MUSICOLOGY TODAY · surely responds to the conference theme, ‘musicology today’, with a...
Transcript of MUSICOLOGY TODAY · surely responds to the conference theme, ‘musicology today’, with a...
MUSICOLOGY TODAY:17th Annual Plenary Conference of the
Society for Musicology in Ireland
28–30 June 2019Maynooth University
MUSICOLOGY TODAY:17th Annual Plenary Conference of the
Society for Musicology in Ireland
28–30 June 2019Maynooth University
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Programme Committee Organising Committee Dr Anja Bunzel (Chair) Dr Anja Bunzel (Chair) Dr Patrick Devine Dr Patrick Devine Dr Darina McCarthy Dr Darina McCarthy Dr John O’Flynn Dr Adrian Scahill Dr Adrian Scahill
Conference Assistants Technical SupportFintan Farrelly David DunneNiamh Rita Keane Frank C. O’DonnellConor Lawrence Power Geke RemerieCathal Twomey
The conference organisers would like to extend their sincere thanks to the following individuals and institutions for their support of this event:
•BrepolsPublishing•ContemporaryMusicCentre,Dublin•Prof.LorraineByrneBodley,PresidentoftheSocietyforMusicologyin
Ireland•DúnLaoghaireOrganConcerts•FáilteIreland•FourCourtsPress•GalwayCathedralRecitals•InstituteofArtHistory,CzechAcademyofSciences•KildareCountyCouncil•MaynoothConferenceandAccommodationCentre:KatjaNolan,FionaSmith,allreceptionistsandadministrativestaff
•MaynoothUniversityBookshopJohnandCianByrne•MaynoothUniversityMusicDepartment:allteachingandadministrative
staff as well as students•MaynoothUniversityResearchDevelopmentOffice•Prof.ChristopherMorris,HeadofMusic,MaynoothUniversity•ReverendProfessorMichaelMullaney,President,StPatrick’sCollege,
Maynooth•Prof.PhilipNolan,PresidentofMaynoothUniversity•Prof.ThomasO’Connor,MaynoothUniversityArtsandHumanitiesInstitute•PuginHallstaff•Prof.RayO’Neill,Vice-PresidentforResearch,MaynoothUniversity•Prof.MariaPramaggiore,MaynoothUniversityGraduateStudiesOffice•ThomasRyan,MaynoothUniversityITServices(ShopCart)•Prof.ArndWitte,GermanDepartment,SchoolofModernLanguages•SocietyforMusicologyinIreland•TechnologicalUniversityDublin
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
We thank the following institutions and businesses for supporting various elements of this event:
Brepols Publishing
Contemporary Music Centre, Dublin
Czech Academy of Sciences, Institute of Art History
Dún Laoghaire Organ Concerts
Fáilte Ireland
Four Courts Press
Galway Cathedral Recitals
Kildare County Council
Maynooth University Research Development Office
Maynooth University Graduate Studies Office
Maynooth University German Department, School of Modern
Languages
Maynooth University Music Department
Maynooth University Arts and Humanities Institute
Society for Musicology in Ireland
Technological University Dublin
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
WELCOME
The Department of Music is proud and honoured to host the 17th Annual Plenary Conference of the Society for Musicology in Ireland. Musicology is fundamental to our research and teaching here in Maynooth. I am delighted to see this focus sowellreflectedinthenumberofourstaffandstudentspresentingthisweekendandinthebooksbeinglaunchedduringtheconference.Iamproud,too,thatourdistinguished colleague,ProfessorLorraineByrneBodley, has so ably led thesociety as president over the past four years.
The diversity of expertise and methodology represented by my colleagues ischaracteristic of contemporary musicology, as vividly demonstrated in therich and varied conference programme. Taken as a measure of the state of the discipline, the breadth – not tomention quality – of the sessions and paperssurely responds to the conference theme, ‘musicology today’, with a confidentaffirmation. It asserts the value of what we do as scholars and augurs well for the futureofmusicscholarshipinIrelandandbeyond.
I am very pleased to welcome you to the Department of Music and to Maynooth University.Aparticularlywarmwelcometoourmany internationalvisitors: Ihope you enjoy your stay in Ireland. May the conference prove provocative and enriching for all delegates.
Professor Christopher MorrisHead,DepartmentofMusic,MaynoothUniversity
It is a great pleasure to welcome all of you gathering at Maynooth for the 17th Annual Plenary Conference of the Society for Musicology in Ireland. It is a particular pleasure towelcome somany international contributors to ourbeautifulcountryanduniversity.MaynoothUniversitypridesitselfonthequalityand compass of its scholarship which has spanned the arts and humanities,socialsciences,andnaturalandtechnologicalsciences forover220years,andmusic scholarship occupies a particularly special place within the humanities forMaynooth and Ireland.While there are currently challenges faced by thehumanitiesinuniversities,inIrelandandinternationally,thereisnodoubtbutthattherewillalwaysbeaneedinoursocietyforthehighestlevelsofscholarlythinking and artistic creativity. The variety of presentations at thismeeting,encompassing,totakejusttwoexamples,musicologyandpoliticsortwentieth-centurymusicandvisualculture,isemblematicofacross-disciplinaryapproachtoscholarshipwhichthisuniversityembracesandwhich,Ibelieve,willanswersome of the challenges. Likewise the span of genres across classical, popular,traditionalandjazz,andwiderangeoftopics,shouldmakeforanextremelyopenandstimulatingatmosphere–whichisexactlyastheorganisersintend.Iwishallparticipantseveryintellectualsatisfactionandaveryenjoyableconference.
Professor Ray O’NeillVice-PresidentforResearchandInnovation,MaynoothUniversity
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
WelcometotheDepartmentofMusic,MaynoothUniversity,Ireland,andtotheinternational conference Musicology Today,the17th Annual Plenary Conference of the Society for Musicology in Ireland. I should like to extend our warm appreciation for your participation in this event and a very special welcome to thosewhohavetravelledfartoshareyourresearch.Wearehonouredbyyourpresence,andourhopeforyouinthenextthreedaysisthateachofyouwillenjoythe extraordinary range of papers presented at the conference and that you will have ample opportunity for meaningful engagement and exchange.
Theaimofthisconferenceistoembracethebroadrangeofsubjectspecialismswhich musicology enjoys today and to address topical issues in our discipline bothinacademiaandinthepublicdomain.Itisourhopethatthisconferencewillmakeanimportantcontributiontocurrentdebatessurroundingmusicologytoday while searching for new ways in which musicology can illuminate our lives bothprivatelyandprofessionally.
One of the aims of our society is to foster a culture of inquiry, collegialityand collaboration among ourmembers.On behalf of the SMI council andmycolleagues in Maynooth I offer you a traditional warm Irish welcome: céad míle fáilte-100,000welcomes.Thankyouforyourvitalcontributiontoourconferenceand for your engagement with our society.
ProfessorLorraineByrneBodley,DMUS,PHD,MRIAPresident,SocietyforMusicologyinIrelandProfessorofMusicology,MaynoothUniversity
On behalf of the organising committee I am honoured towelcome you to the17th Annual Plenary Conference of the Society for Musicology in Ireland. In the conception and planning of this conference two aspects featured prominently in discussionswithinbothSMICouncilandtheconferenceorganisingcommittee.Firstly, musicology in Ireland transcends Ireland’s borders geographically,methodologically and intellectually. Secondly, musicology in Ireland unites awiderangeoftopics,schoolsofthought,agegroupsandcareerstages.Itisthosetwo aspects which led to the seemingly unspecific (yet hopefully encouraging and open)titleofthisyear’sconference,Musicology Today.Itisourhopetounveil,questionand furtherdevelop current tendencies inmusicology in its broadestsense,andweareverymuchlookingforwardtoalivelyexchangeofideas.Wewishtoextendoursincerethankstoallattendeesfortheirinterestinourconference,fortheirinvariablyopen-heartedandreliablecooperationinthelead-uptothisevent,andforalltheadministrativeeffortsandspatial(de)tourstheyhavetakeninordertobeinMaynoothfrom28to30June2019.Iwishusallaninspirationalweekendfullofinterestinglectures,lecturerecitals,discussionsandconcertsaswellasstimulatingconversations,happyreunionswitholdfriendsandfruitfulnewacquaintanceshipsinmusicologicalresearch.
Dr Anja BunzelChairofConferenceCommittee,CzechAcademyofSciences
Frid
ay 2
8 Ju
ne 2
019
09:0
0Re
gist
ratio
n (fo
yer,
Mus
ic D
epar
tmen
t, Lo
gic
Hous
e, S
outh
Cam
pus,
May
noot
h U
nive
rsity
)
09:3
0O
peni
ng &
Wel
com
e (B
ewer
unge
Roo
m, M
usic
Dep
artm
ent)
Sess
ion
1be
wer
unge
roo
mo’
call
agha
n ro
omgi
llen
roo
m
10:0
0–12
:00
1a: M
usic
-Cul
tura
l Pra
ctice
and
Pop
ular
Cul
ture
Th
en a
nd N
owCh
air:
Prof
esso
r Lor
rain
e By
rne
Bodl
ey
1b: G
lanc
es in
to A
rchi
ves a
nd T
rans
crip
tions
Chai
r: Dr
Ker
ry H
oust
on (T
U D
ublin
, Ire
land
)1c
: Iris
h an
d Br
itish
Tw
entie
th-C
entu
ry A
rt
Mus
icCh
air:
Dr M
artin
O’L
eary
(May
noot
h U
nive
rsity
, Ire
land
)Dr
Anj
a Bu
nzel
(Cze
ch A
cade
my
of S
cien
ces,
Cz
ech
Repu
blic
): ‘N
inet
eent
h-Ce
ntur
y Eu
rope
an
Salo
n Re
pert
oire
with
in th
e Co
ntex
t of P
opul
ar
Cultu
re’
Patr
ick
Huan
g (U
nive
rsity
of L
ondo
n, U
K): ‘
In
Sear
ch o
f Los
t Chi
nese
Mus
ic th
roug
h Ja
pane
se
Arte
fact
s and
Man
uscr
ipts
’
Orla
Sha
nnon
(Dub
lin C
ity U
nive
rsity
, Ire
land
): ‘U
nder
rate
d, U
nder
estim
ated
: The
Co
ntrib
ution
s of J
oan
Trim
ble
(191
5–20
00) t
o Ire
land
’s Ca
non
of T
wen
tieth
-Cen
tury
Art
Son
g’,
30-m
inut
e Le
ctur
e Re
cita
lDr
Hyu
n Jo
o Ki
m (S
eoul
Nati
onal
Uni
vers
ity
Yons
ei/E
wha
Wom
ans U
nive
rsity
Seo
ul, S
outh
Ko
rea)
: ‘Ap
proa
chin
g Re
prod
uctiv
e Ar
ts: L
iszt a
s M
usic
al E
ngra
ver,
Tran
slato
r, an
d Co
lour
ist’
Scott
Fla
niga
n (U
nive
rsity
of U
lster
, UK)
: ‘A
Que
stion
of S
tyle
: Pra
ctisin
g Tr
ansc
riptio
ns a
nd
Tran
scrib
ing
Prac
tices
’
Dr It
a Be
ausa
ng (I
ndep
ende
nt S
chol
ar, I
rela
nd):
‘A S
ea P
oem
: Ina
Boy
le’s
Fing
al’s
Cave
’
Dr E
sthe
r Cav
ett (K
ing’
s Col
lege
Lon
don,
UK)
: ‘P
layi
ng to
Be/
com
e Al
ive:
Wha
t Pia
nos M
ean
for A
dult
Amat
eur P
erfo
rmer
s Tod
ay’
Dr A
dèle
Com
min
s (Du
ndal
k In
stitu
te o
f Te
chno
logy
, Ire
land
) and
Dr D
aith
í Kea
rney
(D
unda
lk In
stitu
te o
f Tec
hnol
ogy,
Irela
nd):
‘Life
be
yond
the
Libr
ary:
Sha
ring
Rese
arch
with
the
Orie
l Tra
ditio
nal O
rche
stra
and
Ceo
lta S
í’
Prof
esso
r Fio
na M
. Pal
mer
(May
noot
h U
nive
rsity
, Ire
land
): ‘C
onso
lidati
ng th
e Po
sition
of
Briti
sh C
ondu
ctor
s: Is
sues
of I
denti
ty a
nd
Influ
ence
in th
e M
usic
al C
ondu
ctor
s’ A
ssoc
iatio
n (1
916)
’Ka
rishm
eh (K
ay) F
elfe
li (In
depe
nden
t Sch
olar
, U
K): ‘
Mus
icol
ogy,
Subj
ectiv
ity a
nd M
edic
al
Mus
ic A
naly
sis: M
ozar
t’s F
anta
sia in
C M
inor
, K.
475’
Prof
esso
r Yo
Tom
ita (Q
ueen
’s U
nive
rsity
Bel
fast
, U
K): ‘
The
Bach
Prin
ted-
Mus
ic D
atab
ase
and
Its
Role
s in
the
Rece
ption
Stu
dyof
Bac
h’s W
orks
in
the
Long
Nin
etee
nth
Cent
ury’
Dr A
xel K
lein
(Ind
epen
dent
Sch
olar
, Ger
man
y):
‘Sw
an H
enne
ssy’
s Criti
que
of th
e Av
ant-G
arde
’
12:0
0–13
:00
Lunc
h (P
ugin
Hal
l, St
Pat
rick’
s Col
lege
May
noot
h)
Mu
sico
logy
Tod
ay:
17th
An
nu
al P
len
ary
Con
fere
nce
of
the
Soc
iety
for
Mu
sico
logy
in
Ire
lan
dC
ON
FE
RE
NC
E S
CH
ED
UL
E
Sess
ion
2be
wer
unge
roo
mo’
call
agha
n ro
omgi
llen
roo
m
13:0
0–15
:00
2a: A
naly
sis:
Lis
zt, M
ende
lsso
hn, a
nd B
rahm
sCh
air:
Prof
esso
r Nic
ole
Grim
es (U
nive
rsity
of
Calif
orni
a, Ir
vine
, USA
)
2b: M
usic
olog
y an
d Po
litics
Chai
r: Dr
Sha
ne M
cMah
on (M
ayno
oth
Uni
vers
ity A
rts a
nd H
uman
ities
Insti
tute
, Ire
land
)
2c: N
ew M
edia
in M
usic
olog
y an
d M
usic
Ed
ucati
onCh
air:
Dr Jo
hn O
’Fly
nn (D
ublin
City
Uni
vers
ity,
Irela
nd)
Mad
die
Kava
nagh
Cla
rke
(Dur
ham
Uni
vers
ity,
UK)
: ‘De
laye
d Ca
denti
al C
losu
re: A
n Ex
amin
ation
of
Str
uctu
ral C
aden
ces i
n M
ende
lssoh
n’s
Ove
rtur
es’
Mic
hael
Whi
tten
(Que
en’s
Uni
vers
ity B
elfa
st,
UK)
: ‘Sh
ould
we
be p
ragm
atic
or c
ritica
l abo
ut
auth
entic
ity?
Tow
ards
a d
iagn
ostic
app
roac
h to
au
then
ticity
in c
ultu
ral c
onsu
mpti
on a
nd ta
ste’
Dona
l Ful
lam
(Uni
vers
ity C
olle
ge D
ublin
, Ire
land
): ‘In
tera
ctive
Mus
ic a
nd th
e Lo
gic
of N
ew
Med
ia’
Brya
n A.
Whi
tela
w (Q
ueen
’s U
nive
rsity
Bel
fast
, U
K): ‘
Fran
z Lisz
t and
the
Post
-Cla
ssic
al S
onat
a De
form
ation
’
John
Moo
re (U
nive
rsity
of L
iver
pool
, UK)
: ‘N
egati
ve H
arm
ony,
Post
-Tru
th M
usic
olog
y an
d th
e Ill
usio
n of
Mus
ical
Pro
fund
ity’
Nog
a Ra
chel
Che
louc
he (T
el A
viv
Uni
vers
ity,
Isra
el):
‘Cla
ssic
al M
usic
, Tex
t and
Con
tem
pora
ry
Art:
List
enin
g to
Moz
art i
n An
ri Sa
la’s
Inst
alla
tion
The
Last
Res
ort’
Dr V
adim
Rak
ochi
(Glie
re K
yiv
Mun
icip
al
Acad
emy
of M
usic
, Kiy
v, U
krai
ne):
‘Bra
hms’s
Se
cond
Pia
no C
once
rto
Orc
hest
ratio
n an
d “t
he
Mus
ic o
f the
Fut
ure”
’
Chris
Will
iam
s (Ce
ntra
l Mus
ic L
ibra
ry o
f the
BBC
/Au
stra
lian
Mus
ic C
entr
e, A
ustr
alia
): ‘S
un M
usic
, Su
n Bo
oks:
Hist
oric
al M
usic
olog
y in
Ser
vice
of
the
Nati
onal
ist A
gend
a’
Laur
en F
arqu
hars
on (D
unda
lk In
stitu
te o
f Te
chno
logy
, Ire
land
): ‘A
n In
vesti
gatio
n of
the
Repe
rtoi
re a
nd Te
chni
cal S
tand
ards
in th
e Br
itish
Co
llege
of A
ccor
dion
ists 2
019
Sylla
bi fo
r Gra
ded
Exam
inati
ons’
Fede
rico
Fava
li (U
nive
rsity
of B
irmin
gham
, UK)
: ‘R
ecom
posin
g Br
ahm
s: A
Gla
nce
into
the
Futu
re’
Dr M
artin
Knu
st (L
innæ
us U
nive
rsity
Väx
jö,
Swed
en):
‘The
Spi
rit o
f Pro
paga
nda:
Mus
ic in
Po
litica
l Jou
rnal
ism’
Dr M
ary
Nug
ent (
Mar
ino
Insti
tute
of E
duca
tion,
Du
blin
, Ire
land
): ‘B
imus
ical
Lea
rnin
g:
Idire
atar
thu,
the
Best
of B
oth
Wor
lds?
