TUESDAY 14 SEPTEMBER
Bach and Handel: Learning from Machines
Christopher Holman, 'Bach Performance Practice in the Late French Romantic Organ School: A Study of Two Organ Roll Recordings'
Emily Baines, 'The Ghost in the Machine: How the performance style found in mechanical musical instruments challenges modern historical performance (and listening) norms'
Nineteenth-Century Foundations, I
Leanne Langley, 'Ideas of Music Research in Britain, 1813-74: Roots of the (Royal) Musical Association'
Jonathan Hicks, 'The Royal Musical Complex'
|0930-1030||1c||Gender and Sexuality||
James Barker, 'Life in "Picket Fences": Queering 1990s Country'
Oren Vinogradov, 'The Way You Look Tonight: Fred Astaire Misremembered and the Crisis of Masculinity'
Lauren Redhead, 'Music in the Discworld'
Peter Falconer' The Use of Parafiction as a Framing Device in the Presentation and Experience of Musical Compositions'
|0930-1030||1e||Practice-based workshop||Jason Huxtable and Sanba Zao, 'Decolonisation of Percussion Curriculum: a Case Study'|
Themed Session: Music and the Creative Economy
Adam Behr, 'National Anthems – Protecting and Challenging the Musical Economy in National Policy'
Simon McKerrell, 'Music and the Creative Economy in the Highlands and Islands of Scotland'
Jane Nolan, 'Meaningful Participation and Engagement with the Creative Economy through Pedagogy and Practice'
Matthew Ord, 'Selling the Experience of Music in Glasgow, "Music City"'
Themed Session: Shakespeare and Music
William Lyons, ‘Strike Up, Pipers! Instruments and Hierarchies in Early Modern Theatre’
William Germano, ‘The Cooper Union for the Advancement of Science and Art: What Gets Remembered in the Willow Song?’
Helen Wilcox, '"Take, O Take …": Madeleine Dring’s Settings of Shakespeare’
Michelle Assay and David Fanning (music illustrations), ‘The Greatest Hamlet that Never Was’
|1100-1230||2c||Lecture Recitals, I||
Derek McCulloch, '“The most beautiful woman I have seen in my whole life”: A Case of Confused Identity'
Samantha Ege, 'Listening for Bea: (Re)Sounding Florence B. Price’s Complete Fantasie Nègre Compositions for Solo Piano'
|1100-1230||2d||Nineteenth-century opera, rumour, representation||
Francesca Vella, 'Hearsay in (and around) Verdi’s Otello'
Alessandra Palidda, 'Teatro musicale giocoso: Edoardo Sonzogno and Comic Opera in Late Nineteenth-Century Italy'
Tim Coombes, 'The Children’s Chorus in Late Nineteenth-Century French Opera'
|1100-1230||2e||Themed Session: Music and Spirituality in John Tavener||
Rev. Dr June Boyce-Tillman, '"Heart’s Ease" - Music as Wellbeing through the Lens of John Tavener'
Brian Inglis, '"Dumped modernism"? The Interplay of Musical Construction and Spiritual Affect in John Tavener and his To a Child Dancing in the Wind'
Stephen Roberts, 'John Tavener’s Musical Theology of Religions'
|1230-1430||Lunch break||Posters, meetings etc.|
|1430-1600||3a||The Long Seventeenth Century: Florence, Paris, London||
Antonella D'Ovidio, 'Music, Space and Visual Culture in the Patrician Palaces of Seventeenth-Century Florence'
Dawn Grapes, 'John Dowland’s Paris: A Contextualized Reconstruction'
Robert Rawson, '"Where Musick and More powerful Beauties Reign": the Finger-Draghi Concerts at York Buildings (c. 1689–97) and Their Impact on Theatre Music'
|1430-1600||3b||Issues in Contemporary Vernacular Music||
