11th European Music Analysis Conference

8:30 - 9:30 (1h)

Registration

Reception and registration of EuroMAC11 conference participants in the Hall 2 foyer (street entrance)

9:30 - 10:30 (1h)

Conference Opening

Concert Hall 2

10:30 - 11:30 (1h)

Keynote Session - A Cognitively Based Analytical Model of Musical Meter

Concert Hall 2

Richard Cohn

https://euromac11.sciencesconf.org/data/program/Abstract_Richard_Cohn_1.pdf

11:30 - 12:00 (30min)

Coffee break

Canteen / Patio

12:00 - 13:30 (1h30)

Analytical Concepts and Methodologies

Concert Hall 4

Sofía Martínez Villar

› From Partimento to Piano Pedagogy: The Persistence of Galant Schemata in Early 19th-Century Methods - Alessandro Casali 12:00-12:30 (30min)

› Stylistic Composition and Analysis: Applying Gjerdingen's Schema Theory in Pedagogy and Historically Informed Practice. Composing a Minuet with Schema-Lego Bricks - Martin Zamorano, University of Music Lübeck 12:30-13:00 (30min)

› Rethinking the teaching of music analysis from a competency-based approach - Marina Ramos Chincho, Centro Superior de Música del País Vasco, Musikene, Universidad del País Vasco / Euskal Herriko Unibertsitatea 13:00-13:30 (30min)

12:00 - 13:30 (1h30)

Musical Systems and Relationships

Hall 5

Michel Lambert

› Scales within scales: Revealing diatonic properties in symmetric non-octave-repeating scales - Emmet Crowley, Universidad Internacional de la Rioja 12:00-12:30 (30min)

› Non-Geometric Properties of Harmonic Progression - Ildar Khannanov, Peabody Institute, Johns Hopkins University 12:30-13:00 (30min)

› Some Considerations on Harmonic Aspects of Riezler's Urmotiv in Beethoven's Missa Solemnis - Àlex Prats Perez, Universitat Autònoma de Barcelona = Autonomous University of Barcelona = Universidad Autónoma de Barcelona 13:00-13:30 (30min)

12:00 - 13:30 (1h30)

Performance, Perception, and Embodiment

Orchestra Hall

Monserrat Torras

› Mistaking “Mistakes”: Embracing Errors As They Are - Daniel Barolsky, Beloit College 12:00-12:30 (30min)

› Danseuses de Delphes: exploring a choreographic and ritual performance style - Anna Maria Bordin, Conservatorio G. Verdi Torino - Antonio Tarallo, Conservatorio di Musica Nicolini, Piacenza - Giancarlo Manzi, Università degli Studi di Roma "La Sapienza" = Sapienza University [Rome] 12:30-13:00 (30min)

› Relating extramusical elements to performance style: A comprehensive study using sound analysis and participant self-reports - Isabelle Héroux, Université du Québec à Montréal = University of Québec in Montréal - Erica Bisesi, Université de Montréal 13:00-13:30 (30min)

12:00 - 13:30 (1h30)

Historical and Stylistic Perspectives

Choir Hall

Amy Bauer

› Musical Modernism, Nationalism, and the Sound of State Power in Japan and China (1930s–1980s) - Wai-Ling Cheong, The Chinese University of Hong Kong 12:00-12:30 (30min)

› Tonnetz, the Seventh Harmonic, and Speculative Music Theory in Early Twentieth-Century Iberia - Tiago Cortez, FLUC/CEIS20 12:30-13:00 (30min)

› Recasting the Return: Editorial Interventions and the Beethovenization on Haydn and Mozart's Sonata Forms - Ronnie Friedel, The Hebrew University of Jerusalem 13:00-13:30 (30min)

12:00 - 13:30 (1h30)

Meaning, Context, and Interpretation

346-347 room

Nikola Komatovic

› Mediating Aesthetics and Composition: Vincent d'Indy's Concept of the Creative Process - Elena Rovenko, Conservatoire Serge Rachmaninoff de Paris, Département de musique 12:00-12:30 (30min)

› Transvalued Time: Mythic Temporality as Hermeneutic Paradigm in Ljubica Marić's Archaia I–II - Milena Stanojević, Faculty of Music, Univeristy of Arts in Belgrade 12:30-13:00 (30min)

