CONFERENCE ARCHIVE: 2011
Music Theory and Analysis - The 9th International Conference
Department of Music Theory, Faculty of Music
University of Arts in Belgrade, Serbia
13–15 May 2011
KEYNOTE SPEAKERS
William Caplin, McGill University, Montreal
Marta Grabócz, University Marc Bloch, Strasbourg
Herbert Schneider, Musikwissenschaftliches, Institut der Universität des Saarlandes
CONFERENCE PROGRAM
Friday, 13 May 2011.
Keynote Lecture
William Caplin, McGill University, Montreal
Formal Function versus Thematic Content: Mozart’s Rondo in D, K. 485
SESSION A1
Anica Sabo, Faculty of Music, University of Arts in Belgrade
The Concept and Function of Energy in Music: lnterference between Theoretical Thought and Compositional Poetics in the Works of Berislav Popović
Carlos Duque, City University, London
Chaos, Utopia and Creation. Analysis of the Dynamic of the System in Music
Marcello Messina, School of Music, University of Leeds
Jomes Dillon’s Crossing Over: An Attempt to Conduct a Morphemic Analysis on a Musical Score
Georgia Petroudi, European University, Cyprus
Working Towards the 'Ideal': Hindemith and the Journey of the Marienleben Songs
Simon Desbruslais, Christ Church College, Oxford
Towards a Musical Syntax in Paul Hindemith s Solo Viola Sonata, Op. 25/1 (1922)
SESSION A2
R. C. Tyagi, independent scholar
The Evolution of an Absolute Scale of Music
Markos Lekkas, Ionian University
Tonic Misconceptions and Tonal Repercussion
Aleksandar Perunović, Academy of Music, Cetinje
Bach’s 'Sonata' Form
Jasna Veljanovic Ranković, Faculty of Philology and Arts, University of Kragujevac
The Permeation of Ternary Form and Sonata Form in a Minuet
SESSION B1
Pieter Bergé, University of Leuven
How Perfect 'Perfect Authentic Cadences' can be?
Dimitar Ninov, Texas State University, San Marcos
The Craft of Harmonization
Michael Baker, University of Kentucky
Aspects of Tonal Pairing in the Lieder of Robert Franz
Filip Pavličić, Faculty of Music, University of Arts in Belgrade
The Modulation from a Major Key to its Upper Mediant and the Meaning of Emotional Distance in the Works of Robert Schumann
Marko Aleksić, Faculty of Music, University of Arts in Belgrade
Various Aspects of Romantic Harmony in Strauss’s Songs for Voice and Orchestra
SESSION B2
Srđan Teparić, Faculty of Music, University of Arts in Belgrade
The Interpretation of Tonality in Terms of Symbols - the Relationship between Language and Style in Several Examples of the Music from the First Half of the Twentieth Century
Atila Sabo, Faculty of Music, University of Arts in Belgrade
The Encounter between Tonality and Atonality on Lorelei Rock in Dmitri Shostakovich’s Fourteenth Symphony
Neil Newton, University of Auckland
Functional Harmony in Schoenberg s Early Post-Tonal Music
Aleksandra Ivković, Faculty of Music, University of Arts in Belgrade
Autocitations in the Melodies of Early Romanticists
Mauricio de Bonis, University of Sao Paolo
Reference and Structure in Henri Pousseur and Willy Correa de Oliveira
Saturday, 14 May 2011.
Keynote Lecture
Marta Grabócz, University Marc Bloch, Strasbourg, France
Some Aspects of Musical Narratology: The Topic of Walking and its Evolution in the Music of György Kurtág
SESSION A3
Ana Stefanović, Faculty of Music, University of Arts in Belgrade
Topoi et structure narrative dans Proserpine de Lully
Malgorzata Pawlowska, Academy of Music in Krakow
The Story of Romeo and Juliet Liberated from Words – Narratological Analysis of Works by Tchaikovsky and Prokofiev
Adam Ferguson, University of Leeds
Reorienting Music Theory towards Proto-Narrative Engagement
Nataša Crnjanski, lra Prodanov Krajišnik, Academy of Arts, University of Novi Sad
Identity of the Rhetorical Gesture in Music
Daniel Brown, University of California
A Computer Model of Musical Narrative
Bijan Zelli, independent scholar
Rob Waring: At This Point, in Time ...