Alex De Lacy, 'Level Up! A framework for Multidirectional Improvisation in UK Grime Music'
Allison Noble, 'Reviewing the Perception of Genre in Music Streaming Platforms'
Andrew Green, 'Acoustemology In Practice: Hip-Hop, Environmental Advocacy and Auditory Knowledge in Batalla Por Tu Bosque, Mexico City'
|1430-1600||3c||Voice, Language, Movement||
Toby Young, 'Crossover Singing (and its Discontents)'
Jane Forner, 'Mapping Multilingualism in Contemporary Opera'
L. C. Acevedo, 'A Textural Framework for Choreomusical Analysis'
|1430-1600||3d||Themed Session: Queer that Voice!||
Rachel Cowgill, 'Ariadne en Travesti: Gender, Liminality, and Sensibility in Pacchierotti’s London Performances of Haydn’s Arianna a Nasso for Mezzo Soprano and Fortepiano Hob.XXVIb:2'
Robert Crowe, 'About that castrato in Parsifal: Leo d’Ageni, a "male contralto" in the time of Wagner and Liszt'
William Southerland, 'Orange Juice, Milk, and the History of the LGBTQ Choral Movement in the United States'
Nick Bonadies and Imogen Flower, 'Sex Worker’s Opera, Don Jo!, and Queering Opera-making'
|1430-1600||3e||Making the Popular||Simon Strange, 'Blank Canvas: art school education and the non musician'
Núria Bonet, 'Pub Jukeboxes: Music, Democracy and the Hyperlocal'
Ross Cole, 'Fluxus and the Sonic Mundane'
|1630-1730||Peter Le Huray Keynote Lecture||Prof. Kofi Agawu|
|1900-2000||Concert: Folk Futures||Catriona Macdonald, Kathryn Tickell|
WEDNESDAY 15 SEPTEMBER
Twentieth-Century Britain at War
Matthew McCullough, 'Requiem for a Dream: Universality, Sonic Death Ritual, and Associative Symbolism in Sir Arthur Bliss’s Morning Heroes'
Jon Churchill, '“The Symphony of the Front”: Structural Rupture in Ralph Vaughan Williams’s Pastoral Symphony'
|0930-1030||4b||Nineteenth-Century Foundations, II: Epistemologies||
Alexander Wilfing, 'Contextualizing Musicology: The Eclectic Origins of Guido Adler’s Concept of Musical Research'
Jane Hines, 'Phantasy Pathologized: Musical Imagination and the Beginnings of Musicology'
Damián Martín-Gil, 'Giacomo or Giuseppe Bernardo: Which Brother should Be Acknowledged as the Famous Guitarist "Merchi" in the Entry of Grove Music Online?
Eric Boaro, 'Vocal Improvisation in Eighteenth-Century Naples: Evidence of Solfeggio Patterns in Thoroughly Composed Cadenzas in Sacred Pieces by Gennaro Manna'
|0930-1030||4d||Responding to Covid||
Martina Kalser-Gruber, 'Crisis Communication in the Field of Classical Music Festivals in the Age of COVID-19: The Role of Artistic Directors'
Steve Gisby, 'Music and/as Process Study Group: Networked Collaborative Processes in Experimental Composition and Performance'
|0930-1030||4e||Identities Made and Mediated||
Phillip Cartwright, 'Investigating Traditional Punjabi Wedding Songs: Suhag in the Urban Context'
Tal Soker, 'The Citizen-Pianist: Igor Levit and the Quest for Participatory Democracy'
|1100-1230||5a||Themed Session: Musical Universalism and Locality in the Age of Empire||
Richard David Williams, 'Querying “Global” Music History: Goswami Pannalal, Rajasthan, and Queen Victoria'
Jacob Olley, 'An Ottoman Response to Orientalism: Pan-Islam and the Science of Music'
Hyun Kyong Hannah Chang, 'A Modern Paradox: Inventing Korean Protestant Hymns, 1892–1923'
Kristin Hoefener, 'How to imagine the sonic performance of Hildegard of Bingen’s audiovisions: liturgical or not?'
