Monday 11 July

0915 Robert Boyle Foyer, Armstrong Building – Registration and Coffee

0945 Robert Boyle Foyer – Welcome and Notices

1000 Robert Boyle Lecture Theatre – Session 1a: Romantic Form

Chair: Sarah Moynihan 

• Janet Bourne, ‘A Woman’s Way of Listening to Beethoven: Topical Competencies and Perceiving a Lullaby Topic in Beethoven’s Op. 101/I’
• Julian Horton, ‘Syntactic Pathways, Processual Networks and the Theory of Romantic Sonata Form’
• Anne Hyland, ‘Nineteenth-Century Lyric Form and Chopin’s Piano Trio in G minor, Op. 8’
• Koichi Kato, ‘Sonata Theory, rotational principle, and Schubert’s paratactic sonata structure in a grand symphony: An analysis of Great D. 944/i.’

Room G.15 – Session 1b: Dreams and Temporalities

Chair: Sasha Valeri Millwood

• Charity Lofthouse and Sarah Marlowe, ‘Dreams Realized: Expression and Polystylism in the Art Song Settings of Langston Hughes’s “Dream Variation” by Florence Price and Margaret Bonds’
• September Russell, ‘In Search of Lost Time: Poulenc’s Anti-Development Interpolations’
• Daniel Elphick, ‘Paweł Mykietyn and the “Risset” Accelerando: Sculpture in Sound’

Room G.17 – Session 1c: Metre, Repetition, and Improvisation

Chair: Lawrence Davies

• Scott Hanenberg, ‘Metric Irregularity in the Songs of Tori Amos’
• Alastair King, ‘The Evolution of Repetition – Riffs, Reduction and Replication’
• Octavius Longcroft-Wheaton, ‘Jamming spheres the importance of “aimless” noodling’

1200 Lunch

1330 Robert Boyle Lecture Theatre – Session 2a: Schemas and Syntax

Chair: Janet Bourne

• Alberto Martín Entrialgo, ‘The Expression of Beginning Function in Isaac Albéniz’s Themes’
• Richard Hermann, ‘It’s Easy as Do-Re-Mi’
• Christopher Tarrant, ‘Music in the Galant Style: An Andante by Nielsen’

Room G.15 – Session 2b: Panel: Clashing Epochs: Aesthetics and Form in the Confrontations between Musical Periods

• Laurence Willis, ‘Recasting Gemutlichkeit: The Exposition of the Opening Movement of Mahler’s Fourth Symphony’
• James Renwick, ‘Fugal Orchestration and Approaches to Form in Anton Reicha’s Traité de haute composition musicale’
• James Donaldson, ‘Second-Order Topics and Prokofiev’s String Quartets’

Room G.17 – Session 2c: Languages of Modernism

Chair: Marta Riccardi

• Bennett Hogg, ‘Doctor von Webern's Alpine Garden in Maria Enzersdorf, or the form of plants as Formenlehre’
• Joe Argentino, ‘Crossing Over: Musical Ideograms in Luigi Dallapiccola’s Cinque Canti’
• Becky Lu, ‘“After Babel”: The Tongues of Twentieth-Century Music’

1500 Coffee in the Herschel Building Foyer

1530 Curtis Auditorium – Keynote Lecture: Áine Heneghan

‘Metaphors of Musical Morphology: Recovering the Origins of Tight-knit and Loose Organization’

Chair: Daniel Walden

1700 Wine Reception, Herschel Building Foyer

Tuesday 12 July

1000 Robert Boyle Lecture Theatre – Session 3a: Counterpoint

Chair: Esther Cavett

• Eric Wen, ‘Creativity Loves Constraints: Variation 4 from Brahms’s “Haydn” Variations’
• Stacey Davis, ‘The Perception and Performance of Contrapuntal Monophony in theFugue from Britten’s Second Suite for Solo Cello’
• Siavash Sabetrohani, ‘Music Criticism as Agent of Analysis in 18th-Century Germany’
• Aidan McGartland, ‘Elisabeth Lutyens’ Forgotten Fantasia’

Room G.15 – Session 3b: Extended Tonalities

Chair: Kenneth Smith

• Inbal Guter, ‘A tale of two tonics: scalar identity in dispute’
• David Byrne, ‘Sigfrid Karg-Elert on the retroactive perception of enharmonic progressions’
• Shay Loya, ‘Liszt’s “Keyless” Jest and the Historical Imagination’