’15
:00–
15:3
0Br
eak
(foye
r, M
usic
Dep
artm
ent)
Sess
ion
3be
wer
unge
roo
mo’
call
agha
n ro
omgi
llen
roo
m
15:3
0–16
:30
3a: S
chub
ert –
Lat
e St
yle
Chai
r: Dr
Nat
asha
Log
es (R
oyal
Col
lege
of M
usic
, Lo
ndon
, UK)
3b: M
usic
The
ory:
Orig
ins
Chai
r: Pr
ofes
sor Y
o To
mita
(Que
en’s
Uni
vers
ity
Belfa
st, U
K)
3c: I
rish
Coun
try
Mus
icCh
air:
Dr L
aura
Wat
son
(May
noot
h U
nive
rsity
, Ire
land
)Dr
Joe
Davi
es (L
ady
Mar
gare
t Hal
l, O
xfor
d U
nive
rsity
, UK)
: ‘Sc
hube
rt a
nd th
e Go
thic
’Dr
Nik
ola
Kom
atov
ić (I
ndep
ende
nt S
chol
ar,
Serb
ia):
‘Whe
re W
as I
Born
?: T
he Q
uesti
on o
f an
Una
mbi
guou
s Orig
in o
f the
Oct
aton
ic S
cale
’
Chris
tina
Lynn
(Dun
dalk
Insti
tute
of T
echn
olog
y,
Irela
nd):
‘The
Roa
d Le
ss T
rave
lled:
The
mati
c An
alys
is of
Sus
an M
cCan
n’s M
usic
al O
utpu
t of
the
Past
50
Year
s’
Dr S
hane
McM
ahon
(May
noot
h U
nive
rsity
Art
s an
d Hu
man
ities
Insti
tute
, Ire
land
): ‘C
odes
of
Cond
uct:
Rota
tiona
l For
m a
nd E
ntro
py in
the
Firs
t Mov
emen
t of S
chub
ert’s
Pia
no S
onat
a in
B-
flat M
ajor
, D.9
60’
Prof
esso
r Xav
ier H
asch
er (S
tras
bour
g U
nive
rsity
, Fr
ance
): ‘R
amea
u’s “
Chor
ds b
y Su
ppos
ition
” an
d th
e U
nrav
ellin
g of
Rav
el’s
Harm
ony’
Dr S
tan
Erra
ught
(Uni
vers
ity o
f Lee
ds, U
K): ‘
The
Coun
try
‘n’ I
rish
Prob
lem
’
17:0
0–18
:00
Org
an R
ecita
l: Pr
ofes
sor E
mer
itus G
erar
d G
illen
(May
noot
h U
nive
rsity
, Ire
land
) Ch
air:
Prof
esso
r Chr
istop
her M
orris
(May
noot
h U
nive
rsity
, Ire
land
)Ve
nue:
St P
atric
k’s C
olle
ge C
hape
l, So
uth
Cam
pus
18:0
0O
peni
ng R
ecep
tion:
Rec
ogni
tion
of N
ew S
MI H
onor
ary
Mem
bers
and
Join
t Boo
k La
unch
(Pug
in H
all,
St P
atric
k’s C
olle
ge M
ayno
oth)
Satu
rday
29
June
201
9
Sess
ion
4be
wer
unge
roo
mo’
call
agha
n ro
omgi
llen
roo
m
9:00
–10
:30
4a: S
even
teen
th- a
nd E
ight
eent
h-Ce
ntur
y St
udie
s: In
divi
dual
and
Gen
eric
Con
side
ratio
nsCh
air:
Dr M
icha
el L
ee (T
rinity
Col
lege
Dub
lin,
Irela
nd)
4b: I
rish
Publ
ic M
usic
al C
ultu
reCh
air:
Dr A
xel K
lein
(Ind
epen
dent
Sch
olar
, Ge
rman
y)
4c: C
hurc
h M
usic
Chai
r: Dr
Dar
ina
McC
arth
y (M
ayno
oth
Uni
vers
ity, I
rela
nd)
Dr E
stel
le M
urph
y (M
ayno
oth
Uni
vers
ity,
Irela
nd):
‘“And
Is T
here
One
Fan
atiqu
e Le
ft?”:
An
ticip
ating
Abs
oluti
sm in
the
Rest
orati
on C
ourt
O
de’
Dr Jo
e Ke
hoe
(Inde
pend
ent S
chol
ar, I
rela
nd):
‘The
me
and
Varia
tions
: Bor
der C
ross
ings
in th
e St
ory
of th
e Ra
dio
Éire
ann
Sym
phon
y O
rche
stra
’
Dr D
avid
Con
nolly
(Dun
dalk
Insti
tute
of
Tech
nolo
gy, I
rela
nd/S
t Mic
hael
’s, D
ún L
aogh
aire
, Ire
land
): ‘G
igou
t and
Gui
lman
t – A
New
Ap
proa
ch to
the
Inte
grati
on o
f Cha
nt a
nd O
rgan
in
Nin
etee
nth-
Cent
ury
Fran
ce’
Dr A
nton
io C
asce
lli (M
ayno
oth
Uni
vers
ity,
Irela
nd):
‘Nic
ola
Vice
ntino
and
the
Met
apho
r of
the
Nud
e Fi
gure
’
Dr A
dria
n Sc
ahill
(May
noot
h U
nive
rsity
, Ire
land
): ‘S
uppo
rting
and
Sha
ping
Cre
ativi
ty in
the
Reco
rdin
g of
Irish
Tra
ditio
nal M
usic
Alb
ums’
Elea
nor J
ones
-McA
uley
(Trin
ity C
olle
ge D
ublin
, Ire
land
): ‘G
enev
an P
salm
Tun
es in
Eig
htee
nth-
Cent
ury
Dubl
in: A
Cro
ss-D
enom
inati
onal
Re
pert
ory’
Mau
rice
Mul
len
(Dun
dalk
Insti
tute
of
Tech
nolo
gy, I
rela
nd):
‘The
Flo
w a
nd E
bb o
f Tr
aditi
onal
Mus
ic P
racti
ce in
Fin
gal’
10:3
0–11
:00
Brea
k (fo
yer,
Mus
ic D
epar
tmen
t)
11:0
0–11
:30
SMI P
resi
dent
’s Ad
dres
s (Be
wer
unge
Roo
m, M
usic
Dep
artm
ent)
Sess
ion
5be
wer
unge
roo
mo’
call
agha
n ro
omgi
llen
roo
m
11:4
5–13
:15
5a: S
chub
ert’s
Sur
roun
ding
s (Fr
iend
s, C
ritics
, Au
dien
ces)
Chai
r: Pr
ofes
sor X
avie
r Has
cher
(Str
asbo
urg
Uni
vers
ity, F
ranc
e)
5b: D
ublin
at t
he E
nd o
f the
Nin
etee
nth
Cent
ury
Chai
r: Pr
ofes
sor F
iona
M. P
alm
er (M
ayno
oth
Uni
vers
ity, I
rela
nd)
5c: P
opul
ar M
usic
Stu
dies
Chai
r: Dr
Lau
ra A
nder
son
(May
noot
h U
nive
rsity
, Ire
land
)
Prof
esso
r Lor
rain
e By
rne
Bodl
ey (M
ayno
oth
Uni
vers
ity, I
rela
nd):
‘Ars
et A
mic
itia:
The
Ae
sthe
tics o
f Frie
ndsh
ip in
Sch
uber
t’s C
ircle
’
Eogh
an C
orrig
an (U
nive
rsity
Col
lege
Dub
lin,
Irela
nd):
‘Mus
ic a
t the
Abb
ey T
heat
re: A
Pr
elim
inar
y As
sess
men
t’
Sara
h Li
ndm
ark
(Uni
vers
ity o
f Cal
iforn
ia, I
rvin
e,
USA
): ‘“
Hip
Hop
Caus
es V
iole
nce”
: Arg
umen
ts
and
Anal
yses
Con
cern
ing
Child
ish G
ambi
no’s
“Thi
s Is A
mer
ica”
‘Dr
Mar
ie-C
harli
ne F
occr
oulle
(Ind
epen
dent
Sc
hola
r, Ge
rman
y): ‘
Purp
oses
and
Nec
essit
y of
Len
gth
in th
e Fi
rst M
ovem
ents
of F
ranz
Sc
hube
rt’s
Last
Thr
ee P
iano
Son
atas
’, 60-
Min
ute
Lect
ure
Reci
tal
Dr A
nne
Stan
yon
(Uni
vers
ity o
f Lee
ds,
UK)
: ‘Al
mos
t an
Irish
man
? Ar
thur
Sul
livan
: Pe
rcep
tions
, Con
tact
s, In
fluen
ces a
nd th
e Gr
eat,
Big
Dubl
in C
once
rt o
f 189
4’
Dr L
aura
Wat
son
(May
noot
h U
nive
rsity
, Ire
land
): ‘“
Nin
a Cr
ied
Pow
er”:
Sto
ries a
bout
Nin
a Si
mon
e,
Hozie
r and
Per
form
ing
Activ
ism’
Hele
n Do
yle
(TU
Dub
lin, I
rela
nd):
‘Com
petiti
on
and
Com
positi
on: C
hora
l Acti
vity
in th
e Fe
is Ce
oil,
1897
–192
2’13
:15–
14:3
0Lu
nch
(Pug
in H
all,
St P
atric
k’s C
olle
ge M
ayno
oth)
14:3
0–15
:00
Soci
ety
of M
usic
olog
y in
Irel
and
AGM
(Bew
erun
ge R
oom
, Mus
ic D
epar
tmen
t)
15:0
0-15
:45
Net
wor
king
Bre
ak —
Spo
nsor
ed b
y Co
ntem
pora
ry M
usic
Cen
tre,
Dub
linTw
entie
th-C
entu
ry/C
onte
mpo
rary
Mus
ic/C
ompo
sition
, Bew
erun
ge R
oom
— N
inet
eent
h-Ce
ntur
y M
usic
, O’C
alla
ghan
Roo
m —
Ope
n Sp
ace,
Gill
en R
oom
Sess
ion
6be
wer
unge
roo
mo’
call
agha
n ro
omgi
llen
roo
m
15:4
5–17
:45
6a: S
ean-
Nós
Sin
ging
: Con
tinui
ty, C
reati
vity
an
d So
ngCh
air:
Sylv
ia O
’Brie
n (R
oyal
Irish
Aca
dem
y of
M
usic
, Ire
land
)
6b: C
once
pts o
f Gen
der a
nd M
agic
Chai
r: Dr
Est
elle
Mur
phy
(May
noot
h U
nive
rsity
, Ire
land
)
6c: L
ate
Nin
etee
nth-
and
Tw
entie
th-C
entu
ry
Mus
icCh
air:
Dr W
olfg
ang
Mar
x (U
nive
rsity
Col
lege
Du
blin
, Ire
land
)Dr
Ste
ve C
olem
an (M
ayno
oth
Uni
vers
ity,
Irela
nd):
‘Med
iatio
n, A
lterit
y an
d “L
ife”
in th
e Se
an-N
ós S
ong
Trad
ition
’
Cath
al T
wom
ey (M
ayno
oth
Uni
vers
ity, I
rela
nd):
‘Dia
na a
nd E
ndim
ione
as C
elib
ate
Love
rs:
Celib
acy,
Plea
sure
and
Gen
der D
ynam
ics i
n Ca
valli
’s La
Cal
isto’
Ange
lo P
into
(The
Ope
n U
nive
rsity
, Milt
on
Keyn
es, U
K): ‘
“Die
Fed
er is
t zur
Han
d”: T
he
“Scr
ipto
rial”
Unfi
nish
edne
ss o
f Mah
ler’s
Tent
h Sy
mph
ony’
Step
hani
e Fo
rd (M
ayno
oth
Uni
vers
ity, I
rela
nd):
‘Sea
n-N
ós a
nd Ir
ish C
onte
mpo
rary
Mus
ic: S
inge
r Pe
rspe
ctive
s on
Colla
bora
tion
and
Crea
tivity
’
Shau
na L
ouise
Caff
rey
(Uni
vers
ity C
olle
ge C
ork,
Ire
land
): ‘O
ther
wor
dly
Thre
shol
ds: L
imin
ality
an
d M
agic
in H
enry
Pur
cell’
s The
Fai
ry Q
ueen
’
Dr P
atric
k De
vine
(Ind
epen
dent
Sch
olar
, Ire
land
): ‘N
ext-D
oor N
eigh
bour
s as a
De
term
inan
t of L
ate
Styl
e: T
he D
imin
ished
Thi
rd
in A
nton
Bru
ckne
r’s S
ymph
ony
no.9
’Ci
ara
Conw
ay (Q
ueen
’s U
nive
rsity
Bel
fast
, UK)
: ‘T
he D
istrib
ution
of I
rish
Folk
Mus
ic in
John
O
’Kee
ffe’s
The
Cast
le o
f And
alus
ia (1
782)
’
Joha
nne
Hera
ty (I
ndep
ende
nt S
chol
ar, I
rela
nd):
‘Mic
roto
nalit
y in
Ezr
a Si
ms’s
Im M
irabe
ll’
Nad
ine
Scha
rfette
r (U
nive
rsity
of M
usic
an
d Pe
rform
ing
Arts
Gra
z, A
ustr
ia):
‘The
In
terr
elati
onsh
ip b
etw
een
Psyc
he a
nd B
ody
in
Diet
er S
chne
bel’s
Exp
erim
enta
l Mus
ic’
18:0
0–19
:00
Keyn
ote:
Pro
fess
or M
icha
el B
ecke
rman
(New
Yor
k U
nive
rsity
, USA
) — ‘D
vořá
k’s F
lash
back
s’Ch
air:
Prof
esso
r Lor
rain
e By
rne
Bodl
ey (M
ayno
oth
Uni
vers
ity, I
rela
nd),
Pres
iden
t of t
he S
ocie
ty fo
r Mus
icol
ogy
in Ir
elan
d (B
ewer
unge
Roo
m)
19:1
5 C
onfe
renc
e Di
nner
(Pug
in H
all,
St P
atric
k’s C
olle
ge M
ayno
oth)
Sund
ay 3
0 Ju
ne 2
019
Sess
ion
7be
wer
unge
roo
mo’
call
agha
n ro
omgi
llen
roo
m
9:00
–11
:00
note
: sta
rt ti
me f
or th
is se
ssio
n is
9:30
am7a
: Arti
stic
Rese
arch
Chai
r: Dr
Ant
onio
Cas
celli
(May
noot
h U
nive
rsity
, Ire
land
)
7b: A
ren’
t We
All E
thno
mus
icol
ogist
s…?
Chai
r: Dr
Adr
ian
Scah
ill (M
ayno
oth
Uni
vers
ity,
Irela
nd)
note
: sta
rt ti
me f
or th
is se
ssio
n is
9:30
am7c
: Mer
ging
Com
posi
tiona
l Sty
les
Chai
r: Fe
deric
o Fa
vali
(Uni
vers
ity o
f Bi
rmin
gham
, UK)
Eilís
O’S
ulliv
an (M
ayno
oth
Uni
vers
ity, I
rela
nd):
‘Initi
al D
irecti
ons i
n Ar
tistic
Res
earc
h’Dr
Javi
er C
ampo
s (In
depe
nden
t Sch
olar
, Sp
ain)
: ‘Ill
ustr
ious
Pea
sant
s: T
he In
here
nt
Valu
e of
Pop
ular
Bag
pipe
Mel
odie
s in
Clas
sical
Co
mpo
sition
s’
Paul
Cle
sham
(Uni
vers
ity C
olle
ge C
ork,
Irel
and)
: ‘C
onte
mpo
rary
Com
positi
ons o
f Iris
h Tr
aditi
onal
M
usic
Inco
rpor
ating
Wes
tern
Com
positi
onal
El
emen
ts: A
n Ex
plor
ation
of V
ario
us Ir
ish
Com
pose
rs/A
rran
gers
’Sy
lvia
O’B
rien
(Roy
al Ir
ish A
cade
my
of M
usic
, Ire
land
): ‘T
ext a
nd M
elod
y in
Seó
irse
Bodl
ey’s
The
Hidi
ng P
lace
s of L
ove’,
60-
min
ute
Lect
ure
Reci
tal
Deird
re W
alsh
(Uni
vers
ity C
olle
ge D
ublin
, Ire
land
): ‘F
rom
Jew
ish F
olk
Mus
ic’
Mar
gare
t Col
lins S
toop
(Trin
ity C
olle
ge D
ublin
, Ire
land
): ‘A
ddre
ssin
g th
e In
tegr
ation
of F
olk
Inst
rum
ents
into
Wes
tern
Art
Mus
ic E
nsem
bles
’
Anik
a Ba
bel (
Uni
vers
ity C
olle
ge D
ublin
, Ire
land
): ‘C
lass
ical
Mus
ic M
emes
: Etic
and
Em
ic P
ersp
ectiv
es o
n th
e Po
rtra
yal o
f Cla
ssic
al
Mus
icke
rs’
Dr E
mm
anue
l Ndu
buisi
Nna
man
i (U
nive
risty
of
Port
Har
cour
t, N
iger
ia):
‘Afr
ican
Con
tem
pora
ry
Art M
usic
, Com
positi
onal
Idea
tion
and
the
Dial
ectic
s of t
he C
anon
ic “
Wal
l” –
Cre
ating
So
unds
cape
, Loc
ating
Lan
dsca
pe a
nd E
voki
ng
the
Psyc
hoph
ysic
al in
Uzo
igw
e’s “
Talk
ing
Drum
s fo
r Pia
no S
olo”
’Dr
Dam
ian
Evan
s (Re
sear
ch F
ound
ation
for
Mus
ic in
Irel
and,
Irel
and)
: ‘In
Sea
rch
of Ja
zz: I
rish
Jazz
and
Dan
ce B
ands
’11
:00–
11:3
0 B
reak
(foy
er, M
usic
Dep
artm
ent)
11:3
0–13
:00
Plen
ary
Sess
ion
(Bew
erun
ge R
oom
)Pr
ofes
sor H
arry
Whi
te (U
nive
rsity
Col
lege
Dub
lin, I
rela
nd) —
‘The
Une
mpl
oym
ent o
f Mus
icol
ogy’
Dr N
atas
ha L
oges
(Roy
al C
olle
ge o
f Mus
ic, L
ondo
n, U
K) —
‘Re-
Empl
oyin
g an
d Re
-Dep
loyi
ng M
usic
olog
y’Ch
air:
Prof
esso
r Em
eritu
s Ger
ard
Gille
n (M
ayno
oth
Uni
vers
ity, I
rela
nd)
13:0
0–14
:00
Lunc
h (P
ugin
Hal
l, St
Pat
rick’
s Col
lege
May
noot
h)
Sess
ion
8be
wer
unge
roo
mo’
call
agha
n ro
omgi
llen
roo
m
14:0
0–15
:30
8a: C
lara
Sch
uman
nCh
air:
Dr Jo
e Da
vies
(Lad
y M
arga
ret H
all,
Oxf
ord
Uni
vers
ity, U
K)
8b: F
renc
h/Ru
ssia
n N
inet
eent
h-Ce
ntur
y Pi
anis
mCh
air:
Dr A
lison
Hoo
d (M
ayno
oth
Uni
vers
ity,
Irela
nd)
8c: T
wen
tieth
-Cen
tury
Mus
ic a
nd V
isua
l Cu
lture
Chai
r: Dr
Gar
eth
Cox
(Mar
y Im
mac
ulat
e Co
llege
, U
nive
rsity
of L
imer
ick,
Irel
and)
Emily
Shy
r (Du
ke U
nive
rsity
, USA
): ‘A
Rom
antic
M
odel
: Rel
ation
ship
s bet
wee
n Ro
bert
and
Cla
ra
Schu
man
n’s R
oman
ces,
Op.
94
and
Op.
22’
, 30
-min
ute
Lect
ure
Reci
tal
Luod
mila
Pod
lesn
ykh
(TU
Dub
lin, I
rela
nd):
‘Ale
xand
er D
ubuq
ue a
nd th
e Pe
dago
gica
l Leg
acy
of Jo
hn F
ield
’
Rach
ael F
ulle
r (Bo
ston
Uni
vers
ity, U
SA):
‘Cyb
org
Fem
inism
and
Cac
tus P
oliti
cs in
Ste
ven
Snow
den’
s Lan
d of
the
Livi
ng’
Hann
ah M
illin
gton
(Oxf
ord
Broo
kes U
nive
rsity
, U
K): ‘
Clar
a Sc
hum
ann’
s Dep
ictio
ns o
f the
N
inet
eent
h-Ce
ntur
y “W
ande
rer”
‘
Dr G
rego
ry M
ario
n (U
nive
rsity
of S
aska
tche
wan
, Ca
nada
): ‘D
ebus
sy’s
Prél
udes
(Deu
xièm
e Li
vre)
: “W
here
Do
We
Go fr
om H
ere?
”‘
Dr L
aura
Dal
lman
(Uni
vers
ity o
f Flo
rida,
USA
): ‘P
robl
emati
zing
Mic
hael
Dau
gher
ty’s
Mot
orCi
ty
Trip
tych
(200
0)’
Prof
esso
r Nic
ole
Grim
es (U
nive
rsity
of
Calif
orni
a, Ir
vine
, USA
): ‘F
orm
al In
nova
tion
and
Virt
uosit
y in
Cla
ra W
ieck
-Sch
uman
n’s P
iano
Trio
in
G M
inor
, Op.
17’
Dr C
lare
Wils
on(U
lster
Uni
vers
ity, U
K): ‘
Andr
é Ca
plet
: Pia
nist
Inco
gnito
?’Dr
John
O’F
lynn
(Dub
lin C
ity U
nive
rsity
, Ire
land
): ‘E
pic
and
Intim
ate:
Mau
rice
Jarr
e an
d th
e So
undt
rack
to R
yan’
s Dau
ghte
r (Le
an, 1
970)
’
FHG
Music and Theology in the European ReformationsEdited by David Burn, Grantley McDonald, Joseph Verheyden & Peter De Mey
ISBN 978-2-503-58226-9
Ludwig Senfl (c.1490-1543): A Catalogue Raisonné of the Works and Sources Vol. 1: Catalogue of the WorksBy Birgit Lodes, Sonja Tröster & Stefan Gasch
ISBN 978-2-503-58420-1
With a grace not to be captured Representing the Georgian theatrical dancer, 1760-1830By Michael Burden & Jennifer Thorp
ISBN 978-2-503-58356-3
Cinema Changes: Incorporations of Jazz in the Film SoundtrackEdited by Emile Wennekes & Emilio Audissino
ISBN 978-2-503-58447-8
www.brepols.net [email protected]
Musical Improvisation in the Baroque EraEdited by Fulvia Morabito
ISBN 978-2-503-58369-3
Nineteenth-Century Programme Music Creation, Negotiations, ReceptionEdited by Jonathan Kregor
ISBN 978-2-503-58346-4
Music Criticism 1950-2000Edited by Roberto Illiano & Massimiliano Locanto
ISBN 978-2-503-58442-3
Camille Saint-Saëns, Le Carnaval des animaux Facsimile Edition of the Autograph ManuscriptBy Marie-Gabrielle Soret
ISBN 978-2-503-58122-4
Nino Rota: La dolce vita Sources of the Creative ProcessBy Giada Viviani
ISBN 978-2-503-56644-3
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
ABSTRACTS
Friday 10:00–12:00: Session 1abewerunge room:Music-CulturalPracticeandPopularCultureThenandNow
Chair:ProfessorLorraineByrneBodley(MaynoothUniversity,Ireland)
Dr Anja Bunzel(CzechAcademyofSciences,CzechRepublic)‘Nineteenth-CenturyEuropeanSalonRepertoirewithintheContextofPopularCulture’
Scholarsscrutinisingthenineteenth-centuryGermanLiedhavegrappledwithdifficultiesinsituatingthisgenreasregardsitsaesthetic(andcommercial)value,becauseitispositionedsomewherebetweenpopularcultureandhighart.Whiletheworksrooted inthisgenrevary intermsoftheircompositionalaesthetics,andindeedmaybearsimilaritieswiththeirpendantsinotherlanguages,theysharetheirperformancecontextswithsuchothergenresastwo-andfour-handpianopiecesandsmall-scalechamberworks:distributedassheetmusic,manyofthesecompositionswereperformedin(semi-)privatesettingsbeyondtheirownregionaland/ornationalrealms.Thesesettingsrangefromhigh-calibremusicalsalons (for instancethoseofFannyHensel inBerlinandVáclavJanTomášekin Prague) to less musically-oriented gatherings in the homes of writers,politiciansand/orpeopleholdingother formsofsocialresponsibility.Thus far,salon scholarship has advocated surveys of important European cities and/orcase studies of specific salons. There is a need for further studies of this kind in ordertore-evaluatethesocio-culturalsignificanceofsalonculture.Furthermore,Isuggestapan-Europeanperspectivewithafocusonthemusic,throughwhichI hope to examine the salon’s impact on popular culture and cultural transfer. Introducing aspects of a new research project on musical repertoire in regular private social gatherings between1815and1850, this paper offers first ideasastohowthesalon,asasemi-privateplatform,tookanactivepartinshapingnineteenth-centurypopularcultureandininspiringanddisseminatingpopularsong. I invite a vivid discussion thematising current scholarly chances and challenges inresearchingnineteenth-centurysaloncultureasapan-Europeanplatform for the promotion of popular music and cultural transfer.
