Principles of Music Composing: Phenomenon of Teleology

Lithuanian Composers’ Union
Lithuanian Academy of Music and Theatre
The 20th International Music Theory Conference
Principles of Music Composing: Phenomenon of Teleology
18–20 November 2020
Vilnius, Lithuania

Teleology embraces the phenomena that each sort of processual art deals with: the way a work evolves over time. In other words, it focuses on the final goal or purpose (Greek telos meaning “end, purpose”) as well as the course towards that goal (Heinrich Schenker). The Western music tradition has established musical forms implementing paradigmatic models of particular teleological strategies (sonata form as a pinnacle of this trend of thought), often approaching the final cadence as a complete fulfillment of a persistently pursued goal. However, evolving trajectories may seem not so obvious when we step out this conventional mental framework and face the cases of non-Western tradition or compositional inventions of the 20th –21st centuries. Static, meditative, monolithic, drone, minimalistic, instant, aleatoric musical iterations seem to, at least partly, evade a clearly defined, commonly identifiable telos.

So, what can actually serve as impetus to propel the processual flow of music? What types of developmental strategies are feasible in the light of plural cultural and ideological co-existence of the 21st century? What basis substantiates the widely established or alternative developmental models? These and more teleological issues will be thoroughly addressed in the conference “Principles of Music Composing: Phenomenon of Teleology”.

            The following sub-topics are suggested to disclose the subject:

            I. Theoretical and historical perspectives.

            1. Inter-scholarly (philosophical, psychoanalytic, psychophysiological, metaphysical, etc.) and musicological (Schenkerian, Post-Schenkerian, etc.) approach to teleology.

            2. Historical perspective of teleological phenomena.

            3. Links between teleology and the related concepts (dramaturgy, development, narrativity, directionality, orientation, expectation, temporality). Types of teleological strategies (culmination, reprise, balancing, elision, etc.).

            4. Teleology as an inherent phenomenon of a musical work itself or as a mode of listening (objective vs. subjective perspective).

            II. Teleological issues in contemporary contexts.

            5. Teleological strategies and alternatives in contexts of contemporary composition.

            6. Different teleological prerogatives in regard of distinct musical parameters (pitch, rhythm, timbre, the vertical, the horizontal, the diagonal, etc.) and various types of form.

            7. Teleological applications in regard of particular compositional techniques (modes, series, minimalism, aleatoric principles, sonorism, sound-based morphologies, electronics, etc.).

            8. Communication issues and challenges regarding the (non-)teleological approaches of the innovative compositional practices (instant, static, monolithic, meditative, electronic music, etc.).

            III. Interdisciplinary and intercultural aspects.

            9. Teleological potentialities in contexts of collaboration and interrelation between different artistic fields (literature, visual arts, performing arts, etc.).

            10. Cultural plurality as a source for possible teleological alternatives.

Paper proposals (abstract and a short biography) should be sent by email: pmc.lmta@gmail.com. The abstract must not exceed 500 words. The duration of full presentation is limited to 20–25 minutes.

In case of social restrictions regarding Covid-19, online execution of a conference will be considered.

The main language of the conference is English.

The deadline for proposal submissions is the 1st of September 2020. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome in the second half of September 2020.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal ‘Principles of Music Composing’.

More information: https://lmta.lt/en/20-oji-tarptautine-muzikos-teorijos-konferencija-muzikos-komponavimo-principai/

Principles of Music Composing: Orchestra in Contemporary Contexts

November 20th – 22nd 2019 (Vilnius, Lithuania)

Orchestra is not only one of the key categories of musical practice, but also a broad sociocultural phenomenon. Intellectual shifts in post-modern (aesthetic) medium, technological opportunities, and cultural migration are opening up more and more unexpected conceptual and technical perspectives for orchestra, while also challenging established theoretical tools. The conference “Principles of Music Composing” (XIX) invites researchers and composers to rethink and explore the multifarious factors of orchestra, its role and transformation in contemporary (musical) contexts. Such an object is of particular importance at national level, commemorating the anniversary of one of the most prominent Lithuanian symphonists – Eduardas Balsys.

The problematics of the subject embraces the encounter of innovative solutions and the orchestral tradition, the search for new technological means as well as the maintenance of orchestral cultural values. The aim of the conference is to stimulate intellectual and aesthetic efforts towards an authentic up-to-date relationship with the orchestral tradition.

