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HapMac

13 July 2016

Time	Title	Presenter(s)
9.00	Registration and refreshments
10.00	SMA AGM
10.45	Welcome and keynote one	Ludwig Holtmeier
13.00	Lunch
14.00	Parallel sessions
	Rehearsal hall D'Anglebert 'The Unmeasured Preludes of D'Anglebert: an analysis with emphasis on the linearity of the voice-leading' (Lecture recital)	Panos Iliopoulos
	Seminar room 20th Century 'Orientation in Multi-dimensional Spaces: Form-Meaning Pairings in 20th Century Songs' 'Retrospective interpretation of Bachian ornamentation in the early 20th century: Hugo Goldschmidt's Ornamentik (1907) between analysis and vocal didactics' 'Sunrise, Sunset: Using Metaphors of Nature to Understand Text-Music Relations in Charles Ives's Last Composition' 'Uniting Temporal Structures in Black Angels: "the Vietnam Quartet" on/as War Narrative'	Antonella Di Giulio Livio Marcaletti David Thurmaier Joshua DeVries
	Endsleigh room Medieval 'Mary, Mary, Mary Quite Contrary: Reconstructing Chant of Barking Abbey's Late-Medieval Visitatio Sepulchri Drama' 'Exemplifying Hexachordal Mutation in the 14th and 15th Centuries' 'A Generative Representation of Mo 311 in Montpellier Codex'	Alison F. Kaufman Adam Whittaker Oguzhan Tugral
	ACLT Pedagogy I 'Saverio Valente and his forgotten art of teaching canto' 'Blood, sweat, and scales: the birth of modern bureaucracy and the Paris Conservatoire' 'Tracking aural skills training in Zingarelli's solfeggi' 'Engaging Punk Pedagogy: Teaching Musical Literacies and Creative Notational Practices'	Maria Luisa Baroni Diane Tisdall Claire Roberts Jessica A. Schwartz
16.00	Refreshments

14 July 2016

Time	Title	Presenter(s)
9.30	Parallel sessions
	Seminar room Late 19th Century Symphony 'Reassessing Strauss's late aesthetic: form and function in Malvern' 'The Arrival 6/4 in Wagner's Walküre' 'A parody of grandeur or the grandeur of parody?' Self-reflexivity in the Finale of Mahler's Seventh Symphony 'Conflict in the Theorization of Rotation: Sibelian Form or Formal Principle?'	Emily Xiu Xien Tan Ji Yeon Lee Rebecca Day Sarah Moynihan
	Endsleigh room Sixteenth-Century 'Music analysis and the reconstruction of incomplete polyphony: a virtuous circle?' 'The reconstruction of incomplete polyphony: two case studies' 'Structure, material and rhetoric in Osculetur me by G.P. da Palestrina: reading from Italian sources' 'Imitative and motivic patterns in the analysis of Willaert's "magnum haereditatis mysterium": polyphonic density as means of dramatic expression'	Marina Toffetti Chiara Comparini Carlos Iafelice Fernando C. Pereira and Marcos P. Nogueira
	ACLT Piano 'Ancient and Modern Syntax in the Early Nineteenth-Century Piano Étude: Chopin's Op. 10 Reconsidered' 'Bach--Rheinberger--Reger: Goldberg Variations. Analyzing a Multi-Transcription' 'The piano studies of Pedro Albéniz: a key to the technical development in Spain' 'Pianistic linearity and identity in the 20th century concerto: Prokofiev's 'Armless' Concerto'	Matthew Riley Benjamin Vogels Laura de Miguel Fuertes Emily Scanlon
11.30	Refreshments
11.45	Parallel sessions
	Recital hall (11.30-12.30) ‘Performing Subjectivity: Iterative vs Reiterative Paradigms for the Expression of Metre in Pre-Neoclassicist Performance Practices’ (Lecture-recital)	Robert Hill
	Seminar room China ‘Linguistic Parameters in Contemporary Chinese Choral Music’ ‘The evolving notion of gamme chinoise from Amiot to Courant’ ‘Pedagogy as ideology: how functional was Riemann in China?’ ‘Built-in Pentatonic Collections in Chinese Twelve-note Music’	David Ho-Yi Chan John Lam Hong Ding and Cheong Wai-Ling John Lai
	Endsleigh room Pedagogy II ‘Légende by Henriette Renié as a musical illustration of a poem «Les Elfes» by Charles Marie Leconte de Lisle. The issues of an interdisciplinary approach, music pedagogy and historical research’ ‘Creative enhancement of creative potentials by connecting classical harmony with Jazz harmony and composition’ ‘Re-Enchanting the Study of Music History and Analysis’	Temina Cadi Sulumuna Markus Preissl Sara Haefeli
	ACLT 20th Century ‘Typology of relations between acoustic instruments and electronics in mixed works by Saariaho, Berio and Harvey’ ‘Britten, Poulenc, and the compulsion to repeat’ ‘Second-order observation and Luening's Aleatory music of 1923’ ‘Peter Maxwell Davies's Worldes Blis and its title's implications questioning a supposed chronology’	René Mogensen Paul Harper-Scott Andrew Wilson Jo Wilhelm Siebert
13.45	Lunch
14.30	Parallel sessions
	Recital hall ‘Koch and Momigny: Theorists of Agency in Mozart's Quartets?’ (60 mins)	Edward Klorman
	Seminar room Schoenberg and Stravinsky ‘Schoenberg's Relationship to the Text of Da meine Lippen reglos sind und brennen (op. 15/4)’ ‘Music Analysis and the Construction of Historical Knowledge: The Case of Stravinsky's Serial Compositions’ ‘Approaches to brevity and dislocation: finding continuity in Stravinsky's Movements’ ‘Rethinking Repetition: Schoenberg and the 'endless reshaping of a basic shape'’	Mark Delaere Kristof Boucquet Martin Scheuregger Áine Heneghan
	Endsleigh room Schenker ‘Expressive Ambiguity in Musical Structure: A Schenkerian View of Schubert's Op. 94, No. 6’ ‘Correlations of Tonal and Linguistic Syntax: A Case Study’ ‘Schenkerian Unrolling and Schoenbergian Unfolding’ ‘Heinrich Schenker and Ways of Listening’	Nathan Pell Robert Snarrenberg Matthew Arndt Kirstie Hewlett
	ACLT Partimento and Analysis ‘The Role of the Improviser in 21st century partimento practice’ <no title> <no title> ‘Positional Analysis--and 'And You And I'’	Benjamin Katz Fabio Dell'Aversana Anthony Abouhamad John Covach
16.30	Refreshments
17.00	Keynote two	Katelijne Schiltz
18.30	Wine reception

