontobefocusedelsewhere.Itisnotanoverstatementthatinthecaseof‘SixSpiders’,whenengagingoneperformerinmultipleroles,thisapproachhasthepotentialofrevolutionizingpractice,bringingbackmomentumintotheconfusingsituationofdealingwithmultiplestaves,lyricsandperformancemarks.

Dataisbeinggatheredbymeansofrehearsalsandinterviewswithplayers,aswellasbycritiquingthequalityoftherecordedevidencecollectedatthesametime.Theresearchisrelevanttotheimpactoftechnologyonhumanperformance,technologyaffectingtheroleoftheconductor,andtherelationshipbetweenthemusicalmaterialandnon-traditionalscorepresentation.

NathanLandes(IndianaUniversity)

SubgenreHierarchies,Canonization,andtheBoundariesofMetalIdentity

Heavymetalidentities,andtheiraccompanyingprestigewithinthemetalcommunity,arepartlybuiltaroundassociationswithsubgenresandrepresentativebands.Championsofthrash-eraMetallicawillpossesssubculturalcapitalinmostmetalcircles,whilesupportersofnü-metal’sLimpBizkitwilllikelybemetwithderision.Fansenshrineknowledgeofsubgenrehierarchiesbycanonizingbands,effectivelymaintainingorchallengingthestatusquo.Inturn,themetalcanonshapesmetalidentitiesbyassigningaestheticpreferencesculturalvalue.Knowledgeofmetalmusicandcultureisprizedbyfans,whoseeksuchsubculturalcapitalinanefforttodistinguishthemselvesfromtheuninformedandtobetterenjoythecompanyofotherfans.

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Formetalidentitytoholdvalue,itisnecessarytoestablishboundariesofinclusionandexclusioninthemetalcommunity.Itisreasonableforknowledgeablemetalfanstoassertthatsomethingsarenotmetal.Yetwhenfansseektoeliminateormarginalizeonce-popular-but-currently-unfashionablesubgenresandtheirfans,exclusionbecomesanegativeforceinmetalcanonization.Fansusednegativetacticstomarginalizehairmetalinthe1990s,nümetalattheturnofthemillennium,andmorerecentlymetalcoreanditsaffiliates.

Mypaperproposesanethicalmannerofmetalcanonization,onethatbalancestheneedsofthecommunitytobeexclusivewiththeequallyimportantneedtonotexcludeunfashionablemetalmusic.Iwillapplythisstandardtobothpopularandacademicinstancesofcanonizationtoshowwheremetalfanshavesucceededorfailed.

OliverLarkin(UniversityofHuddersfield)

AnIntroductiontoHighOrderAmbisonicsWorkflowforSpatialMusicComposition

ThisisaworkinprogressaudiovisualcompositionfortheHISS,inhighorderambisonics(HOA),talkingaboutmyworkingmethods:Ihavedevelopedaninstrumentthatproduceshighlyunique3Dsounds,tightlycoupledtovisualisationthatgeneratesmaterialforthepiece.MyPhDisfocusedonabstractsynthesistechniquesforspatialaudio,andIhavebeendevelopingnewsoftwaretofacilitatesoundgenerationinspacethatgoesbeyondmerepanningofpointsourcesandincorporatesalgorithmsthatfeaturespatialparameters.IwouldliketoencourageotherstostartworkinginHOAusingsomeexcellentfreetoolsthatarenotwidelyknown:mypresentationwillshowhowIamworkingwiththesetoolstorealiseacompositionbasedonsoundscreatedwithmysoftware.Inthatsenseitwillbesomethinglikeaworkshop,althoughIwanttokeepitaccessibleandnottootechnical.Mysoftwaremakesspatialsoundsthatwillbehighlyinterestingtoavarietyofdelegates,includingnon-musictechnologists.

MaximeLeMée(DublinCityUniversity)

RomanticismandMusicasLiminalSpace,aReflectiveInterplay:TheNocturnesofJohnField

ThequestionofaRomanticmusichasraisedsignificantmethodologicalissues,withanalystsandcriticstornbetween,broadlyspeaking,structuralandinterpretativeapproaches.ThetheoriesofRomanticism,developedinitiallyfortherealmofpoetry,havecausedmusictobecomparedtolanguage,andhaveraisedthequestionofmusic’selusivenature.Inadditiontothedifficultiesof‘grasping’thenatureofmusic,theverydefinitionofRomanticismhasitselfprovedproblematic.

Thispaperproposesastudyofmusicasaliminalspace,simultaneouslyconveyingandshapedbytheideasatwhosethresholditstands.MusicisseenasavehicleoftheantinomiesofRomanticism,renderingopposingideassensiblebyitsliminalpositionbetweenthem.Thispositionofmusicastornbetweenirreconcilablecontradictionsputsitinastateofbecoming,grantsitan‘unseizable’nature.Inoneandthesamegesture,theliminalpositionofmusicinfluencesthewayitiscomposed,realised,andinterpreted.

Intermsofmilieu,themusicoftheUnitedKingdomofGreatBritainandIrelandholdsitsshareof‘Romantic’contradictions.TheexampleofJohnField’snocturnes–raisingissuesofnationalbelonging,oftheorganicdevelopmentofastylewithinthe‘Londonpianoforteschool’,oftensionsbetweenpublicanddomesticpurpose,andofatonallanguagethatappearstoquestionitsownaims–willtesttheeffectivenessandrelevanceofthemethod.

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PeterLell(UniversityofMusicFranzLisztWeimar,Germany)

WhatisKnowledge?–Visitors’LearningExperiencesatWorldMusicFestivals

Iwouldliketocontributetotheconferencebypresentingthetopicofmymasterdissertation.Thedissertationexploresworldmusicfestivalsasmusiceducationalopportunities.Keyquestionsare:Whatisworldmusic?Whatisworldmusiceducation?Whattypesofmusiceducationcanbefoundatworldmusicfestivals?

Twofestivalsaretakenascasestudies(AfricaFestivalinGermanyandWOMADintheUK)andapproachedwiththemethodologyofethnographicfieldworkbyutilizingobservation,participantobservationandinterviewswithvisitors.Allinall,threeperspectivesaretakenonthephenomenon:Anethnomusicological,theoreticalperspective;amusiceducationalview;andafestivalvisitor'sperspective.Allofthosecreatedifferentresultschallengingthebordersofacademicandnon-academicknowledge.

Researchfindingssuggestthatfestivals,infact,seemtoalloweducationalexperiences.However,theideaofknowledgeasitisusedinacademic(ethnom.)literatureisquestionedandbeliefs,formerlytakenforgranted,arechallenged.

Ononehand,musiceducationasitispartofschoolsanduniversitiesgivesclearideasofwaysandaimsoflearning.Ontheotherhand,festivalvisitorstatementsopenupnewideasoflearningwhicharemoredifficulttotrackdownandconcretise.Still,andthisismythesis,therearestrongmusiceducationalmomentshappening.Thosearechallengingtheacademicprerogativeofinterpretationandsuggestnewandinterdisciplinaryapproachesforfurtherandfruitfulresearch.

XiaoyunCloudyLim(TrinityLabanConservatoireofMusicandDance)

RevisitingtheAnalysisofChopin’sMaturePianoSonatas:APerformer’sPerspective

AgainstthebackdropofnegativecriticismsofChopin’ssonatasduringhislifetime,advocatesofChopin’ssonatasusedanalyticalmethodsandBeethovenianpracticeasapointofreferencetodispelanyissuesonthelackofstructuralunityandmotivicconnection.Nonetheless,thefocusonBeethovencanbeproblematicontwocounts.Firstly,ithasoverlookedotherimportantaspectsofhissonatasthataresituatedwithinthebroadercontextofnineteenth-centurypianismandaestheticclimate:virtuosityandimprovisation.Secondly,analystswhohaveusedBeethovenasamodelforcomparisonarearguablynotengaginginhermeneuticanalysisbutapresentistprojectbecauseoftheirvestedinterestsandthevaluejudgmentthatcomeswiththem.

Thepresentdiscussionproposesthatthetwentieth-centurychoiceofanalyticalmodelsinevaluatingChopin’ssonatashasmaskedthetrueoriginsofhissonatasandlimitedourunderstandingofthem.AninvestigationintorelevantaspectsofthemusicallifeofParisduringtheJulyMonarchyaimstorevealthatChopin’shandlingofthesonataformisonethatisinspiredbyhisimprovisationandculturalcontext.Thisinvestigationwilltapintofieldsofreceptionhistory,culturalstudiesandaestheticstocontributetocross-disciplinaryresearchinChopinstudies.Itproposesanalternativeperspectivetoscore-basedanalysis:performance-basedanalysiswithhapticsatitscoretojustifyhisuseofbolderharmoniccomplexitiesandorganizationsofthematicmaterialswithinthesonatagenre.Fromabroaderperspective,itaimstobringtheroleoftheperformerbackintoanalysis.