Dr Hyun Joo Kim(SeoulNationalUniversityYonsei/EwhaWomansUniversitySeoul,SouthKorea)‘ApproachingReproductiveArts:LisztasMusicalEngraver,Translator,andColourist’
RecentscholarshiphasbeguntorecognizeLiszt’sexperimentationintranscriptionin a way that acknowledges the executor’s creativity and the work’s independence in a broader cultural and philosophical context. Drawing on the discipline ofFrenchvisual-culturalhistory,thispaperrelatesLiszt’ssonicreproductionstothewidespreadnineteenth-centuryinterestinvisual-artreproduction.Basedonawidearrayofreviewsandcritiquesfromjournalssuchas Gazette des beaux-arts and L’artisteaswellasbookssuchasGrammaire des arts du dessin bytheartcriticCharlesBlanc,Idemonstratethepressingissueswiththereproductive
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
arts, includingthe lackofcolour, thenotionof translation,andthedichotomybetweencolourandcontour,throughwhichanewconceptionwasemergingofthe relationships between visual printmakers and musical transcribers. Justas the eminent engravers and lithographers of Liszt’s time invested heavily in new technical apparatus to control light and shade and thus bring aboutstrikingvisualeffectsthatwouldberoughlyequivalenttotheoriginalcolours,so did creative arrangers such as Liszt develop new methods to render the sonicpropertiesofinstrumentalcoloursontheblack-and-whitekeyboard.ThispaperalsodemonstrateshowLiszt’sarrangements,throughdistinctivetypesofkeyboardfiguration,useofpedalandsoon,createdakindofone-manorchestrainthemid-nineteenthcentury.Thiscollectiveevidence–derivinginpartfrommyforthcomingbook (Liszt’s Representation of Instrumental Sounds on the Piano: Colors in Black and White)butalsogoingbeyondit–shedslightonhowLisztfashionedhisroleasamusicalengraver,translator,interpreter,andcolouristtomakethereproductionin‘blackandwhite’asvibrantandaliveastheoriginal.
Dr Esther Cavett(King’sCollegeLondon,UK)‘PlayingtoBe/comeAlive:WhatPianosMeanforAdult,AmateurPerformersToday’
The lived experience – and meaningfulness – of amateur, classical musicalperformancetodayhasbeensubmergedbycurrentmusicology’sdrive towardsplurality and inclusion, even when amateur music-making in earlier timesreceivescriticalattention(forinstance,Head,2013).To address this, I take asmy point of departure an event happening in a (Iconfess,my)domesticmusicroom.Pianists,fromhesitantbeginnertoproficientperformer,whowork orwhohave previouslyworked in day jobs far removedfrommusic conservatoiresoruniversities,gather togetherofanevening,eachto perform a short piece on my Steinway “model B”. These devotees do not think thattheirinstrumentissolastcentury,ebonyandivorysymbolisingoppression;theydonotthinkithasdiedandbeenreincarnatedasanelectrickeyboardoranon-westernsound-sourcetobetheorisedbytheethnomusicologistsweallarenow.Theyplaytobe/comealive.Iwanttoknowwhatexactlyisgoingon.I interrogate how these performers relate to this gleaming instrument and to the instrument they play to themselves back home (or in the office), to eachother,inalltheirvulnerabilityasperformers,andtotheprocessoflearninganinstrumentasanadult.Ialsothinkaboutmyownsubjectpositionamongstthemasex-colleague,asthepersonwhosetupamusicclubinthelawfirmwhereweonceallworked,andnowas(ethno-)musicologistandoutsider.RelationalityinclassicalmusicperformancehasbeenconsideredbyAmandaBailey(inNooshin,2014)but this study considers relationalitynot ofprofessionalperformersbutamateursof variouskinds–to themselvesboth individuallyand collectively, totheirinstruments,andtothosewhogazeuponthem.By means of interviewing these performers, collecting and interpreting theirdata using largely interpretative phenomenological analysis (Smith, Flowers,&Larkin,2009),Iofferanphenomenologicalaccountofthesocialmeaningsofpianosforaclassofardentperformerslargelyforgottenbytheworldofacademe.
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Itmediates between newmaterialism (instrument as relational object: Bates,2012)andethnographicalmethods, creatingunderstandingofhowadult,non-professional performers (but also, perhaps, I/we) might access the profoundthrough the musical instrument as loved thing.
Karishmeh (Kay) Felfeli(IndependentScholar,UK)‘Musicology,SubjectivityandMedicalMusicAnalysis:Mozart’sFantasiainCMinor,K.475’
Musicologyhasalwaysbeenreticentwhenitcomestoescapingfromtheclutchesof thearts andhumanities,which continue to exert apower overanykind ofresearch or scholarship that falls under the academic study of music. This paperexaminesthetensionsthatemergewhenspecialisttraining(inmycase,as amusic analyst) is rejected in favour of a broader,more all-encompassingapproach towriting aboutmusic (and this includeswriting up an analysis ofstructure, form, tonality). Via a single case study (Mozart’s Fantasia in CMinor, K.475), I demonstrate the difference between an unreflective analysisthat pays little homage to the author-composer’s larger-than-life spirit, and amore entertaining semi-historicist methodology that only relies on score andbiographical correspondence. Drawing from a range of sources (especially theworkofAnnetteRichards,2000,andMatthewHead,2014,alsolandmarktextsbyRobertSpaethling,JoelLester,CliffEisenet al.),andfromnearlythreeyearsofmyowntheoretical-analyticalresearchmadepossibleviaanAHRCNorthernBridgescholarship,Ipresenta‘medical’musicanalysisthatbringseighteenth-century discourse into direct contactwith present-daymusicology, psychiatry,psychology,musicalcriticismandmusictheory.Viamyownrecordinganddemonstrationatthepiano,whichiscomparedwithotherrecordings(followinginthefootstepsofDanielLeechWilkinson),IarguethatintherighthandsMozart’sfantasiabecomesanentertaininganddisturbingexampleofpublicmusicology,capableoftranscendingtimeandplace,thatcomestolifewhenmusicologymeansbusiness.
Friday 10:00–12:00: Session 1bo’callaghan room: Glances into Archives and Transcriptions
Chair:DrKerryHouston(TUDublin,Ireland)
Patrick Huang(UniversityofLondon,UK)‘InSearchofLostChineseMusicthroughJapaneseArtefactsandManuscripts’
Throughout history, Japan has absorbed large portions of Chinesemusic andtheory due to its political and cultural demand. Due to Japan’s relative isolation andpolitical stability, lostmusicpieces inChina canstill be found invariousJapanesesources.Thisprovidesvaluablefirst-handreferencetothemorphologyof music at the time and raises the possibility of historical reconstruction.However,asithasexternalorigins,themusicisinevitably‘Japanised’overtime.Assuch, therigorous tracingandreferencingofbothoralandwrittensourcesbecomeallthemorecrucialtotheintegrityoftheresearch.
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
My case analysis is focused on Japanese Gagaku (雅樂, lit.: elegantmusic). Itoriginates from Yanyue (燕樂,lit.:diningmusic)inTangChina(618–907),andwasbroughttoJapanviadiplomaticmissionsintheeighthtoninthcenturies.Gagaku is still practised by ensembles today and is passed down by oraltradition.WrittensourcesfromtheJapanesemedievalperiod,suchasHakuga no fue-fu (博雅笛譜)in966,Sango yōroku (三五要錄) and Jinchi yōroku (仁智要錄) inthetwelfthcentury,andShinsen Shoteki-fu (新撰笙笛譜) in1303,alsodrawparallelswiththisandprovideaninsight intothechronological ‘Japanisation’of Gagakumusic.InmypresentationIwillcoversomebackgroundinformationandbrieflydescribe thenotationofGagaku, then furtherexplain the changesseen in different manuscripts and oral traditions in order to obtain a closerapproximation of ancient Tang music.
Scott Flanigan(UniversityofUlster,UK)‘AQuestionofStyle:PractisingTranscriptionsandTranscribingPractices’,
Transcription is an integral part of jazz studies. The initial stages of the process of transcription are underpinned with issues of stylistic accuracy, musicaldevelopment,content,intentandcoherency.Oncethetranscriptioniscomplete,the action of assimilating musical ideas into the performer’s personal musical style,aswellasmaintaininganimprovisatorybutindividualnature,unveilsamyriad of interpretative avenues and methods for the jazz musician. The exploration of the most productive ways in which the musician can transcribeajazzsolohasbeendiscussedinpreviousresearchbyThomasOwens,andapproachestosegmentingandcategorisingstructureshavebeendevelopedbyJohnWhite. In seeking toaddress theproblematicnatureof transcription,this paper draws upon theories suggested by White and Owens to outlineways inwhich jazz solosmaybe transcribed, segmentedandclassified.Theseclassifications provide a basis uponwhich the performer can effectively blendtranscribedelementsintonewimprovisatorystyles.Theoreticalquestions,concerningthepracticalnatureofperformingtranscribedstructuresandtheimpactthesehaveuponthecreativeoutputofthemusician,remain. The paper discusses practice issues pertaining to categorisation,reduction, practice ideas and effectiveness, supported by a methodologicalprincipleofpracticemethodsillustratedbydemonstrationsandmusicalexamplesthroughout. The paper will conclude with thoughts on the theoretical contexts and techniques involved in effective transcription and, additionally buildingon contemporary practice methods established by Mark McKnight and TomWilliams,willsuggestnewideasforbothtranscriptionpracticeandpractisingtranscriptions.
Dr Adèle Commins(DundalkInstituteofTechnology,Ireland)Dr Daithí Kearney (DundalkInstituteofTechnology,Ireland)‘LifebeyondtheLibrary:SharingResearchwiththeOrielTraditionalOrchestraand Ceolta Sí’
Drawing inspiration from a section in The Oxford Handbook of Music Revival that presents a historical perspective on the role of scholars and academics as
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
revival agents, this paper provides a contemporary example of how researchatauniversity level researchcentre in Ireland informsmusickingboth in thesurroundingregion,withafocusontheactivitiesandrepertoireofacommunityorchestra,and furtherafield inthecontextofabranchofComhaltasCeoltóiríÉireann. The paper critically considers the merits and challenges of applied ethnomusicology,aswellasthoserelatedtocommunityengagement inhighereducation.Witha focusonresearch in theareaof Irish traditionalmusic, thepaperexamineshowthescholarshipofteachingandlearning,archivalresearchand creative arts practice with an emphasis on composing and arranging impact on some of the ‘hidden musicians’ of counties Armagh, Cork, Louth, Meath,Monaghan andWaterford, particularly in the context of participatory music-making.
Professor Yo Tomita(Queen’sUniversityBelfast,UK)‘The Bach Printed-Music Database and Its Roles in the Reception Study ofBach’sWorksintheLongNineteenthCentury’
In the last twodecades receptionhistoryhasbecomeone of themostpopularresearch topics in Bach studies. The majority of these studies tend to focus on the examinationofthefinalphaseofthereceptionprocess,wheretheinfluencefromBach’s compositions is evaluated within a new historical tide or under different aesthetic ideals from those of Bach’s own time. In other words the process leading tothespecifichistoricalcontext,forinstancehowthespecificversionofBach’sworksasmanifestedinaprintededitionbecameavailabletothepersonunderscrutiny,whichshouldreallybeconsideredsimultaneouslyastheothersideofthesamecoinfortheholisticunderstandingofthesubject,tendtobeignored.The richness of information that a printed edition can offer to scholars is often underestimated. Each edition reflects a work’s market appeal, the ambitionsof its editors and publishers, trends in its interpretation and the handling ofsource informationat thetimeof itspublication, tonamebut four.Tobeableto gain a better understanding of it I have started compiling aBachPrinted-MusicDatabase.InthispaperIshallshowhowasystematicexaminationoftheprinted music can give us access to the thoughts of the people who produced theseeditions,andhowwecanhaveabird’seyeviewofallthethreadsofBachreceptionspanningoveracenturyfromthisuniqueperspective.
Friday 10:00–12:00: Session 1cgillen room:IrishandBritishTwentieth-CenturyArtMusic
Chair:DrMartinO’Leary(MaynoothUniversity,Ireland)
Orla Shannon(DublinCityUniversity,Ireland),30-MinuteLectureRecital‘Underrated,Underestimated:TheContributionsofJoanTrimble(1915–2000)toIreland’sCanonofTwentieth-CenturyArtSong’
‘Compositionwasaman’sworld’,writesJoanTrimble(1915–2000)inonearticle.Whenexplainingtheimpactthatgenderhadplayeduponhercareer,shedrewonthewordsofH.G.Wells:‘Nooneexpects[aman]todealwiththenextmeal,or
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
thechild’smeasles.’Despiteherlimitedcompositionaloutput,TrimblewasoneofthefewIrishorEnglishwomentohavegainedinternationalrecognitionduringthe twentieth century. Some of her early compositional achievements included theCobbettandO’SullivanPrizeattheRoyalCollegeofMusic,London.PerhapshermostradicalaccomplishmentwaswhenshebecamethefirstwomantohavebeencommissionedbytheBBCtowriteanoperafortelevision(1957).However,manyofherworksawaitpublicationtothisday.Inadoptingafeminist-musicologicalperspectivethispresentationwilldeliberatethereasonswhyTrimble’scompositionalidentityhasbeenoverlookedinIreland’sexisting canon of art song.Abiographical evaluationwill identify the varioussocio-politicaldifficultiesshefacedinadvancinghercompositionalcareer.UsingPeterStacey’smodelontext-settingandmusico-poeticrhetoric,thislecturewillreappraiseherearliesttrilogyofvocalworks–My Grief on the Sea (1937),Green Rain (1937),andGirl’s Song (1937)–toillustratethenuancesofherwritingstyle.Subsequentlytheaimsofthepaperaretwofold:toprovideacasestudyontherehabilitationofwomencomposers in thecanonof twentieth-centuryIrishartmusic,andtopresentTrimbleasarolemodelforcontemporaryfemalecomposersseeking representation across the British Isles.
Dr Ita Beausang(IndependentScholar,Ireland)‘A Sea Poem: Ina Boyle’s Fingal’s Cave’
The sea, with its changing moods and hypnotic rhythms has inspired manycomposersincludingBeethoven,Mendelssohn,Elgar,SibeliusandArnoldBax.Wagner andBenjaminBritten explored the drama and the turbulence of theocean in their operas.Debussywrote that he loved the sea and listened to itpassionately, but he found more inspiration for his music in paintings thanintheseaitself.InaBoyle livedinEnniskerry,onlyafewmilesfromthesea,andbecamearegulartravelleracrosstheIrishSeabysteamshipforhervisitsto London. A Sea Poem was her first substantial orchestral work, consistingof an introduction, theme, six variations and finale. It was completed on 29January1919andsubmittedtotheCarnegieTrustcompetitionlaterthatyear.According to her Memoranda‘ThejudgessentanotethattheyhopedIwouldnotbediscouragedbutwouldletthemseemoreofmywork’.Shehadenteredherorchestralrhapsody,The Magic Harp,atthesametime,andthatwasselectedforpublicationbythejudges,becominghermostsuccessfulcomposition.A Sea Poem hasneverbeenperformedinpublicandhasbeenovershadowedbyBoyle’sotherorchestralworks.Asitwasbeingrecordedin2018bytheBBCConcertOrchestraontheDuttonlabelitwaschristened‘InaBoyle’sFingal’s cave’. This paper will consideritonitsownmeritsasanambitiousandaccomplishedwork.
Professor Fiona M. Palmer(MaynoothUniversity,Ireland)‘Consolidating the Position of British Conductors: Issues of Identity andInfluenceintheMusicalConductors’Association(1916)’
Perceptions of British conductors – their function, status and authority –shiftedsignificantlybetweenthe1870sand1920s.EmergingfromtheshadowofcontinentalEuropeanexemplars,Britishconductorsbegantoforgeaclearer
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
identity. The individual careers and contributions of high-profile conductorshavebeenthesubjectofcloseconsideration.However,littleattentionhasbeenpaidtothecollectiveeffortsofconductorstoinfluencetheopportunities,workingconditionsandstatusoftheirprofessionduringtheFirstWorldWar.ThispaperusestheestablishmentoftheMusicalConductors’Association[MCA](March1916,London)asalensthroughwhichtoexploretheissuessurroundingthe conductor’s role within the music profession at that time. Casting light on theplaceoftheconductingprofessionwithinthewidermusicalmarketplace,itquestionstheimpetus,timing,membershipandaspirationsoftheMCA,situatingitsactivitiesandeffectivenesswithinthebroaderframeworkofunionizationinBritainandincontinentalEurope.Withcentralaimsfocusedon‘improvingandconsolidatingthepositionofBritishConductors’, theMCA’sHonoraryCouncilincluded leading figures: Landon Ronald (Executive Chairman), Sir FredericCowen,SirEdwardElgar,EdwardGerman,SirAlexanderMackenzieandSirHenryWood.Arangeofsourcesunderpinstheresearch,includingunpublishedcorrespondence, institutional archives, contemporaneous newspapers andperiodicals.Asaresult,newunderstandingsemergeinrelationtoprofessionalhierarchies(publicandprivate),thestatusandworkingconditionsofconductors,and the power of collective action at this time.
Dr Axel Klein(IndependentScholar,Ireland)‘SwanHennessy’sCritiqueoftheAvant-Garde’
TheIrish-AmericancomposerSwanHennessy(1866–1929)livedinParisduringaperiodofprofoundanddynamicchangeinthestylisticdevelopmentofEuropeanartmusic.Hewitnessed first-hand not only the shaping of the ImpressionistsoundworldbutalsotheriseofSchönbergandhisreceptioninoneofEurope’spivotalmusicalcapitals.Acomposermotivatedbythecontrastsbetweenruralandurbanlifeaswellasbyhisnaturalandtechnicalenvironmentandimbuedwith his own peculiar musical humour, he reacted instinctively against thedodecaphonicartofSchönbergandhisdisciples.Hiscriticismtakesonavarietyof forms: from letters to the editors of music journals to ironic compositions,and fromridiculingpolemics to seriousarguments.Underlying this isadeep-rooted concern for the future ofmusic and the direction itwas taking,whichgoesfarbeyondreactionaryconservatism.InthispaperIamgoingtoshowsomeexamplesofhiscritiqueofthecontemporaryavant-gardethatmakehimoneofthemostoutspoken–andyetwhollyforgotten–opponentsoftheSchönbergianaesthetic of his time in Paris.
