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Music & Theory: The Era of Beethoven and Schubert
International Orpheus Academy for Music Theory 2005
Ghent, March/April 2005


MUSIC & THEORY: THE ERA OF BEETHOVEN AND SCHUBERT

International Orpheus Academy for Music Theory 2005

Wednesday, March 30 until Saturday, April 2, 2005


In 2005 the Orpheus Institute organizes the third INTERNATIONAL ORPHEUS ACADEMY FOR
MUSIC THEORY.

Six outstanding international guest professors are invited to meet scholars, (pre-)
professional music theorists, musicologists and musicians from all countries. The aim
is to work with a selected group of participants at a high level, in such a way that
it will be an enriching experience for everyone involved.

The 2005 Academy focuses on THE ERA OF BEETHOVEN AND SCHUBERT. The multidisciplinary
approach of this theme is different from other seminars and congresses, in the sense
that a lively interaction between music theory, music history, performance practice,
aesthetics, and related sciences is the point of departure. This explains the title
"Music AND Theory," instead of "Music Theory."

The following guest professors will give several lectures, participate at panel
discussions, and reply to each other's lectures:
- Scott Burnham (Princeton University, New Jersey, USA)
- Ludwig Holtmeier (Hochschule fur Musik, Freiburg, Germany)
- John Neubauer (University of Amsterdam, The Netherlands)
- Jim Samson (Royal Holloway, London, UK)
- Janet Schmalfeldt (Tufts University, Massachusetts, USA)
- Susan Youens (University of Notre Dame, Indiana, USA)


Scott Burnham is Professor of Music and Chair of the Music Department at Princeton
University. He is the author of Beethoven Hero (Princeton, 1995), translator of A. B.
Marx, Musical Form in the Age of Beethoven (Cambridge, 1997), and co-editor of
Beethoven and His World (Princeton, 2000). His most recent writings include "Schubert
and the Sound of Memory" in Musical Quarterly (2001), and "Novel Symphonies, Dramatic
Overtures" in The Cambridge Companion to Schumann (forthcoming), and "On the
Beautiful in Mozart" in Music and the Aesthetics of Modernity (forthcoming).

Ludwig Holtmeier is Professor of Music Theory at the 'Hochschule fur Musik' in
Freiburg. He is one of the editors of the journal Musik & Asthetik, president of the
'Gesellschaft fur Musik und Asthetik' and vice-president of the 'Deutschen
Gesellschaft fur Musiktheorie'. His latest publications are: "Zur Komplexitat
Mozarts. Analytischer Versuch uber eine Sequenz" in Musik und Asthetik (2000);  
Wien-Berlin. Stationen einer kulturellen Beziehung (with Mathias Hansen and Hartmut
Grimm, Saarbrucken, 2000); KV 332, Versuch uber Mozart; Juxtapposition und
analytische Collage; Richard Wagner und seine Zeit (Laaber, 2003), Musiktheorie
zwischen Historie und Systematik (Augsburg, 2004).

John Neubauer is Professor Emeritus of Comparative Literature at the University of
Amsterdam. Some of his latest publications are: "Organicism an Modernism / Music and
Literature" in Word and Music Studies: Essays on the Song Cycle and on Defining the
Field. (punt weg)(Amsterdam, Atlanta, 2001) and "National Operas in East-Central
Europe" in History of the Literary Cultures of East-Central Europe (Vol. 1. 514-23).
Jim Samson is Professor of Music at Royal Holloway. He has published widely on the
music of Chopin and on analytical and aesthetic topics in nineteenth- and
twentieth-century music. He is one of three Series Editors of The Complete Chopin: A
New Critical Edition (Peters Edition, in progress). His most recent publications
include a chapter on "Analysis in context" in Rethinking Music (Oxford, 1999), the
Cambridge History of Nineteenth-Century Music (Cambridge, 2002), and Virtuosity and
the Musical work: the Transcendental Studies of Liszt (Cambridge, 2003). Janet
Schmalfeldt is Associate Professor of Music Theory and Chair of the Music Department
at Tufts University.  She is the author of Berg's "Wozzeck:" Harmonic Language and
Dramatic Design and has published articles on the relation of analysis to
performance, on aspects of cadence, form, and voice leading in eighteenth- and
nineteenth-century music, and on the "Beethoven-Hegelian tradition."  Her
work-in-progress develops philosophical and analytic perspectives on form as process
in early nineteenth-century European music.

Susan Youens is Professor of the Music Department at the University of Notre Dame
since 1991. She has published mostly on Franz Schubert: Schubert's Late Lieder:  
Beyond the Song Cycles (Cambridge, 2002), Schubert, Mueller, and Die schoene
Muellerin (Cambridge, 1997), Schubert's poets and the making of lieder (Cambridge,
1999), and Franz Schubert: Die schoene Muellerin (Cambridge, 1992).


Professional music theorists, musicologists, students in music theory or musicology,
musicians, and other interested persons from all countries may apply for the seminar,
by supplying a biography and a motivation.


Attention! Please note that only 30 participants will be accepted. Application is
possible by means of the website of the Orpheus Institute from November 1, 2004 until
February 15, 2005.

The admission fee is 100 ? (-26) or 175 ? (+26). Lodging can be organized by the
Orpheus Institute at the cost of 50 ? per night for a single room in Bed & Breakfast
or 100 ? per person per night for hotel accommodation. Some limited basic double
rooms (twin beds) are available at 30 ? per person per night.

Information can be obtained at www.orpheusinstituut.be, or by e-mail:
info@orpheusinstituut.be

Orpheus Instituut, Korte Meer 12, 9000 Ghent, Belgium.
T: +32 9 330.40.81  F: +32 9 330.40.82

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