British Musicological Societies' Conference 1999
Guildford, July 1999
British Musicological Societies'
15-18 July 1999
The Department of Music at the University of Surrey will host the 3rd
Triennial British Musicological Societies' Conference at the University's
Guildford campus from 15-18 July 1999.
The University of Surrey is 35 minutes from London by train, and is
easily accessible from London's two main airports, Heathrow and Gatwick.
(Details of the University's location can be found on the University's web
As with the previous conferences at Southampton ('93) and King's College, London ('96), the Critical Musicology Forum, the Royal Musical Association, and the Society for Music Analysis will be represented. Joining them this time will be the British Forum for Ethnomusicology and the inaugural Conference on Twentieth-century Music.
Enquiries may be addressed to the Chair of the Programme Committee:
Dr Christopher Mark
Department of Music
University of Surrey
Guildford GU2 5XH
Tel: +44 (0)1483 259317
Fax: +44 (0)1483 259392
Guildford's own web page for the conference:
The booking form for this conference can be accessed here and printed out: please return it in the regular mail. Online registration is not available.
(as at March 15, 1999)
All Chairs TBA
Thursday 15 July
10.00 onwards Registration
14.00-15.30 Session 1: Perception, Meaning, and Musical Language
Eric F. Clarke (University of Sheffield), 'Music that sounds like what
Nicola Dibben (University of Sheffield), 'Musical materials and the mediation of meaning'
Carl Humphries (Jagiellonian University, Cracow, Poland, 'The Social Semiotics and Phenomenology of Contemporary Music Making and its Effect on Musical Language'
14.00-15.30 Session 2: Film Music
Sally Plowright (University of Birmingham), 'The music in film
musicals: the Warner Bros. 1933 formula'
Julie Hubbert (University of South Carolina), 'Wagner and the Aesthetic of Film Music'
Annette Davison (University of Sheffield), 'Up in Flames: Love, control, and collaboration in the soundtrack to David Lynch's Wild at Heart'
14.00-15.30 Session 3: On Being a Musician
Chien-Er Chou (University of Sheffield), 'Nanguan music in contemporary
Ruth Hellier (Birmingham Conservatoire),'"I feel joy in my hands and my heart when I play": the therapeutic effects of being a P'urh'pecha musician'
Stephen Cottrell (Goldsmiths College, University of London), 'Music as capital: deputising among London's freelance musicians'
16.00-17.30 Session 4: Living with Music
Joseph Dubiel (Columbia University), 'Something Obvious about
Marion A. Guck (University of Michigan), 'Imaginative Relations with Music'
Fred Everett Maus (University of Virginia), 'Fictional Performances of Music'
16.00-17.30 Session 5: Western Music and its Cultural Practices
Xingshan Zheng (Xiamen University, Fujian), 'Research Methods into
Western Music from the viewpoint of a Chinese Musicologist'
Michael Bridger (Middlesex University), 'Tower of Babel? Notes towards a comparative taxonomy of contemporary musical praxes'
Kevin Malone (Manchester Metropolitan University), 'The Function of the Audience in Concert-going in the 1990s'
16.00-17.30 Session 6: Fictional Women and the Idea of Music
Nicky Losseff (University of York), 'Absent Melody and The Woman
Phyllis Weliver (University of Sussex), 'Darwin meets Schopenhauer: Middlemarch's Musical Courtships'
Sophie Fuller (University of Reading), '"Cribbed, cabin'd, and confined"?: The representation of women composers in British fiction'
Friday 16 July
09.00-10.30 Session 7: Sketches and the Compositional Process
Peter O'Hagan (Roehampton Institute, London), 'Antiphonie by
Richard McGregor (St Martin's College), 'Peter Maxwell Davies--the later symphonies'
Rachel Beckles Willson (King's College, University of London), 'A new discovery: Kurtág and analysis'
09.00-10.30 Session 8: Recordings: Reception and Performance Tradition
David A Pickett (Indiana University School of Music), 'Gustav Mahler
Mark Katz (University of Michigan), 'The Invisibility of Music in the Age of Recording'