Friday 13:00–15:00: Session 2abewerunge room:Analysis:Liszt,MendelssohnandBrahms
Chair:ProfessorNicoleGrimes(UniversityofCalifornia,Irvine,USA)
Maddie KavanaghClarke(DurhamUniversity,UK)‘Delayed Cadential Closure: An Examination of Structural Cadences in
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Mendelssohn’s Overtures’
A frequent narrative of recent scholarship is that concepts of closure, andimportantlycadences,inthelate-eighteenthandearly-nineteenthcenturiesareimbued with goal-directedness (Schenker, 1979; Caplin, 1998; Neuwirth andBergé, 2015). As cadences represent ‘the structural end of broader harmonic,melodic,andphrase-structuralprocesses’(Caplin1998,43),theyofferamomentoffinality,helpingtoarticulatethebroaderformallandscape.Oneofthemostimportant strategic concepts in Mendelssohn’s repertoire is the continuous delayofcadentialclosure.Beginningattheintra-thematiclevel,andoperatingthrough to the inter-thematic level, Mendelssohn frequently avoids cadentialarticulation. This results in a disassociation between the concept of closureand the cadence,with the articulation of formal space dependent onmelodic,rhythmicorrhetoricalmarkers.Thisavoidance,deferralanddelayisparticularlyprevalent inthemainandsubordinatethemes.Thispaperexaminesthematiccadences inMendelssohn’sovertures,andthetreatmentof theEEC(essentialexpositional closure) and theESC (essential structural closure), the twomostimportantgenericandtonalcadentialgoalsofthesonataspace(HepokoskiandDarcy,2006).ThispaperinvestigatestheprocessesthroughwhichMendelssohndelaysstructuralcadences,andtheconsequencesofdelayedstructuralclosure,intermsoftheimpactonsyntax,theteleologyandconceptsofgoal-directedness,and the listener expectation.
Bryan Whitelaw (Queen’sUniversityBelfast,UK)‘FranzLisztandthePost-ClassicalSonataDeformation’
As recent attempts to theorise the practices of post-Classical composers gainrenewed momentum, a comprehensive study of Liszt’s engagement with theprinciples of sonata form is overdue.Save for a selectivenumber of analyses,recent attempts at the formal study of nineteenth-century repertoires havetended to disregard Liszt’s output. Due to Liszt’s apparent resistance of standard sonata-formmodels–thoserecentlycapturedbybothWilliamCaplin(1998)andHepokoskiandDarcy(2006)–hisworksareoftenexplainedsolelyintermsoftheirprogrammaticcontent.WhileitisimportanttoacknowledgetheprogrammaticismofsomeofLiszt’smusic,anditspoeticandliteraryinspirations,itsrelationshipwith formal models demands more attention than it has previously received. Hepokoski (1993, 2006) has suggested that composers from the turn of thenineteenth century were occupied with a variety of sonata deformational features that imply a ‘post-sonata’ generic subtype, and, in light of this, this paperattempts to explore what these structural features are and how they manifest themselves inLiszt’s sonata compositions.Calling forahybridised theoreticaldiscoursebeyondthemodelsoftheViennese-Classical,IshowhowLisztemploysa common formalprocessacrossanumber of symphonicworks,and in turn Iattempt to endorse his significance for the pursuit of a Romantic Formenlehre.
Dr Vadim Rakochi(GliereKyivMunicipalAcademyofMusic,Kiyv,Ukraine)‘Brahms’sSecondPianoConcertoOrchestrationand“theMusicoftheFuture”‘
Botstein (1990) wrote that it was rather Brahms than Wagner who should
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
represent ‘the music of the future’ because of the former’s unprecedentedsynthesis of the old and the new. Rosen’s (2000) ‘structural quotation’ andNeunzig’s(2003)‘symphonyreinvention’revealedthesetwosourcesinBrahms’streatmentofmusicalformsandgenres.Still,theroleoftheBrahmsianorchestrain this synergy remains largely unexamined.ThispaperdiscussesfourconvergingfieldsofinteractionbetweentheClassicaland the Romantic styles in the orchestration of Brahms’s Second Piano Concerto. It is their synthesis that conditions an original character of sound and highlights aparticularorchestralstyle.First,analmostBeethovenianorchestra(intermsofstructure,compositionofinstruments)inapost-BerliozandWagnereracreatesbotharigidandinspiredsound.Second,anumberofsolosembodytheromanticatmosphereandpersonifythestory;astrongverticalofsections,inherentmostlytotheclassicalstyle,objectifiesthenarrative.Third,doublingsinthirdsorsixthscreatea touchofRomantic sentiment toa ‘Classical’, straightforwardmelodicmovement. Fourth, the alternations between the ‘in-the-orchestra’ soloists –horn,clarinet,cello–andthe‘out-of-orchestra’soloist–piano–form‘ensembles-in-the-orchestra’;thisprecludestimbralortexturalmonotonyandaddsintimacyto a massive orchestra.Brahms conceptualized the Classical orchestral structure and the Romantic expressionofdoublings,alternationsandsolosasunifieddomains.Thisapproachto the orchestra is reflected in twentieth-century symphonic works and thusshouldbeconsidered‘themusicofthefuture’.
Federico Favali (UniversityofBirmingham,UK)‘RecomposingBrahms:AGlanceintotheFuture’
Key elements of Brahms’s musical language still influence the work of contemporary composers. GyörgyLigeti’sTrio(1982)andThomasAdès’sBrahms (2001)are twoworks that includeelements ofBrahmsianphilosophy.Bothofthem are part of the Brahmsian heritage.Amongmanypre-eminentinnovationsintroducedbytheGermancomposerisanew way to deal with sonata form. Another aspect is the use of the developing variation:anewviewononeofthemostancientcompositionaltechniques.ThispaperaimstoshowhowBrahms’sheritage,specificallyaboutsonataformandthedevelopingvariation,hasbeenreceivedandinterpretedbyLigetiandAdèsin their respective pieces. For this purpose the form and structures of these compositions will be analysed. The result will highlight how they continuedthe Brahmsian philosophy of re-composing the past in order to move towardthe future, in a still-ongoing process, which can be described as a ‘historicaldeveloping variation’.
Friday 13:00–15:00: Session 2bo’callaghan room: Musicology and Politics
Chair: Dr Shane McMahon (Maynooth University Arts and HumanitiesInstitute,Ireland)
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Michael Whitten(Queen’sUniversityBelfast,UK)‘Shouldwebepragmaticorcriticalaboutauthenticity?Towardsadiagnosticapproach to authenticity in cultural consumption and taste’
Questionsabouttherelationshipbetweenauthenticityandmusical tastehavereceivedwidespreadinterestinthesociologyofcultureliterature.Oftendescribedasaqualityattributedtogoods,practicesorpeoplewhicharetakentobe‘real’,‘original’or‘unique’,recentsociologicalresearchindicatesthatauthenticityisamuch-sought-aftervaluewhichisbecomingincreasinglycentraltoquestionsofmusicaltaste.Emergingfromthedebatearetwoopposingcamps,oneconsistingofwhat I call ‘bystanders’ and the other ‘sceptics’.Thebystanders argue thatwhileauthenticityisdifficulttodescribeitnonethelesshassomerealvalueandwhat is needed are better sociological descriptions of what this value is. Thesceptics,however,suggestthatauthenticityservesasanotherformofsymbolicviolencewhichneeds tobeunmasked.Whilenot rejecting thebystandersandscepticswholesale,Iarguethatbothaccountshaveunderdevelopedthepracticalsignificance of authenticity, specifically that agents have recuperated in theirethicalreflectionsbothasensitivitytothedifficultiesofdescribingauthenticityaswell as their engagement inmakingunmasking critiques of their own.Onthisaccountagentshavecometounderstandthemselvesinthesewaysbynottakingsocialphenomenaatfacevalue,whichshowcasestheirdeepambivalenceabouttheirsociality.Thispaperwillconcludethattobetterunderstandmusicallife todayweneed toavoidanon-reductiveaccountofbothmusical tasteandauthenticity by takingmore seriously themoral sentiments of the agentsweresearchwho, likeus, are sensitive to the ethical hazards of ourunavoidablysocial nature.
John Moore(UniversityofLiverpool,UK)‘Negative Harmony, Post-Truth Musicology and the Illusion of MusicalProfundity’
In2017atheoreticalconceptknownas‘negative harmony’ begantoproliferateinonlinemusicalcommunitiespopularisedbyaYouTubeinterviewwithprominentjazzmusicianJacobCollier.PurportedlybasedontheworkoftheoristErnstLevyandhis1985monograph,A Theory of Harmony,negativeharmonyhasgainedasignificant cult following online. Since the interview’s publication amultitudeof response videos, articles and discussions have appeared online in variousforumsandformats,withsomecallingintoquestionthevalidityofthetheory.Thatbeingsaid,negativeharmony’ssupportersfaroutweighitsdetractors,andits unprecedented popularity is unrivalled in the expanding domain of music education media online. This study aims to analyse negative harmony as a digitalsubculturalphenomenonandmeme.Iwillsituatenegativeharmonyinitstheoreticalcontext,lookingatrelatedtheoreticalframeworksthatpavedtheway for the concept and highlight any correlations that may exist. I will also look athowtheeraofpost-truthmaybeaffectingmusicologymoregenerally.Basedon this I will evaluate the utility of negative harmony in a range of contexts including educational, compositional and performative. I will also examinenegative harmony’soriginsasamemeanduseacombinationofdiscourseanalysis
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
and ethnographic research to analyse how negative harmony is perceived and evaluatedbyarangeofindividualsfromvaryingmusicalbackgrounds.
Chris Williams (CentralMusicLibraryof theBBC/AustralianMusicCentre,Australia)‘Sun Music, Sun Books: HistoricalMusicology in Service of theNationalistAgenda’
It wasn’t until the next day that news reached Sydney: Despite heavy rain and Londontraffic,thereviewsofthenightbeforeamountedto‘themostencouragingand unanimous reception of a new work during the whole Commonwealth Arts Festival‘,apieceof‘genuinedistinction’.ThisisthecanonicalstoryoftheworldpremièreofAustraliancomposerPeterSculthorpe’s Sun Music,aworkthatwouldgoontospawnseveralsimilarlytitledworks,inaseriesnowconsiderediconicforboththecomposerandthebroadersocio-politicalideaof‘AustralianMusic’.Intruththereviewswerenotunanimous.Thecanonicalaccount,however,comesfromRogerCovell,thentheSydney Morning Herald’schiefmusiccriticbutalsoaclosecollaboratorandconfidantofSculthorpe.Covellhadalreadypennedtheprogramme note for Sun Music in addition to the review of the first performance andwouldgoontoenshrinethework’s‘historicalsignificance’byinscribingitinhisbook,Australia’s Music: Themes for a New Society,publishedbySunBooks.Farfrombeinga historyof‘Australia’sMusic’thebookwouldbecomethe history of‘Australia’sMusic’,ahistoryinwhichthehistorianwasnotonlypresentbutactively participating. Covell’spublisherSunBookswasaself-consciously‘nationalistpublisher’,justas Sun Musicbecameaself-consciously ‘nationalist’music.Undertheguiseofhistoricalmusicology–perhapsatautologyatthetime–SunBooks’nationalistagendainscribeditsnamesake.By reconstruing Sun Music’sreceptionthispaperbringstolightthebroader,andlargelycovert,culturalinfluenceofSunBooksinshapingthedominantnarrativeof‘AustralianMusic’.This,inturn,opensnecessaryspacetoreconsiderCovell’shistory now that it is itself historical.
Dr Martin Knust(LinnæusUniversityVäxjö,Sweden)‘TheSpiritofPropaganda:MusicinPoliticalJournalism’
Eversincetheonsetoftheuseofthemovingimageinjournalismmusichasbeenplayed in connection with it. Music accompanied the newsreels and propaganda filmsthatwereproducedduringWorldWar2–bothliveandonsoundtrack–and,afteraperiodofrelativeabsence,isnowbackinallkindsofaudio-visualjournalistformats,beitTVnews,journalistvideosontheweb,politicalmagazinesand documentaries etc. Despite its presence in everyday life neither the impact northemechanismsnorthehistoryofthiskindofbackgroundmusichasbeenresearched systematically. In my paper I will present an attempt to take a grip on this phenomenon. Methodologically it is rooted in the critical tradition of the FrankfurtSchoolandaddssomeaspectsfromrecentmediaresearchaboutfilm,TVandmusic.
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
AfterashorthistoricaloverviewabouttheoriginsofmusicinjournalismIwilloutline the circumstances of music production at the present state. An aspect which is central for this critical survey is the fact that music in journalism wasbornoutofthespiritofpropagandaandstilldisplaystracesofit.Specificcontradictions,problemsandunansweredquestionsthatthiskindofmusicposestotheresearcherswillbepresentedanddiscussed.
Friday 13:00–15:00: Session 2cgillen room:NewMediainMusicologyandMusicEducation
Chair:DrJohnO’Flynn(DublinCityUniversity,Ireland)
Donal Fullam(UniversityCollegeDublin,Ireland)‘InteractiveMusicandtheLogicofNewMedia’
The enclaves of post-industrial capitalism are surrounded by audio-visualpanoramas that have developed from European and American avant-gardeexperiments in musical composition and multimedia experience. Visions ofa panoptic media culture often appear oppressive and dystopian, but all-encompassingmediaeventsdesignedby composersandartists followingJohnCageduringthe1960swereintendedasparticipatory,democraticformsofart,in opposition to perceived fascist modes of top down communication. Avant-garde approaches towards the technologisation of music and democratic media choiceweretransformedwithintheconsumercultureofthe1980sandarenowconsolidated as commerce within modern algorithmic culture. More than any other medium computer games most fully reproduce the encompassingidealofthepost-warAmericanavant-garde,transfusedwiththerelentlesscommercialismofthe1980s.Computergamessurroundtheplayerwithchoice,buttheimpetustodesigntheseenvelopingaudio-visualenvironmentsdoesnotcomefromtheattempttodemocratiseculture–itcomesfromanoverarchingconsumerism and the rationalisation of computer logic. Avant-gardeexperimentsinparticipatoryart,named‘democraticsurrounds’byFredTurner,andinteractivemusic ingamesshareagenesis inthepoliticsofmediaparticipation thatdevelopedafterWorldWar2,butalso in the logicofcomputerisation. The modularity and automation of contemporary music and newmedia,and thepanoramaofuniquely individuatedaudienceexperiences,arenotnew,butthemeaningofmediainteractionhasbeenradicallytransformedwithin the hyper consumerism that developed towards the end of the millennium. Interactivechoiceiscentralforbothstylesofmodular,algorithmiccomposition,butittransformsfromapoliticaltoacommercialconceptaccordingtochangingcontexts. This paper outlines themovement of interactivemusical techniquesfromtheexperimentalaudio-visualsurroundsofthe1960stoourcontemporarymedia culture.
Noga Rachel Chelouche(TelAvivUniversity,Israel)‘Classical Music, Text and Contemporary Art: Listening to Mozart in AnriSala’s Installation The Last Resort’
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
The Albanian Anri Sala is a contemporary artist who centres on sound andmusic. In some of his films and installationsheuses classicalWesternmusicby composers includingMozart, Tchaikovsky and Ravel. In these works Salasuggests new forms of execution and interpretation as well as new forms of listening.My talk focuses on Sala’s multimedia installation The Last Resort (2017).Inmytalk I show how the installation fashions new modes of perceiving and listening to music by integrating music, visual art and text.The Last Resort employs the adagio movement from Mozart’s A major Clarinet Concerto in an unusual way: themusic isheard fromabove through speakers located inside38 snaredrumshungupside down from the ceiling. In addition, Sala hasmade tempochangesinthemusicbyfollowingweatherindicationsinaprivatejournalfrom1838.ThejournalwaswrittenbyanEnglishsailoronhisvoyagetothecolonyofAdelaide,Australia.Sala,byjuxtaposingMozart’smusic(withitscontextoftheEnlightenment)withatext (inthecontextofColonialism) isrelatingthetwo,suggestinganewconnotationforthewell-knownmusic.Moreoverheisexploringnovel ways to listen to and perceive Mozart: the audience is situated under the orchestraandthesoundcomesfromabove;eachaudiencememberchooseswhatsectionoftheorchestratolistento.FurthermoreMozartisre-situatedhistoricallyandculturally.AsinmanyofSala’sworks,The Last Resort invents a new musical experience and offers ways to refigure the work and its performance.
Lauren Farquharson(DundalkInstituteofTechnology,Ireland)‘An Investigation of the Repertoire and Technical Standards in the BritishCollegeofAccordionists2019SyllabiforGradedExaminations’
Academic output on the classical accordion is to date limited. My research aims toaddtothisoutputbyinvestigatingtherepertoireandtechnicalstandardsoftheBritishCollegeofAccordionists[BCA]foundedin1935/36byDrOttoMeyer.This presentation will explore the institutionalisation of the accordion in Britain fromitsinceptionwithspecificreferencetotheBCA’sexaminationrequirements.It will also examine the selection of repertoire in the accordion examinations and the technical requirements within each grade. This will be conductedthrough analytical engagementwith the 2019 syllabi.Within each grade thispaperwill also compare the standard of techniques betweenBritish andnon-British composers.Simultaneously itwill consider if there isabalance in theselectionofBritishandnon-Britishrepertoireinthe2019syllabiandwillaimtoquantifytheresults. Inessencethispaperaimstoanalysethecontributionof British composers to the examination’s repertoire and thus the development of the accordion in Britain. The recent data collected from an interview with the directoroftheBCA,RaymondBodell,willofferauniqueinsightintotheselectionprocessfortheBCAsyllabiandwillcontributetothefindingsofthispaper.
Dr Mary Nugent(MarinoInstituteofEducation,Dublin,Ireland)‘BimusicalLearning:Idireatarthu,theBestofBothWorlds?’
The phenomenon of a musician playing and performing in diverse musical genres isfrequentlydescribedasbimusicality. Howthisphenomenonevolvesinvarious
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
socialandeducationalcontextsisaddressedintheliteraturethroughperformer,researcher and educator perspectives. Thispresentationaddressesbimusicallearnerperspectivesthroughanexplorationofperceptions,learningprocessesandpracticesofstudentsinanIrishcontext,agedsixteentotwentyyears,astheycrossbetweenclassicalandIrishtraditionalmusics.Aqualitativehermeneuticresearchframeworkunderpinsthiscollectivecase study in which seven participants were purposively chosen from various formal and informal learning contexts. Data collected include the following: videotaped lessons, recordedpractice/playingsessions, observationsofa rangeof music-making activities, and interviews with the students, their parentsand teachers. Participants represent a range of instruments: a saxophonist/traditional flute/uilleann piper; two violinists/fiddlers; a cellist/uilleann pipes/whistle player; a classical/traditional harpist/concertina player; a pianist/fluteplayer;andapianist/accordionplayer.The research findings highlight the individuality of these students’ bimusicalpractices,suggestiveperhapsofamorenuancedimageofthenaturalbimusicalmusician than was indicated in earlier literature. There is evidence of different levels of immersion, participation, commitment and, to some extent, fluencyin the participants’ involvement in the two traditions. The research illustrates howissuessuchasdiversity,choice,easeandownershipareimportanttothesestudents as they sustain their many musical involvements. The communal/social dimension of music-making receives special attention in these narratives astheseyoungmusiciansnegotiate the similarities, confluencesand contrasts oftheirindividualbimusicalworlds.
Friday 15:30–16:30: Session 3abewerunge room:Schubert–LateStyle
Chair:DrNatashaLoges(RoyalCollegeofMusic,London,UK)
Dr Joe Davies(LadyMargaretHall,OxfordUniversity,UK)‘SchubertandtheGothic’
This paper engages the phenomenon of the gothic as a lens through which to contextualize Schubert’s penchant for all things strange and macabre. Areasof investigation include the arousal of extreme emotions, representations ofdeathandghostliness (as in theCminor Impromptu,D.899no.1), excessandtransgression(suchascanbefoundintheopeningmovementoftheGmajorStringQuartet,D.887),andanemphasisonfantasy,thesublimeandthegrotesque–allof which are interconnected at multiple levels in the music under consideration. These tropes are explored from both semiotic and hermeneutic perspectives,with attention devoted to their musical signifiers as well as their associations with trends in literature and the visual arts. In pursuing this interdisciplinary approachthepapernotonlyilluminatesanunderexploredaspectofSchubert’slatestylebutalsooffersfreshperspectivesonthesignificanceofthegothicinthecontextofEuropeanRomanticism.