SESSION A4
Rebecca Au Sau Woon, Chinese University of Hong Kong
Chance - 'Change' - Cage and the I Ching
Ivan Brkljačić, Faculty of Music, University of Arts in Belgrade
Instrumental Theater Observed through Selected Compositions by Mauricio Kagel
Makoto Mikawa, University of Western Ontario
How to Analyze a Multimedia/Interdisciplinary Composition: The Case of Mauricio Kagel’s Antithese (I962, Stage Version)
SESSION B3
Olga Jokić, Faculty of Music, University of Arts in Belgrade
Webern’s Sechs Bagatellen op. 9 from the Perspective of Pitch-Class Theory
Man-Ching Yu, independent scholar
The Pitch-Class Formation of Joseph Schwantner: Distant Runes and Incantations
Hong Ding, Chinese University of Hong Kong
Maximally Smooth Cycle and Bian-Fan: Dilemma of Theory in Practice
Miloš Zatkalik, Faculty of Music, University of Arts in Belgrade,
Aleksandar Kontić, College of Applied Arts and Design, Belgrade
Is There a Wolf Lurking behind These Notes – The Unconscious Code of Music
Niels Chr. Hansen, Royal Academy of Music, University of Aarhus
Applying Multiple Strategies from Cognitive Music Research to Account for Emotional Experience in Three Subjectively Chosen Excerpts of Strongly Emotion-Inducing Music
SESSION B4
Adrian Foltyn, Frederic Chopin Music University in Warsaw
Harmonic Tension Measure as a Keystone of a New Type of Musical Analysis
Wai-Ling Cheong, Chinese University of Hong Kong
Towards a Theory of Synaesthetic Composition: a Case Study of Messiaen’s Colour-Hearing
Jan Philipp Sprick, Hochschule für Musik und Theater Rostock
Model-Based Composition as Event – Mozart’’s Concert Aria ''Vorrei spiegarvi, oh Dio!", KV 418
Sunday, 15 May 2011
Keynote Lecture
Herbert Schneider, Musikwissenschaftliches Institut der Universität des Saarlandes
Antoine Reicha: an Avant-Gardist and Visionary of Romanticism or Dreamer?
SESSION A5
Kalliopi Stiga, University of Athens
The 'Female Figure' in the Theodorakian Work
Mark McFarland, Georgia State University, Atlanta
Bill Evans and the limits of Schenkerian Theory
Zoran Bozanić, Faculty of Music, University of Arts in Belgrade
Imitation on Cantus Firmus in Renaissance Vocal Polyphony
Denis Collins, The University of Queensland, Brisbane
Palestrina’s Missa sacerdotes Domini and Analytical Approaches to Renaissance Counterpoint
Predrag Repanić, Faculty of Music, University of Arts in Belgrade
What is Hiding at the Foundation of the Obscure Edifice!
Senka Belić, Faculty of Music, University of Arts in Belgrade
Josquin’s Motet Illibata Dei Virgo nutrix in a New Light
Luca Bruno, University of Calabria and "San Pietro a Majella" Conservatory of Music, Naples
Toward o Theory of Harmony in the Renaissance Historical-Analytical Inquiry into Harmonically Oriented Genres of Sixteenth-Century Secular Polyphony
Milena Medić, Faculty of Music, University of Arts in Belgrade
Mia benigna fortuna: Rime sparse and the Scattered Renaissance Discourses on (Musical) Melancholy
SESSION B5
Frank Heidelberger, University of North Texas
Traces of the Past, or Visions of a Bright Future? – Antoine Reicha’s Music Theory and Hector Berlioz’s Compositional Practice
Ivana Ilić, Faculty of Music, University of Arts in Belgrade
The Dispositives of Music Theory in Serbia: an Outline
Gregorios Anastasiou, Institute of Byzantine Musicology, Athens
From the Trochos' Parallage (Byzantine Solmization) to the Contemporary Psaltic Solfege
Dimosthenis Spanoudakis, Aristotle University of Thessaloniki
Manuscript Dionysiou 564: Palaeographical Description, Calendar Study, Transcriptions and Musical Analysis of Chants in Honor of Saint John Chrysostom
Chelsey Hamm, Indiana University, Bloomington
A Critical Examination of Verbula in the Berkeley Manuscript
Milica Gajić, Faculty of Music, University of Arts in Belgrade
Dragutin Blažek and his Nauka glavnih pojmova muzike (Science of Principal Musical Terms)
Sonja Marinković, Faculty of Music, University of Arts in Belgrade
Aspects of Contemporary Methodological Position of Mazelj's Method of Integral Analysis of a Musical Work
PROGRAM COMMITTEE
Miloš Zatkalik, Faculty of Music, University of Arts in Belgrade
Ana Stefanović, Faculty of Music, University of Arts in Belgrade
Ivana Vuksanović, Faculty of Music, University of Arts in Belgrade
Milena Medić, Faculty of Music, University of Arts in Belgrade
Denis Collins, University of Queensland
ORGANIZATION COMMITTEE
Miloš Zatkalik, Ana Stefanović, Ivana Ilić, Milena Medić, Ivana Vuksanović
Music Theory and Analysis - The 9th International Conference
Department of Music Theory, Faculty of Music
University of Arts in Belgrade, Serbia
13–15 May 2011
KEYNOTE SPEAKERS
William Caplin, McGill University, Montreal
Marta Grabócz, University Marc Bloch, Strasbourg
Herbert Schneider, Musikwissenschaftliches, Institut der Universität des Saarlandes
CONFERENCE PROGRAM
Friday, 13 May 2011.