José Bowen (University of Southampton), 'Performers Interpreting History: Finding "Una voce poco fa"'
09.00-10.30 Session 9: Late 18th- and Early 19th-century Theory
Jairo Moreno (Duke University), 'Irony and the limits of theory in
Gottfried Weber's analysis of Mozart's K 465'
Simon Keefe (Christ Church, University of Oxford), 'Antoine Reicha's "Dialogue": the emergence of a theoretical concept'
Stefan Eckert (SUNY-Stony Brook), '"Music is an inexhaustible Sea, no amount of paper can contain its rules!" The Concept of Tonordnung in Joseph Riepel's Anfangsgründen"
09.00-10.30 Session 10: Tradition and Change in Twentieth-century non-Western Music
Laudan Nooshin (Brunel University), 'Meaningful Sounds: Iranian Music
and the Negotiation of Identity'
Chris Williams (London), 'The Role of the Cretan Muslims in the Music of Crete'
Cheng Yu (SOAS, University of London), '"A flowing river": Twentieth-century music of the Chinese Pipa'(65)
11.00-12.30 Session 11: Music on the Radio
Ken Garner (Glasgow Caledonian University), 'Radio Music and the
Emotions: The discourse of British classical music broadcasting'
David Hendy (University of Westminster), 'Pop Radio and Musical Tastes: Radio Action and Radio Reaction'
Tim Wall (University of Central England), 'The Meanings of Black and Dance Music in Contemporary Music Radio'
11.00-12.30 Session 12: 19th-century Reception of Early Choral Music
Sue Cole (University of Melbourne),'"This Mistake of a Barbarous Age":
Nineteenth century performances and perceptions of Thomas Tallis's
Spem in alium'
Katharine Ellis (Royal Holloway, University of London) 'Untimely Arrivals?: The Sacred Choral Music of Bach and Handel in Nineteenth-Century Paris'
James Garratt (University of Wales, Cardiff), 'Historicism, Nationalism, and the Decline of the Protestant Palestrina Revival: The Role of Carl von Winterfeld'
11.00-12.30 Session 13: 20th-century French Music
Stephen Downes (University of Surrey), 'Humour, Melancholy and
Eroticism in Poulenc's settings of Max Jacob'
Caroline Potter (Roehampton Institute, London), 'The Shadows of Time: Dutilleux and the Second World War'
Caroline Rae (University of Wales, Cardiff), 'Ohana and Dutilleux--the French Post War "Independents": Individualists or Iconoclasts?'
11.00-12.30 Session 14: Influence and Post-Structuralism
Greg Laybourn (Goldsmith's College, University of London), 'Problems in
deconstructive music analysis'
Mark McFarland (University of North Texas), 'Reconsidering the "Anxiety of Influence".'
Anthony Pryer (Goldsmiths' College, University of London), 'Writing the Unwritable: Monteverdi and the Deferral of Meaning in "Possente Spirto"'
12.30-14.00 Lunch and Lunchtime Concert
14.00-15.00 Session 15: Television Music and the Shows of David E. Kelley(Session 8)
Julie Brown (Royal Holloway, University of London), 'Ally
Robynn Stilwell (University of Southampton), 'The music that isn't there: The Practice'
14.00-15.00 Session 16: Harpsichord Music
David Chung (Hong Kong Baptist University), 'Work Concept in French
Harpsichord Music ca. 1670-ca. 1720'
Anthony Noble (Salesian College Farnborough and King Alfred's College, Winchester), 'Beaming and note grouping in the Harpsichord Music of Elisabetta de Gambarini'
14.00-15.00 Session 17: Music and Critical Opinion
Deirdre Donnellon (University of Liverpool), 'Erik Satie, the Parisian
Press and the "New Music"'
Marina Frolova-Walker (University of Southampton), 'Reading Between the Lines: Coded Messages in Soviet Music Criticism'
14.00-15.00 Session 18: Signifiers of the Sacred in the Nineteenth Century
Jeremy O'Connell (Cornell University), 'The Religious Pentatonic'
Svetlana Zvereva (Institute for the Study of the Arts, Moscow), 'The "religious renaissance" in Russian music of the end of the nineteenth century and the beginning of the twentieth century'
15.00-16.30 Roundtable: Composition Today (provisional title; panel TBA)
17.00 Keynote lecture
Arnold Whittall (King's College, London), 'Fulfilment or betrayal?