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Dr Shane McMahon (Maynooth University Arts and Humanities Institute,Ireland)‘Codes of Conduct: Rotational Form and Entropy in the FirstMovement ofSchubert’sPianoSonatainB-flatMajor,D.960’
In A Secular Age Charles Taylor identifies the first half of the nineteenth century asthetimewhenaninvisibleborderiscrossedbetweenthepre-modernandthemodernsensesofself:thepre-modern‘porous’selfcedestoamodern‘buffered’selfwhich,inturn,reflectsabroadershiftfromanunderstandingoftheworldas a ‘cosmos’, a world of experiential and generational continuity permeatedwithmeaning,totheworldasa‘universe’,aplacewithoutinherent,preordainedmeaningandgovernedbytheprincipleofentropy.Thispaperwillarguethat,againstthebackgroundofthegradualerosionoftheculturally-positivemeaningofcyclicaltimeduringSchubert’slifetime,afundamentalaspectofthedialogueundertakenwithsonataconventioninthefirstmovementofD.960isthetensionbetweentherotational(asaculturalsignifierofrejuvenation)andtherectilinear(as a signifier of entropy). The movement’s hexatonic and octatonic cycles give risetoamarkedtendencytowardsequilibrium-inducing,or‘entropic’,harmonicmotion, of which its hexatonic poles are the most celebrated examples. Inanalytical commentary,however, the formal role of suchharmonic eventshasnotalwaysbeensufficientlyconsidered.Theanalyticaldiscussionpresentedherewillfocusontherelationshipbetweensuchharmoniceventsandformalstructureintheexpositionalanddevelopmentalrotations,withparticularattentiontotheconsequencesoftheexposition’sfunctionally-misplacedmedialcaesuraandtherecuperative task of the secondary theme zone.
Friday 15:30–16:30: Session 3bo’callaghan room: Music Theory: Origins
Chair:ProfessorYoTomita(Queen’sUniversityBelfast,UK)
Dr Nikola Komatović(IndependentScholar,Serbia)‘WhereWasIBorn?:TheQuestionofanUnambiguousOriginoftheOctatonicScale’
In the nineteenth century, various ‘exotic’ scales began to find a foothold inthe opuses ofmanyWestern composers.Among them is a scale that has haddifferent names in different traditions, although it has always kept the samestructure: Istrian scale, Pijper scale, Korsakov scale,Messiaen’s secondmodeandthegloballyacceptedterm–coinedbyArthurBerger–theoctatonicscale.NikolaiRimsky-Korsakov(1844–1908)wasoneofthefirsttoemphasizehisownconscious use of the octatonic as a reference system. Composers,music historians andmusic theorists (such asBoleslavYavorsky,JosephSchillinger,RichardTaruskin,AllenForte,DimitriTymoczko,KofiAgawuetc.)areusuallyinaweoftheimportanceoftheoctatonicscale,buthavesofarofferedveryfew–andverydifferent–theoriesaboutitsorigin.Whatwedoknowfor certain is that for centuries it found a fertile ground in Slavic countries and fromtherespilledintotheWest,firstofalltoFrance,whereOlivierMessiaen
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
(1908–1992)acknowledgeditsRussianorigininhisseminaltreatiseTechnique de mon langage musical (1944).However,thereareindicationstosuggestthatthis scale had not originated exclusively in that region. Therefore this paper will attempttodiscerniftheoctatonicscalehasanunambiguousplaceoforiginand,ifso,whereitmightbelocated.
Professor Xavier Hascher(StrasbourgUniversity,France)‘Rameau’s“ChordsbySupposition”andtheUnravellingofRavel’sHarmony’
In its attempt to rationalise harmonic material, nineteenth-century theoryreducedallchordstostacksofthirdsofwhichthelowestnoteispositedastheroot,alsogivingitsnametothewhole.Thus,forJelensperger–whosetreatiseinspiredReber’s,whichinitsturnservedasabasisfortheteachingofharmonyattheParisConservatoire–‘achordisanassemblageof2,3,4or5differentnotes,alltakenfromthesamescale,whichcanbearrangedinasuccessionofthirds’(1830,p.12). Suspensions introduce dissonant combinations that differ temporarilyfromthistemplate,yetresolveintoit.Tripleandquadruplesuspensions,whichgiveriseto‘toniceleventh’or‘tonicthirteenth’chords,areofparticularinteresthere. Jelensperger notates them as follows: Required parameters aremissingor incorrect‘whereallthenotesofthe 5̂ chord[hereaminordominantninthinA]areheldabovethe1[tonic]chord’(pp.96–97).However,onlytherootofthelatterisimplied,beingatfirstplacedunderneaththedominantharmonyasan‘addition’ to it (Reber1862,p.158). Inhis1722TreatiseRameau labelledsuchaconstruction ‘chordofthesuperfluousseventh’andclasseditinthecategoryof‘chordsbysupposition’,whichincludedninthchordsand,moregenerally,allchordsgreaterthantheoctavewhichforRameaumarkedthe‘boundaryascribedtochords’.Wheneverachordexceedsthisboundaryithastobeassumedthatanotehasbeenaddedathirdorafifthbelowtheactual,‘supposed’root,whichisthereforedistinctfromthislowernote.Thispaperaimstoshowhowthisnotion,typicaloftheFrenchBaroque,canbefruitfullyappliedtothecontextofRavel’smusic,wherechordscommonlyspananintervalgreaterthantheoctave,yieldinginteresting insights into the functionality of such chords.
Friday 15:30–16:30: Session 3cgillen room: Irish Country Music
Chair:DrLauraWatson(MaynoothUniversity,Ireland)
Christina Lynn(DundalkInstituteofTechnology,Ireland)‘The Road Less Travelled: Thematic Analysis of Susan McCann’s MusicalOutputofthePast50Years’
Thematic analysis is the process of identifying patterns or themes within qualitative data. This paper will investigate themes and patterns that existwithin the output of one female performer of Irish country music. Thematic analysiswillallowforqualitativeanalysisontwoseparatelevels,semanticandlatent.Semanticthemesareassociatedwithsurfacemeaning,wherethe‘analystisnot lookingforanythingbeyondwhat iswrittenorsaid intext’ (Braunand
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Clarke2006,p.84).Latentthemeslookbeyondthewordsandstartto ‘identifyor examine the underlying ideas, assumptions and conceptualisations – andideologies–thataretheorisedasshapingorinformingthesemanticcontentofdata’ (ibid.).Thematicanalysis’smainobjectiveistoidentifythemesorpatternsthat exist within a given context. By utilising this method which Braun and Clarkehavedevisedthispaperwillexaminebothsemanticandlatentthemesin order to gain a further and more informed understanding of the musical output of Susan McCann. Additionally it will aid in one of my aims: to gain an understanding of how McCann’s music was reflective of the culture and society of Ireland at the time of its release.
Dr Stan Erraught (UniversityofLeeds,UK)‘TheCountry’n’IrishProblem’
CountrymusicremainsextremelypopularinIreland,althoughperhapsbecausethis popularity is concentrated in the north and west of the island and away fromthemajorurbancentres(Millar2014,p.20)itreceiveslessattentionthanitmightmerit,bothinpopularmediaandinpopularmusicscholarship(seeforexampleO’Flynn,2009;Smyth,2005).Thispaperformspartofawiderresearchproject, still in itsearlystages, thatwill investigate threekey themesrelatedtothe“Country‘n’Irish”scene:(i)WhydidagenrethatwasoflimitedappealelsewhereinEuropebecomesopopularinIreland?(ii)Howdidthemusicbusinessin Ireland develop around countrymusic, and did this – as is often argued –retardthegrowthofanindigenouspopandrockscene?AndhowdoestheIrishcountrymusicbusinessoperatenow?(iii)WhoandwherearetheaudiencesforIrishcountryartistsnow–inIrelandandamongthediasporicIrishpopulationsintheUKandelsewhere?This paper will concentrate on the first of these: I want to look at contemporary sourcestolocatethepointatwhichasubsectionoftheshowbandscene–aquiteseparatephenomenon,alsosomewhatpeculiartoIreland–movedfromofferingmulti-genre entertainment to becoming specifically country-focused. I arguethatthesomewhatunder-examinedbelief inthecapacityofAmericancountryto resonate with a predominantly rural and socially conservative audience in Ireland, and the supposed correspondence and pattern of influence betweencountryandtheballadtraditionoftheseislands,needstobeinterrogated.Mytentativeviewisthat–aswithmanymusicbusinessphenomena–therewerecontingentandevenaccidentalelementsatplay,andaninvestigationofthewaylive and recorded music were managed and marketed in Ireland in the early to mid-1960s,alookatsomekeyfigures,andaconsiderationoftheresponsetotheoccasional touringUSartistsmighthelpus tobegin topiece togetheramorenuanced and materialist picture.
Saturday 9:00–10:30: Session 4ao’callaghan room: Seventeenth- andEighteenth-CenturyStudies: Individualand Generic Considerations
Chair:DrMichaelLee(TrinityCollegeDublin,Ireland)
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Dr Estelle Murphy(MaynoothUniversity,Ireland)‘“AndIsThereOneFanatiqueLeft?”:AnticipatingAbsolutismintheRestorationCourt Ode’
TherestorationofCharlesIIin1660isaneventthathasfosteredinterestfromscholarsacrossamultitudeofdisciplines.UnderstandingtheculturalaspectsofRestorationpolitics–themusic,poetry,visualandotherartsproducedatthistime–isafacetthathasprovenchallenging,notleastbecauseoftendenciestodismisssuchelementsasfrivolousatworstandreflectiveandinconsequentialatbest.A lack of extant works performed at the Restoration festivities has added to this challenge.Formanyyearstheonlysecularmusicidentifiedhasbeenthesolosong‘Welcome,WelcomeRoyalMay’byAlexanderBrome,settomusicbyMatthewLocke.Evidenceofamuchlargerwork–thetextofafullodebyJamesShirley,settomusicbyCharlesColeman–shedsnewlightonthere-establishmentofmusic at the Carolean court.ThispaperwilltakethisfirstodeforthekingattheRestorationand,followingAndrewR.Walkling’srevisionistapproachtounderstandingtheculturalaspectsofRestoration politics,will demonstrate the importance suchmusical outputshad for rebuilding themonarchy’s status. Itwill argue that suchactivitywasin fact indicativeofCharles II’s efforts towards creatingamore court-centredand royalist system of government than has previously been acknowledged.Moreover,itwillshowhowtheodeasagenreembodiedaspectsoftheabsolutismthatwouldemerge later in thereign,servingasan importantmeans throughwhichthecourtachieveditspoliticalobjectives.
Dr Antonio Cascelli (MaynoothUniversity,Ireland)‘NicolaVicentinoandtheMetaphoroftheNudeFigure’
The paragoneoftheartsisadiscourseaboutmusicandvisualcultureswidelyspread in renaissance Italy. Theorists, artista and writers from Leonardo to Comanini,fromVicentinotoZarlinoexploredthepotentialitiesoftheparagone asawaytonegotiateandconstructmeaning,viewingmusicandtheartsaspartof a continuous sensory experience. Among the various examples there is one which deserves particular attention. In his Antica musica ridotta alla moderna pratica (1555)Vicentinocomparesthedifficultyofwritingtwo-partcounterpointtothedifficultyofdrawinganudefigure,inoppositiontothe‘relative’easinessoffour-orfive-partcounterpointandafullyclothedfigure.ThesamemetaphorisrepeatedafewyearslaterbyOrazioTigriniinhisIl compendio della musica (1588).Dealingwithametaphoricallanguagealwaysraisesthequestionwhetheritisonlyawaytoembellishthediscourseoriftherearedeeperlayersofmeaningin terms of cognitive and cultural dynamics. The aim of this paper is to explore the significance of this particular analogy in the context of the renaissance interest in thenudefigureandthecriticaldebatesaroundit(GiorgioVasariandLudovicoDolce),alsothedevelopmentofsolosongswithinthetraditionofwrittenmusicandtwo-partcounterpoint,leadingthentothedevelopmentofoperaacrossthesixteenth and seventeenth centuries.
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Saturday 9:00–10:30: Session 4bo’callaghan room:IrishPublicMusicalCulture
Chair:DrAxelKlein(IndependentScholar,Germany)
Dr Joe Kehoe(IndependentScholar,Ireland)‘ThemeandVariations:BorderCrossings in theStory of theRadioÉireannSymphony Orchestra’
Bordersandboundariesexistatmanyontologicallevels,fromthemostabstract,etherealrealityoflinesinEuclideanspace,tothecartographicleveloflinesonamap, to themost concrete – sometimes literally concrete – level of physicalbarriersandwalls.Increasinglythetopicofnationalbordershasbecomethefocusofacademicdiscussionoverawiderangeofdisciplinessuchashistory,geographyandpolitical science.Moreover,evenoutside theworldof scholarship,bordersand thehuman impact of suchborders, fromBrexit toTrump’swall, arenowthestuffofnewsstoriesonadailybasis.Fromthemid-1940sontheorchestraof Radio Éireann underwent very significant development and expansion. Takinganinternationalperspective,andtouchingoncold-warpolitics,culturaldiplomacyandcommunicationstechnology,thispaperexploreshowinthemid-twentiethcenturyborders,bordercrossersandbordercrossingsfeaturedinthestory of that development. In particular this paper examines the context of the developmentoftheorchestraincludingthedesirabilityofestablishingashort-wave broadcasting service as a remedy for Ireland’s post-war isolation; theconsequentneedtorecruitorchestralmusiciansfortheradioorchestra;andthefactorswhichmotivatedEuropeanmusicianstocometoIreland,thenseenasahavencomparedtomanycountriesincontinentalEurope.Alsocoveredinthispaper are the events surrounding the forced resignation from Radio Éireann in 1948ofdirectorofmusicMichaelBowlesandhissubsequentemigrationtotakeup a foreign conducting post.
Dr Adrian Scahill (MaynoothUniversity,Ireland)‘SupportingandShapingCreativityintheRecordingofIrishTraditionalMusicAlbums’
MorethansixtyyearsafterthefirstLPsoftraditionalmusicwereissued,thealbumformatenduresasthepredominant(andgenerallysole)recordedartisticoutputoftraditionalmusiciansandgroups.Albumsaremarkedwithlaunches,advertised through different media, reviewed in newspapers, magazines andacademicpublications,andformthebasisforthemajorityofthediscographiesofIrishtraditionalmusic(e.g.Carolan1987;Carolan,McDermottandSmith2001).All of thisunderlineshow thealbum is an important cultural artefactwithinIrishmusic,yetlittleattentionhasbeengiventohowthealbumisconceivedasa particular type of creative artistic endeavour within traditional music and how thealbummightbeconsideredasatypeofmusicalworkwithinthetradition.Thispaperexamineshowtheconceptualizationofthe‘albumaswork’mayhavebeenshapedbytheavailabilityofaspecificfundingstream,theDeistraditionalartsscheme(2005),andthelaterDeisRecordingandPublicationAward,whichfocuseson‘therecordingorpublicationofwork’(www.artscouncil.ie).Itconsiders
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
how the criteria for the award direct musicians into creating works with particular canonicvalues,whichmayconsequentlyleadtothecreationofatypeof‘instant’canon. Finally the paper reflects on whether the funding supports or hinders thetypeofagencyandautonomywhichLeahO’BrienBernini(2016)arguesarecentraltoculturalproductionandtotraditionalartists’well-beinginanageofneoliberalcapitalism.
Maurice Mullen (DundalkInstituteofTechnology,Ireland)‘TheFlowandEbbofTraditionalMusicPracticeinFingal’
This paper critically considers the impact of demographic change and urbanisation on music-making in Fingal with a focus on Irish traditionalmusic.Fingalisnotedforthepresenceoflocalstrongholdsoftraditionalmusic-makingandfortheenduranceofsomelong-standingcommunityartstraditions,suchasmummers atChristmas time, piping and singing.The growth of newcommunities has challenged the identity and prominence ofmore establishedgroupsandcontributestoafluctuatingengagementinIrishmusicaltraditions,a pattern that precedes the intense demographic change of the past two decades. EstablishedmusiciansandotherpartieswithaninterestinthetraditionshavesettledinFingalaspartofinwardmigrationtothecounty,augmentingexistingmusicalactivitiesandcontributing to change in traditionalmusicpractices intheir localities. The paper will examine the development of the music and community interest in thetraditionsinkeylocalitiessuchasBallyboughalandSkerriesoverthepast30years. This will include a consideration of relevant models defining communities ofpractice,musicscenesandapproachestocommunitydevelopment,asameansofbetterunderstandingandtheorisingimpactsofebbsandflowsinthepopularityand place of Irish traditional music practice over time in these localities.
Saturday 9:00–10:30: Session 4cgillen room: Church Music
Chair:DrDarinaMcCarthy(MaynoothUniversity,Ireland)
Dr David Connolly(DundalkInstituteofTechnology,Ireland)‘GigoutandGuilmant–ANewApproachtotheIntegrationofChantandOrganinNineteenth-CenturyFrance’
Asthemiddleofthenineteenthcenturyapproached,therewerechantreformerswho were interested in the improvement of the organ repertoire. Building on the integrationofLutheranchoralesintothemusicofBach,musicologistssuchasDanjou and Fétis were promoting integration of plainchant into organ music. TheseideasaidedtheworkofAlexandreBoely,EugèneGigoutandAlexandreGuilmant,andhelpedtoallowtheorganandchantrepertoiretoevolve.ToquoteGuilmant: ‘‘The German organists have composed some pieces based on themelodyofchorales,formingaliteraturefororganwhichisparticularlyrich;whyshouldwenotdothesamewithourCatholicmelodies?’The influence of the Schola Cantorum in the development of organ music
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
more suited to the Solesmes ideas in terms of flexibility of rhythmand tonalstructurewillbeexplored,andtheimpactthattheseadvanceshadonthefuturedevelopment of chant-based organ repertoire by composers such as CharlesTournemire(1870–1937)willbeassessed.
Eleanor Jones-McAuley(TrinityCollegeDublin,Ireland)‘GenevanPsalmTunesinEighteenth-CenturyDublin:ACross-DenominationalRepertory’
TheGenevanPsalterof1562wasnotonlyaworkofgreatreligioussignificancebutalsooneof themost influential churchmusic collectionsof theProtestantReformation. Its 126 distinct tunes, designed to complement the poetic psalmtranslations of Marot and Beza, spread throughout Europe along with Jean’Calvin’sReformedreligion.Manyofthese‘‘Genevan’jigs’,asonecontemporaryobserverdescribedthem,wereadoptedbythechurchesofEnglandandScotlandand became a central part of those church music traditions in turn. DutchCalvinists brought the tunes with them to the American colonies. Genevanmelodies even made their way to the Sultan’’s court in Ottoman Istanbul,renderedintraditionalTurkishstylebyaPolish-borncourtmusician.This paper will examine the Genevan psalm tunes as they were sung and heard in eighteenth-century Dublin, a city deeply divided along religious lines. Inparticular itwill compare theuse of theGenevan tunes in the city’’sFrench-speakingHuguenot congregationswith that of theparishes of the establishedchurch,wheretuneslikethe‘OldHundredth’(thenameitselfareferencetoitsoriginal place in the Genevan Psalter) were mainstays of the metrical psalm repertory.Dublin’’sPresbyterianandBaptistcommunitiesmadesimilaruseofthe tunes in their musical practice. The Genevan melodies thus represented a pointofcommonalitybetweenDublin’sdifferentProtestantgroups,despitethetheological,politicalandevenlinguisticdifferencesthatdividedthem.
Saturday 11:45–13:15: Session 5abewerunge room:Schubert’sSurroundings(Friends,Critics,Audiences)
Chair:ProfessorXavierHascher(StrasbourgUniversity,France)
Professor Lorraine Byrne Bodley (MaynoothUniversity,Ireland)‘ArsetAmicitia:TheAestheticsofFriendshipinSchubert’sCircle’
WhereasthecultoffriendshipandtheaestheticdiscourseofSchubert’scirclehaveeachseparatelyreceivedafairamountofscholarlyattention, a more thorough examinationoftheaestheticsoffriendshipontheformationofSchubert’sworksis needed. Schubert’s compositions and correspondence offer insight into theintimateconnectionsbetweenfriendshipandtheaestheticsoftheperiod,notonlyduetotheextenttowhichsuchdiscoursesresonateinhismusicaloutput,butalsobecauseofhowuniquelyheregardsmusicalactivityitselfasfriendship.Thispaperwillre-examineSchubert’srelationshipwithSchoberandengageinclosereadingsofavarietyofhisvocalmusicandworksforpianofourhands,amediumwhichAlfredEinsteinnotedis‘symbolicoffriendship’.Throughthiswewillcome
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
to a greater understanding of the extent to which the discourses of friendship and aesthetics intersect with and fundamentally affect one another with particular intensity inSchubert’smusical practice andproduction.Wewill also discoverhow friendship emerges asSchubert’s preferredmode for conceptualizing andshapingthecomplexrelationsbetweenacomposer,hisartandhisidealaudience.