› "Glory on the Ground": Cyclic Variation and the Dirge in Cardiacs' “Pet Fezant” - Brett Clement, Ball State University 13:00-13:30 (30min)

12:00 - 13:30 (1h30)

Creative Practice and Analytical Reflection

Library

Kenneth Smith

› Handel's Reflection in Hindemith's Concerto for Orchestra Op.38: Reassessing Legacy - Vadym Rakochi, Université de Bâle = University of Basel = Basel Universität 12:00-12:30 (30min)

› An Integral Analysis of Wayne Shorter's "Lester Left Town" - B Bleij, Conservatorium van Amsterdam 12:30-13:00 (30min)

› Imperfect and Palliative Piano Minimalism of Hania Rani - Sasha Drozzina, The Ohio State University [Columbus] 13:00-13:30 (30min)

13:30 - 15:30 (2h)

Lunch

15:30 - 17:00 (1h30)

Analytical Concepts and Methodologies

Hall 5

Robert Hasegawa

› Computer-Aided Orchestration Strategies for using Timbre as a Vector of Form in Triptyque du cri and Unplugged - Marc Garcia Vitoria, Haute École de Musique de Genève, Sciences, Arts, Création, Recherche — SACRe (EA 7410) 15:30-16:00 (30min)

› Timbre, Perception, and Musical Form in Tan Dun's Water Concerto (1998) - Anqi Wang, Rutgers, The State University of New Jersey 16:00-16:30 (30min)

› Conceptualizing Timbre: An Epistemological Inquiry into the Mid-1970s North American Theory and Analysis - Nathalie Hérold, Sorbonne Université - Faculté des Lettres - UFR Musique et musicologie, Institut de Recherche en Musicologie 16:30-17:00 (30min)

15:30 - 17:00 (1h30)

Musical Systems and Relationships

Choir Hall

Hans Aerts

› Group Theory from Anatol Vieru's Book of Modes to Vuza Rhythmic Canons - AMALIA SZUCS-BLANARU, independent contributor 15:30-16:00 (30min)

› Opening strategies and galant schematas in Mozart's string quartets - Muriel Boulan, Sorbonne Université - Institut de Recherche en Musicologie 16:00-16:30 (30min)

› The Use of Schemata in Nineteenth-Century Musical Composition: Dubbio, a Case Study in Chromatic Harmony - David Santacecilia, Universidad Complutense de Madrid = Complutense University of Madrid [Madrid] 16:30-17:00 (30min)

15:30 - 17:00 (1h30)

Performance, Perception, and Embodiment

346-347 room

Paul Lascabettes

› Depth and Polymetric Perception - Jacob Wilkinson, Indiana University 15:30-16:00 (30min)

› Disentangling Polyphonic Temporalities: Stream Formation, Interaction, and Evolution in Arvo Pärt's Swansong - Laura Casti, University of Missouri at Kansas City (UMKC) 16:00-16:30 (30min)

› The Paratextuality of Relational Music and its Mode of Reception - Daria Kondraciuk, Uniwersytet Warszawski [Polska] = University of Warsaw [Poland] = Université de Varsovie [Pologne] 16:30-17:00 (30min)

15:30 - 17:00 (1h30)

Historical and Stylistic Perspectives

Orchestra Hall

Adriana Moreira

› Integrating Grounded Theory into the Music-Analytical Workflow - Jonathan Stark, Université de Bâle = University of Basel = Basel Universität 15:30-16:00 (30min)

› Late generic harmony: a snapshot of Liszt's harmonic style in 1872 - Shay Loya, City St George's, University of London 16:00-16:30 (30min)

› The piano works of J.D. Bomtempo: chromatic procedures that anticipate the Romantic style - Guilherme Sauerbronn de Barros, Universidade do Estado de Santa Catarina 16:30-17:00 (30min)

15:30 - 17:00 (1h30)

Meaning, Context, and Interpretation

Library

Paulo Ferreira de Castro

› Divertimento as Modernist Critique: Genre Subversion in Dušan Radić's Work - Tijana Ilisevic, Faculty of Music, Department of Music theory 15:30-16:00 (30min)

› Music and visual imagery in Stanley Kubrick's film “2001: Space Odyssey”: structural counterpoint and philosophical perspectives - Christina Djishkariani, Moscow State Conservatory 16:00-16:30 (30min)