Twentieth-century music in retrospect'
20.00 Concert: Clive Williamson, piano (Carter, Jonathan Harvey, Rzewski, Roger Smalley, James Wood)
Saturday 17 July
09.00-10.30 Session 19: Post-1945 Avant-Garde: Aesthetics and Techniques
Morag Grant (King's College, University of London),'Expression in
Bennett Zon (University of Hull), 'Lyotard, Boulez, and the Postmodern Sublime'
Ross Feller (Moorhead State University), 'Strategic Defamiliarization: The process of Difficulty in Brian Ferneyhough's Music'
09.00-10.30 Session 20: Transplanted Musics
Jochen Eisentraut (University of Wales, Bangor) 'Voce Tem Ritmo'
Denise P. Gallo (Loyola University), 'The Music Box: Exportation of Opera to America'
Anthony Ho Wai Chung (University of Hong Kong), 'Pipe band competitions in Hong Kong'
09.00-10.30 Session 21: Social Conditions and the Renaissance Composer
Rob C. Wegman (Princeton University), 'Agricola in Ghent'
Alison Sanders McFarland (Louisiana State University), 'Within the Circle of Charles V: New Light on the Career of Cristobal de Morales'
Katelijne Schiltz (Katholieke Universiteit Leuven, Belgium) '"Accio che ogniuno vegga che musica Cromatica si può cantare nelle chiese ad alta voce": on the influence of acoustics on composition in sixteenth-century musical treatises'
11.00-12.30 Session 22: Listening Critically to Harrison Birtwistle
David Beard (University of Oxford), 'Sounded Schemes: Compositional
Processes and the Listener in Birtwistle's Music'
Jonathan Cross (University of Bristol), 'Reading Birtwistle's Landscapes'
Robert Adlington (University of Sussex), 'Heard Mentality: On Really Listening to the Music of Harrison Birtwistle'
11.00-12.30 Session 23: Machaut
Alice V. Clark (University of Wisconsin Oshkosh), 'Another Ruina:
Machaut's Tenor Borrowings'
Kimberly Connor (University of Southampton), 'Falling 4-wards: cantus concessions in Machaut's formes fixes'
Jennifer Bain (SUNY Stony Brook), 'Approaching A and E: Cadential Progressions and Tonal Structure in the Music of Guillaume de Machaut'
11.00-12.30 Session 24: Music and National Identity
Malcolm Floyd (King Alfred's College, Winchester),'Music in the
service of identity: plotting themes in the novels of Ngugi wa Thiong'o'
Roberta Marvin (University of Iowa), 'Envisioning a National Musical Identity: Giuseppe Verdi and Music Education in Ottocento Italy'
John Snelson (New Grove Dictionary), 'English, French or European? Nationality and music in Vivian Ellis's Bless theBride'
11.00-12.30 Session 25: Early 20th-century English Song
Guido Heldt (Free Univerity, Berlin), '"Angels' song": structure and
meaning in the music of Gerald Finzi'
Vicki Stroeher(Augusta State University), 'Lover or Beloved?: Questions of Identity in Benjamin Britten's Michelangelo Sonnets'
Cecilia Hurwitz (Columbia University, New York), 'Formal Motivation through Tonal Ambiguity: the First Movement of Britten's String Quartet no. 2, op. 36'
12.30-2.00 Lunch/Lunchtime Concert
14.00-15.00 Session 26: Wagner
Christopher Morris (University College, Cork), '"Innocence among
opposites": Nietzsche, Bayreuth and the diagnosis of modernity'
Theresa Muir (City University of New York), 'Venus, the Rose, and the Grail: The Art of Edward Burne-Jones and Wagner'
14.00-15.00 Session 27: Late 17th- and early 18th-century English Music
Candace Bailey (North Carolina Central University), 'The English
antecedents of Purcell's keyboard music'
Amanda Eubanks (University of Michigan, Ann Arbor),'"O Ravishing Delight?": Music of Entrapment and The Judgment of Paris'
14.00-15.00 Session 28: Jews in Music: Portrayal and Reception
Stephen Meyer (Syracuse University), 'The Angelic Other:
Representations of the Jewess in Early 19th-century Opera'
David Hunter (University of Texas at Austin), 'Handel and the Jews: Fact, Fiction and the Tolerances of Scholarship'
14.00-15.00 Session 29: Motifs and Texture
Alexandra Lamont (University of Leicester), 'Perceived Similarity of
Tim Howell (University of York), 'Sibelius' Tapiola: The Full Monty'
16.00-17.15 Keynote Paper: Dr Franco Fabbri (Milan) (Title
20.00 Concert: Medici Quartet (Britten, Sebastian Forbes, Nigel
Osborne--newwork: world première)
Sunday 18 July
09.00-10.30 Session 30: Modernism, Destruction, and De-construction
Paul Attinello (University of Hong Kong), 'A Passion for the Violent
Ineffable: Modernist Music and the Angel'
Fuyuko Fukunaka (New York University), 'De-constructing Tradition: Wolfgang Rihm and Musical Borrowing'
Keith Potter (Goldsmiths' College, University of London), 'Minimalism: Modernist or Post-Modernist?'
