Sessions at Seventh International Conference on Music since 1900 & the International Conference of the Society for Music Analysis on Saturday 30th July

Vasil A. Cvetkov
On Evolution and Tradition in Dave Brubeck’s Chromatic Fantasy Sonata

Mónika Benedek (University of Jyväskylä, Finland and University of Applied Sciences, Székesfehérvár, Hungary)
Testing Teaching Material for Classical and Jazz Harmony Studies

Katherine Williams (University of Nottingham, UK)
Tense trills and cross-referential cadenzas: stylistic intersections and ideologies in the music of Django Bates and Chick Corea

Kenneth Smith (Durham and Keele Universities, UK)
Desire, Interpretation and the ‘Tonic’ Chord in Two Songs by Charles Ives

Suzie Wilkins (University of Sussex, UK)
Listening to Myths: Composer Mythologisation and its Importance in the Construction of Aesthetic Experience

Benjamin K. Davies (Conservatori del Liceu, Barcelona, Spain)
Unpacking intimacy: Janáček’s Second String Quartet

Sophy Smith (Institute of Creative Technologies, DeMontfort University, UK)
An analytical methodology for Hip-Hop turntable routines.

Tim Summers (Bristol University, UK)
Playing the Tune: Approaching and Analyzing Music in Video Games

Mark Slater (University of Hull, UK)
Timbre and non-radical didacticism in the Streets’ A Grand Don’t Come For Free: a poetic-ecological model.

Michael Blake (Universities of Pretoria and South Africa)
Curating the New: ‘The Bow Project’

Sarah Hill (Cardiff University, UK)
Psychedelia and Its High Other in 1960s San Francisco

Molly McGlone (University of Pennsylvania, USA)
Cultural Contradictions and Experimental Musical Spaces: The late 1960s Electric Circus

Alistair Noble (Australian National University)
Primitive Designs: hearing/analysing Morton Feldman’s graphic scores

Tom Hall (Digital Performance Laboratory, Anglia Ruskin University, UK)
'The seduction of graphism alone'?: the function of notation and technology in the Intersections of Morton Feldman

David Cline (Goldsmiths College, UK)
David Tudor’s performances of Morton Feldman’s Intersection 3

Courtenay L. Harter (Rhodes College, USA)
Common-practice and Innovation: Prokofiev in the 1920s

Klaas Coulembier (University of Leuven, Belgium)
Claus-Steffen Mahnkopf: Concept of Poly-work in Theory and Practice

Mark Hutchinson (University of York, UK)
Pulling inwards, pushing onwards: Gravity and Momentum in Kaija Saariaho’s Solar

Chair: Deborah Mawer (Lancaster University)

Kristi Austin (Idaho State University, USA)
Unraveling artistic influence and collaboration in early twentieth century Paris: Daphnis et Chloe as staged by the Ballets Russes, 1912

Emma Adlard (King’s College, London, UK)
Realizing a Middle Ground: Women Patrons of Neoclassicism in Paris

Caroline Potter (Kingston University, UK)
Sources for the text of Erik Satie’s Obstacles venimeux

Clare Hammond (City University and Guildhall, UK)
Rehabilitating the sinister: left-handedness in Ravel’s Concerto pour la main gauche.

Alan Marsden (Lancaster University, UK)
Computational study of structure in Mozart’s variations for piano

Marcus Pierce, Keith Potter and Geraint Wiggins (Goldsmiths, UK)
Information-theoretic analysis of music

Joshua Banks Mailman (Columbia University, USA)
Emergent Flux Projecting Form in Ruth Crawford Seeger’s Quartet (1931)

Steen Kaargaard Nielsen,
(Aarhus Universitet, Denmark)
Rediscovering early Danish phonography – on listening to the Ruben Collection

Charles Fairchild (Sydney Conservatorium of Music, Australia)
Dissecting the ether: the circumstantial elements of an ambiguous model
of musical mediation.

Karl Traugott Goldbach (Spohr Museum Kassel, Germany)
Concrete art – musique concrète – konkrete poesie

Carlo Cenciarelli (King’s College London, UK)
‘Second-degree borrowings’ and the cinematic appropriation of Western art music

Lauren Redhead (University of Leeds, UK)
Implicit and Explicit Quotation and Non-Quotation of Bach in the Music of Abrahamsen and Kagel

Siôn ap Pwyll (Bangor University, UK)
‘Conspicuous Allusions and Hidden Associations’: Analysing Intertextuality in Post-Modern Music

Justin Williams (Anglia Ruskin University, UK)
Musical Borrowing in Hip-hop Music

Nicholas Ross (Sweet Briar College, USA) - Arabesques and Spirals: Golden Proportion in Debussy’s Clair de lune, D’un cahier d’esquisses, and Images for solo piano

Sebastiano Bisciglia (Eastman School of Music, University of Rochester, USA)
Revisiting the Pitch-Class / Order-Position Exchange

Michael Baker (University of Kentucky, USA)
Voice-Leading Issues in Cornelius’s “Ein Ton”

Rob Schultz (University of Massachusetts, USA)
Gauges of Tonality and Pitch Space Paradox in Elliott Smith’s “Everything Means Nothing to Me”

Neil Newton (University of Manchester, UK)
Functional Harmony in Early Post-Tonal Music

Ian Maxwell (University of Durham, UK)
The Use of Mathematical Constructs in the Chamber Music of EJ Moeran

Cameron Logan (University of Connecticut, USA)
Nonatonic Collections, Intersections, Systems, and Towers: the Pitch Structure of Vaughan Williams's Fourth Symphony

Sterling Lambert (St. Mary's College of Maryland, USA)
Winter Words, Winter Journey: Schubert in Britten

Abdullah Khalaf (University of Southampton, UK)
Alan Rawsthorne and the music of revolution: The Ballades of 1929 and 1967

Richard Hoadley (Digital Performance Laboratory, Anglia Ruskin University, UK)
The Analysis of Musically Expressive Algorithms Guided by Physical Movement

Stacey Sewell (University College Falmouth, UK)
Breathing the Inside, Out: a phenomenology of a cyborg music(ologist)

Andrew Hugill (DeMontfort University, UK)
Some impacts of digital technologies on notions of musicianship.

Paul G. Oliver (University of Bolton, UK), Rachel McLean (University of Bolton, UK) and
Amalie Roberts (Vision & Media)
Creative entrepreneurship and the digital do-it-yourself artist: the role public sector organisations could play in the face of declining status of major record labels

Marie Bennett (Keele University, UK)
Wuthering Heights and the Mozart Myths: Alterity, Music and Film

Jonathan Godsall (University of Bristol, UK)
Cape Fear: Remaking a Film Score

Catherine Haworth (University of Leeds, UK)
“She must be quite a dame…”: Music and the femme fatale in Out of the Past

Anne Lake (Bowling Green State University, USA)
Make-Believe Making Believers: Bridging the Generation Gap Through Popular Music in Shrek

Helen Thomas (Lancaster University, UK)
Flights of fancy in Stockhausen’s Klavierstücke X

Sebastiano Dessanay (Birmingham Conservatoire, UK)
‘The Cry of the Double Bass’: a compositional research project.
Analysis of a preliminary work.

Michael Hooper (Royal Academy of Music, UK)
Redefining boundaries of register in the quest for the not-yet-possible: Michael Finnissy’s Greatest Hits of All Time

Adam Ferguson (University of Leeds, UK)
Reorienting Music Theory towards Proto–narrative Engagement

Philip Bohlman (University of Chicago)