Keynote Lecture
William Caplin, McGill University, Montreal
Formal Function versus Thematic Content: Mozart’s Rondo in D, K. 485
SESSION A1
Anica Sabo, Faculty of Music, University of Arts in Belgrade
The Concept and Function of Energy in Music: lnterference between Theoretical Thought and Compositional Poetics in the Works of Berislav Popović
Carlos Duque, City University, London
Chaos, Utopia and Creation. Analysis of the Dynamic of the System in Music
Marcello Messina, School of Music, University of Leeds
Jomes Dillon’s Crossing Over: An Attempt to Conduct a Morphemic Analysis on a Musical Score
Georgia Petroudi, European University, Cyprus
Working Towards the 'Ideal': Hindemith and the Journey of the Marienleben Songs
Simon Desbruslais, Christ Church College, Oxford
Towards a Musical Syntax in Paul Hindemith s Solo Viola Sonata, Op. 25/1 (1922)
SESSION A2
R. C. Tyagi, independent scholar
The Evolution of an Absolute Scale of Music
Markos Lekkas, Ionian University
Tonic Misconceptions and Tonal Repercussion
Aleksandar Perunović, Academy of Music, Cetinje
Bach’s 'Sonata' Form
Jasna Veljanovic Ranković, Faculty of Philology and Arts, University of Kragujevac
The Permeation of Ternary Form and Sonata Form in a Minuet
SESSION B1
Pieter Bergé, University of Leuven
How Perfect 'Perfect Authentic Cadences' can be?
Dimitar Ninov, Texas State University, San Marcos
The Craft of Harmonization
Michael Baker, University of Kentucky
Aspects of Tonal Pairing in the Lieder of Robert Franz
Filip Pavličić, Faculty of Music, University of Arts in Belgrade
The Modulation from a Major Key to its Upper Mediant and the Meaning of Emotional Distance in the Works of Robert Schumann
Marko Aleksić, Faculty of Music, University of Arts in Belgrade
Various Aspects of Romantic Harmony in Strauss’s Songs for Voice and Orchestra
SESSION B2
Srđan Teparić, Faculty of Music, University of Arts in Belgrade
The Interpretation of Tonality in Terms of Symbols - the Relationship between Language and Style in Several Examples of the Music from the First Half of the Twentieth Century
Atila Sabo, Faculty of Music, University of Arts in Belgrade
The Encounter between Tonality and Atonality on Lorelei Rock in Dmitri Shostakovich’s Fourteenth Symphony
Neil Newton, University of Auckland
Functional Harmony in Schoenberg s Early Post-Tonal Music
Aleksandra Ivković, Faculty of Music, University of Arts in Belgrade
Autocitations in the Melodies of Early Romanticists
Mauricio de Bonis, University of Sao Paolo
Reference and Structure in Henri Pousseur and Willy Correa de Oliveira
Saturday, 14 May 2011.
Keynote Lecture
Marta Grabócz, University Marc Bloch, Strasbourg, France
Some Aspects of Musical Narratology: The Topic of Walking and its Evolution in the Music of György Kurtág
SESSION A3
Ana Stefanović, Faculty of Music, University of Arts in Belgrade
Topoi et structure narrative dans Proserpine de Lully
Malgorzata Pawlowska, Academy of Music in Krakow
The Story of Romeo and Juliet Liberated from Words – Narratological Analysis of Works by Tchaikovsky and Prokofiev
Adam Ferguson, University of Leeds
Reorienting Music Theory towards Proto-Narrative Engagement
Nataša Crnjanski, lra Prodanov Krajišnik, Academy of Arts, University of Novi Sad
Identity of the Rhetorical Gesture in Music
Daniel Brown, University of California
A Computer Model of Musical Narrative
Bijan Zelli, independent scholar
Rob Waring: At This Point, in Time ...