Nicholas W. Bleisch & Henry Drummond, ' Practices of Devotion at Tongerlo Abbey: Offices in the Antifonarium Tsgrooten'
Stefan Gasch, 'Rulers and Saints, Reformers and Humanists: Aspects of Chronology in Motets by Ludwig Senfl'
|1100-1230||5c||International Folk Traditions||
Mollie Carlyle, '"Spinning Yarns": Examining Problems of Sea Shanty Authenticity in the Present Day'
Daniel Jordan, 'Sorority and Hispanidad Across the Atlantic: Women as Musical Diplomats in the Batista, Trujillo, and Franco regimes (1952-59)'
Nassos Polyzoidis, 'Reharmonising Rebetiko Modes in a Contemporary Context'
|1100-1230||5d||Form and Analysis||
Joshua Ballance, 'The Viennese Trichord in the Music of Anton Webern: A Computational Study'
Gabriel Jones, '"Irrational Nuances": Interpreting Stockhausen’s Klavierstück I'
Thomas Heywood, 'Philosophies of Form-Functionality: Organicism and Mechanism'
Thomas Whiston, 'The Sonic Other'
Rober Laidlow, 'Artificial Intelligence as a Creative Agent in the Compositional Process'
Alastair White, 'Contingency Dialectics in Fashion-Opera'
|1100-1230||5w||Composition Workshop with Trio Northumbria||
Posters, meetings etc.
||6a||Leipzig and London; Bach, Beethoven and Clementi||
Mark Seow, 'Liquid Listening in Early Eighteenth-Century Leipzig'
Shiori Imazeki, 'Muzio Clementi as a Musical Editor: An Analysis of Scarlatti’s chefs-d’œuvre'
Christopher Parton, 'Beethoven’s "Englished" Lieder and the Borders of Song'
Alexis Bennett, 'Role-play and Signalling: Naming Conventions in Historical Performance Ensembles Since 1950'
James Félix, 'Transferrable Authenticity: New Perspectives on the "inauthentic" in Folk Music'
Ingrid Bols, 'Screen Music in British and French Concert Halls: High Culture, Mass Entertainment and Orchestral Canons'
Pianos, repertories and contexts
Bozhidar Chapkanov, 'The Double Harmonic Syntax in Liszt’s Late Piano Music: A Bilateral Analytical Inquiry'
Joyce Tang, 'Pianos (1870-1910) in the National Trust'
Esther Cavett, '"The mind is not limited by the skin": The Piano Technician’s Experience of Working on Pianos of Great Performers'
Russian Music in the Twentieth Century
Adam Behan, ‘Integrating Life and Work: Contemporary Music in Maria Yudina’s Imagination and Artistic Practice’
Ivan Hewett, 'The 1920 All-Stravinsky Concert at the Wigmore Hall: the Critical Response'
Daniel Elphick, 'Shostakovich, Prokofiev, and Mikhalkov’s Ilya Golovin'
|1430-1600||6e||Round Table: Musicology and the Black Atlantic Archive||
Ellie Armon Azoulay (University of Kent), Lawrence Davies (Leverhulme ECR Fellow, Newcastle University), Kira Dralle (University of California Santa Cruz), Steven Lewis (National Museum of African American Music), Maria Ryan (University of Pennsylvania)
|1630-1730||Edward Dent Keynote Lecture||
Prof. Eric Drott
A full performance of compositions heard in today's workshops
THURSDAY 16 SEPTEMBER
Daniel Marx, '“Something you do over there”: Jewish Musicians and the Mediation of Identity in Contemporary British Jazz'
Ron Levi and Ofer Gazit, 'Sexual Hearing: African Jazz and Black Masculinity in the Civil Rights Era'
|0930-1030||7b||Hong Kong Since 1997||
Magdelena Ho-yan Tang, 'Sung into Being: An Ethnography of the Anthem Law Controversy in Hong Kong'
Andrew Yu, 'Colonial legacy and inheritance: Can Scottish bagpipes culture in survive in post-colonial Hong Kong?'