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SophieMahar(LiverpoolHopeUniversity)

OratorioasDevotionalWorship:AlessandroScarlatti’sSt.JohnPassion

AlthoughmusicologistshavedevotedattentiontoAlessandroScarlatti’soperasandsacredliturgicalworks,hisoratorioshavebeenrelativelyneglected.Asurgeofinterestinthe1960sand1970sledtocriticaleditionsoffivewell-knownoratorios,adoctoraldissertationandajournalarticlebythesameauthor,DavidPoultney.Thepresentresearchisare-examinationofScarlatti’scompleteextantoratoriosandtheroletheyplayedinthecomplexhistoricalandaestheticdevelopmentofthegenre.

Scarlatti’soratoriosplayedvariousrolesinthemusicallifeoflateseventeenth-centuryItaly.Theoratorioitselfhadbecomeanextremelyversatilegenrebymid-century.Performancestookplaceinbothsacredandsecularcontextsintheoratories,churches,courtsandpalacesofRomeandotherItaliancities.Bytheeighteenthcenturythegenrewascloselyassociatedwithwhatmanyviewasitssecularcounterpart:opera.ManyofScarlatti’soratoriosareoperaticinstyle,particularlythosecomposedlateinhiscareersuchasLaVergineAddolorata(1717)–astunningworkinwhichJohntheEvangelist,theVirginMary,NicodemusandAnnascontemplatethepassionscene.However,someofScarlatti’soratoriosepitomisetheoriginalpurposeforwhichthegenrehadbeeninvented:atoolfordevotionalworship.

InthispaperIattempttodemonstratehowsomeseventeenthcenturyoratoriosrejectedoperaticpracticesbothinmusicalandinliteraryterms.Inparticular,IanalyseScarlatti’sfirstextantoratorio,thePassiosecundumIohannem(1680)toshowhowScarlattifulfilledtheneedsofworshippingofacontemporaryCatholiccongregation.

LuizMantovani(RoyalCollegeofMusic,sponsoredbyCAPES-Brazil)

FerdinandRebayandtheReinventionofGuitarChamberMusic

WhenFerdinandRebay(1880-1953)startedtocomposemulti-movementsonatasfortheguitarinthe1920s,theassociationoftheinstrumentwithsuchaprestigiousgenrewasalmostunthinkableoutsideoftheguitarcircles.Withinthatniche,therepertoirewasprimarilyadomainofguitarist-composers,and,asputbyRebayinanarticleof1926,ithadbeenstylisticallyidleformorethanfiftyyears.RebaywasaformerstudentofMandyczewskiandFuchsandworkedasachoirconductorandpianoprofessorattheViennaAcademy.Hisover30sonataorsonata-structuredworksanachronisticallyprolongtheAustro-GermanRomanticsonatatraditionandtheiruniquenessisreinforcedbythefactthatheprivilegedchambermusicinatimewheneventhenewmusicwrittenforSegoviafocusedonsoloplaying.Bywritingsonatasfortheguitarandexploringitschambermusicpotential,Rebaydemonstratedaprogressiveattitudeforthetime,envisioninganidealsituationinwhichtheinstrumentwouldbecomefullyintegratedwiththemainstreammusicalenvironment.Hismusiccanbeunderstoodasabridgebetweenthecurtailedearly-19th-centuryguitarsonataandthelate-Romanticsonatatradition.

ClaireMcGinn(UniversityofYork)

“Youcan’tharmoniseregilaul”:LinkingAlternativeAnalysesWithTwentieth-CenturyEstonianCulturalPoeticsDiscourseinVeljoTormis’s‘MagicalMinimalist’Music

ComposerVeljoTormis(1930-2017)emphasisedtheelusivequalityofimpliedharmonyinthemelodicmaterialofancientEstonianregilaulfolksong.Yet‘harmonise’ithefrequentlydid,andhisoutput,muchofwhichcomprisesarrangementsofFinno-Ugricfolksongs,ishugelysignificant.Hismusicofteneschews

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‘commonpractice’,isextremelysimpleandhasbeencalled‘magicalminimalism’and‘bland’.Canwe‘analyse’it?How?Andwhybother?

Muchclassicalor‘art’musicisdiscursive,i.e.consciouslyconstructedwithreferencetoitssocio-historicalpositioninrelationtoothertexts.Wecanthereforetrytosituatepieceshistorically,notbluntlyonthelevelofwhattheyinherently‘mean’,butinabroader,comparativesense.Neo-Riemannianharmonictheory,withitsfocusonnon-hierarchicaltransitionsbetweenchords,ismoreappropriateforthekindofharmonicwritingthattendstopredominateinTormis’sarrangements.

Iwillproposethatthisapproachisnotjusttechnicallybutpossibly‘extra-musically’aptonotherlevels.Aspectsoftheconceptualimplicationsofthistheorycanmirrorrichstrandsofdiscoursearoundregilaul–theconvergenceofwhichcouldhelptoplotethno-futuristcoordinatesonthe(inevitablymorediverse)mapof‘culturalpoetics’constructedbyEstonianartistsandthinkerssincethetwentieth-century.

GabrielleMesseder(City,UniversityofLondon)

‘Obrigada,Shukran’:BrazilianMusicalEncountersinLebanon

SincethefirstLebanesemigrantsarrivedinBrazilinthelate19thcentury,LebanonandBrazilhavesharedarichhistoryoftradeandculturalexchange.TransnationalmigrationhasresultedinasmallbutsignificantBrazilianpopulationinLebanon,whichcurrentlynumbersapproximately17,000.

ThefirstencounterwithBrazilianmusicformanyLebanesecameinthe1970s,viathebossanova-influencedcompositionsofZiadRahbani,andthecoverversionsofAntonioCarlosJobimsungbyRahbani’smother,theiconicsingerFairouz.Today,Brazilianmusic–primarilythegenresofbossanova,sambaandmúsicapopularbrasileira(MPB)–ispractised,performedandlistenedtoinmultiplesettings,fromeventssuchasFestadoBrasil,atwo-weekmusicandfoodfestivalheldattheopulent‘CasinoduLiban’,toenergeticperformancesbyBrazilian-LebaneseMPBbandXangôinsmall,independentmusicvenuesinEastBeirut.Additionally,theBrazil-LebanonCulturalCentreplaysapivotalroleinthepromotionandfacilitationofBrazilianmusicaleventsandtuition,includingcapoeiraandsambadanceclasses.

UsingfindingsfromrecentlyconductedfieldresearchinLebanon,IshallexaminehowtheperformanceofBrazilianmusicbybothBrazilianandnon-Brazilianperformersoccupiesaunique,ambivalentandsometimescontestedspaceintheLebanesemusicalmilieu.Iwilldemonstratehowtheeconomicsandpoliticsofbothindependentmusicscene(s)andthecorporate‘gigeconomy’intersectwithbroaderissuesofracism,culturalconservatism,exoticismandstereotyping,andhowtheseissuesaffectandshapetheproduction,performanceandreceptionofBrazilianmusicinLebanon.

DominikaMicał(AcademyofMusic,Kraków)

MusicInsidetheOtherMusic.QuotationsandAllusionsinMadrigalConnectedWorksbyAlexanderGoehr,CalliopeTsoupakiandAndrzejKwieciński

Since1950therewerewrittenatleast130worksinspiredbymadrigalgenreoritsmasterpieces.Insuchabiggroupthereare:transcriptionsandarrangements,originalworksrestoringthegenre,andworksthatquoteoralludetomadrigal;finallythereareoperasinspiredbylifeofCarloGesualdodaVenosa.Thenumberofthoseworksletusassumethatmadrigal-connectedmusiccanbeseenasadistinctphenomenoninthemusicalworldofsecondhalfof20thandthebeginningof21stcenturies.Yetitwasneithernoticed,nordescribedby

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musictheoristsandmusicologists.Mydoctoraldissertation’saimistofillthatgap,andthatpaperisasignificantpartofit.