Dr Marie-Charline Foccroulle (Independent Scholar, Germany), 60-minuteLecture Recital‘PurposesandNecessityofLengthintheFirstMovementsofFranzSchubert’sLast Three Piano Sonatas’
The doctoral thesis in music performance I did at the Royal Irish Academy of Music inDublin looksat the interpretationof the firstmovementsof the lastthreepianosonatasofLudwigvanBeethovenandFranzSchubert.Schubert’streatmentofsonata-formmovementswasabundantlycriticisedinthepast forits length and lack of inner organisation. It is only recently that opinions on Schubert’squalitiesofcomposition,seenanteriorlyasanimperfection,havebeenchallengedandstartedtochange.ThelengthinSchubert’spieces,forexample,isnowseenbyscholarsasabrilliantqualityofhismusic.Based on the research found in the doctoral dissertation this presentation focuses on the firstmovements of Schubert’s piano sonatasD.958,D.959 andD.960.Itexplainsthatspecificpurposesjustifythepresenceoflength;itshowsthenecessity of length inSchubert’smusicaswellas its essential role in thedevelopmentofthegeneraldiscourseofthemovements.Inparallel,andhelpedbymusicalexcerptsofthemovements,thislecturerecitaldescribesthepositiveimpact that length has on the interpretation and reveals the coherence it creates throughoutthemusic.SupportedbytherecentbutsuccessfulreassessmentbyscholarsofSchubert’scritics,thepresentationhelpsperformerstobeawareofthereasonsthatarebehindthelengths.Consequentlyitbecomeseasiertounderlinethesereasonsintheperformanceandthereforetomakethemunderstandableforthelistener.OnlythendoeslengthgetitsfullmeaningandbecomeasignificantexpressivefeatureofSchubert’smusic.
Saturday 11:45–13:15: Session 5bo’callaghan room:DublinattheEndoftheNineteenthCentury
Chair:ProfessorFionaM.Palmer(MaynoothUniversity,Ireland)
Eoghan Corrigan (UniversityCollegeDublin,Ireland)‘MusicattheAbbeyTheatre:APreliminaryAssessment’
ThepresenceofmusicinIrishtheatrehasbeenwidelyacknowledged,butneveradequatelyexplored.Although theAbbeyTheatremay justifiably lay claimtobeingIreland’smostprestigiousculturalinstitution,itisentirelycharacteristicthatnopreviouslypublishedhistoryoftheAbbeyhasincludedmusicwithinitspurview,despitethefactthatsinceitsfoundationin1904musichasconsistentlyfeaturedasavitalcomponentofproductionsappearingonitsstage,actingasanagentofbothpoliticalanddramaticexpression.Thispaperaddressesthislacuna
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
inIrishscholarshipandhighlightstheuniquerolemusicologicalstudyplaysinbringing into focus aspects of cultural history otherwise inaccessible to thoseworkingoutsidethediscipline.Ibrieflysurveythechangingbehaviourofmusicthroughoutthenationaltheatre’srichhistoryfromtheearly1900sthroughtothe early twenty-first century in order to identify certain Abbey productionswhichreflectacrucialparadigmshiftfrom‘musicbetweentheacts’to‘creativesoundscape’ in the theatre’s history.
Dr Anne Stanyon (UniversityofLeeds,UK)‘AlmostanIrishman?ArthurSullivan:Perceptions,Contacts,InfluencesandtheGreat,BigDublinConcertof1894’
At 5:30pm on Friday 6 April 1894, following a smooth ferry crossing fromHolyheadandhavingdisembarkedatKingstown,SirArthurSullivanarrivedinDublin.Hemighthavebeenmistaken for royalty, suchwashis statusandreception.Hisvisithadthenatureofatriumphalprogress.HewaslionisedbyDublin society, photographed, drawn, interviewed and pursued by theDublinpress.SullivanwasinthecitytoconductaDublinMusicalSocietyconcert;itwasamajorcouptohaveengagedhim–hewasthemostfamousBritishmusicianofthenineteenthcentury,aconductorwhorivalledRichter,anA-listcelebrityanda household name. Thirty years earlier a twenty-one-year-old Arthur Sullivan arrived, virtuallyunnoticed,onhisonlypreviousvisittoIreland.However,hisfewweeks’vacationduringthesummerof1863wastohavemomentousconsequencesfortheyoungcomposer then on the cusp of fame.Using contemporary newspaper sources, Sullivan’s Diaries and unpublishedcorrespondence,thispaperwillexamineareasofSullivan’scareerthathavenotbeeninvestigatedpreviously: itwilladdressthequestionof identity,theearlyinfluenceandeffectofthatinitialvisituponhiswork,andassesshisforgotten1894appearance,theconcertatitsheartandthecultofmusicalcelebritythatitexemplified.
Helen Doyle (TUDublin,Ireland)‘CompetitionandComposition:ChoralActivityintheFeisCeoil,1897–1922’
By 1910 close to 400 choral performances had been programmed across thefull gamut of Feis Ceoil competitions. In a consideration of the nature of choral activityintheseearlyyears,boththetypesofchoralgroupsandtherepertoirewith which they engaged warrant scrutiny. Trends are apparent in competition listings, including choirs whose conductors enjoyed close links with the FeisCeoil Association, business owners with a penchant for choral singing andcompetitiondesignitself,notablychoralsingingas Gaeilge. Onesuchconductor,DrFrancisKoeller, aBelfastFeisCeoil representative, in 1898 alone pennedaprize-winning cantata and conducted twoprize-winning choirs,whileBrushmanufacturersVarian&Co.wereFeisCeoil stalwarts, representedby choralgroupsincompetitionandfamilymembersonmultiplecommittees.NumerousGaelicLeaguebranchchoirswerealsoregularlyrepresented.Thispaperconsidersthefactorswhichinfluencedtherepertoireprescribedfor
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
thesechoralcompetitorsintermsofhowsetpiecesweresourced,whatgovernedcommissioning and what was published as a result. Furthermore, given thatFeis Ceoil founder Dr Annie Patterson turned her attentions resolutely to the Oireachtas in1897, thepaperexaminesthenatureofchoralactivityinboththeFeis Ceoil and Oireachtas where,despiteideologicaldifferences,commonalitiesare swiftly revealed.
Saturday 11:45–13:15: Session 5cgillen room: Popular Music Studies
Chair:DrLauraAnderson(MaynoothUniversity,Ireland)
Sarah Lindmark(UniversityofCalifornia,Irvine,USA)‘“Hip Hop Causes Violence”: Arguments and Analyses Concerning ChildishGambino’s“ThisIsAmerica”‘
On5May2018DonaldGloverreleasedanewmusicvideounderhislong-timestage name Childish Gambino. Entitled ‘This Is America’ the video has beenlaudedbyRolling Stone Magazineas‘anightmarewecan’taffordtolookawayfrom’becauseofitsshockingandabruptportrayalsofgunviolence.However,theaccompanyingtrackavailableforaudiostreamingomitsthegunfire.Withoutthevideosomethingbothshockingandintricatelylinkedtothemessageoftheworkas a whole is lost.UsingthewritingofscholarTriciaRoseasastarting-point this paper seeks to unveiltherelationshipbetweenthevideo’smessageanditsportrayalsofliteralandmetaphoricalviolence.AsRosediscussesinherbookentitledThe Hip Hop Wars, for example, the argument that hip hop causes violence has pervadeddiscussiononthegenrefordecades.Gambino’s‘ThisIsAmerica’posesadirectconfrontationtothisidea,althoughtheoutcomeofthedebatehasyettocometofruition.Inresponsetothevideo’squickshiftsfromtrapbeatstoagospelesquebackingtrack,criticshavenotedthatthemusicitselfseemstobeviolent.Thetraphalfofthetrackhasbeenparticularlylabelledassuch,withthePitchfork Reviewcallingit‘menacing’.Doestheviolenceexist,then,withoutthevideo?Bycompilingbothpopularreviewsoftheworkandrecentscholarshiponhiphopasawholethispaperpresentsananalysisof‘ThisIsAmerica’thatrevealsthenewaesthetic of sounding violence.
Dr Laura Watson(MaynoothUniversity,Ireland)‘“Nina Cried Power”: Stories about Nina Simone, Hozier and PerformingActivism’’’
AsdocumentedbyscholarssuchasSalamishahTillet,thereexistsahistoryofUShip-hopmusiciansminingNinaSimone’srecordedcataloguetousehermaterialinnewcontexts.Hip-hopsamplingpracticesforegroundSimone’svoice,therebyensuringhercontinued(albeitmediated)sonicpresenceincontemporaryculture.Morerecently,however,musiciansfromIrelandandtheUKwhohappentoworkin other traditions have explored new ways of engaging with Simone’s legacy. InSeptember2018theIrishsinger-songwriterHozierreleasedtheEP‘NinaCried
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Power’.FeaturingvocalcontributionsfromsoulsingerMavisStaplesthesinglenamechecks more than a dozen performers associated with political protest. As anactofhomage,however,itcentresonSimone,whomHoziercanonisesviathesong’stitleandreferencetothelyricsofher‘Sinnerman’recording(1965).Weeksafter theHozier releaseBritish performer JosetteBushell-Mingo brought herone-womantheatricalpieceNina: A Story about Me and Nina SimonetoIreland,having toured England, Scotland and Sweden in 2016–2018. In this paper Idiscussbothperformances.While addressinghow they functionas tributes toSimone the artist and activist I also argue that their rootedness in contemporary discourseextendsSimone’slegacyfortwenty-first-centuryaudiencesonthissideof the Atlantic. In times of heightened tensions around identity politics it further seems appropriate to reflect on the political legibility of certainmusical acts,namelyherewhatitmeansforHozierasawhiteIrishmantotreattheworkofanAfrican-Americanwomanasculturalinheritance.
Saturday 15:30–17:30: Session 6abewerunge room:Sean-NósSinging:Continuity,CreativityandSong
Chair:SylviaO’Brien(RoyalIrishAcademyofMusic,Ireland)
Dr Steve Coleman(MaynoothUniversity,Ireland)‘Mediation,Alterityand“Life”intheSean-NósSongTradition’
Whatdoes itmean foramusicalperformance,genreor tradition tobe ‘alive’?Thispaperinvestigatesthewaysthatsemioticideologies,e.g.culturallyspecificideas about the transmission and mediation of cultural forms, influence thecreationandreceptionofmusic.Isuggestthatwhatwehearinmusic,andwhatperformers produce as music, includes complex sets of relationships betweenpersons,historicalfiguresorpersonae,andthematerialperformed,initssonicand linguistic immediacy. I argue that in Irish traditional music performance whatisconsideredthe‘life’ofaperformance,agenreorindeedawholetraditionhasbeenevaluatedintermsofthewaysthatidentities(ofperformer,audience,etc.)areconnectedtoalteritieswhichmayormaynotbemadepresentatthemoment of performance.
Stephanie Ford (MaynoothUniversity,Ireland)‘Sean-NósandIrishContemporaryMusic:SingerPerspectivesonCollaborationand Creativity’
Historical perceptions of sean-nós singing in academic literature frequentlyportraythegenreasthepreserveoftheGaeltachtareas,itspracticebestsuitedto community-focused performance settings. Gaelic League nationalism andgovernment policy at the beginning of the twentieth century have helped tomaintaintheseperceptions,imbuingsean-nóswithasenseofmarginalitybothwithin and outside of traditional music. However,contemporarysean-nóspracticehasexperiencedafundamentalshiftinrelationtoitsperformancecontexts.Particularlyneglectedhasbeenitsuseinthetwenty-firstcenturyinIrishcontemporarycomposition,whichdrawson
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
the traditional voice as a starting point formusical collaboration. This paperwill investigate how sean-nós practices are used in the compositional processinthesecreativecollaborations,drawingonmyownethnographicresearchandfocusing on singer perspectives and experiences in particular. I argue that such collaborations operate as sites of negotiation and exploration for the creativeidentityofsean-nóssingers,aswellasinrelationtothegenre’spositioningasamarginal practice within Irish musical culture.
Saturday 15:30–17:30: Session 6bo’callaghan room: Concepts of Gender and Magic
Chair: DrEstelleMurphy(MaynoothUniversity,Ireland)
Cathal Twomey(MaynoothUniversity,Ireland)‘Diana and Endimione as Celibate Lovers: Celibacy, Pleasure and GenderDynamics in Cavalli’s La Calisto’
TheGreekmyth of Endymion, a shepherdwho fell in lovewith themoon, isattestedasearlyas200BCE.Themoon’sgoddess reciprocated,butaswritersbegantoshifttheroleoflunardeitytoDianathestorybecameconfusing.Howcouldthisgoddess,famedforchastity,formhalfofaniconiccouple?InLa Calisto,a 1651 operatic adaptation of the myth, Endimione and Diana resolve thatconfusionwithasimplerealisation:thatbodilypleasure,evenwhenpartnered,neednotnecessarilybesexual.Releasedfromatraditionalstatusasprecursorstocopulation,theactsofkissing,andtoalesserextentofcaressingandembracing,acquire new weight for the couple as mutually pleasurable experiences andasameans to explorenew formsof identity-expression.Simplyput, ‘foreplay’becomesanend(theend)initself.Throughtheirromantic,sensual,butsexlessrelationship,Diana andEndimione reconcile apparently binary opposites intocomplementaryfacetsofacoherentidentity:thecelibatelovers.This paper argues that the relationship thus queers normative concepts ofintimacy andcelibacy,andthattheopera’screatorsdrewonwell-knowntropesof their genre to convey this unconventional nature. The paper examines the complex interactionsofgender, statusandagency in theopera,attempting toexplainwhyDiana, the story’s only fully divine celibate, is also the only oneto reconcile celibacy with partnered pleasure. Finally it posits La Calisto as a moment in the spotlight for one of Venetian opera’s least-discussed stockcharacters: the sworn virgin.
Shauna Louise Caffrey(UniversityCollegeCork,Ireland)‘OtherwordlyThresholds:LiminalityandMagicinHenryPurcell’sThe Fairy Queen’
Thehistoryofmusicandmagic is one that isboth longandstoried.From itsearliestlinguisticoriginstheactofenchantmenthasbeentiedtothatofsong,magical charms to tunes, andmusic itself to the divine custodians of art andknowledgeinancientGreece,theMuses.FolktalesofEarlyModernBritainandIreland tell of the irresistible power of fairymusic, its ability to transfix and
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
transport those lucky (or unlucky) enough to hear its strains. The year 1692sawfairy-songofadifferentsorttaketothestageoftheQueen’sTheatreinthefirst performance ofHenryPurcell’sThe Fairy Queen.DrawinguponWilliamShakespeare’s A Midsummer Night’s Dream–firstperformedlessthanacenturyearlier–Purcell’sworkseesmusicserveasthelanguageofthemagicalandthemad.InthispaperI illustratethecomplexpositionoccupiedbymagicandfairylorein Early Modern Britain and its relationship to Purcell’s stage music. I willillustrate that Purcell’s use of music in The Fairy Queendefinesbordersbetweenthenaturalandsupernaturalworld, inparallelwithdivisionsbetweenworldsreal and imagined in A Midsummer Night’s Dream,aprocessthatcharacteriseshismusico-theatricalworks.Inordertodoso,theoriesofliminalitypioneeredbyArnoldVanGennepandVictorTurnerwillbeappliedtoexaminemusicaltheatreas a ritual form and the construction of liminal space in The Fairy Queen. The findingsof these literarystudieswill thenbeexaminedcomparativelyagainsttheaforementionedculturalhistorytoascertaintherelationsbetweentheatricaldepictionsofmagicanditssocio-politicalconstructioninRestorationEngland.
Ciara Conway(Queen’sUniversityBelfast,UK)‘TheDistributionofIrishFolkMusicinJohnO’Keeffe’sThe Castle of Andalusia (1782)’
In late-eighteenth-century London the CoventGarden andHaymarket stageswere often occupied with the musical comedies of Irish playwright John O’Keeffe (1747–1833). Critic Thomas Gilliland states that O’Keeffe’s dramas conveyed ‘someofthebestmusicknowntothestage’.O’KeeffeinfacttransmittedIrishtunestocomposershewasworkingwithinLondon,whothentranscribedandadapted them accordingly. This paper will address the wider distribution ofIrish music in O’Keeffe’s comic opera The Castle of Andalusia (1782). Songsin eighteenth-centuryEnglish comic opera often followed a hierarchy: seriouscharacterssanginanItalianmusicalstyle,andcomiccharacterssangfolkmusic.In this work the Irish airs are allocated to two serious roles: Italian soprano Giovanna Sestini and Irish contralto Margaret Kennedy. The unconventional distributionofIrishmusicinThe Castle of Andalusia sees O’Keeffe addressing a fixed notion of musical hierarchy and through this empowering Irish music and identity on the London stage.
Saturday 15:30–17:30: Session 6cgillen room:LateNineteenth-andTwentieth-CenturyMusic
Chair:DrWolfgangMarx(UniversityCollegeDublin,Ireland)
Angelo Pinto (TheOpenUniversity,MiltonKeynes,UK)‘“DieFederistzurHand”:The“Scriptorial”UnfinishednessofMahler’sTenthSymphony’
In the literature on Gustav Mahler it is a commonplace to discuss his music innarratologicalterms.However,thewritingsinthisfield,giventhattheyare
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
focusedonlyonthework’s finalversion,donotgiveattentiontotheauthorialdimension of how the composer constructs his musical ‘novel’ through thecompositionalprocess.Instead, inliterarytheorythereisanestablishedtrendof studies that combine narratology with manuscript analysis to explain thehermeneutic enigmas of modernist literary works whose fragmentation suggests their nature of ‘works in progress.’ This kind of approach seems particularlysuitableforMahler’sTenthSymphony,whosemanuscriptincludesperhapsthehighestnumberofsketchesanddraftsexistingforanyofMahler’sworks.Inthiswaywecanreconstructpossiblerelationshipsbetweenstructure,narrativeandthehermeneuticinthecompositionalprocess, fromtheinitialsketchymusicalideas to the draft of the last compositional stage. Indeed this perspective seems to befruitful,asthesameMahlerianliteraturesuggeststhatMahler’ssymphoniesoftenseem,giventheirconstantreworkings,just‘worksinprogress’.With this context inmindmyresearchquestion ishowMahler’sTenth, in itscompositional process, can be regarded as a novel, both from structural andhermeneuticpointsofview.Toanswerthisquestion,firstIwilldefinethekey-conceptsof‘musicnarrativity’and‘musicnarrativization’theoretically.ThenIwillapplytosomekeypassagesofthesymphonymythreestaged‘genetic’approachof sketches and drafts to detect in them textual supports for these concepts. As a result this analysis, with the help of the composer’s letters,will reveal theoriginalpiecesof evidenceofhis intention to represent in the symphony, inameta-referentialplay,the‘workinprogress’ofitscompositionalprocess.
Dr Patrick Devine (IndependentScholar,Ireland)‘Next-DoorNeighboursasaDeterminantofLateStyle:TheDiminishedThirdinAntonBruckner’sSymphonyno.9’
Thelinearintervalofthediminishedthirdismostfamiliarinchord-progressionswhich featuretheNeapolitansixth inacadentialrole,where it is followedbydominantharmony;heretheintervaloccursindescendingform(e.g.inthekeyofCmajor/minorDb[-C]-B).InthenineteenthcenturycomposerssuchasChopinexploitedpossibilitiesinbothdirections,usuallywithchromaticneighbournotesasagentsoflocalcolour.Onenotablethematictreatmentoftheintervaloccursinthe principal motive of Dvořák’sRequiem.Asaverticalcombinationtheintervalisalsofundamentaltoanotherchromaticchord,theaugmentedsixth,whereinthebasicpositionitisusuallyinverted(e.g.inthekeyofCmajor/minorthechordAb[+C]+F#).Bachrealizedthepotencyofthecombinationinanalternativeposition(inthe‘Crucifixus’oftheMass in B minor),andbythenineteenthcenturyBeethovenandespeciallySchubertwouldexperiment with this arrangement of the chord, although in an enharmonicvariant,asalocaldominant6–4–2.Brucknerinheritedthisworldofsoundandenrichedthepotentialofbothlinearand vertical orientations of the diminished third in hismusical language.Healso recognized its expressive tension in his fugal writing. As he wrestled with the composition of his final symphony his increasingly emancipated approach to tonalharmonyfoundnewcontextsforthisinterval,andthesemaybeidentifiedas markers of a late style.