SESSION A4
Rebecca Au Sau Woon, Chinese University of Hong Kong
Chance - 'Change' - Cage and the I Ching
Ivan Brkljačić, Faculty of Music, University of Arts in Belgrade
Instrumental Theater Observed through Selected Compositions by Mauricio Kagel
Makoto Mikawa, University of Western Ontario
How to Analyze a Multimedia/Interdisciplinary Composition: The Case of Mauricio Kagel’s Antithese (I962, Stage Version)
SESSION B3
Olga Jokić, Faculty of Music, University of Arts in Belgrade
Webern’s Sechs Bagatellen op. 9 from the Perspective of Pitch-Class Theory
Man-Ching Yu, independent scholar
The Pitch-Class Formation of Joseph Schwantner: Distant Runes and Incantations
Hong Ding, Chinese University of Hong Kong
Maximally Smooth Cycle and Bian-Fan: Dilemma of Theory in Practice
Miloš Zatkalik, Faculty of Music, University of Arts in Belgrade,
Aleksandar Kontić, College of Applied Arts and Design, Belgrade
Is There a Wolf Lurking behind These Notes – The Unconscious Code of Music
Niels Chr. Hansen, Royal Academy of Music, University of Aarhus
Applying Multiple Strategies from Cognitive Music Research to Account for Emotional Experience in Three Subjectively Chosen Excerpts of Strongly Emotion-Inducing Music
SESSION B4
Adrian Foltyn, Frederic Chopin Music University in Warsaw
Harmonic Tension Measure as a Keystone of a New Type of Musical Analysis
Wai-Ling Cheong, Chinese University of Hong Kong
Towards a Theory of Synaesthetic Composition: a Case Study of Messiaen’s Colour-Hearing
Jan Philipp Sprick, Hochschule für Musik und Theater Rostock
Model-Based Composition as Event – Mozart’’s Concert Aria ''Vorrei spiegarvi, oh Dio!", KV 418
Sunday, 15 May 2011
Keynote Lecture
Herbert Schneider, Musikwissenschaftliches Institut der Universität des Saarlandes
Antoine Reicha: an Avant-Gardist and Visionary of Romanticism or Dreamer?
SESSION A5
Kalliopi Stiga, University of Athens
The 'Female Figure' in the Theodorakian Work
Mark McFarland, Georgia State University, Atlanta
Bill Evans and the limits of Schenkerian Theory
Zoran Bozanić, Faculty of Music, University of Arts in Belgrade
Imitation on Cantus Firmus in Renaissance Vocal Polyphony
Denis Collins, The University of Queensland, Brisbane
Palestrina’s Missa sacerdotes Domini and Analytical Approaches to Renaissance Counterpoint
Predrag Repanić, Faculty of Music, University of Arts in Belgrade
What is Hiding at the Foundation of the Obscure Edifice!
Senka Belić, Faculty of Music, University of Arts in Belgrade
Josquin’s Motet Illibata Dei Virgo nutrix in a New Light
Luca Bruno, University of Calabria and "San Pietro a Majella" Conservatory of Music, Naples
Toward o Theory of Harmony in the Renaissance Historical-Analytical Inquiry into Harmonically Oriented Genres of Sixteenth-Century Secular Polyphony
Milena Medić, Faculty of Music, University of Arts in Belgrade
Mia benigna fortuna: Rime sparse and the Scattered Renaissance Discourses on (Musical) Melancholy
SESSION B5
Frank Heidelberger, University of North Texas
Traces of the Past, or Visions of a Bright Future? – Antoine Reicha’s Music Theory and Hector Berlioz’s Compositional Practice
Ivana Ilić, Faculty of Music, University of Arts in Belgrade
The Dispositives of Music Theory in Serbia: an Outline
Gregorios Anastasiou, Institute of Byzantine Musicology, Athens
From the Trochos' Parallage (Byzantine Solmization) to the Contemporary Psaltic Solfege
Dimosthenis Spanoudakis, Aristotle University of Thessaloniki
Manuscript Dionysiou 564: Palaeographical Description, Calendar Study, Transcriptions and Musical Analysis of Chants in Honor of Saint John Chrysostom
Chelsey Hamm, Indiana University, Bloomington
A Critical Examination of Verbula in the Berkeley Manuscript
Milica Gajić, Faculty of Music, University of Arts in Belgrade
Dragutin Blažek and his Nauka glavnih pojmova muzike (Science of Principal Musical Terms)
Sonja Marinković, Faculty of Music, University of Arts in Belgrade
Aspects of Contemporary Methodological Position of Mazelj's Method of Integral Analysis of a Musical Work
PROGRAM COMMITTEE
Miloš Zatkalik, Faculty of Music, University of Arts in Belgrade
Ana Stefanović, Faculty of Music, University of Arts in Belgrade
Ivana Vuksanović, Faculty of Music, University of Arts in Belgrade
Milena Medić, Faculty of Music, University of Arts in Belgrade
Denis Collins, University of Queensland
ORGANIZATION COMMITTEE
Miloš Zatkalik, Ana Stefanović, Ivana Ilić, Milena Medić, Ivana Vuksanović