Thatpaper’saimistointerpretexamplesfromoneofabovementionedsubgroup:fourpiecesquotingoralludingtomadrigal:AlexanderGoehr’sParaphraseontheDramaticMadrigalIlCombattimentodiTancredieClorindabyMonteverdi(1969),CalliopeTsoupaki’s–Eguerraemorte(1997),andAndrzejKwieciński’sSinfonia:LucinellanotteIV(2012)andunmomentoindugiò(2016).Eachofthoseworkspresentsanotherresearchproblem:Goehr’sParaphrase..–problemofparaphraseasadistinct(ornot)genre;Kwieciński’sSinfonia…andunmomentoindugiò–problemofquotationandnecessityofitsrecognitiontounderstandingthepiece.Tsoupaki’sEguerraemortereversesthesituation:newlycomposedpiecesareincludedintothewholeconcertofMonteverdi’smadrigals.Tointerpretthosepiecesmethodsconnectedwithintertextualitywillbeused:MieczysławTomaszewski’sandBogumiłaMika’sworksonquotationsinmusicinparticular.

RuthMinton(LiverpoolHopeUniversity)

ImprovisationintoComposition:InterpretingSchubert’sPianoMusic

FranzSchubertisoneofthemostcelebratedcomposersfromthepast,yetthishasnotalwaysbeenthecase.Therevisionstartedinthelatenineteenthandearlytwentiethcenturies,howeverscholarshiphasprimarilyfocusedontheLiedgenreandcertainkeyworks,whileothergenreshavebeenoverlooked.ThisisparticularlytrueofSchubert'ssolopianorepertoire.Also,thetypeofanalysisinalotofcurrentscholarshiplookstoprovetheoryfirst,ratherthanprovidinganewperspectiveonthemusic.Thisisespeciallyevidentintheanalysts’preoccupationwithSchubert’sharmoniclanguage.

InthispaperIlookatSchubert’spianorepertoirefromtheperspectiveofalateeighteenth-centurypianist.AdetailedstudyofpianotreatisesfromthetimecanprovideanewcontextfortheappreciationofSchubert’spianoworks.Inparticular,ItakeafresherlookatC.P.E.Bach’sground-breakingEssayontheTrueArtofPlayingKeyboardInstrumentsand,aboveall,hisdiscussionofimprovisation.Bachoutlinedelevenpointstosucceedinimprovisation;theycanbemappedoutinSchubert’smusicwithspecificreferencetohisImpromptuD.899/1.IhopetobeabletoshowhowtheanalysisofSchubert’spianomusicfromtheperspectiveofacontemporarypractitionercanrevealtheimportantroleimprovisationplayedinthecompositionalprocess.

CaitlinMockridge(UniversityofLeeds)

TheHistorical-InnovationParadigm:ACaseStudyofCreativePracticeanditsModesofDisseminationintheSoundingWorksofHughDavies

Inrecentyearstherehasbeenaconversationwithinthewiderresearchcommunityabouthowwe,asresearchers,createhistoriesandtheimplicationsourchoiceshaveonfutureresearch.Withinthearts,theseargumentsareoftenframedaroundspecificissuessuchasgenderorrace,andhowwehaveupuntilnowcreatedhistoriesthatspecificallyoppresscertainvoicesorexperiences.Thequestionthenishowweasresearchersareexpectedtobeoriginalinourresearchwhenwearecreatingnewknowledgeintheshadowoftheestablishedhistories.Thisresearchconcernstheclassificationofsoundingmediumsacrossinterdisciplinaryboundariesasitisconstructedandimpliedthroughitscreationanddissemination.

Davies(1943-2005)wasaBritishcomposer,curator,instrumentbuilder,performer,andmusicologistwhoplayedakeyroleinthedevelopmentofelectronicmusicandsoundartfromthe1960s.ThisresearchaimstouseDaviesashistoricalactorinacasestudywhichoutlineshisattemptstovalidatehisown‘non-

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conformative’workthroughdisseminationandhowthisfeedsbackintohiscreativepractice.ByexaminingthecategorisationsystemsDaviescreates,throughmusicologicalwritingandcuration,andhowheplaceshisownvariedoeuvreofsoundingworkwithinthesesystems,wecanbegintounderstandthisrelationship.

CristianMorales-Ossio(UniversityofHuddersfield)

RecursivityandDistributionintheTriangleComposer/Machine/Performer:Articulatingan(Complex)EnvironmentinmyRecentWorks

Formanyresearchersincognition,creativeactsoccurbeyondindividuals-withinanenvironment,context,orecology.Devicessuchascomputersmaybeconsideredasdynamicpartoftheseenvironments.Specificinvestigationsinthedomainofmusiccreativityhaveallowedtoexplainhowdocompositionalsystemswork,whentheseimplicateanactiveparticipationofperformers,particularlythedistributivefeaturesofcreativity.Asacomposer,Ihavedevelopedcompositionalsystem,bytakingaccountofbothhumanandtechnologicalfactors:anattempttoarticulateorganicallytriangularrelationshipsbetweencomposer,computer,andperformer.Forsuchpurposes,Ihaveintegratedtheideaofrecursivityinmysystem,aconceptoftenusedtodescribethereciprocitybetween'producers'and'causers'incomplexsystems.AddressingtheanalysisofthecreativeprocessinmypieceMattersoffact(2015-16),Iaiminthistalktoshowtraces,procedures,andfactsinthearticulationofamodelconcerningcollaborativeroutines,aestheticsimplications,andtheinterrogationaboutroles.Asadocumentationofthewholeprocess,mypresentationincludesaudiosamples,videosequences,notes,andsketches.

DominikaMoravčíková

“Iguessit'sinmyblood”:Folklore-ingDisabilityintheSlovakFolkloreTVTalentShow“TheEarthSings”(2017)

Thispaperwillbefocusedontheprocessesbywhichthefolkloretalentshow“TheEarthSings”broadcastedonastate-ownedSlovaktelevisionconstructs,frames,andlabelsvarioustypesofdisability.Thestartingpointofmyanalysisisthepremisethatthisshowdepictsdisabilitydifferentlythanglobalformatsofthetalentshowgenre(e.g.SusanBoyleinBritain’sGotTalent).“Theminoritybody”isproblematizedinanexusofvisualandmusicalsignsoffolkloricintimacyandspontaneity,andthenationalcostumeoperatesasauniformthatcoversphysicalandsocialdifferencesbetweenperformers.Moreover,conventionalfolkloricbodies,personifyingvaluesofhealth,liveness,andability,arechallengedbytheaccountermentsofdisability,whetheritisawheelchair,blindstickorhearingdevice.Oneimportantthemeoftheseconversationistheperceptionofsoundinthecontextofrealandimaginedlimitationsofpsychicsenses,manifestede.g.insymboliccontrastsbetweenamusicianwithperfectpitchandadeafdancerwhoexplainshisdancingcapabilitybyclaimingthatmusicis“inhisblood”.Theprocessoffolklore-ingdisabilityisasubtleonebutrepresentsapowerfulaspectoftheshow’semotionalcapitalforitsqualityoftransformingtheeverydayintounique,themisfortunedintogifted,thedisabledintoabled.Theaimofthispaperistouncoverdeeperlayersoftheseconstructions.

NickMorrishRarity(RoyalCollegeofMusic)

FlatteningthePhonograph:ComposingThroughBio-TechnologicalNetworks

Muchscholarlyattentionhasbeenpaidtothephonographasahistorico-culturalartifact:asasoniccomponentofmodernitythatclearlyarticulatesthedrivetowardsmassreproductionandtheprivilegingof

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access.However,criticalevaluationsrarelyseektomovebeyondthistouncoverthedynamicmovementsofthephonographicindustryasabio-technologicalnetworkthatincludesmediausers,mediadevicesandhuman/nonhumanactants.Thispresentationwilldiscussthewaysinwhichdoingsocanredrawtheboundariesbetweentechnologicalartifact,listenerandartisticpractitionerfromaneco-criticalperspective.

Allactantsinthephonographicnetworkwillbeascribedequalimportanceasameansof‘flattening’outhierarchicalstructures,withthelacciferlacca(theinsectthatexcretesgumtoproduceshellac)beinggivenequalimportancetotheworkersinvolvedinmanufacture,andtherecordingartistandstudio(Smith,2015).Indoingso,theresearchpresentedwillexplorehowthephonographbecomesaterritoryinwhichmachines,humansandnonhumanbodiesbecomeexpressivesonicentities.Thiswillbediscussedinrelationtoongoingcompositionalresearchthatseekstoworkwithsoundrecordingsfromaflatontologicalperspective,andthatisaimingtoenterintoarelationshipoftensionwithcontemporarytechnologicalpractices(Zielinski,2002).Thepresentationwillconcludewithadiscussionofcompositionalapproachesandmethodsemployedinaworkinprogressthatengageswiththephonographasabio-technologicalnetwork.