|0930-1030||7c||Landscape and Nature||
Jonathan Packham, 'Scoring the Journey: Listening to Space in Claudia Molitor’s Sonorama'
Oli Jan, 'Pastiche, But of Animals: Exploring Effects of Acoustically Reproduced Animal Sounds in EMT'
Amélie Addison, 'Reading Between the Staves: Identity and Representation in the Works of William Shield'
Wiebke Thormählen, 'Britain’s Domestic God: How Music at Home Elevated Handel'
Hélène Crowley, 'Nothing to Lose: Modernism in Hanns Eisler's Mass Choruses'
Annika Forkert, 'Rebecca Clarke’s Bricolage'
Themed Session: Music and Wellbeing in Institutional Contexts (Chair: Kirsten Gibson)
Michael Gale, 'Musical Provision at the Hospital of St Cross, Winchester, during the Sixteenth Century'
Naomi J. Barker, '"To lighten the cares resulting from the misery of human misfortune": Music, Medicine and Religion at the Ospedale di Santo Spirito in Sassia'
Rosemary Golding, 'Music for the Urban, Middle-Class Insane: Bethlem Hospital in the Nineteenth Century'
Helen Barlow, 'Music Therapy and the Military, c. 1850-c. 1918'
Monika Hennemann, 'Sarastro in Shanghai and Papageno in Phnom Penh: Die Zauberflöte and the Concept of Adaptive Intercultural Theatre'
David Irving, 'Global Soundscapes from the First Voyage of Circumnavigation, 1519-1522'
Ekaterina Pavlova, '"Adults and Childen had Tears in their Eyes...": the Reception and Political Significance of the Pyatnitsky Russian Folk Choir's Tours of the GDR'
Kate Guthrie, 'The Child and the Musical Masterpiece'
Tom Metcalf, 'Aesthetic Synthesis in "Transmedial" Music: Approaches, Limitations, Frameworks'
Michael Boyle, ''"Integrated Tool Competency" in the Compositional Process: a 4E perspective on the cognitive role of absent compositional tools'
|1100-1230||8d||Themed Session: Meet and Greet: Women’s Networking Strategies in Twentieth-Century Ireland and England||
Hannah Millington, 'Dame Ethel Smyth: Networking, Notoriety and the English Music Machine'
Leah Broad, 'Navigating Gendered Spaces and Places: Rebecca Clarke as Performer and Composer'
Orla Shannon, 'Ina Boyle: Rejection and Resilience'
Laura Watson, 'Gender Politics, the Piano, and Radio in Twentieth-Century Ireland'
|1100-1230||8e||Round Table: The Future of Early Music Editing||
John Caldwell (University of Oxford), Lisa Colton (Huddersfield University), James Cook (University of Edinburgh) Gareth Curtis, Andrew Kirkman (University of Birmingham)
Posters, meetings etc.
||9a||Round Table: Digital Directions for Collected Editions'||
David Smith (Northumbria University), Rebecca Herissone (University of Manchester), Frauke Jürgensen (Aberdeen University), Nicholas Williams (Stainer & Bell)
|1430-1600||9b||Themed Session: On 'Music Colonialism', or New Critical Studies of Western Art Musics||
Roe-Min Kok, 'The Model Minority Music Student: Interrogating a Neocolonial Stereotype'
Yvonne Liao, '"Limits of Encounter": Narrating Diversity and Musical Life in Treaty Port History'
Maria Ryan, 'Discipline and Dignity: Considering Race and Military Music in the British Colonial Caribbean'
|1430-1600||9c||Lecture Recitals, II||
Kate Harrison-Ledger, t.b.c.
Adriana Festeu, 'Idiosyncrasies of Voice Classification - the Mezzo-Soprano as "soprano in waiting"'
Katalin Koltai, ’"Ligeti Guitar": An Unexplored World of the Guitar Idiom'
|1430-1600||9d||Themed Session: South-East Asia||
Churen Li, 'Locating the Southeast Asian Performer’s Voice in WAM Performance'
Feliz Anne Reyes Macahis, 'Epic Singing in the context of Contemporary Music from an Academic and Artistic Perspective'
Yanini Pongpalatien and Chamamas Keawbuadee, 'Writing our Future in the Changing Musical Landscapes of Southeast Asia'
Junyan Chow, 'Maintaining Momentum in Malaysia - A Reflection and Study of the Contemporary Music Scene'
Poumpak Charuprakor, 'Performer-composer collaboration: Sustainable Development of the Contemporary Music Scene of Thailand?'
|1430-1600||9e||Practice-Based Workshop: Discourse and Methods of Practice Research||
Scott McLaughlin (Leeds University), Mira Benjamin (Goldsmiths, University of London), Ingrid Pearson (Royal College of Music), Tenley Martin (Leeds Beckett University), Leah Kardos (Kingston University)