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, ‘PaweĊ‚ 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