SamuelMurray(CardiffUniversity/TeessideUniversity)

BridgesnotWalls:TheRoleofThePopularMusicResearcherinSocialChange

Weasresearcherscanplayanimportantroleininformingpolicyonalocal,nationalanddevolvedlevel.Ourresearchcanrevolutionisehowgovernmentsthinkaboutthearts,howtheyinvestinthemandwhocanaccessandparticipateinthem.Asresearcherswehavecivicdutytouseourworkwherewecantohelpprotectthecommunitiesweworkwithandtoensuretheartsareopenforalltoexperience.

ThispaperexploreshowpopularmusicresearchhasinformedimportantpolicyandlegislationintheUK.ItwillexploretheroleoftheLiveMusicExchange(Frithetal)inintroducingkeypolicyinWestminsterandHolyroodaswellasworkingwithlocalcouncils.ItwilldrawuponexperiencesofhowmyresearchhasinformedWelshAssemblyenquiriesintomusiceducationandassistedthegrassrootsSaveWomanbyStreetcampaigninprovidingevidencetointroducetheAgentofChangeprincipleinCardiffandWales.Theseexampleswillillustratethatevenaspostgraduateswehaveanimportantroletofulfilwithourresearchininformingthedecisionourgovernmentmakes.Thispaperwillalsoproposepracticalstepsastohowresearcherscanbeinvolvedinpolicymaking.

Theresearchwedocanoftenbethebridgebetweenmusiccommunitiesinthecitiesweliveandworkwithandpolicymakers,helpingarticulatethecommunityaskswithsupportedevidencetoinformpolicy.Weareconduitsofsocialchange.

StephanieNaisbett(NewcastleUniversity)

CharacterisationandEmpatheticReinterpretationintheSongsofKateBush

ThroughouthercareerKateBushhaswrittensongsinfluencedbypre-existingnarrativesfromvariousmedia,inwhichsheoftentellsthestoryfromtheperspectiveofoneofitscentralcharacters.BysteppingintotheroleofacharacterandexpressingthestoryfromtheirpointofviewBushproducesanempatheticreinterpretationofthenarrative.

ThispaperwillexploreKateBush’sworkalongsidetheoriginalsourcesfromwhichthenarrativesandcharactersderive,providinganintermedialapproachtoherwork.Itwillfocusoncharacterisationandthe

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reinterpretationofnarrativeinherworkthroughananalysisofthelyricalcontent,vocalperformanceandinstrumentationofseveralofhersongs.

Bush’sdebutsingle‘WutheringHeights’(1978)isoneofthecasestudiesthatwillillustratethis.BasedupontheBrontënovelofthesamename(1847),thisexampleseesBushembodythealreadydeceasedcharacterofCathy.Fromthisperspective,BushcanempatheticallytellCathy’sversionofthestoryandexpressherthoughtsandfeelingsdirectly,ratherthanthroughthevoiceofathirdparty.

PatrickOlsen(UniversityofCambridge)

Assessing‘Improvisation’InsideandOutofFormalGradedMusicExaminations

ThemajorUK-basedmusicexaminationboardshaverecentlyaddedimprovisationoptionswithintheircurricula.Curiously,theboardshavenotclearlydefined‘improvisation’orprovidedtransparentassessmentspecificationswithintheircurricula.Thisisproblematicbecauseexamstakeholders(musicteachers,students,examiners,syllabusauthors)canhaveincongruentpracticesandperceptionsofimprovisationresultinginstrongcontrastsbetweenimprovisationlearningculturesandthehegemonyoftheUKmusicexaminationboards.

Thereisalackofliteraturefocusingonimprovisationassessmentwithingradedexaminations.Previousresearchhasinvestigatedclassical-genreexamswithoutimprovisationandconcludedthatassessmentswereentirelysummative(i.e.Ross,2009;Mitchell,2012)andcriterion-based(i.e.Dumlavwalla,2011;Mills,1991),meaningthatexaminersusedrubricstomarkhowwelltheimprovisationsfitwithinalistofheadingsoriginallydesignedfornon-improvisedclassicalmusic.

Thispaperreportsfindingsfromamulti-casestudythatusedasocio-culturalframeworktoinvestigateimprovisationwithintheclassicalandjazzcurriculaofABRSMandTrinityCollege.Dataincluded:1)documentanalysisofexaminationcurricula.2)interviewswithstakeholders,3)observationsofinstrumentalmusiclessons.Thedistinctivecontributionofthisresearchisthatittrackedthedefinitions,practicesandperceptionsofimprovisationastheyoriginatedinexaminationboardheadquarters,circulatedthroughpublishedsyllabitoteaching-and-learningcommunities,andwerere-interpretedwithintheteaching-and-learningenvironmentsafterreceivingthefinalresults.Aclearerunderstandingemergedoftheculturalandsocialpracticesofimprovisationbothinsideandoutofthehegemonyofgradedexaminations.

ArturPereira(UniversityofManchester)

DedicationsinEighteenthCenturyEnglishSources

Thededicationofapieceofmusicisafeaturewhichisoftendisregarded,butthisdetailcanrevealsomuchaboutthework,thecomposer,andthemusicworldinwhichitappeared.AfterameticulousexaminationofMichaelKassler’sMusicEntriesatStationers’Hall:1710–1818,thispaperprovidesaclearerunderstandingofthephenomenonofdedicatingmusicalworksinGreatBritainduringthisperiod.Itexploresmanyissues,asforexamplewhatkindofindividualscomposersdedicatedto,andwhichtypesofworkswerededicated.Thispaperalsoinvestigatesspecificprocedurestobefollowedwhendedicatingtoprominentindividuals,andhowthesededicationsreflectonthesocietyinwhichtheyhaveappearedintermspropriety,publicity,andmarketingstrategies.

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RichardPiatak(UniversityofHuddersfield)

MakingDesiresReality:CentrepieceandSoundtrackinDerekJarman’sJubilee

On7June2017,TheGuardianannouncedthatDerekJarman’ssecondfeaturefilm,Jubilee(1977),wouldbeupdatedandadaptedforthestageatManchester’sRoyalExchangeTheatre.OriginallyportrayedbyJennyRunacre,theroleofQueenElizabethIwouldbeperformedbyToyahWillcox,whoportrayedthepyromaniacMadinthefilm.Thistheatricalevent,andtheresurgenceofinterestinJarman’sworksincethetwentiethanniversaryofhisdeathin2014,revealstheenduringimportanceofthefilmmakerandartist’scontributionstoBritishculture.

Jubileeisapost-apocalypticjourneyfromtheElizabethaneratothelate1970s,whereElizabethIistransportedtoadesolateandhostileLondonwhereanarchyreignssupreme.Thefilmisnotablefortheappearanceofnumerousfiguresofpunkmusic,includingAdamAnt(whoplaysthetragiccharacterKid),Jordan,WayneCounty,andSiouxsieandtheBanshees;withthisinmind,itisnotablethatacademicinvestigationofthefilm’ssoundtrackislacking.Thispaperaddressesthatmatter,focussingonAmylNitrate’s(Jordan)grotesquerenditionofThomsonandArne’spatriotichymnRule,Britannia!Partsurreal,partcamp,thisperformanceisatongue-in-cheekcelebrationofElizabethII’sSilverJubileeyear,andisamusicalcommentaryonAmyl’spersonalmotto:‘Don’tdreamit,beit.’Itisalsoamomentofironicescapismandcomicrelief,amomentofabundancetoremedyscarcity(consideringRichardDyer’s1977essayEntertainmentandUtopia),throughwhichmusicisusedtodrawfurtherattentiontothehopelessnessanddesolationJarmanwishedtoconvey.

SvenRaeymaekers(KingstonUniversity)

Silence,and...Action!HistoryandAnalysisofSilenceintheHollywoodSoundFilm

Muchlikeitssonorouscounterpartsspeech,sound,ormusic,theuseofsilenceinfilmisadeliberatechoiceandrequiresthesamein-depthanalysistobefullyunderstood.MyresearchfocusesontheoftenusedyetseldomstudiedconceptofsilenceintheHollywoodsoundfilm.ItbuildsuponpreviousresearchbyIsabellavanElferenandmyself(2015)onthenatureofsilenceandcombinesempiricalresearchwithaphilosophicalapproach.Dataiscollectedfromoverthirtyfilmsspanningthe1927-2016periodandthisisusedtoanalyseexactlyhowmuchsilenceisusedineachfilm,whereandwhenitisused,andhowtheuseofsilenceinfilmevolvesovertime.ThisdataservesasthebedrockforthetheoreticalframeworkIdeveloptoanalysethespectator’sexperience,whichcombinesBergson,affecttheory(Deleuze),andsemiotics(Peirce).Bergson’sconceptofdurationservesasthekeyconceptinunderstandinghowaspectatorcombinesemotionalandrationalexperiencesintoaninclusivewhole,whilststillallowingforeachoftheseexperiencestobeanalysedintheirrespectiverelations.Emotionalexperiencescanbeanalysedwithaffecttheoryandsymbolicrepresentationscanbeanalysedwithsemiotics.Bergson’sdurationallowsforbothapproachestobecombinedandtranscendtheirusualdisciplinaryboundariesbecauseofhowthesetheoriesrelateonthetemporalspectrum.ThenotionoftimeandourexperiencethereofasexpressedinBergson’sconceptsarecrucialinunderstandingaspectator’sfilmexperience.

