GROUP 1: MUSIC THEORISTS
1A: 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