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Johanne Heraty(IndependentScholar,Ireland)‘MicrotonalityinEzraSims’sIm Mirabell’
EzraSims(1928–2015)wasanAmericanmicrotonalcomposer.In1944Sims’sattempt at setting Death by Water highlighted his desire for a more minute division of tonal intervals. In this particular setting it was a need to add more pitcheswithinaminorthird,morethanthediatonicscalecouldprovide.ThisisthefirsttimeSimsbecameawareofthesesmallerdivisions;however,hisscalewould not come to fruition until years later. AsJuliaWerntznotes,‘SimsneithercomesfromthetraditionofthoselikeAloisHábaandJulianCarillo,whoexpandedthemodeloftheequal-temperedscalewiththeirmicrotonalchromatics,norbelongsproperlywiththejustintonationschoolanditsverystrictadherencetoprinciplesbasedupon“acousticalfact”‘.Sims’ssong-cycleIm Mirabell,writtenin2006–2008,isbasedontextsbyGeorgTraklandFriedrichNietzsche.InthispaperIwillexplorethe18-noteasymmetricalmicrotonal scale Sims employs and how it is used with the composer’s final piece. In addition this paper will demonstrate Sims’s creation of his own notation system and his theory of microtonality.
Nadine Scharfetter (UniversityofMusicandPerformingArtsGraz,Austria)‘The Interrelationship between Psyche and Body in Dieter Schnebel’sExperimentalMusic’
InfluencedbyperformancesofJohnCage’sworks inEurope in the1950s, theGerman composer Dieter Schnebel started to compose experimental musichimself. His interest in experimental music was awoken by the fact that itofferedopportunitiesthatdeliberatelysubvertedthetraditionalunderstandingof composing and performing a musical work. In their experimental works composersdisregardedconventionalcompositional theories, they includednewsound materials and used instruments in new non-traditional ways. In thecaseofSchnebelthisexperimentalapproachmadethehumanbodythefocusofmanyofhismusicalworks.However,Schnebeldidnot limithimself topurelyphysicalaspects.Rather,hewas concernedwithan interrelationshipbetweenthepsychologicalandphysical.ForexampleSchnebel’scompositionsareaboutexpressingmentalprocessesthroughthebodyanditspossibilitiesofmovement.Throughthebodythesementalprocessesbecomevisibleand/oraudible.InmypresentationIfocusontheinterrelationshipbetweenpsycheandbodyinDieterSchnebel’sexperimentalmusic.ByanalysingsomeofSchnebel’sworks–for example Maulwerke für Artikulationsorgane und Reproduktionsgeräte or the series of works entitled Psychologia–Idealwiththefollowingquestions:HowistheinterrelationshipofpsycheandbodyimplementedinSchnebel’smusicalworks?WheredoesSchnebel’sinteresttoapplyapsychologicalapproachinhismusicalworksstemfrom?WhataretherequirementsofSchnebel’spsychologicalapproachinhisworksforthemusicians?Forwhomdidhecomposetheseworks:professionalmusicians,amateurmusiciansorboth?
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Sunday 9:30–11:00: Session 7abewerunge room: Artistic Research
Chair:DrAntonioCascelli(MaynoothUniversity,Ireland)
Eilís O’Sullivan (MaynoothUniversity/CITCorkSchoolofMusic,Ireland)‘InitialDirectionsinArtisticResearch’
Social networks and interaction in music performance are areas of growing interest inmusicology.Aconsiderablequantityofworkhasemergedfromthisnewareaof research. This paper presents initial findings and issues arising from doctoral research focused on performances of classical flute repertoire with the musician atthecentreoftheenquiry.Itexploresthepotentialoftechnologytofacilitatemeasurement of the artistic process.This enquirydraws ona larger researchprojectthatexploresthenatureandqualityofactionsandinteractionswithinliveperformances.Itinvestigateshowtomovebeyondtechnicalreproductioninlive performance and how to make these processes explicit. Inherent in this is the central challenge of how to measure music performance. Artisticresearchisanewanddynamicfieldofenquirywithagrowingliteratureinto areas of concern to artist researchers. One of the challenges of artistic research is in findingways to bridge the gap between a sensory activity andthe creation of awritten argument as research (Wesseling, 2017). This paperoutlines previous research done in the measurement of interactions that occur in liveperformanceanddraws initialconclusionsaboutthe issues inherent inthis investigation. Future opportunities and directions are outlined. Performance interaction is an area of interest to all performers. The focus here on canonic flute repertoirewillbeespeciallyrelevanttoflutepedagogyofconservatoirestudents,affordinginsightsintoinsiderknowledgeandtheperformers’problematizationof the repertoire.
Sylvia O’Brien(RoyalIrishAcademyofMusic,Ireland)‘TextandMelody inSeóirseBodley’sThe Hiding Places of Love’, 60-MinuteLecture Recital
Seóirse Bodley is one of Ireland’s leading composers with a large output ofcompositions for voice with varying accompaniment. Bodley has evolved his approachtocompositionovertheyears.However,melodicstructureofthevocalline has always primarily served the text. The Hiding Places of Loveisasong-cycleforsopranoandpianothatIcommissionedin2011withfundingfromTheArtsCouncilofIreland.ItissettoatextbytheIrishpoet,playwrightandtranslatorSeamusHeaney,whoreceivedtheNobelprizeforliteraturein1995,selectedfromhisworksThe Spirit Level and District and Circle. Ipremieredthissong-cyclewithSeóirseBodley(piano)on8May2011attheHughLaneGalleryDublininthepresenceofSeamusHeaney.The lecture recital will present an overview of Bodley’s vocal works to date and explore thesong-cycleThe Hiding Places of Love in detail with a performance of several songs from the work. I will discuss the varying styles of melodic composition that Bodley demonstrates in this work and how the common feature of each style is to serve the word as primary focus. I will discuss Bodley’s choice
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
ofpoemsandtreatmentofthevocalrange,register,tessituraandtextfocusingon issues relating to my vocal range and dynamic used within this piece. I will discusstherelevanceofcollaborationbetweenperformer(recreativeartist)andcomposer(creativeartist),composerandpoet,andfinallythatofrehearsalandperformance with the composer.
Sunday 9:00–11:00: Session 7bo’callaghan room:Aren’tWeAllEthnomusicologists…?
Chair:DrAdrianScahill(MaynoothUniversity,Ireland)
Dr Javier Campos(IndependentScholar,Spain)‘Illustrious Peasants: The Inherent Value of Popular Bagpipe Melodies inClassical Composers’
ThepastoralrevivalthatspreadthroughoutEuropeintheEarlyModernperiodpopularizedpopularisedbagpipecitationsinculturedmusic.Winternitz,LeppertandOberlanderattributeittotheadoptionoffolklorewithintheframeworkofArcadianBaroqueandgallantsplendouraesthetics.Theinstrumentwasrarelyincluded in thescoreorperformedonstage;evocationsportrayedbagpipesbyimitatingthedroneswithstrings,withstereotypedbeats,restrictedpitch-rangemelodies and other formal elements.Bagpipes became an affable brushstrokeincomplicitywiththepeasantworld.However,therearereasonstoconsiderarelevant unevenness in this fashion and put forward a different causality. Thispresentation firstlyaimstoevincehowbagpipes featuredprominently inoutstanding pages of the history of music in examples by Corelli (Christmas Concerto),Vivaldi(‘Spring’fromThe Four Seasons),Bach(Christmas Oratorio),Handel (Messiah, twice), Mozart (Bastien und Bastienne), Haydn (Symphonyno.82), Beethoven (Pastoral Symphony), Brahms (Serenade no.1) and Grieg(Peer Gynt). Neither before nor after this time have bagpipes received suchhonourable recognition by canonic composers. Secondly, this study suggestsas an explanatory theory the closeness of composers to the rural world and its bagpipes (still universal in eighteenth-century Europe). Classical composersmust have heard pipemelodies of inherent beauty and strength; as excellentmusicians they recognized their aesthetic potential, adopting them in capitalfragmentsof their ownproduction.Thisbecomes clear in relevant confessionsbyTelemann,MendelssohnandBartók.Theanalysisofspecificscoresandothersources reinforces the hypothesis.
Deirdre Walsh(UniversityCollegeDublin,Ireland)‘FromJewishFolkMusic’
AlthoughmanyscholarlystudieshavebeenmadeintothemusicofShostakovich,therecertainlyseemstobeagapwithregard tohissong-cyclesandcertainlythe song-cycle From Jewish Folk Poetry. Concentrating on previous studies examiningJewishfolkmusicbyMosheBeregovskyIwillconsiderifShostakovichwassoinspiredbyJewishpoetrythatheintegratedelementsofRussianJewishfolkmusicintohiscompositionforthissong-cycle.
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Speakingmoregenerallyaboutthecompletesong-cycleIwilldemonstratethesignificance of the composition during a time in Russia where Stalin, pieceby piece, was dismantling Jewish culture. I will also study Shostakovich’spositionasa composerduring that time, inparticularhis careerashe fell inandoutoffavourwithStalin,especiallyasacomposerwhowasinStalin’seyes‘contaminated’byWesternculture,aswellasexaminingtheapparentrisksittooktocomposemusicwhichborrowedpoetryfromYiddishculture.Concentratingmypresentationontwocontrastingsongsfromthesong-cycle,songno.1‘LamentforaDeadChild’andsongno.11simplynamed‘Happiness’,andusingmyknowledgeofRussian Jewish folkmusic from the extensive study and song-collecting byMosheBeregovsky,IwilldemonstratethatthereisevidenceofJewishfolkmusicinthissong-cycleaswellasthedistinctlymoderniststyleofShostakovich.
Anika Babel (UniversityCollegeDublin,Ireland)‘Classical Music Memes: Etic and Emic Perspectives on the Portrayal ofClassical Musickers’
The contemporary artefacts of internet memes not only offer humour to the masses on social media platforms but serve as exquisite material insight fordigital ethnographers and musicologists alike. Rather than taking for granted certainsocietalconventionsthisresearchendeavouraimstopinpointsemiotics,traitsandattributesofclassicalmusickers,ashighlightedinmemes,toalludetotheunequivocal(andlargelyuncritiqued)‘othering’ofclassicalmusic:privilege,elitism and whiteness. Through a survey and categorisation of classical music memes,bothfrometicandemicperspectives,egosoftheclassicalmusic(online)communityareputintosharpfocus.Ascontentthatisprimarilyuser-generated,non-ulteriorandnon-commercial,memesmustbeconsidereddifferentlytothemediaoffilm,televisionandadvertisement;thatmeaningandintentionaretobeappraiseduniquelywhenexaminingmemes’tangibilitytoactuality.Justhowaccuratelydomemesportrayclassicalmusickers?
Dr Damian Evans (ResearchFoundationforMusicinIreland,Ireland)‘InSearchofJazz:IrishJazzandDanceBands’
AlthoughjazzhasbeenconsistentlypresentinIrelandsince1918,attentionhasgenerallyfocusedononlytwoperiods,thatofthe‘anti-jazz’periodfromthe1920stothemid-1930s,andthe‘modern’period,usuallyunderstoodasstartinginthe1960sandcontinuinguntil today.Popularmusicstudiesof the interimperiodhavelookedatthemovementsoffolkandtraditionalmusic,whiledancebandsthat provided entertainment throughout the island of Ireland during this period have rarely been researched or even documented beyondnewspaper archives.Recentresearchdemonstrates,however,thatmuchofthejazzactivitiesduringthisperiodstemmedfromwithinthedancebandcommunities.ThispaperassertsthattheIrishdancebandswereanimportantaspectintheevolution of jazz in Ireland. It asks why the championing of a new generation of musiciansinthe1960sledtoacollectivepassingfrommemoryofmusiciansonceheld in high esteem. This paper reports on the first stages of an investigation ofdancebandsupuntil1960,drawing from interviewsandarchival research.
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Fromawiderperspectiveitmakesacasefortheinclusionofdancebandsintheunderstanding of the journey of a national jazz heritage.
Sunday 9:30–11:00: Session 7cgillen room: Merging Compositional Styles
Chair:FedericoFavali(UniversityofBirmingham,UK)
Paul Clesham(UniversityCollegeCork,Ireland)‘ContemporaryCompositionsofIrishTraditionalMusicIncorporatingWesternCompositionalElements:AnExplorationofVariousIrishComposers/Arrangers’
Cross-cultural collaboration between Irish traditional music andWestern artmusicaltraditionshasbeenprevalentoverthepasthalf-centuryandhasgrowninpopularitydue to thegrowingnumberof composerswho intertwinebothofthese traditions in their works. The performance of orchestral music which flourishedinWesterncountriesparticularlyfromthe1700stothe1900shashada profound impact on composition and arrangement in Irish traditional music. ThisisespeciallyevidentinthevastarrayofworksbyvariousIrishcomposersincorporatingIrishtraditionalmusicandWesternartmusicaltraditionsthroughvariousmediums includingorchestras, chamberensemblesand choralgroups.Creative approaches to composition and arrangement in Irish traditional music havebecome fundamental to Irish traditionalperformancepractice inmodernsociety, many of these incorporating Western influences along with variousexamplesofculturalhybridity(McAvoy,2018).Thispaperwillexplorethewaysinwhichcontemporarycomposersnavigatebothofthesemusicalworldsintheircompositionsandarrangements,througharangeofvariousworksandensembles.Withanelaborationofthetopicofcreativityinmusic(Bayley,2017;Hill,2018)and the creative process in Irish traditionalmusic (ÓSúilleabháin, 1990) theaestheticvaluesofcreativeandcompositionalpracticeswillbeexploredindepth,withparticularfocusonhowtheyinteract,co-existandcombinetocreatenewcross-culturalworksdrawingonIrishtraditionalpractices.
Margaret Collins Stoop(TrinityCollegeDublin,Ireland)‘Addressing the Integration of Folk Instruments into Western Art MusicEnsembles’
Folk instruments and their accompanying techniques, which were previouslyconsideredoutsidetherealmoftheWesternorchestra,arenowbeingintegratedintoWesternensembleswithincreasingregularity.Thepresentationwilladdressconsiderations which necessarily arise when incorporating folk instruments into Westernart-musicensembles.Theseconsiderationsinclude(i)emphasison‘sound’attheexpenseof‘behaviour’and ‘concept’; (ii) comprehension of the original context allowing for greaterculturalexchange;(iii)integrationvs.cameoappearance;(iv)whetherornottonotateforthefolkinstrument,andwhichsystemofnotationtouse;(v)tuningsystemsotherthanthatofequaltemperament;and(vi)theexchangeofinfluencebetweenfolkinstrumentsandWesternorchestralinstrumentsasseeninspecific
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
compositions.Abriefdiscussionof“NewComparativeMusicology”asoutlinedbyPatrickSavageandStevenBrownwillaidinaddressingthefirsttwooftheconsiderationslistedabove.“Integrationvs.cameoappearance”willbeaddressedthroughtheexaminationofspecificworksasoutlinedbelow.AlloftheaboveconsiderationswillbesupportedthroughthecitationofworksandnotesbycontemporarycomposersJamesDeMars,KevinVolansandDonnachaDennehy,aswellasportionsofmyowncompositions.Otherpresentationmaterialwill include archival transcriptions of original folk tunes.
Dr Emmanuel Ndubuisi Nnamani(UniversityofPortHarcourt,Nigeria)‘AfricanContemporaryArtMusic,CompositionalIdeationandtheDialecticsoftheCanonic“Wall”–CreatingSoundscape,LocatingLandscapeandEvokingthePsychophysicalinUzoigwe’sTalking Drums for Piano Solo’
Is contemporary artmusic limited to a particular geographical space? Shoulditsstudybeconfinedtoanddefinedbydisciplinaryboundariesbasedonmeregeo-morphological standpoints? Do composers’ choices of specific soundscapesdevaluetheircreativity?Canlandscapeandworldviewbecapturedinamusicalscore?Whatistheimplicationofnon-WesternartmusicinamusicologythatiscircumscribedbythewallsofWesternart-musiccanon?Thesequestionspointtothepuzzleregardingthepracticeofcontemporaryartmusic,especiallythosefrom non-Western traditions such as Nigeria. Current discussions on Africancontemporary art music mostly seem not only lost in the dialectics of disciplinary contextualizationbutalsodonotaddressthequestionsraisedaboveforabettercomprehension of the sonic materials in the works of such composers as Joshua Uzoigwe (an African composer). Redressing this gap is the motivation of thepresent discussion.Thispaperattemptstomakeanin-depthexaminationofUzoigwe’spianoworksusing Talking Drums for Piano Soloasareference-point.Theanalysisfocusesontwomovementsofthisfive-movementwork,namely‘Ùkóm’and‘ÉgwuÀmàlà’.The discussion digs into the spiritual and gendered undertones of the movements to highlight their aesthetic fabric and the sonic choices of the composer. Thepaper argues that in these compositions music not only provides a pathway to life-understanding and life-enhancement beyond the notion of absolutism butalsotranscendsthephysicaltoprojectcertainpsychophysicalembodiments.Infact in Talking Drums thecomposerisabletoconstructanddeconstructculturalmeanings and psychophysical connections that provoke new sonic meanings withoutsacrificingthemusico-structuralpermutationsintheworks.
Sunday 14:00–15:30: Session 8abewerunge room: Clara Schumann
Chair:DrJoeDavies(LadyMargaretHall,OxfordUniversity,UK)
Emily Shyr(DukeUniversity,USA)‘A Romantic Model: Relationships between Robert and Clara Schumann’sRomances,op.94andop.22’,30-minuteLectureRecital
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
OnthebicentennialofClaraSchumann’sbirthdayIproposeare-examinationofhercompositionalrelationshipwithherhusband,RobertSchumann.Thetwosharedalong,mutuallyenrichingmusicallife,inwhichRobertreliedonClaratoplayhispieces,ClaraenlistedRobertforhelponherworks,andbothliberallyquoted from each other’s compositions and found inspiration in each other.AlthoughClarawasaformidablepianistandtalentedcomposer,sheoftenlackedconfidenceinherabilities;indeedinthededicationofherop.20toherhusbandshewrote‘tomybelovedhusbandon8June1853thisweakattemptoncemorefrom your Clara’. IfwekeepinmindthatClaraundoubtedlylookeduptoRobertasthecomposerofthehouseholdandoftensolicitedherhusbandforcompositionaladvice,andthatbothwrotemusicwithintheromancegenre,thenthequestionofinfluencearises.Robert Schumann’s Romances for Oboe and Piano, op.94 (with an alternateversionforviolinandpiano)waswrittenin1849andpresentedasaChristmasgiftforClara.HerRomancesforViolinandPiano,op.22,writtenin1853,washerlastchamberpieceandraisesthepossibilitythatshekeptherhusband’sop.94inmindasamodelforherwork.Thispaperwillexaminetheformal,harmonic,andmelodic similaritiesanddivergencesbetween the two,aswell aspossiblequotationsandallusions,andwillcontextualizethetwocompositionswithinthebroadergenreoftheromance.
Hannah Millington (OxfordBrookesUniversity,UK)‘ClaraSchumann’sDepictionsoftheNineteenth-Century“Wanderer”’
GermanRomanticpoetry,whichexpressesthemesoflove,natureandalongingfortheinfinite,reflectstheRomantictendencyforintrospectionandabsorption.TheWanderer,asolitaryfigureonaspiritualjourneywhosymbolisesthequestfor the infinite and unobtainable, is depicted in art, poetry andmusic.Franz Schubert’sDer Wanderer(1816)and Winterreise(1827), andRobertSchumann’sDichterliebe(1840),areparadigmaticinthegenre.ClaraSchumann’sLiederoutputisrelativelysmall,butthepoetryshechosetosetisreflectiveofthethemesaddressedabove.Der Wanderer and Der Wanderer in der Sägemühle,writtenaround1831–1832,aresettingsofpoemsbyJustinusKerner. Both pieces were published, initially appearing as an appendix toFriedrich Wieck’s Musikalische Bauernsprüche. In 1992 the pieces appearedunderClaraSchumann’snameinacollectionofherunpublishedvocalworks,buttheseLiederhavereceivedlittlescholarlyattention.Kerner’s texts provided intrinsically romantic scenes for Schumann to depict. This paper explores Schumann’s interpretation and setting of the texts, andexamineshowadistinctivesenseofmovementispresentinbothpieces,reflectiveofthejourneyingWanderer.ItalsoexploresSchumann’schromaticallyrichuseofharmonyandthesubtletemporalmanipulationsthatsheemploys.AstudyoftheseLiedercastslightonSchumann’searlycompositionalstyle,showingthatthetwelve-year-oldhadboththematuritytocomprehendthepoeticcontentandthe skill to set the texts.