› Semantic spaces as the source of progressive moral character in Mozart's concertos for piano and orchestra - Panu Heimonen, Helsingin yliopisto = Helsingfors universitet = University of Helsinki 16:30-17:00 (30min)

15:30 - 17:00 (1h30)

Creative Practice and Analytical Reflection

Concert Hall 4

Suzanne Konnings

› Anthony Braxton's Ghost Trance Music as Meta-tradition - Amy Bauer, University of California [Irvine] 15:30-16:00 (30min)

› Performative Perception of Form in an Imaginary Choreography: Motions // Der doppelte Blick by Isabel Mundry - Michael Pinkas, University of Music and Performing Arts Vienna 16:00-16:30 (30min)

› Polystylism and the Poetics of Journey in the Orchestral Works of Isidora Žebeljan - Ivana Miladinovic Prica, University of Arts in Belgrade, Faculty of Music 16:30-17:00 (30min)

17:00 - 18:00 (1h)

Poster

› Changes in recent history of German music theory - Christian Groß, Hochschule für Musik Trossingen 17:00-18:00 (1h)

› Sonata Theory, rotational principle, and Schubert's mature sonata form: the case study from the 'Great' Symphony, D. 944/i. - Koichi Kato, Independent scholar 17:00-18:00 (1h)

› Rhythmic and Metric Innovation in Stravinsky: Expressive and Representational Perspectives - Sara Isabel Grajales Tamayo, Universität für Musik und darstellende Kunst Wien 17:00-18:00 (1h)

› Crossing Boundaries between Musical Dictation and Music Transcription - Leon Krog, Music school in Varaždin 17:00-18:00 (1h)

› Greek Philosophy and Arabic Transmission in Occidental Musica - Friederike Spangenberg, University of Göttingen 17:00-18:00 (1h)

› The formal dilemma in Galina Ustvolskaya's Sonata for violin and piano - Nathália Gidali, Universidade de São Paulo 17:00-18:00 (1h)

› François Couperin's La Voluptueuse: Different Registral Top Lines and their Analytic Effects - Stephen Slottow, University of North Texas 17:00-18:00 (1h)

› Tracing Lyrical Change in Mandopop (2000–2020): Gender and Meaning - Zi Hang Yin, Centre Interdisciplinaire de Recherche en Musique, Médias et Technologie [Montréal] 17:00-18:00 (1h)

› A Harmonic Dualism Model for Diatonic Sets and temperaments from Lewin's Formal Theory - Gianluca Dai Prà, ABANA (Academy of Fine Arts, Naples / Conservatory of Music "G. Martucci", Salerno 17:00-18:00 (1h)

› HARMA HUB: European Landscape and Tools for Music Theory Faculties - Salvatore GIOVENI, Conservatoire royal de Bruxelles 17:00-18:00 (1h)

› Functional Cycles in the Teaching of Harmonic Analysis - Philippe Gantchoula, Ecole Normale de Musique de Paris 17:00-18:00 (1h)

› The Structuring Perception and Listening Processes in Electroacoustic Composition: the Barrett case - Simonetta Sargenti, Conservatorio 'G.Cantelli', Novara - Francesco Maschio, Conservatorio 'L.D'Annunzio', Pescara - Matteo Farnè, Università di Bologna - Dario Piccoli, Conservatorio 'L.D'Annunzio', Pescara 17:00-18:00 (1h)

› Bossa No(vas) sin Samba: A Comparative Paradigm of Rhythmic Syntax and Harmonic Rhythm - Leonardo Buffardi, Università degli Studi di Milano = University of Milan 17:00-18:00 (1h)

› CAMBIATA (Counterpoint And MusicXML By Instructing AI Through APIs): Generating Species Counterpoint with Large Language Models - Pierre Basso, Schulich School of Music [Montréal], Centre for Interdisciplinary Research in Music Media and Technology - Liam Pond, Schulich School of Music [Montréal], Centre for Interdisciplinary Research in Music Media and Technology 17:00-18:00 (1h)

› From Score to Sound: Critical Listening as a Higher-Order Cognitive Skill in Music Performance Education - Laura Gorbe, Norwegian Academy of Music 17:00-18:00 (1h)

› Towards structurally interpretable deep neural networks in music: evidence of self-supervised emergence of basic harmonic structure - Gabriele Cecchetti, The MARCS Institute for Brain, Behaviour and Development 17:00-18:00 (1h)

