Bristol, 4-7 April 2002

Opening Address: Arnold Whittall

1. Performance Studies

J. Rink, The Profile of Performance
E. Ornoy, Between Theory and Practice: Comparative Study of Early Music Performances
J-L. Hong, Dynamics in Cello Performances of J.S.Bach’s C major Sarabande
F. Castelain, L’Opus 7 d’Anton Webern

2. Systems and Interpretations

M. Mastropasqua, A Phenomenological Ground for Analytical Hermeneutics: the Case of Melodic “Archetypal Schemata” in Tonal Music
M. Delaere, Authentic Analysis Practice
M. Schuijer, Nobody is her Own Sister: Pitch-Class Set Theory and the Concept of Equivalence
E. Huovinen, Intervallic Bias and Tonality

Keynote Address: Jonathan Dunsby, Derrick Puffett’s Analytical Style and the Evidence-Based Historiography of the Future

3. Darmstadt and Beyond (I)

R. Crow, Competition between Structural and Cognitive Models as a Source of Compositional Idea in the Music of the Twentieth Century
I. Lindstedt, Between Analysis, Theory and Composition: The Unknown Polish Concept of Total Serialism
E. Campbell, Signals and Envelopes: Boulez and Musical Perception

4. Theory and Metaphor

R. Adlington, Moving Beyond Motion: Musical Temporality and Metaphor
A. Huber, Das Lied ohne Worte als kompositorisches Experiment. Annäherungen an ein strukturelles Gattungskonzept’
M.-N. Masson, Lectures et relectures de l’œuvre musicale : le premier contrepoint de l’Art de la fugue dans le prisme des interprétations de Gerd Zacher

5. Beethoven

Z. Eitan, Gestures as Motives: Examples from Beethoven’s Piano Sonatas
M. Polth, Bedeutungen der Synkope

6. Darmstadt and Beyond (II)

J. Dack, The Analysis of Karlheinz Stockhausen’s Kontakte für elektronische Klänge,Klavier und Schlagzeug According to Schaeffer’s “Programme de la Recherche Musicale”
N. Hodges, “Just so much astrology really”: Bill Hopkins’ Etudes en Série, Technique and Poetics
J. Junker, Komponierte und gehörte Struktur in Luigi Nonos Con Luigi Dallapiccola

7. Oral Traditions

A. Ahmedaja, Die Rolle der musikalischen Analyse bei Untersuchungen albanischer Volkslieder
C. Ferrier, Comment noter et réinterpréter correctement les musiques traditionnelles? Le cas particulier de la harpe des Andes (Pérou – Equateur)
A. Labussière, Un parcours obligé vers 1’Analyse Modale : l’étude analytique du chant “à voix nue”

8. Form and Theme

F. Diergarten, “Melancholie des Unvermogens?” An Approach to the “Brahmsschen Ton” Based on the Intermezzo Op. 119,1
D. Neumeyer, Background as Theme
B. Wikman, Interpretation and Form in Chopin’s Music

9. Darmstadt and Beyond (III)

P. Niedermüller, Handwerk und Kommentar: Zur Dekonstruktion von Bernd Alois Zimmermanns Die Soldaten
M. Kanno, Pulse and Velocity in Ferneyhough’s Unsichtbare Farben
M. Solomos, Analysing the First Electroacoustic Work of Iannis Xenakis

10. Analysis and Conductors

R. Dalmonte, Conductor’s Analyses
C. Kemme, Analysis for Performers
L. Lohman, Orchestral Orality: Microanalysis of Conductors’ Representations of Performative Nuance in the Core Repertory
G. Schröder, Leichtentritt, Klemperer und der 8. Symphonie Anton Bruckners

Keynote Address: Jean-Jacques Nattiez, Analysing Music of the Oral Tradition: From Structural Models to Hermeneutic Constructions (a Wedding Dance from Uganda)

11. Music Theory in Russia

S. Khlybova, Revolution und Tradition: Russisches musikalisches Denken vor und nach 1917
Y. Kreinin, Victor Bobrovsky’s Functional Theory as an Instrument of 20th-Century Music Analysis
Y. Kholopov, Philosopihe der Musik von Aleksej F. Lossev und Strukturanalyse des Musik-Phaenomens

12. Listening/Cognition

M. Baroni, Analysing and Listening to the Form of a Piece of Music
W. d’Ambrosio, M. Gabrieli, E. Pozzi, Thematic Character and the Avant-Garde: the Use of New Technology in the Definition of the Concept of Theme in Twentieth Century Music
J-M. Chouvel, Structure et Cognition
C. Tsougras, Generative Theory of Tonal Music and Modality – Research based on the analysis of “44 piano pieces on greek folk tunes” by Y. Constantinidis

13. Analysis and the New Technologies

F. Delalande, Analyse et représentation multimédia de la musique comme forme sonore
M. Battier, A. Bonardi, M-H. Serra, Hypermédia et analyse
E. Trajano, D. Guigue, E. Costa, K. Silva, C. Gomes, H. Almeida, SOS – A Tool for Intelligent Automated Segmentation of 20th Century Music

14. German Music Theory

S. Eckert, Einschnitt, Absatz and Cadenz – Joseph Riepel’s Musical Syntax: Analysing Eighteenth-Century Music from an Eighteenth-Century Perspective
M. Riley, The “Harmonic Major” Mode in Late 19th-Century Theory and Practice
L. Holtmeier, Von der Musiktheorie zum Tonsatz: Riemann, Schenker Kurth, Louis, der Nationalsozialismus und die Musiktheorie nach 1945

15. New Approaches

P. Chicot, A New Music Theory
R. Draganova, La notion de “music making” comme fondement de l’analyse des pratiques concertantes
M. Henninger-Vial, A Productive Confrontation: the Bio-Logical Logic of S. Lupasco and Performance Studies

Round Table: The Pople Tonalities Project

Speakers and Respondents: Anthony Pople, Michael Russ, Richard Cohn, Nicolas Meeùs

Keynote Address: Clemens Kühn, Music Theory in Germany: Science, Art or Practice?

16. Analysing Early Vocal Music

P. Gargiulo, M. Mangani, An Analytical Method Focusing on Verdelot and the Early Madrigal: Preliminary Considerations and First Results
T.H. Hansen, Analytical Approaches to “Classical” Vocal Polyphony: The Case of Palestrina
J. Meyer, The Intersection of Historical Theory and Analysis: John Dowland’s Lutesongs and the Four Airs

17. Music in Eastern Europe Since 1945

A. Bayley, Four Soloists or One Ensemble? Developments in the Twentieth-Century String Quartet
T. Johnson, Lendvai Comes to Cologne: György Ligeti in the 1950s and ’60s
C. Humphries, The Analysis of Musical Experience: Szalonek’s “Musica Concertante”

18. Popular Musics

B. Bleij, Darn That Tune – Analysis and Jazz Harmony
B. Lowe, “Can’t Sing, Can Dance a Little”? A Performance Analysis of Fred Astaire’s Vocal Style
M. Ullrich, Musikalische Analyse im Tonstudio: Angemessene Analysekriterien für zeitgenössische Popmusikproduktionen

19. Music in the 20th Century

S. Vande Moortele, Analysing the Unanalysable: Formal Analysis and Schoenberg’s “Informal Music”
C. Baron, Tonal Systems in Crisis: Analysis and Autobiography in Charles Ives’s First Symphony
E. Latham, The Choreographer as Analyst: Bodily Gesture and Motivic Design in Stravinsky/Nijinsky’s Le Sacre du Printemps