Room G.17 – Session 3c: Modernist Critiques of Form

Chair: Daniel Elphick

• Kelvin Lee, ‘Fibich’s Formal Tableaux: Landscape, Klangflächen and the Reimagination of Czechness’
• Rebecca Clarke, ‘An original analysis of the form of Debussy's La Mer’
• James Olsen, ‘The immanent critique of Formenlehre: revisiting the Finale of Mahler’s First Symphony’

Room G.13 – SMA Council (closed meeting)

1200 Lunch

1330 Robert Boyle Lecture Theatre – Session 4a: Themes, Fragments, and Reconstruction

Chair: David Clarke

• Anna Rose Nelson, ‘Modernist Fragments and Aphorisms: Three Contemporaneous Works After Texts by Hölderlin’
• Nicky Swett, ‘Tying up Style and Theme in Utilitarian Functional Analysis’
• Sarah Moynihan, ‘Common tones of musical identity in Sibelius’s Seven Songs, Op. 17’

Room G.17 – Session 4b: Opera and Song

Chair: Genevieve Arkle

• Edward Klorman, ‘Analysing Deception in Opera and Lieder’
• Matthew Boyle, ‘Begging Cadences, or The Rossinian Art of Pandering’
• Steven Vande Moortele, ‘Scena, Form, and Drama in Act 1 of Die Walküre’

1500 Coffee in the Herschel Building Foyer

1530 Curtis Auditorium – Robert Pascall Keynote: James Hepokoski 

‘Ninety Seconds of Zarathustra’

Chair: Julian Horton

1700 Wine Reception sponsored by Wiley, Herschel Building Foyer

1930 Conference Dinner at Zizzi, 42 Grey Street, NE1 6AE

Wednesday 13 July

1000 Robert Boyle Lecture Theatre – Session 5a: Panel: Toward New Models of the Eighteenth-Century Recapitulation

Chair: Steven Vande Moortele

• L. Poundie Burstein, ‘Labeling Recapitulations, Asserting Recapitulations, or Neither?’
• Yoel Greenberg, ‘The Fuzziness of the Off-Tonic Recapitulation and its Implications for Sonata Theory’
• Markus Neuwirth, ‘Development Proper vs. Second Development: Steps Toward a Modularly Conceived Theory of Sonata Form’
• Caitlin Martinkus, Response to above 3 papers

Room G.15 – Session 5b: Parametric Approaches

Chair: Bozhidar Chapkanov

• Malcolm Miller, ‘Register, structure and gesture in Beethoven’s piano variations Op.34’
• Lawrence Davies, ‘“Moaning with Melody”: Piano-centred textural practice in the blues’
• Sam Flynn, ‘Rock-a-Cha-Cha: The Erased Impact of Latin American Music on the Rhythmic Transformation of American Popular Music’
• John Reef, ‘Rhythm and the Balance of Motions in Kurth and Bach’

Room G.17 – Session 5c: Analysis and Performance; Performing Analysis

Chair: Ian Pace

• Barak Shossberger, ‘Performance and Analysis: Reconciling Large-Scale and Moment-to-Moment Approaches’
• Megan Rowlands, ‘A model for communication amongst performers and listeners’
• Martin Elek, ‘Intensity Curves: A Technique to Analyse Performances’

1200 Lunch

1330 Robert Boyle Lecture Theatre – Session 6a: Closure

Chair: James Olsen

• Benedict Taylor, ‘Closed, Closing, and Close to Closure: The 19th-Century “Closing Theme” Problem exemplified in Mendelssohn’s Sonata Expositions’
• Emma Soldaat, ‘Cadence and Closure in the Scherzo of Mahler’s Seventh Symphony’
• Joon Park, ‘Troping with the End of the World: Interpreting Songs that Begin by Ending’

Room G.15 – Session 6b: Transformational Analysis

Chair: Oliver Chandler

• Bozhidar Chapkanov, ‘A Hybrid Functional-Transformational Analytical Perspective on Liszt’s Elegie no.1’
• Marta Riccardi, ‘From triangles to squares: new ways of mapping cross-type transformations’
• Kenneth Smith and Richard Worth, ‘Drunk on Parsimony: Voice-leading in Extended Harmony in the Music of Thundercat’

Room G.17 – Session 6c: Serialism and Microtonality

Chair: Joe Argentino

• Miloš Zatkalik, ‘Disorientation and Orientation in the Microtonal Key’
• Reed Mullican, ‘Re-Examining the Vertical in Classical Atonality and Serialism’
• Gintare Stankeviciute, ‘Dorothy Gow’s Serialism’

1500 Coffee in the Robert Boyle Foyer

1530 Robert Boyle Lecture Theatre: Annual General Meeting – all welcome

1700 Conference disbands