Emma-JayneReekie(UniversityofLiverpool)

“TheTimesTheyAreA-Changin’”:Politicians,MusiciansandthePoliticalAward

Politicsisnotpopular;itisnotordinarynoreasilyrelatableandassuchthereisoftenagulfbetweenpoliticiansandtheirelectorate.Popularmusic,however,istheantithesisofthisasitoriginatesinthe

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‘ordinary’,whatisactuallyadynamicmixofcultural,socialandpoliticalvalues,andmanagestoretainitssenseofhumblebeginningswhilstbeingelevatedtoareveredstatusamongitsaudience.Itisunsurprisingthatthepoliticalworld,asitnavigateshugetechnologicalupheavalanditsconsequentsocialchanges,hasstartedtocalluponandcultivatesupportfrompopularmusiciansasthepublic,bothintheUKandUSA,increasinglydisengagefromorthodoxpoliticalpractices.

Whileconsiderableattentionhasbeengiventohowpopularmusichasbeenharnessedinelectioncampaigns,minimalworkhasbeenconductedregardingtheawardsthatpoliticiansbestowuponmusicianssuchasthePresidentialMedalofFreedomandanentirehierarchyofawardsintheUKfromMBEstoknighthoods.Thispaperwilldiscusshowtherelationshipbetweenawards,popandpoliticsrevealssocietaltrendsandtheriseofthephenomenonofcelebrityinpolitics.Itwillexaminethepurposeoftheseawardsandquestionthedecisionmakingprocessbehindthem;whatpromptedanti-establishmentBobDylantobegivenaPresidentialMedalofFreedomorMickJaggertobegivenaknighthood?Thispaperhopestodemonstratetheshiftingpositionofpopinsocietyandfurthercementthewiderimplicationsoftherelationshipbetweenpopularmusicandpolitics.

PhilipRobinson(UniversityofManchester)BetweenOrientalismandTransnationalism:ThePoliticsofEarlyKazakhOpera

ThedevelopmentofoperaintheSovietrepublicsduringthe1930shasreceivedreasonablylittleattentionuntilrecently,despitetheenormousculturalsignificanceinvestedinsuchprojectsatthetime,aswellasthewealthofattentiondevotedtothesubjectinSovietandpost-Sovietscholarship.SubstantialinvestmentfromMoscowtodevelopoperainprovincialregionsoftheSovietUnion,high-profileandhigh-budgetdekadas(ten-dayfestivals)ofnationalart,andtheideologicalvalueplacedinsuchworkassuredtheimmediateandlong-termsuccessofthishastilypreparedrepertoire.Scholarsofthisphenomenonhaveoftenplacedmuchemphasisonthecolonialimpetusofprovincialopera,oftenhighlyinfluencedbyaSaidianunderstandingoforientalism.Inthispaper,afterconsideringearlyKazakhoperaanditsprofoundsuccessandlegacyinSovietandpost-Sovietculture,IwilldiscusshowtheoriesoftransnationalismmightlendaricherunderstandingofKazakhopera.

Inparticular,Ishallfocusontheeventsofthe1936Kazakhdekada.ThislandmarkeventwascentralforthecomposerYevgeniyBrusilovsky—aRussiancomposerwhoemigratedtoKazakhstanin1933—incementinghispositionastheKazakhnationalcomposerparexcellence.IwillalsodiscussthesingerKulyashBayseitova,alittle-knownsingerfromprovincialKazakhstan,whoshottointernationalfameafterthe1936dekada.Suchevidencewillallowforamorecomplexunderstandingofhowethnicoperawasco-optedforideologicalpurposes,aswellasaricherunderstandingoftransnationalculturaldiscourseanditsrelationshiptoSovietmodernity.

EdwinRunagle(UniversityofLeeds)

ConstructingandRejectingIdentitiesinJackParow’s‘Bloubek’(2014)

ThisstudyanalysesthetechniquesemployedinJackParow’s‘Bloubek’musicvideoinordertosubverttheideaofwhitenessasnecessarilyassociatedwithcolonialpower.Primarilyassociatedwithwhiteidentitieswithinapost-Apartheidspace,Zefrapmusichasbeenthecauseofmuchcontentionwithitsprovocativeperformanceofracialidentities.ThroughreadingZefrapasasubsetofitsAmericancousin,itcanbearguedthatparticipantsviewthemselvesasdisadvantagedanddisenfranchised,symbolisedthroughoutthegenreby

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frequentassociationswithpovertyandcrime.WhilstithasbeenarguedthattheperformanceofaZefidentityrequiresthelossofcolonialpower,thisanalysisof‘Bloubek’suggeststhatforsomeartiststhisisanactiverejection.Inthisstudyitisarguedthatthroughsubvertingtraditionalsymbolsandtraitsofagency,andtheviolenttreatmentoffiguresassociatedwiththeoppressionofnon-whiteidentities,JackParowactivelytriestodisassociatehimselfwithideasofwhitepower.Byattemptingtootherhimself,aspaceiscreatedinwhichadifferentconceptionofwhiteness(Zef)canbeperformed.ThisvideocanthusbereadasacontestedspacebetweenpresumedidentitiesassociatedwithSouthAfrica’sviolentpoliticalpast,andadesiretoprogresspastthisintonewgroundsofpotentialidentity.

StephanSchönlau(UniversityofManchester)

‘SoundslikeBach’:aLecture-recitalExploringtheCaseforCompositioninHistoricalStyles

Thislecture-recitalconsidersargumentsforandagainstthevalidityorusefulnessofcomposinginhistoricalstyles,andofteachingthismodeofcomposition(inadditiontocurrentstandardcompositiontuition)atuniversitiesandmusiccolleges.InthespokencomponentIwillconsider:musicologicalusesof‘historicallyinformedcomposition’,suchasbenefitsforunderstandingcompositionalapproachesofpastcenturies;practicalusesenablingperformance,suchasthereconstructionofmissingpartbooksintheTudorPartbooksProjectorthecompletionofworksleftincompletebythecomposer(suchastheArtoftheFugue);andcreativeargumentssuchastheuseofsuchcompositionsinfilmmusic,usuallytoevokeasettingroughlycontemporarywiththecompositionalstyle.Allofthesequestionsareclearlypertinenttohighereducationinmusicinonewayoranother,sothestatusofthesubjectastaughtatuniversitiesandmusiccollegesintheUK,FranceandGermanyisexploredbriefly,enablingustoenvisagepossibilitiesthatliebeyondthescopeofwhatiscurrentteachingpracticeintheUK.

HistoricalideasaboutoriginalityandimitationincompositionandimprovisationsuchasthoseexpressedbyRogerNorthintheearlyeighteenthcenturyarealsodiscussed.Furtherquestionsexploredincludewhethersimilaritytoanothercomposer’sstylecouldinsomecontextsactuallybetakenasamarkerofquality(contrarytonineteenth-andtwentieth-centurynotionsoforiginality)andwhycomposinginhistoricalstylesisnotgenerallyacceptedasonparwith‘avantgarde’composition,unlessitisdeliberatelybrokenandtherebyintegratedintoastylethatisgenerallyunderstoodascontemporary.

Thespokencomponent(approximately20minutes)isinterspersedwithperformancesofmovement1fromKitsch-Musikforpiano(1977)byValentinSilvestrov(born1937)andofmyownFugaatresogettiforharpsichord,alternativelypiano(addingupto15minutes).Thesepiecesarechosenasexamplesforcompositionsthatuseidiomsofpastcenturieswhileatthesametimerevealingtheirpostmodernorigininawaythatgoesbeyondthenotionof‘pastiche’.

