Trento, 24-27 October 1991

Secondo Convegno Europeo di Analisi Musicale, Atti a cura di Rossana Dalmonte e Mario Baroni, Università degli Studi di Trento, 1992

1. The Analysis of Musical Performance: Problems and Method

Mickael Aspinal, The “Lucia” Cadenza
Andranick Tanguiane, Analysing three interpretations of the same piece of music
Michel Imberty, De quelques problèmes méthodologiques dans l’approche psychologique expérimentale de l’interprétation musicale
Klaus Scherer, Hervine Siegwart, L’expression des émotions dans la voix chantée : analyse d’un passage de l’opéra “Lucia di Lamermoor”
Franz Födermayr, Werner A. Deutsch, Zur Gestaltung von Zeitachse und Dynamik durch drei verschiedene Sängerinnen in der Kadenz aus “Lucia di Lamermoor”

2. Structural Theories and Cognitive Processes at Work in the Segmentation of Music

Irène Deliège, Paramètres psychologiques et processus de segmentation dans l’écoute de la musique
Michel Imberty, Stabilité et instabilité : comment l’auditeur organise-t-il la progression d’une œuvre musicale ?
Jan Cross, Diana Stammers, Music analysis and the perception of set-theoretic relations
Kacper Miklaszewski, Łukasz Sawicki, Segmentation of music introduced by practicing pianists preparing compositions for public performances
Yizhak Sadaï, De certains paradigmes pré-compositionnels dans la musique tonale

3. Melodic Structures and Verbal Intonation

Giorgio Adamo, Un modello per l’analisi fonetico-acustica dei rapporti testo-musica
Zofia Helman, Sprechintonation in der modernen Oper
Luca Marconi, Intonazioni cantate e evocate nella “Cavalliera Rusticana” di P. Mascagni
Kelina Kwan, Textual and melodic contour in Cantonese popular song
Ramón Sobrino, Maria Encina Cortizo, Relationships between verbal intonation and Gregorian melody in the first mode Introiti

4. Analysis of Modal Structures

Harold Powers, Modality as a European cultural construct
Nicolas Meeùs, Mode, ton, classes, hexacordales, transposition
Michele Y. Fromson, Zarlino’s modal analysis of Willaert’s “Avertatur obsecro”
Slawomira Zerańska-Kominek, Mode: process and / or structure? A study of the Turkmen mukam gokdepe
Eduard Alexjew, Prinzipien der tonhöhenmaßigen Beschaffenheit archaisher Volkssingweisen

5. Structural Traits and Performance Variables in Repertories with an Oral Tradition

Simha Arom, Traits structurels et variables dans les musiques centrafricaines
Urve Lippus, Binary opposition in rhythmic thinking. Medieval theory of modal rhythm and its ethnomusicological implications
Maurizio Agamennone, Stabilità areale e variabilità locali nella musica delle confraternite cilentane
John Rink, The rethoric of improvisation: Beethoven’s Fantasy op. 77

6. “Popular Music”: Analysis of Songs from the 1950s to the 90s

Jan Ling, From Empfindsamer style to down-home village nostalgia
Allan F. Moore, The textures of rock
Richard Middleton, Towards a theory of gesture in popular song analysis
David Griffiths, Talking about popular songs: in praise of “Anchorage”
Aleš Opekar, Analysis of a rock album: “Straka v hristi” by the group Prážský výběr »

7. Relationships of Structure between Music and Film Narration

Philipp Tagg, Towards a sign typology of music
Alf Bjornberg, Music, video and the semiotics of popular music
Ennio Simeon, Programmi narrativi e stratificazioni del senso nella musica per film. Il caso di “Entr’acte”
Hroar Klempe, On mythical repetitions in music, text and image in the Coca-Cola commercials
Ryszard Daniel Golianek, The concept of musical dramaturgy in soviet musicological research

8. Analysing Electro-acoustic Music: Towards a definition of the sound objects

Denis Smalley, Can electro-acoustic music can be analysed?
François Delalande, Dominique Besson, Problèmes théoriques et pratiques de la transcription des musiques électroacoustiques
Nicoletta Sargenti, Per una definizione della unita percettive di “Aquatisme”
Christiane ten Hoopen, Polarised listening strategies for electro-acoustic music
Francesco Giomi, Marco Ligabue, Un approcio estesico-cognitivo alla descrizione dell'”objet sonore”

9. The Role of Music Analysis in the Primary and Secondary School

Keith Swanwick, Music education and the dimension of criticism in education
Boris Porena, L’analisi musicale nella scuola primaria. Prodromi a un’analisi metaculturale »
Franca Ferrari, Introduzione all’esercizio analitico nella prassi didattica della scuola di base
Giovanni Piazza, Suonare col disco. Ascolto attivo e analisi nella scuola di base: un esempio pratico
Jean Tabouret, Intégrer l’analyse dans l’enseignement non spécialisé

10. Analysing Analysis: Are there Relationships Between the Various Analytical Methods?

Jean-Jacques Nattiez, Existe-t-il des relations entre les diverses méthodes d’analyse ?
Michał Bristiger, Osservazioni sulla relazione di Jean-Jacques Nattiez
Jonathan Dunsby, Replay to Nattiez: Analysis of Analyses
Jaroslav Jiránek, Ein Beitrag zu Nattiez Analyse der Musikanalysen
Arnold Whittall, A replay to Jean-Jacques Nattiez

Démonstrations logicielles

Mario Baroni, Rossana Dalmonte, Carlo Jacobini, Analysis via synthesis: the program “Legre”
Lelio Camilleri, David Bencini, Michele Ignelzi, Paradigmatic analysis through the computer
Pater Castine, Contemporary music analysis package for the Apple Macintosh (CMAP)
Eva Ferkova, Marian Dudek, CACH: Computer Analysis of Classical Harmony
Helmut Schaffrath, Analysis means retrievial

Posters

Roberto Bolelli, Il rock e blu?
Gabriella Borghetto, Andrea Talmelli, L’alea controllata nei giochi musicali di Haydn e Mozart
Roberto Bresin, Gianni de Poli, Alvise Vidolin, A connectionist approach to timing deviation control in musical performance
Teresa Camellini, Scomporre e comporre l’ascolto
Maciej Gołąb, Akkord und Stimmführung in den chromatischen Fakturen bei Chopin
Didier Guigue, Timbre vs forme : pour une formalisation de l’organisation des timbres dans l’œuvre pour piano de Chopin
Maximilian Hohenneger, Beethovens Sonata appassionata op. 57 im Lichte verschiedener Analysemethoden
Stefana Levi, Ri-comporre: puzzles musicali per i primi anni di studio del pianoforte
Marc Mélen, Effet de la réduction et de la transformation du groupe rythmique sur la reconnaissance de mélodies familières
Egidio Pozzi, L’organizzazione della grande forma nella messa “Gabriel Archangelus” di Palestrina
Sanja Raljevič, A case of “new composed folk music” in Yugoslavia
Nicola Scaldaferri, Il repertorio dei Vjeshe a S. Costantino albanese
Sebastiano Scollo, Il triangolo delle sfere
Francesco Domenico Stumpo, Assimilazioni “colte” nella pop music
Jean-Christophe Villette, Emmanuel Bigand, Étude sur l’expressivité chez le jeune enfant à travers le dessin