› Musico Pratico: translation, digital evaluation and critical reception of Pietro Pontio's dialogues - Giulia Capecchi, Schola Cantorum Basiliensis - Adrian Nagel, Julius-Maximilians-Universität Würzburg 17:00-18:00 (1h)

18:00 - 18:30 (30min)

Coffee break

Canteen / Patio

18:30 - 20:00 (1h30)

Analytical Concepts and Methodologies

Orchestra Hall

Álvaro Torrente

› Moving Beyond Visual–Textual Centrality: An Epistemological Inquiry into the Redistribution of Analytical Authority - Yan Zou, Shanghai Conservatory of Music 18:30-19:00 (30min)

› Music as Experienced Structure: Felt Temporality and Musical Coherence - Vasilis Kallis, University of Nicosia 19:00-19:30 (30min)

› Visualizing Interval Transformations in the Music of J.S. Bach - Owen Belcher, University of Missouri [Kansas City] 19:30-20:00 (30min)

18:30 - 20:00 (1h30)

Musical Systems and Relationships

346-347 room

Marina Mezzina

› Liszt's Tasso and the Horizons of Expectation of the Symphonic Poem: A Genetic Analysis - Isis Biazioli de Oliveira, Universidade de São Paulo = University of São Paulo 18:30-19:00 (30min)

› Rhythm and the Balance of Motions in Kurth and Bach - John Reef, Nazareth University 19:00-19:30 (30min)

› Stitching the Seams: Internal-Ternary Form as Compensatory Transition Strategy in Tchaikovsky's Symphonies - Tian-Yan Feng, Hochschule für Musik und Theater Hamburg 19:30-20:00 (30min)

18:30 - 20:00 (1h30)

Performance, Perception, and Embodiment

Choir Hall

Violetta Kostka

› Musical structure : an interdisciplinary notion and its significance for music analysis - Florence Levé, Laboratoire MIS, UR UPJV 4290, Centre de Recherche en Informatique, Signal et Automatique de Lille (CRIStAL) - UMR 9189 - Nathalie Hérold, IReMus, UMR 8223 18:30-19:00 (30min)

› Retrospective Musical Syntax: A Revision-Based Framework for Classical Form - Matteo Catalano, Conservatorio "Umberto Giordano" di Foggia 19:00-19:30 (30min)

› The Contribution of Music Analysis to Cognitive Research: A Case Study of Vocal Uncanniness - Lígia Silva, Universidade de Coimbra 19:30-20:00 (30min)

18:30 - 20:00 (1h30)

Historical and Stylistic Perspectives

Library

María Elena Cuenca

› Affinity and species inversion in Guido d'Arezzo's Micrologus - Adam Francis Filaber, McGill University, Sorbonne Université 18:30-19:00 (30min)

› MUSIC IN THE THOUGHT OF TOMÁS VICENTE TOSCA (1651 - 1723) - Miguel Martínez Hernández, Universidad de Salamanca [España] = University of Salamanca [Spain] 19:00-19:30 (30min)

› Exploring the relationship between research in music analysis and UK-based funding organisations: 2005-2025 - 19:30-20:00 (30min)

18:30 - 20:00 (1h30)

Meaning, Context, and Interpretation

Concert Hall 4

Ildar Khannanov

› From Chaos to Form: Deleuzian Ontologies of Musical Individuation - Milos Zatkalik, University of Arts in Belgrade 18:30-19:00 (30min)

› Genealogy of Sibelius's Musical Topics: Approaching Historical Meaning through Music Analysis - Janne Kivistö, Sibelius Academy, University of the Arts Helsinki 19:00-19:30 (30min)

18:30 - 20:00 (1h30)

Creative Practice and Analytical Reflection

Hall 5

Moreno Andreatta

› Transformational Pathways in Jazz-Flamenco Improvisation: Andrés Barrios - Rosa María García, Universidad Complutense de Madrid 18:30-19:00 (30min)

› Small Towns & Big Sounds: Italian Styles in Global Jazz - Sam Gucwa, Michigan State University [East Lansing] 19:00-19:30 (30min)

› A Model of Pitch-retention in Extended Harmony, or Drunk on Thundercat's Common Tones - Richard Worth, University of Liverpool - Kenneth Smith, University of Liverpool 19:30-20:00 (30min)

20:30 - 21:30 (1h)

Concert

Concert Hall 2

Programme > Programme online