WhiletheSilvestrovisnotatedwithalmostWebernianprecision,itinducesastrongfeelingof‘déjàentendu’,soundingalmostlikemid-19thcenturypianomusicandtyinginwithhisideas(atthetime)of‘post’-musicandcompositionasanechoofmusichistory.Myownfugue,bycontrast,startsinstileantico,alargelydiatonicearly-18th-centurystylethatclearlyreferredto16th-centurypolyphonywhileatthesametimeusingelementsoftheharmoniclanguageofitsday.Theprogressionduringthecourseofthepiecefromthisstyletoamorechromaticandarguablyharmonicallyricheronetosomeextentmirrorsthatinthefinal(unfinished)fuguefromBach’sArtoftheFugue,butitistakentogreaterextremeshere,allowingthecontrapuntalcomplexitytoproduceharmonicsimultaneitiesthatgobeyondwhatwasconceivableinthe18thcentury.Thefactthatsomeofthesefeaturesonlyrevealthemselveseffectivelyinperformancesoftheentirepiecesnecessitatestheformatoflecture-recital.

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SusannahSelf(BirminghamCityUniversity)

NewOpera:CreatingResistancetoPatriarchalCommissioning

FormyPhDIamcomposinganoperatitledQuiltSongwhichusesasitsstartingpointtheplayAbrahamLincoln,writtenbypoetJohnDrinkwaterforTheBirminghamOldRepin1918.QuiltSongpremieresatTheReponthemillenniumdateoftheplay.

Mypractice-ledresearchdemonstrateshowcontemporaryoperacouldbroadenitsappealtoawiderspectrumofcommunitiesbydeconstructingthenineteenthcenturyconceptofcomposeras(male)hero.Insteadmycomposingpracticeandoperaproductionpracticeinteractswithcommunities,engageswithsubjectsrelevanttosocialissuesandincorporatescontemporaryArtInstallationstakingoperaoutoftraditionalperformancespaces.Myoperaembodiesbreakingdownpatriarchalcommissioningvaluesbypromotingunitythroughdiversity,facinguptomortalityandstandinguptobullies.Mycompositionalandproductionmethodisinspiredbythetechniquesofquiltmakingfromwhichasocial/artisticmetaphoremerges,thatofholdingdiversefragmentssuccessfullywithinastructure.Myworkalsopresentsafeministdialogue:“Itisrareontheoperastagetomeetaheroinewhoispermittedtobestrongandindependent,whichmeansnotdependingonmalesupport,andgetawaywithit”(Small,1998:p.150).Mypresentationincludes‘live/sung’extractsfromQuiltSong.

JohnShanks(CanterburyChristChurchUniversity)

CanMemoryandNostalgiaHelpusUnderstandHistorically-informedPerformance?

Practitionersinmanydifferentartsfacethechallengeofhowbesttopresenttoanaudienceoftodayaworkfromahistoricpast.Musiciansaimforhistorically-informedperformanceofearlymusic,theatredirectorsforauthenticstagingofShakespeareandrama.Thehistorianandthehistoricalnovelistattemptaconvincingnarrativereconstructionofanearlierera.Allsuchre-creationsofthepastareopentothecriticismthattheirorigininthepresentbetraysitselfindetailsofstylewhicharebelongtothepresentratherthantothehistoricalperiodofreference.Theprocessofrecollectioninindividualmemory,originallyconceptualisedasastraightforwardmatterofretrievalfromamentalarchiveofpastexperience,isnowrecognisedtoincludeanelementofimaginativereconstructionshapedbypresentcircumstances.Theimpulseofnostalgiahasbeentheorisedtooriginateinaperceptionofsomethinglackinginthepresentwhichisimaginativelyprojectedbackintothepast.Iproposethatthesesameelementsofimaginativereconstructionandretrospectiveattributiontothepastcanhelpexplaintheevolutionofhistorically-informedperformanceovertheperiod1950-2017asexemplifiedinrecordingsofthreelandmarkworksofearlymusic:theMonteverdiVespers(1610),Handel’sMessiah(1741)HWV56andBach’sBMinorMass(1749)BWV232.

SarundaSiasiriwatana(PrincessGalyaniVadhanaInstituteofMusic)

GenderStudiesandFannyMendelssohn

Ifwethinkoftheword"myth,"afolktalebelongingtoaparticularreligiousorculturaltraditionmightfirstcometomind.However,notallmythsareancientorsupernatural.Thewordalsodescribesculturalconceptsorsocialbeliefs,includinggender.Inmanycultures,conceptionsofgenderhaveremainedresistanttochangeovertime.Isthisbecausetheseconceptsareuniversallytrue,orisitthatcertainsocialattitudetowardtheideaofgenderhasneverchanged?

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ThispaperinvestigatestheideasofgenderinmusicusingtheexampleofthelifeandmusicofFannyMendelssohn.Icriticallyexaminegenerallyheldviewsonwomeninnineteenth-centuryEurope,andanalyzingtheostensiblymasculineandfemininemusicalelementsinpiecesthatwerepublishedunderFanny'sbrother'sname;specifically,selectionsfromLieder,Op.8and9.

JenniferSmith(UniversityofHuddersfield)

TheRepresentationofTimeandPlaceinTheWitcher3:WildHunt

Thesoundtracktoavideogameisimportanttoagameworld,itinfluencesagame’soverallmoodandthereforeaplayer’sengagementwithspecificemotions.Agame’ssetting,orenvironment,reliesonthismusicalinfluence,asitrelaysappropriateinformationtotheplayer,suchastheircurrentlocationandthetimeperiodtheyaresituatedin.Timeandplaceissomethingthatalwaysoccurswithinagameand,ifagame’senvironmentcallsforit,asoundtrackcaneitherrepresentasenseoffamiliarity,orcanidentify‘otherness’withinthegameworld.

TheWitcher3:WildHuntissetinamedievallandscape,apopularlocationforvideogames,film,andtelevision,andhas6-7differentareaseachofwhichhasitsownuniquemusicalcue.ThemedievalandSlavicstylesthatthecomposer,MarcinPrzybyłowicz,usesactsasthecoresoundofthemainlandenvironmentforthegame.TheSkelligeIsles,anareaoutsidethemainland,usesasenseof‘otherness’initsmusictorepresentitsisolation,throughtheuseofCelticfolkinfluencesintheenvironment,infrastructure,fashion,andmusic,withitsinhabitantssportingIrishaccents.ThispaperwillidentifyhowandwhyMarcinPrzybyłowiczusesthisCelticrepresentationwithinTheWitcherworld,analysingtheuseof‘theother’throughtheanalysisofthesongFeara’Bhàta,toidentifyhowthesongsecuresTheSkelligeIslesasauniqueplacewithinthegame.

SophieStone(CanterburyChristChurchUniversity)

“AsSureasTime…”(2016)

“AsSureasTime…”(2016-)isanongoingserieswrittenfortwoormorespokenvoices.Thecompositionispartofmypractice-basedPhDprojectaimingtogainnewperspectivesoncompositionalstrategies,performancesituations,andtheuseofsilence,inexperimentalextendeddurationmusic.

TheseriescomprisesonescorewhichisbasedonaquotefromHarperLee’sGoSetaWatchman(2015):“Assureastime,historyisrepeatingitself,andassureasmanisman,historyisthelastplacehe’lllookforhislesson”.Thescorecontainsalistofinstructions,atableofsuggestedtechniquesforstructure,spokenvoiceandsoundtechniques,andmovementthatapplytoeachindividualperformance‘event’thatmakesuptheseries,andanexampleofaperformingscore(aproductofeachevent).Theseriesisameta-performancebuiltofirregularintervalsofsound(performanceevents)andsilence(non-performanceevents)andthereforeanextendeddurationwork.Furthermore,theperformanceeventscontainmultipleandsimultaneousperformancesofdifferentlengths,asaresultofthedecisionsmadebyeachperformer,andoftenfixedmediaisusedtobringthenon-performanceevents,and/orpreviouseventsintothecurrentperformanceevent.Inthispaper,Iwilldiscusstheexperienceofsilence,soundanddurationwithin"AsSureasTime...".

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MaksimStsura(RoyalCollegeofMusic)

LostinTranscription:Limitationsof21stCenturyMusicNotation

InhisarticleTheEssenceofMusic,ItaliancomposerandpianistFerruccioBusoni(1866-1924)declaredthatmusicalnotationisatranscriptionofanabstractidea.Inthetwentiethcenturynotationunderwentasignificantevolution,developingitsfunctionasavehicleforcommunicatingthecomposer’sideastotheperformerfortheiracousticrealisation.Thispaperfocusesonthetechnicalandaestheticchallengesofnotationinthecreationofpianoarrangementsoftheorchestralpartsofselectedtwenty-first-centurypianoconcertos.Aspectsofnotationsuchasarticulation,pedalling,dynamicandpolyphoniclayersplayaninstrumentalroleinensuringthatthesalientfeaturesoftheoriginalworksuchasmusicalstructure,orchestraltimbreandsoundscapeareadequatelyreflectedinthepianoreduction.

