Thursday 18 September
Session Convenor: Christian Utz/Lukas Haselböck

10.00    Christian Utz
Introduction: What Can ‘Performing Analysis’ Mean?

1 Empirically Informed Performance-Analysis – New
Strategies of Interdisciplinary Music Research
Chairs: Christian Utz/Lukas Haselböck

10.30    Heinz von Loesch
Concepts of Form in Performance Theory and Practice of Artur Schnabel

11.00    Bruno Gingras
Linking Analysis and Performance in an Unmeasured Prelude for Harpsichord

11.30    Dieter Kleinrath
Experiencing Performance, Analyzing Experience and Performing Analysis. On the Relationship between Musical Analysis, Musical Performance and Musical Listening, Exemplified by Pierre Boulez’ Structures Ia

12.00    Tobias Janz
Response to von Loesch’s, Gingras’s and Kleinrath’s Papers

12.15    Discussion

12.45    lunch break


2A: Case Studies of Performance-Theory-Interaction:
Fin-de-Siècle Art Song
Chairs: Christian Utz/Lukas Haselböck                             

14.45    Bartolo Musil
Sailing in Brackish Water. Text and Music in the Art Song of the Fin de Siècle: Theory and Practice

15.15    Lukas Haselböck
Troping Processes and Irony in Songs by Schubert, Wolf and Mahler

15.45    Paulo de Assis
Response to Musil’s and Haselböck’s papers

16.15    coffee break


2B: Case Studies of Performance-Theory-Interaction:
Solo Cello Music after 1950
Chairs: Christian Utz/Lukas Haselböck                             

16.45    Christian Utz
Time-Space-Experience in Works for Solo Cello by Xenakis, Lachenmann, and Ferneyhough. A Performance-Sensitive Approach to Morphosyntactic Musical Analysis

17.15    Ellen Fallowfield
A Performer’s Analysis as Part of the Interpretation Process

17.45    Paulo de Assis
Response to Utz’s and Fallowfield’s Papers

18.15    Discussion

>19.00