09.00-10.30 Session 31: Voice
Barb Jungr (Goldsmiths' College, University of London),'The "trained"
voice: the cultural construction of vocal timbre'
Elizabeth Mackinlay (University of Queensland), 'Music for dreaming: the power of Aboriginal lullabies at Borroloola in the Northern Territory, Australia'
Caroline Bithell (University of Wales, Bangor), 'The polyphonic gesture: a comparative ethnomusicological approach to the practice and meaning of polyphony in oral traditions today'
09.00-10.30 Session 32: Late 18th-century History
Gabriella Dideriksen (London), '"The Band, as usual, from the
Professional Concert": Recruiting an Orchestra for the Pantheon Opera in
late 18th-century London'
Matthew Head (University of Surrey), 'Imperishable Perishability: Haydn's Death, The Creation, and Early-Romantic Phenomenologies of Music and History'
Mara Parker (Widener University), Carlo Graziani: 'A Musician's Life During the Second Half of the Eighteenth Century'
11.00-12.30 Session 33: Music and Politics
Carol Baron (SUNY Stony Brook), 'Politics in Ives Musicology and Ives's
Politics: Findings in New Sources'
Claire Taylor-Jay (University of Southampton), '"Meinem Volke Blut und Geist zu opfern": Art and Politics in Hindemith's Mathis der Maler'
Steen Kaargaard Nielsen (Aarhus University, Denmark), 'Making a stand, biting the hand: Steve Martland and British new music culture'
11.00-12.30 Session 34: Schoenberg and Webern
Alan Street (University of Exeter), 'The Ear of the Other: Style and
Identity in Schoenberg's Eight Songs, Op. 6'
Lee Tsang (University of Southampton), 'Piecing it together: why Webern grouped his Five Orchestra Pieces, Opus 10'
Christopher Wintle (King's College, University of London), 'Was ist Steigerung . . .'
11.00-12.30 Session 35: Monastic Music
Hwee San TAN (SOAS, University of London), 'Hymn singing style in
Chinese Buddhist gongde ritual in Fujian'
Tsai, Tsan Huang (University of Sheffield), 'Chinese Buddhist music in England'
Elisa Lessa (Universidade do Minho, Braga, Portugal), 'Nuns' musical activity: the Portuguese Monasteries in the 18th and early 19th centuries'
11.00-12.30 Session 36: Circulating Material: Influence and Absorption
Derek B Scott (University of Salford), 'The impact of African-American
music-making on the European Classical tradition'
John Richardson (University of Jyvaskyla, Finland), '"Black and White" Music: Dialogue, Dysphoric Coding and the Death Drive in the Music of Bernard Herrmann, The Beatles, Stevie Wonder and Coolio'
Luke Howard (Moorhead State University, Minnesota), 'Górecki in Pop / Górecki is Pop: A Classical Composer's Influence on Recent British Commercial Music'
12.30-2.00 Lunch and Depart