Onefunctionoftwo-pianoversionsofpianoconcertosistoenablesoloiststolearnthecontentoftheworkbeforetheyhavethechancetorehearseitwiththerealorchestraandthusgainabetterunderstandingofthepiano’spositionwithintheoveralltexture.However,thelatertwentiethcenturysawmajorchangesinbothmusicallanguageandorchestration,andithasbecomeincreasinglytime-consumingtotranscribeorchestralscoresforthepiano.Inevitablysomefeaturesoftheoriginalarelostintheprocessofreduction.Attheirbest,arrangementscanalsoprovideasatisfyingalternativetofullorchestralperformanceandthereforeprovidealternativeaccesstootherwiserarelyperformedworks.Eversincetheearlynineteenthcentury,pianoarrangementshavebeenessentialtostudyinganddisseminatingsymphonicrepertoire.Thispaperaddressesthelimitations,butalsothepossibilities,ofdevisingmeaningfulnotationinthecontextofpianoarrangementsofcontemporaryorchestralscores,anddrawsonspecificexamplesfromcasestudiesofworksbyMark-AnthonyTurnageandJamesDillon.

LeahStuttard(UniversityofHuddersfield)

WhatMeaningsdoPerformersMake?Howa12thCenturySongcanbeMadeExpressiveThroughMusicalGestureandSound

Iwillexaminethewaysinwhichvariousperformancesofthe12thcenturycansobyBernartdeVentadorn‘Bem'anperdutlaienvesVentadorn’haveshedlightonthesong’smeaning.DiscussionofhowperformersofmedievalmusiccanalsobeanalystswilltakepreviousscholarshipbyBarolskyandLeech-Wilkinsonasstartingpoints.AcomparisonofanalysesbyRuwetandCaldwellwiththeheardperformancetraditionenrichesthepicture.Iwillalsoaddressthequestionofhowwecanexploreallthiswhenthemusicalobjectitselfissoloose;thiscansotexthastwosignificantlydifferentmelodicsettings.

JoyceTang(UniversityofSouthampton)

PianosinSt.James’Hall(1880-1904)

Theemergenceofinternationalexhibitionsinthelate-nineteenthcenturypromptedtherivalryofpianosalesonaglobalmarket.Whilethelong-standingreputationofBritishpianosremainedstable,foreignfirmssuchasBechstein,BluthnerandSteinwayswerebeginningtoposeathreat.InLondon,theaforementionedcompanieswerebeginningtoestablishtheirownconcerthalls,Bluthnerin1880,Steinway1889andBechstein1901.Theseconcerthalls,alongwiththealready-existentStJames’Hall,Queens’Hall,Prince’sHallandCrystalPalace,offerednumerousconcertopportunitiesforpianists.Actingasagentsofadvertising,did

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thepianistshaveachoiceastowhichpianotheyweretoperformon?Whatwerethereasons,besidefinancialsupport,thatcontrolledpianists’loyaltytotheir‘patron-firm’?

InmypresentationIwillprobetherelationshipbetweenpianistsandtheirchosenpianosfromperformancesoftheMondayandSaturdayPopularConcertsbetween1880–1904inStJames’Hall.Throughtheevidenceofconcertprogrammesandreviewarticles,Iwilldemonstratehowchoicecanbemanifestedthroughnationality,pedagogicalinfluencesandtaste(oftheaudience).Finally,IwillassessthesuccessofthefightbackofBritishagainstforeignfirmsincosmopolitanLondon.

AnnaTerzaroli(SantaCeciliaConservatory,Rome)

DarkPath#2

DarkPath#2isanacousmaticpieceofelectroacousticmusic.Theacousmaticmusic,whosecharacteristicistonotrevealthesourceofthesound-generating,favorsagreaterconcentrationonthesounditself,soit'spossibleappreciatecharacteristicsandpeculiarities,mostlyunheard,ofthesound.Thesoundsusedinthepiece,processed,then"composed"togethertocreatethemusicalwork,wererecordedinasoundscapedeartoauthor,locatedintheItalianregionofMarche.Thispieceiscomposedbycombiningbuiltandnaturalsoundsources.DarkPath#2canbedefinedasajourneythroughlight,shadow,shape,color,driftsandlandings.

VíctorÁvilaTorres(UniversityofYork)

MakingsPlaylists:NewPracticesandAttachmentstoMusic

Technologicalchangeinmusicconsumptionhastransformedthewaysinwhichlistenersdiscoverandengagewithmusicineverydaylife.Beyondchallengingmusicindustryandtransformingtheveryactofcreation,technologiesoflisteningtomusichavedevelopednewpracticesandwaysofbeingengagedwithmusicineverydaylife.Hence,newwaysinwhichitisunderstoodassomethingvaluableforthelistener.

Myresearch,basedonforty-twointerviewsinMexicoandtheUnitedKingdom,departsfromthenotionofmusicexperiencesasassemblagesinwhichmusic,sound,devices,places,expectations,socialmeanings,individualexpectationsandunexpectedoutcomesplayacrucialrole.

InthispresentationIwilltrytoexplorethewaysinwhichnewpracticesrelatedtothepast,suchasmakingplaylists,enablenewattachmentstomusic.Thevalueofmusicforthelistenerliesinaparadoxbetweenhavingmorecontrolandautonomy,listeningmoremusicandbuildingmorediverseidentitiesinoneside;whilebuildinglessenduringrelationshipswithmusic,itssocialpossibilitiesandthememoriesattachedtoitintheother.

HakanUlus(UniversityofHuddersfield)

TheIdentityOfContemporaryArtmusic:CurrentManneristTendenciesInTheSecondDecadeOfThe21stCenturyWithAFocusOnTheSceneinGermany

ContemporaryArtmusicseemstobeinaseriouscrisis:theidentityproblemisobvious.The2017editionoftheDonaueschingenFestivalisagoodexampletoanalyzethisstate.Everythingseemstobe“newmusic“,ifyouputitinthecontextofa“NewMusicFestival“:FilmMusic,TechnoMusic,HeavyMetal,PopMusicand

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FreeJazz.Andhereistheseriousproblem.Thisisaterminologicalandidentityproblem.Artmusichasaqualitystandard,whichdevelopedthroughhistoryandwhichthismusicgenresdonotsatisfy.Eachmusicneedstobeintherightcontext.IfitisTechnoMusic,itdoesnothavetobeatafestivalforContemporaryArtmusic,becauseitdoesnotmeetthestandard.Thesamereverse.

WhatAdornoclaimedinhisAestheticTheory,thatnothingaboutartisself-evidentanymore(theindifferentpositioningofart),seemstobetruealsotoday.TheinclusionofpopularelementsinContemporaryArtmusicisatendency,whichcanbeobservedinthelastfewyears.Thequestionsthatariseshereare:WherearethebordersofContemporaryArtMusic?Whatarethedefinitioncriteria?HowcouldaglobalunderstandingofContemporaryArtmusiclooklike?WhatisinsideandoutintheContemporaryMusicScene?Whatdoesthesecategoriesmeaninafutureworldsociety(Weltgemeinschaft),wheretherearenobordersandnostrangeranymore?

Arthastopositionitself.NotConcretion,butabstractionistheplaceofArt.ThereforeitisalsonotpossibletoconcretelysaywhatArtmusicis,butitispossibletoformulatecriteriaandsotomakeandemarcation.“Thepurposeofartisthedeterminationoftheindeterminate“(Adorno)isimportantinthiscontext.Aphenomenologicalapproachseemstobeahelpfultool.Inmy20-minutespeechIwanttoemblazethisproblemfromaesthetical,philosophicalandsociologicalperspectives.Musicinsideandout,whatistheidentityofContemporaryMusictoday?