The spectrum of the topics is detailed by the following sub-topics:

1. Theoretical and methodological aspects:
a) The concept of orchestra (elements, limits, criteria, etc).
b) Correlations of theoretical concepts (orchestral and timbral perception, interrelation between concepts of orchestral and chamber music, orchestral thinking and audiation, etc.).
c) Methodological principles of orchestration teaching.

2. Technological aspect:
a) Technical, technological, acoustic, aesthetic, socio-cultural, etc. factors of orchestra and their practical realization;
b) Influence of technological innovations (extended techniques, electronics, etc.) on conceptual and technical dimensions of orchestra, their relation to conventional orchestral approach;
c) The craftsmanship and orchestration principles of contemporary composers.

3. Orchestral genres and styles:
a) Different genres of orchestra and their specifics (concert music, opera, music for theater and cinema, soundtracks, etc.);
b) The integrity of style and orchestral techniques;
c) Timbral approaches and orchestral conceptions in contemporary music;
d) Peculiarities of the style and genres of orchestral works by Eduardas Balsys.

4. Cultural factors:
a) The distinctions and interactions between Western and non-Western orchestras (gamelan, gagaku, archaic orchestras, etc.);
b) Integration of unconventional means and sounds into Western orchestral tradition;
c) Sociocultural role of an orchestra (aspects of cultural policy, commission for a piece, etc.);
d) The interaction between modern techniques and national music in the orchestral works by Eduardas Balsys.

Paper proposals (abstract and a short biography) should be sent by email: pmc.lmta@gmail.com. The abstract must not exceed 500 words. The duration of full presentation is limited to 20–25 minutes.

The main language of the conference is English.

The deadline for proposal submissions is the 30th of September, 2019. Proposals will be reviewed by the members of the scholarly committee.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal ‘Principles of Music Composing’.

Principles of Music Composing: Links Between Audiation and Composing

18th International Music Theory Conference

Principles of Music Composing:

LINKS BETWEEN AUDIATION AND COMPOSING

Retrospective of the Century

November 13th 15th 2018

Vilnius, Lithuania

Considering audiation and composition together is not prevalent in existing research, and thus provides a thought provoking intention in the field of music theory. Audiation is designed and usually referred to in educational contexts as an aptitude to hear and comprehend music even when the real sound is not present. It is a cognitive process by which the brain gives a meaning to musical sounds. Giving a sense to a sound is an essential condition for the emergence of particular composing techniques, styles or even the general features of entire historical periods. With the rapid development of technologies and their apparent influence on composing as well as the increasing manifestations of serial methods in contemporary music, the role of audiation in the creative process becomes a problematic issue. For this reason integrating audiation and composition into a common discourse is expected to foster an intellectual field embracing both composing dilemmas as well as educational issues.

The topic of the conference is divided into suggested subtopics:

1) Audiation, aural perception/reception, inner hearing, ear training in the context of composing practices. Theoretical, typological, historical outlook.

2) Different audiative approaches (tonal, sonorous, intensity, rhythmic, etc.) as a premise for emergence of new composing techniques or trends in the retrospective of the century.

3) Composing as a result of audiation activity or conscious rejection (or restriction) of aural conducting in the composing process. (Auto)analysis of composer’s creative process.

4) Audiation aspects in accordance with creative evolution and style of a composer in oeuvre of Debussy (commemorating the 100th anniversary of composer’s death), his contemporaries and later composers.

5) Audiation tendencies and their manifestation in Lithuanian composers’ music following Čiurlionis (celebrating the centenary of independence of Lithuania).

6) Audiation strategies as creative stimuli in relation with other areas (literature, painting, motion, spirituality, etc.) and interrelationship between different senses (aural, visual, touch, etc.). Interdisciplinary approach to Debussy, Čiurlionis’ and later composers’ creative work.

7) Aural training possibilities and perspectives in regard with new composing demands emerged in the previous century.

Paper proposals (abstract and a short biography) should be sent by email: pmc.lmta@gmail.com. The abstract must not exceed 500 words. The duration of full presentation is limited to 2025 minutes.

The main language of the conference is English.

The deadline for proposal submissions is August 26th 2018. Proposals will be reviewed by the members of the scholarly committee and all applicants will be notified of the outcome in the middle of September 2018.

The participation fee is 20 Euros.

Selected papers of the conference will be published in the annual peer reviewed scientific journal Principles of Music Composing’.

Coordinators of the conference: Dr. Andrius Maslekovas, Aistė Vaitkevičiūtė