15 July 2016

Time	Title	Presenter(s)
9.30	Parallel sessions
	Seminar room 19th Century ‘Bass and Voice Leading in the Nineteenth-Century Prinner’ ‘Resisting "Psychological" Music or, How Joachim Shook Off the Minor Mode’ ‘The Feminine Sublime in Schubert’ ‘The Emotional Epidemiology of Music Analysis’	Michael Weiss Katharina Uhde Deirdre Toh Nathan Fleshner
	Endsleigh room 20th Century ‘The seed of Beethoven in the Works of Bartok and Shostakovich’ ‘Perched on the Edge: Instability and Dynamism Carl Nielsen’s Harmony’ ‘Beyond Humanism? Hans Werner Henze, Orpheus and the Humanism of Pathos’ ‘Three guiding concepts of composition processes of Olivier Messiaen’	María Isabel Muñoz Fernández Christopher Tarrant Mauro Fosco Bertola Adriano Lopes Moreira
	ACLT Pedagogy III ‘Between Freedom and Constraint: Improvisation, Audience, and Pedagogy’ ‘"What if it had Been Different?": Role-Playing Games as Practice-Based Teaching and Research’ ‘From Fundamentals to Form: Spiral Learning with Beethoven's Pathétique Sonata’	Feng-Shu Lee Christopher J. Smith Susan de Ghizé
11.30	Refreshments
11.45	Parallel sessions
	Recital hall ‘American Impressionist: The Development of Richard Hageman as Song Composer’ (Lecture-recital)	Nico de Villiers
	Seminar room Schemata ‘The formal behaviour of Gjerdingen's 'Prinner' in Sarti's church arias for the Milan Cathedral’ ‘Music Analysis and the Nineteenth Century Italian Opera Season: The Importance of Neapolitan Compositional Legacy in Pedagogic Traditions’ ‘The implicit recognition of Marpurg's Galant Cadence: between practice and theory’ ‘Teaching Eighteenth-Century Music Through Composition’	Marilena Laterza Marco Pollaci David Lodewyckx Adem Merter Birson
	Endsleigh room Pop and extras ‘Methods of Tonicization in Rock Music’ ‘'The market of sounds': Rehearsing an acousmatic listenership, 1968-1977’ ‘Experiments in collaborative analysis: making sense of ṭhumrī with expert listeners’ ‘Defending Musical Stage Theory’	Brett Clement Patrick Valiquet Chloe Alaghband-Zadeh Caterina Moruzzi
	ACLT 19th Century ‘Schumann's Drei Romanzen Op. 94: Lieder ohne Worte?’ ‘The Calm Before the Tempest: Aspects of "Form as Process" in Beethoven's Early Compositional Period’ ‘Formal Processuality in Beethoven's Opus 31 Nr. 1 - A Discourse Between Two Narratives’ ‘"Yet on the other hand…"- varied early 19th century approaches to natural horn hand technique’	Helen Thomas Catello Gallotti Vasilis Kallis Anneke Scott
13.45	Lunch
14.30	Parallel sessions
	Recital hall ‘Poplars, Bells, and Marches: Joseph Joachim’s Drei Stücke Op. 5, or, The Limits of Musical Ciphers’	Katharina Uhde and R. Larry Todd
16.30	Refreshments
17.00 - 18.00	Keynote three	Giorgio Sanguinetti
19.00	Dinner

Conferences

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