JavedUppal(PakistanFoundationfortheAdvancementofEngineeringandTechnology)

MethodologiestoGoAcrossBordersinMusic

Musicissingularlyindividualisticandtheemotionaleffectitcreateshasadeepculturalcontext.Yetthereisnoothermediumofcommunicationaseffectiveasmusic.Methodologieshaverecentlybeendevelopedthatcantakeuscrossculturalborders.Algorithmsofmusicinformationretrieval(MIR)automaticallytakemusicdatafromdigitalaudiosignals,analyzeandcategorizefeaturessuchasgenre,timbre,harmony,melody,rhythms,andtimescales.Musicfromdifferentculturescanthusbebroughtdowntoaunifiedandgenericbottomline.AlgorithmsformusicmoodsidentificationbasedonmodelssuchasThayer’s,identifymusictomoodrelationshipsindifferentcultures,andthuscanbeusedtopredictwhatmoodaparticularpieceofmusicisexpectedtocreateinanotherculture.MusicTranslator(Recognition),isanapplicationthattranslatesmusicpiecesplayedonit,andsavesassoundtonesandchordsintomusicalnotation.ThesemethodologieshavebeenusedtoillustratethatcertainwesternmusichavecreatedtargetmoodsinLatinAmerican,Indian,ChineseandArabiccultures.PuertoRicanDespacitothathasreachedover3bviewersonYouTubeisanexampleandsoistheArabianFiHaqathitting20mmark.IndianNasheSiChadhGayicrossing234mviewershassurprisingsimilaritieswithJapanese'JunjuoRomantica'.16famousIndiansongshaveperfectmatchingmusicsheetswith5popularwesternsongs.ThepopularityofcertainwesternsongsinChinarestsontheirmatchingwithChinesemelody.

VéroniqueWalsh(SOASUniversityofLondon)

InsideandOutsidetheTeacher’sDomain:PowerStrugglesandTeachingMethodsinTraditionalSongfromWestJava

ThispapercomparesmethodsforlearningcomplexvocalornamentationsfromTembangSundaCianjuransongsfromWestJavaintraditionalandmoderninstitutionalsettingsusingvideoexamples.Inthefirst

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context,teenagerslearnasonginthetraditionalteacher’shome;inthesecondexampleweconsideraPowerPointpresentationusedintheconservatoireinBandungforteachingvocalornamentations.

FollowingthemethodologyofpreviousethnomusicologistssuchasBaily(1995),Brinner(1995),Nettl(1995,2005),Rice(1994,2003),Witzleben(2010)andWong(1991),Iusetheethnographyofmusiclearningandteachingtorevealunderlyingconcepts.Theseincludethestudent’sperceptionofvocalornamentations,thecontrolthatteachersexerciseovertheirstudents,thestatusoftraditionalversusinstitutionalknowledge,andagencyexercisedbystudentsindifferentcontexts.

Iexaminehowpowerandstatusshiftfromtraditionalteachertoinstitutionallecturerandbacktothestudentthroughthesechangingmethods.Iarguethatlearninginbothcontextscancontributepositivelytothestudent’smusiclearningexperienceindifferentwaysandthatultimatelythemethodsofinstitutionalandtraditionalteacherscanoverlap.

BryanWhitelaw(Queen'sUniversity,Belfast)

FranzLiszt’sPianoSonatainBMinor:ThematicTypologyandHermeneuticNarrative

Liszt’spianomusicisoftencharacterisedbyanunusualtreatmentofform,tonalityandharmony.Inthispaper,Iexploretheimplicationsoftheseelementsbeyondthetheoreticalinhismagnumopusfortheinstrument,theSonatainBMinor.Ishallfirstconsiderthework’sinnernarrativebywayofathematictypology.ThemotiviccontentsoftheSonataeachappeartohaveanearliergenesis,andthroughthelensofLawrenceKramer’shermeneuticwindows,Iaimtoshowhowthesecitationalinclusionsarethemeansbywhichonebridgesthedividebetweenpurelymusicalandextra-musicalreadingsofthework.Specifically,IexplorefigureswhosecharacteristicuseinotherworksbyLisztmeanthattheybringwiththemsemioticorsymbolicassociations,thusmakingtheiruseintheSonataatleastpartlyallusive.Inparticular,IshalldrawattentiontothemesthatappearinworkswhichareassociatedwithcharactersinGoethe’sFaust.IshallconcludebycomparingelementsfoundinboththeSonatainBMinorandLiszt’sGoethe-inspiredFaustSymphony,andusethiscomparisontoproposeahermeneuticalreadingoftheworkinFaustianterms.

MichaelWhitten(Queen'sUniversity,Belfast)

DisagreeingaboutMusicalTaste:Respect,Esteem,andRecognition

Disagreementaboutmusicisnothingnew.Wecanallrecallatimewhenwehavebeenengagedinadisputeaboutsomethingmusicallyrelated(ourfavouriteABBAsongperhaps?)Disagreementcanrangefromabstractaestheticconsiderationstomoreconcretesocialones,forexample,thenegativeappraisalofamusically-inspiredfashiontrend.Onfirstexamination,suchdisagreementmayseemharmless;simplytheclashofsubjectiveviewpoints.Oncloserinspection,however,disagreementaboutmusicsignalstothemechanismsofsocietalconflictmoregenerallyexpressedinthestruggleforrecognition.Recognitioninvolvesthedesiretohaveourbeliefs,identity,andselfhoodrecognisedbyothersandforustorecognisethissamedesireinothers.Disagreementorconflict,therefore,istheresultofrecognitionclaimsnotbeingmetasthedesireforrecognitioninvolvesdisputesoverthenormativeauthorityofrecognitiveclaimsanddemands.ByexploringthetheoriesofrecognitionoutlinedbyCharlesTaylorandAxelHonneth,coupledwithPhilipPettit’sworkonesteem,thispaperwillarguethatthedesiretohavemusicaltasteorjudgmentrecognisedasamatterofrightorjusticeisincorrect.Rather,tasteandjudgementareevaluativetoolsandcannotbelinkedtonotionsofequalrespectordignity.Thesethemeswillbeexploredintherelationshipbetweenmusicandsocialdistinction.

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KathrynWilliams(UniversityofHuddersfield)

ComingUpforAir

ComingUpforAirisamulti-facetedcreativeresponsetophysicalandinstrumentalrestrictions.Theprojectcurrentlyexploresthecreativepossibilitiesthatemergewhenpiecesofmusicarelimitedtoasinglebreath.TheimpetusfortheprojectcamefromaperiodwhenIwasfacedwithachronicsinusconditionandasthmawhilepursuingmycareerasaflautistthatultimatelyrequiredsurgicalintervention.Thishighlightsradicaldifferencesinbreathcapacityandcontrol,andthephysiologicalset-uprequiredwhenplayingdemandingrepertoire(inparticular,BrianFerneyhough’sUnityCapsule(1974)andAlvinLucier’sSelfPortrait(1990)).

WhilerecoveringfromthesemedicalphysicallimitationsIreflectedonFerneyhough’scomment‘fromrestrictioncomesinvention’[Ferneyhough,1998]andartistsfromdifferentdisciplineswherethishasbeenapplied:Lucier(1980),Oliveros(1980),VonTrierandVintergerg(1995),Bök(2001).InresponseIhave(todate)commissioned17newpiecesalllimitedtoasingleinhaleandexhalewhichrangefrom24secondstoovereightminutesinduration.

Inmypresentation,Iwilldiscussindetailaselectionofthesepiecesinrelationstotheirnotation,collaborativedynamic(whererelevant)andperformancepractice/challengeswithparticularreferencetohowtheresultingsoundsaremediatedthroughmybody.Thisisrenderedmoreapparentthroughthesingle-breathrestriction.ComingUpforAiristheinitialprojectinmyPhDresearch.Thepaperwillalsoexploresomefurthercontextforprojectandexploreitsongoingtrajectory.IhopethroughpresentingIdevelopnewinsightsandforgenewcollaborations.

XiaoshanYin(SOAS,UniversityofLondon)

ReconstructionofTraditionasResistancetoInstitutionalizationandReconstructionofIdentity:TheCaseoftheChineseQin

TheproclamationbyUNESCOin2003oftheChineseqin(orguqin)beingaMasterPieceofIntangibleCulturalHeritageofHumanityhasboosteditspromotionbackinChinaandheatedtherevivalenthusiasm.However,adebatehasemergedregardingwhatisthetraditionthatshouldberevived.WesternizationandmodernizationofChinesemusicinthe20thcenturybroughtmanytransformationstothewholesceneoftraditionalmusic.Theinstitutionalizationandprofessionalizationofqinsincethe1950shasbeenreshapingitsconceptualizationandpractice.Whiletheconservatorytrainedplayersemphasisevirtuosicandexpressivetechnique,amateurplayerstrytorevivetheconservativeliteratiideologyandplayingstyle.Thelateraretryingtoreconstructa“literatitradition”toresistmodernizationandinstitutionalization.WhatismoreprofoundlybehindthisisareconstructionofanidentityofChinese-ness.Thispaperwillexplorethetransformationsofqinideologyandpracticethathappenedinthe20thcentury,andhowtraditionalplayersinthe21stcentury,especiallyafter2003,reconstructtheliteratitradition.Theanalysiswilldrawonmyownexperienceasaqinplayer,someotherscholars’research,andmyfieldworkconductedinthesummerof2017.