EuroMAC 4, 1999

Rotterdam, 21-24 October 1999

1. Fragmentation and Integration in Beethoven’s Bagatelles op. 126

George Mowat-Brown, Whose Beethoven, anyway?
Paul Scheepers, Beethoven’s Bagatelles op. 126: Unity in diversity
Bemd Asmus, Risk and distance in Beethoven’s op. 126
Frank Samarotto, Temporal plasticity in Beethoven’s Bagatelles op. 126, n. 1 and 6
Paul van Reijen, Vielmehr will jede Nummer zuvor genau angesehen seyn [Rather, each number should be closely looked at before]. On the reciprocity of analysis and performance in Beethoven’s Bagatelles op. 126

2. Analysing Structure in Jazz Music

Martin Pfleiderer, Analysing structures in contemporary improvised music – problems & chances
Keith Waters, Metrical conflict in jazz improvisation
Hazel Leach, Milestones: an analysis of changes in harmonic language in jazz improvisation
Henry Martin, We Remember Clifford: variation technique at the middleground
Barbara Bleij, Aspects of harmony in Clare Fischer’s “Pièces” for small ensemble
Bruce Coates, The construction and application of a model for the analysis of linear free improvisation

3. Analysing Twentieth Century Music

Volker Helbing, “Noctuelles” by Ravel: an essay on the morphology of sound
Dieter Nanz, Vestiges of an early style: On Varèse’s first version of “Amériques”
André Douw, A matter of time: Igor Strawinsky’s “Symphony of Psalms”
Augostino Di Scipio, The orchestra as a resource for electro-acoustic music. The emerge of a newmedium in some works by Iannis Xenakis and Paul Dolden
Makis Solomos, The unity of Xenakis’ instrumental and electro-acoustic music
Benjamin Schweitzer, Bemd Alois Zimmermann’s “Tratto” and its relationships to selected works of his late period

4. Ligeti’s Violin Concerto: Historical Reflections Through Modern Music

Amy Bauer, Canon as secret rule, science and chaotic system in the music of Ligeti
Maria Kostakeva, Das rhizomlabyrinthische Verfahren Ligetis auf dem Beispiel seines Violinkonzerts
Stephen Taytor, Passacaglia and lament in Ligeti’s recent music
Friedemann Kawohi, Natural harmonies in Gyôrgy Ligeti’s Violin Concerto and Trio for French Horn, Violin and Piano
Yulia Kreinin, Ligeti’s Violin Concerto: rediscovery and reinterpretation as basic form building principles

5. The Principles of Parody in Renaissance and Twentieth-Century Music

Alice Tacaille, Nicolas Gombert et Jean Richafort : parodie et intertextualité, quelle perspectives pour l’analyse ?
Ignace Bossuyt, Nicolas Gombert and parody in the chanson
Andreas Waczat, Parody Motets in the Opus Musicum of Jacobus Gallus: Methods for identification, an approach to analysis
Michael Christoforidis, Musical borrowings and structure in Manuel de Falla’s Concerto
Marie-Christine Forget, “Le Printemps” of Claude le Jeune, “Cinq Rechants” of Oliver Messiaen: a compared analysis of an epistemological and compositional relationship

6. The “Trois Poèmes de Mallarmé” of Debussy and Ravel

Clemens Kemme, Futile sights of a moondrunk? Ravel’s and Debussy’s Mallarmé-settings
Peter Kaminsky, Text-music transformation in Ravel’s “Trois Poèmes de Stéphane Mallarmé”
Carles Guinovart, The “Trois Poèmes de Mallarmé” of Debussy and Ravel
Stephen Downes, “Nommez-nous…”: Chords, names and desire in Debussy’s setting of Mallamé’s “Placet Futile”
Eckehard Kiem, “Une rose dans les ténèbres”: On Ravel’s musical settings of Mallarmé’s poems
Craig Ayrey, Syntax, figures, and dissemination in Debussy’s “Soupir”

7. Interactions Between Acoustic and Electro-Acoustic Music

Herman Sabbe, L’électronique : instrument de méthaphore
Nicola Scaldaferri, Towards a critical edition of Bruno Maderna’s “Musica su due dimension!” (1952): Analysing sketches and tapes
Marian van Dijk, Montage technique in Edgar Varèse’s “Déserts”
Mark Delaere, Technology – Aesthetics – Composition: An analysis of Karel Goeyvaert’s “Pièce” for piano and tape (1964)
René Uijenhoet, “Signs” (1969) of Ton Bolynèl: A signal to analysts of electro-acoustic music
Anastasia Georgaki, Creating synthetic voices in the interactive environment of the pièce “En Echo” (1995) for voice and electronics by Philippe Manoury. Exploration of the boundaries between the synthesis and the processing of the voice

8. Methodological Issues

Andreas Bemnat, Juxtaposing hierarchies- a key for the analysis of Debussy?
Renata Suchowiejko, Structure et fonction de la cellule générative dans la sonate cyclique. Résultats de l’application de la méthode paradigmatique
Wilma D’Ambrosio, Maurizio Gabrieli, Egidio Pozzi, Towards an analysis of post-tonal music: Theoretical considerations and applications of method

9. Aesthetical Issues

William Benjamin, When are musical structures of aesthetic interest?
Sander van Maas, The status of the score
Christopher Wintle, Was ist Steigerung

10. Analysing Oral Tradition

Joep Bor, Henri Tournier, Wim Van Der Meer, The making of the Raga Guide; trancribing ragas; analysing ragas. An integrated presentation
Jean-Claude Chabrier, Inter-ethnic memorized patterns and tunes in Assyria / Upper Mesopotamia
Maria Achtsivasili, The word pattern as a guideline for the analysis of the Greek narrative songs in syllabic style – parallel analysis of the Byzantine Kontakion

11. Variation Process in Tonal Repertoire

John Irving, Variation technique in the Adagio of Mozart’s String Quintet, K.593
Jan Vandenheede, Form and expression in Ludwig van Beethoven’s “Heiliger Dankgesang”
Christoph Wunsch, Variation-technique and form in Max Reger’s “Variationen und Fuge über ein Thema von Ludwig von Beethoven” op. 86