You can use the interactive table below to navigate through the different sessions. The abstracts for all papers can be found by clicking on the names of the contributors.
Overview
INVITED SPEAKERS
Richard Taruskin (University of California, Berkeley, USA)
(financially supported by: Vereniging voor Muziektheorie / Dutch-Flemish Society for Music Theory; University of Leuven – Research Group Musicology; University of Ghent – Research Group Art, Music and Theatre Sciences; Koninklijke Vereniging voor Muziekgeschiedenis)
(financially supported by: Vereniging voor Muziektheorie / Dutch-Flemish Society for Music Theory; University of Leuven – Research Group Musicology; University of Ghent – Research Group Art, Music and Theatre Sciences; Koninklijke Vereniging voor Muziekgeschiedenis)
GATM: Prof. dr. Rossana Dalmonte (Istituto Liszt, Bologna, ITA)
GMTH: Prof. dr. Ariane Jeßulat (Hochschule für Musik & Julius-Maximilians-Universität Würzburg, GER)
SBAM: Prof. dr. Claude Ledoux (CNSM, Paris; Arts2, Mons, BE)
SFAM: Prof. dr. François Delalande (Paris, FR)
SMA : Prof. dr. Jonathan Cross (University of Oxford, UK)
SFAM: Prof. dr. François Delalande (Paris, FR)
SMA : Prof. dr. Jonathan Cross (University of Oxford, UK)
VvM: Prof. dr. Michiel Schuijer (Conservatorium van Amsterdam, NL)
PRE-ORGANIZED SESSIONS
GROUP 1: MUSIC THEORISTS1A: Fétis and Music Theory
1B: Analysing Rameau ‐ Rameau Analysing
GROUP 2: PARTIMENTO & SCHEMA THEORY
2A: Musical Schemata and Historically Informed Listening
2B: Non‐verbal theories: Partimento and Craft Learning in the Eighteenth and Nineteenth Centuries
GROUP 3: ANALYSIS OF EARLY MUSIC
3A: Analyzing the Renaissance Polyphonic Mass and Office of the Dead
3B: Words and Music in English Restoration Opera: Analytical Perspectives
GROUP 4: FORM
4A: Schenker's Formenlehre
4B: Form, Linear Analysis, and Interpretative Context
4C: Corpus Studies, Empirical Methods, and the Analysis of Musical Form
4D: Form/Structure and Continuity/Discretization: What principles for music analysis today?
GROUP 5: ANALYSIS OF RECENT MUSIC
5A: Analysis Beyond Notation in XXth and XXIst Century Music
5B: Analysing ‘Un‐Analysable’ Art Music Since 1950
5C: Dissenters beyond the centres: Analytical perspectives on Greek musical modernism
5D: Listening to electroacoustic music through analysis
GROUP 6: HARMONY, TONALITY & POST-TONALITY
6A: Tonality: recent theoretical models and analytical tools
6B: Harmonic Plasticity and the modeling of musical motion in tonal, post‐tonal and Jazz idioms
6C: No Orientalisms! Four Regional Approaches to Harmony: Russian, Azerbaijani, Polish and Chinese
6D: In Search for the Structural Principles of Harmony
GROUP 7: POPULAR MUSIC & JAZZ
7A: Analysing Popular Music: a view from 2014
7B: Jazz Harmony: Theory and Practice
GROUP 8: ANALYSIS & PERFORMANCE
8A: “Analyzing Performance and Performing Analysis”. Synergies and Interactions between Musical Analysis and Musical Performance
8B: Agency in Musical Performance
GROUP 9: COMPUTATIONAL & MATHEMATICAL ANALYSIS
9A: Computational Music Analysis
9B: Algebraic Combinatorics of Scales and Modes with Applications to Music Analysis
GROUP 10: METER
GROUP 11: TOPIC THEORY
GROUP 12: MUSIC ANALYSIS AND THE BODY
GROUP 13: PROBLEMS OF "KLEINMESTER" ANALYSIS
POST-COMPOSED SESSIONS
Subsession 1: 1750-1800
Subsession 2: 1800-1850
Subsession 3: 1850-1900
SESSION C: SCHOENBERG, WEBERN & DIE FOLGEN
Subsession 1: Schoenberg
Subsession 2: Webern
Subsession 3: & die Folgen
Subsession 1: Schoenberg
Subsession 2: Webern
Subsession 3: & die Folgen
Subsession 1: German and Central European Composers
Subsession 2: Italian Composers
Subsession 3: French composers
Subsession 4: British Composers
Subsession 5: North-American Composers
Subsession 2: Italian Composers
Subsession 3: French composers
Subsession 4: British Composers
Subsession 5: North-American Composers