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Professor Nicole Grimes (UniversityofCalifornia,Irvine,USA)‘FormalInnovationandVirtuosityinClaraWieck-Schumann’sPianoTrioinGMinor,op.17’
ClaraWieck-Schumann’sPianoTrioinGminor,op.17(1846)holdsacontestedplace in the nineteenth-century repertory. One of her finest compositionalachievements,itwasperformedregularlythroughoutthenineteenthcentury.YetitsreputationlanguishedwhencomparedtoRobertSchumann’sPianoTrioinDminor,op.63,composedayearlater.Wieck-Schumann’sTrioisusuallycitedinrecentscholarshipmerelytocontextualizeRobert’strios(Daverio,1997;Nemko,1997)ortoexemplifyhercapacityforwithdrawalintotheprivatemusicalspherebywayofcopingwiththeemotionalandpsychologicaldistresswithwhichshewasdealingwhenshecomposedthepiece(Reich,1985,Rev.2001;Ferris,2004).This paper considersWieck-Schumann’sTrio in relation to recent approachesto the New Formenlehre, givingparticular emphasis to the closingmovement.Thestrikingpianisticvirtuosityofthismovementismatchedbyacompositionalvirtuosity that significantly enhances our understanding of Romantic sonata form. It courts formal innovation not only in the interpolation of a fugato in the developmentbutalsointhetreatmentoftonalitywhich,amongstotherseemingdeformations, flouts what James Webster calls the ‘double return’. Wieck-Schumann’sinnovationsareexploredinrelationtotheSchumannianbeliefthatonlythroughinterioritymightvirtuositybelegitimizedandelevated.ThepaperconcludeswithaconsiderationofWieck-Schumann’sTrioasaformalmodelforSchumann’sPianoTrioinDminorandBrahms’s(original)PianoTrioinBmajor,op.8.
Sunday 14:00–15:30: Session 8bo’callaghan room:French/RussianNineteenth-CenturyPianism
Chair:DrAlisonHood(MaynoothUniversity,Ireland)
Luodmila Podlesnykh (TUDublin,Ireland)‘AlexanderDubuqueandthePedagogicalLegacyofJohnField’
John Field (1782–1837) is still widely recognised as the father of pianism inRussia which was his adopted home. In his own lifetime devotees to his school were tobe foundall overEurope; these included someof themost influentialteachers of the day. Field’s revolutionary methods also had a profound effect on thedevelopmentofarecognisablepianoschoolinRussiawhichprevailstothisdayandwhichpointstoFieldasitsfounder.However,quantifyingField’spianomethodsisnotstraightforward,asheleftbehindnospecifictechnicalexercises.His favouriteandmostdevotedstudent,AlexanderDubuque (1812–1898),diddocumentField’spedagogicalbeliefsthroughhisownmethodbook,Technique of Piano Playing,whichbecameacoretextbookforstudentsinthenewly-openedMoscowConservatoirein1866,whereDubuqueheldaprofessorshipforsixyearsalongsideTchaikovskyandRubinstein.AmongDubuque’sstudentsweresomeprominentRussian composersandmusicians suchasMilyBalakirev,NikolayKashkin,NikolayZverevandHenryLarosh,whoexertedasignificantinfluenceon
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
thehistoryoftheRussianMusicSociety,theMoscowConservatoireandRussianmusic ingeneral.ThispaperdrawsonDubuque’sTechnique of Piano Playing and the memoirs of his students to draw conclusions on the main principles of his pedagogical legacy which impacted on Russian pianists and teachers through several generations.
Dr Gregory Marion (UniversityofSaskatchewan,Canada)‘Debussy’sPréludes (Deuxième Livre):“WhereDoWeGofromHere?”’
ThepaperinterpretsincongruousmomentsinDebussy’sPréludes(1911–1912)asnodalpoints,providingentréetoaveilednetworkofembeddedstories.Andyetifuniquefromamusicalperspectivethenotionofstorieswithinstoriesisacentralproposition in postmodern fiction, where the manifest presence of authorialconsciousnessunderpinsacentralaim– interrogatingtheveryactofreading.In this regard Italo Calvino’s If on a Winter’s Night a Traveler (1979) standsascounterparttotheDebussycompositionintestingthefollowingproposition:Calvino’snovelistoreadingwhatDebussy’spreludesaretoengagedlistening.Eachworkmakessportofthemalleableboundariesbetweenpast,presentandfuture, emphasizing that ‘meaning’ transcends chronologyandas such is onlyever provisional.Calvinoenjoinsustoassembleappositethreadsamongthebook’schaptersanditsinterruptivenovellas(novellaswhichappeartobeboundneithertothechaptersthemselvesnor to one another). This powerful clinic on reading benefits fromthefactthatCalvinoinsertshimselfintotheprocessofnavigatingthetroubledinterpretive waters.Debussy’s titles affixed to the conclusion of each prelude parallel Calvino’sinterruptive novellas; more critically, however, Traveler provides a frame of reference forunderstandingthepeculiarsurface-leveldisruptionsencounteredthroughout the preludes; for author and composer alike these non-sequiturmoments represent portals accessing networks of allied but noncontiguousnarratives crisscrossing the entirety of each respective work. In the end the paper advocates challenging the constraints of a linear reality as a viablemeans ofengagingDebussy.
Dr Clare Wilson (UlsterUniversity,UK)‘AndréCaplet:PianistIncognito?’
André Caplet (1878–1925) composed approximately forty mélodies for piano andvoice throughouthis compositional life.Caplet’smodest,often-overlooked,mélodie repertoire contains a range of complex and adventurous settings that place advanced demands on performers. These mélodies,oftensettopoetrybylesser-knownpoets,exploreamultiplicityofthemesandatmospheres,notonlythrough vocal expression, but through orchestral-like, complex and elaboratepiano accompaniments.Despite his composition of sophisticated and adventurous accompaniments Caplet’s repertoire of solo piano compositions is unusually small. The elevated position of the piano in the mélodies, however, gives significant insight intoCaplet’s acute sense of pianism. By addressing the proportions of equality
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
and dialogue between the piano and vocal line this paper aims to illuminateCaplet’s creative strategies of piano composition in the mélodie. The exploration of Caplet’s treatment of the piano in this genre is underpinned by analogiesand examples drawn from the mélodies of his contemporaries and successors suchasLiliBoulanger,Ravelandmembers ofLesSix.Framedby thisbroadhistoricalandculturalbackdropthepaperwillconcludewithperspectivesontheimaginativeand inventivepianistic structures embeddeddeep in the fabric ofCaplet’s mélodies.
Sunday 14:00–15:30: Session 8cgillen room:Twentieth-CenturyMusicandVisualCulture
Chair: Dr Gareth Cox (Mary Immaculate College, University of Limerick,Ireland)
Rachael Fuller (BostonUniversity,USA)‘CyborgFeminismandCactusPoliticsinStevenSnowden’sLandoftheLiving’
In2012StevenSnowdenpremieredLand of the Living,acollaborativepieceforamplifiedcactus.Snowdenplaystheamplifiedcactusbyplucking,swipingandbowingthecactus’sfragileneedlesashiscollaboratorRosalynNaskydancesinaninsect-likemanner.TheconnectionbetweenNaskyandthecactus(sometimesnamed Cathy) is deeper upon further speculation: Nasky’s relationship with thecactusextendsbeyondaconnectionbetweenmanorwomanandhumanorplant,insteadblurringthelinesofman,woman,humanandplant.Whenaskedif his cactus on stagewasmore thanan instrumentSnowden responded ‘Thecactusismyduopartner...itkindoflookslikeahumanhead…shetakesonapersonality’.WhenSnowden likenshiscactustoahumanfemalehecreatesatransspeciesconnectionthatdemandsarethinkingofidentity,thebodyandthedomination of other bodies. I interviewSnowdenand examinehis pieceLand of the Living to explore the different levels of human and plant interaction to reinterpret the liberalhumansubject,which forcesustore-examinethewaysin which humans and nonhumans treat each other. We cross boundaries byaccepting different species as autonomous beings that deserve the same levelof respect and agency as humans. WhenSnowdentakescontrolofhiscactushedominatesanotherbody.Hemanipulatesthecactus inordertomake it speak withhisnotation.Iwillexplorehowthebody,whetheritisplayedorplaying,usestouchtounderstandandviolateotherbodies.
Dr Laura Dallman (UniversityofFlorida,USA)‘ProblematizingMichaelDaugherty’sMotorCity Triptych(2000)’
Michael Daugherty’s MotorCity Triptych (2000) is a symphonicwork in threemovementsthatdepictsandpayshomagetoDetroit,Michigan(TheMotorCity).In each movement Daugherty makes musical references to Detroit; however,musicalborrowingsinthefirstandsecondmovementsmakeitdifficulttoviewMotorCity Triptych as a simple portrayal of the city and its iconic institutions. After abriefintroductiontoMotorCity Triptychthispaperconsiderseachborrowingin
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
detail,examininghowitmayormaynotconnecttosoundsofDetroit.The first movement, ‘Motown Mondays’, clearly evokes Detroit’s famousrecordingstudio,MotownRecords.Itbeginswithasoul-inspiredriffthatrepeatsthroughouttheopeningsection.YetthisriffisaparaphraseofSamandDave’s‘HoldOn,I’mComin’’(1966),recallingahitsongfromtheMemphis-basedStaxlabelas opposed toMotown.This forcesadiscerning listener toquestionwhyDaugherty might have chosen to paraphrase music from Motown’s competitor. ‘PedaltotheMetal’,thesecondmovement,suggestsspeedydrivinginbothnameand tempo and evokes the factories of the Detroit car industry with metallic percussion and sirens. It opens with a paraphrase of Copland’s Fanfare for the Common Man,thencontinueswithallusionstoMiddleEasternmusic.Atfirstthesemusicalborrowingsmightseemunrelated,buthistoricalanddemographicdocumentsrevealconnectionsbetweenthecarindustry,asuburbofDetroitandArabpopulations.CombinedwiththeparaphraseofCopland’sfanfare,then,theMiddleEasternallusionraisesquestionsaboutthe‘exoticother’andinclusivity.
Dr John O’Flynn (DublinCityUniversity,Ireland)‘Epic and Intimate:Maurice Jarre and the Soundtrack toRyan’s Daughter (Lean,1970)’
Conventionallyviewedbyfilmhistoriansas‘epiccinema’slastgasp’(GenePhillips,Beyond the Epic,2006,p.393),Ryan’s Daughter(1970)canalsobeconsideredanahead-of-its-timefilmictextthatrealisesitsambitiontotranslocateFlaubert’sMadame Bovarytoadifferenttimeandplace.Yetthisapproachcouldbeviewedas inappropriately ‘light touch’ given the film’s historical setting in Irelandimmediatelyafterthe1916rising.Adetachmentfromlocalconcernsalsoappearstoinformthesoundtrack;apartfromtraditionalmusicplayeddiegeticallyduringan early wedding scene, the flavour of Maurice Jarre’s original score can beinterpretedasmoreEmmaBovarythanRosyRyan.In this paper I argue that the soundtrack to Ryan’s Daughter reflects the film’s juxtaposition of the epic and the intimate. Jarre achieves this through original thematic material that at first accompanies the production’s acclaimed cinematographybased inWestKerry,but that then isprogressivelyreworkedto portray psychological aspects of its main protagonists and the relationships thatemergebetweenthem.InasimilarveinexcerptsfromthefirstmovementofBeethoven’s Eflat(‘Eroica’)Symphony,firstheardassourcemusicinintimate,domesticscenes,arelateremployedinanextendedpsychodramasequence;thesecometobeintegratedinacontinuouscuewithoriginalmaterialbyJarreagainstan‘epic’widescreenlandscape.OtherapproachesadoptedbyJarreincludethescoring of pseudo-military cues to augment the screenplay’s ridicule of bothimperialandrevolutionaryforces,andthecombinationofrhythmicentrainmentwith music to convey psychological distress. IconcludebyappraisingthesoundtracktoRyan’s Daughter in light of the film’s eschewalofhistorical-politicalcontexts.
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ORGAN RECITAL, FRIDAY, 28 JUNE 2019
GERARD GILLEN(Professor Emeritus of Music, Maynooth University)
PreludeandFugueinBMinor,BWV544 J.S.Bach(1685–1750)
AndanteinDwithvariations(1844) FelixMendelssohn-Bartholdy(1809–1847)
FugueinC(1839) F.Mendelssohn-Bartholdy
FourSketches,op.58 RobertSchumann(1810–1856)
No.1inCminor,Nichtschnellundsehrmarkirt
No.2inCmajor,Nichtschnellundsehrmarkirt
No.3inFminor,Lebhaft
No.4inDflatmajor,Allegretto
PièceHéroïque CésarFranck(1822–1890)
Arioso LeoSowerby(1895–1968)
Idols(1972) RaymondDeane(b.1953)
GerardGillenistitularorganistemeritusofDublin’sPro-CathedralandprofessoremeritusofmusicatMaynoothUniversity.Hehasgivenover1,000recitalsinacareerthathastakenhimtofourcontinents,actingasamemberofanumberofinternationalcompetitionjuries,andperformingatmanyoftheworld’smostprestigious recital venues.
Professor Gillen was founder-chairman of the Dublin International Organ &ChoralFestival(nowPipeworks)ofwhichhewasartisticdirectorfrom1980to1986andagainfrom1990to2000.HehasbeenhonouredbytheVaticanandbythegovernmentsofFrance,BelgiumandAustria.OtherhonoursincludetheJohnBettsVisitingFellowshipatOxford(1992)andtheawardofadoctoratehonoriscausabythePontificalUniversityofMaynooth,andanhonoraryfellowshipbythe RIAM.
Engagements abroad this year take him to the UK, Belgium, Germany andPoland.
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in irelandMusicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
KEYNOTE LECTURE, SATURDAY, 29 JUNE 2019
‘Dvořák’sFlashbacks’,ProfessorMichaelBeckerman(CarrollandMiltonPetrieProfessorofMusicandCollegiateProfessorofMusic,NewYorkUniversity,USA)
In the coda from the finale of Dvořák’sCelloConcertowehear briefwisps ofthe main theme from the first movement. My talk asks questions about thesignificanceofthispassage,andalsowhat itmightmeanto ‘mean’somethingininstrumentalmusic.These‘flashbacks’,andalsoparallelpassagesfromsuchworksastheTrio inFMinor,PianoQuintet inAandthecomposer’s lasttwosymphonies, raise further questions about a certain conflict inDvořák’sworkbetweennon-referentialandprogrammaticallyexplicitmaterial,andasomewhatspecialzonethatliesinbetween.Thoughmypresentationdealswitharelativelycircumscribedgroupofworksbyasinglecomposer,itismyviewthatthroughthese considerations we may explore broader, increasingly contemporary,questionsabouttherelationshipbetweenmusicandtherestoftheworld.
Michael Beckerman is Carroll and Milton Petrie Professor of Music and Collegiate Professor at New York University. Hehas written on Czech music, film studies,Mozart, form and meaning, orientalism,musicof theRoma,andcomposition inthecamps. He has been a regular contributorto The New York Times,appearedonmanyepisodes of Live from Lincoln Center and has lecturedthroughoutNorthAmerica,Europe,AsiaandAustralia.Asapublicmusicologisthe has given numerous pre-concert talks,and has organized many international conferences and music festivals. Beckerman
hasbeentherecipientofmanyprizesandhonours,includingtwoASCAPDeemsTaylor awards, an honorary doctorate from Palacký University in the CzechRepublic, the Janáček and Dvořákmedals and other awards from the Czechgovernment, a Distinguished Alumni award from Hofstra University and aGoldenDozenteachingawardfromNYU.HehastaughtatColumbiaUniversity,WashingtonUniversity,theUniversityofChicago,theUniversityofCalifornia,SantaBarbara,CentralEuropeanUniversityandCharlesUniversityinPrague.From2011to2015heservedasDistinguishedProfessoratLancasterUniversityinEngland,andhewastheLeonardBernsteinScholarinResidenceofTheNewYorkPhilharmonicfrom2016to2018.HeisauthorofseveralbooksincludingNew Worlds of Dvořák,Martinů’s Mysterious Accident and Janáček as Theorist,andhegavehispreviouskeynoteforthissocietyin2004.
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
PLENARY DISCUSSION, SUNDAY, 30 JUNE 2019
‘TheUnemploymentofMusicology’,ProfessorHarryWhite(UniversityCollegeDublin,Ireland)
In Ireland theword ‘musicology’ has begun to recede: it is in a very gradualstate of unemployment. This would not matter in the least if the profession it designateswerenotalsoinrecession,butageneral(andgenuine)reluctancetoconcede musicology as a profession (as distinct from musicology as a discipline) hascontributedtothisdecline.ThesoftpowerofAnglo-Americanusageinthisrespect entails much more than a lexical preference: it reflects instead a pervasive culturalaestheticinwhichmusicisentertainment,andmusicalthoughtalmostacontradiction in terms. In this address I wish not only to adduce hard evidence of thisstateofaffairsbuttoarguethatunlessitisremediedthedeclineofmusicologyasaself-standingprofessionwillcontinueindefinitely.ThisdoesnotmeanthatthestudyofmusicwillbeabandonedinIrishuniversities,butthenatureofthis(musical) engagement will ultimately void the relationship betweenmusic asa subjectandmusicologyasaprofession. Inpragmatic terms theprofessionalstandingofaPhDinhistoricalmusicology,ethnomusicologyortheoryisalreadyunder severe stress, at least to judgeby employmentpoliciesand educationalobjectiveswhichcurrentlyobtaininmanyIrishuniversities,includingmyown.The implications of this stress for recent or current PhD students of musicology deservetobecountenanced.
Harry White teaches historical musicologyand cultural history at University CollegeDublin,wherehehasheldtheChairofMusicsince 1993. He was inaugural President ofthe Society for Musicology in Ireland from 2003until2006andservedonthecounciloftheSMIuntilJune2018.Hislatestbook,The Musical Discourse of Servitude,isforthcomingfromOxfordUniversityPress.
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
‘Re-EmployingandRe-DeployingMusicology’,DrNatashaLoges(RoyalCollegeofMusic,London,UK)
Dependingonone’sperspectivethegrowingimplicationsoftheword‘musicology’arediversifyingexcitingly–orbecomingworryinglydiffuse,splinteredintotinyhyper-specialisedcampswithlittlecommunicationbetweenthemandthewiderworld,and/orexcessivelydistancedfromthe‘actual’materialsofmusic(formany,thisisstilltheworldofcomposition,worksandnotation).Butevenwithinthisfragmentationtheplaceofthedisciplineofmusicasbothpracticeandscholarshipis spirallingdownwards,asnumbers taking thesubjectMusicatALevelandintouniversity and conservatoiredecline.Yetwehavemoremusic than ever.Certainly there is a seemingly irresistible pull towards a conception ofmusicasentertainment,politics,sociologyormuchelse(anything,indeed,apartfrommusic).However,ours isnot theonlydisciplineexperiencingprofoundchangeand the dissolution of traditional boundaries in linewith the evolution of themusicalprofession;furthermore,itiswisealsotoacknowledgethecontributionofmusicologiststothissituation.Howdowecommunicate,towhom,andhoweffectively?Forwhatfuturesdoourdegreestrainourstudents,andhowdoweknowtheyarevalid?This responseconsidersa rangeofquestionsmusicologycould–andshould–beaskingifitistohaveafuture.
Natasha Loges is Head of PostgraduateProgrammesattheRoyalCollegeofMusic.Herinterests include concert history, music andliterature, and the life andmusic of JohannesBrahms. Her work has been funded by theArts and Humanities Research Council, theBritish Academy and the Scouloudi Foundation. Her books are Musical Salon Culture in the Long Nineteenth Century (2019), Brahms in Context (2019), Brahms and His Poets (2017)
and Brahms in the Home and the Concert Hall(2014).Hernext,German Song Onstage,will appear in2020.Shehas contributed toMusic and Literature in German Romanticism, The Cambridge Companion to the Singer-Songwriter and The Cambridge History of Musical Performance,andtothejournalsMusic & Letters,Nineteenth-Century Music Review and 19th-Century Music. She has givenkeynotelecturesfortheconferences‘TheIntellectualWorldsofJohannesBrahms’attheUniversityofCalifornia,Irvineand‘ClaraSchumann(néeWieck)andHerWorld’atOxfordUniversity.Natasha performs regularly as a pianist. She also broadcasts on BBC Radio3,writes reviews forBBC Music Magazine and speaks at many festivals and venues,includingtheSouthbankCentre,BBCPromsPlus,SheffieldMusicintheRound,theOxfordLiederFestivalandLeedsLieder.
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
CONFERENCE ATTENDEES
DELEGATE AFFILIATION E-MAILDr Adèle Commins Dundalk IT, Ireland [email protected] Adrian Scahill Maynooth University, Ireland [email protected] Alison Hood Maynooth University, Ireland [email protected]
Angelo Pinto The Open University, Milton Keynes, UK [email protected]
Anika Babel University College Dublin, Ireland [email protected]
Dr Anja Bunzel Czech Academy of Sciences, Czech Republic [email protected]
Dr Anne Stanyon University of Leeds, UK [email protected] Dr Antonio Cascelli Maynooth University, Ireland [email protected] Axel Klein Independent Scholar, Germany [email protected] Bryan A. Whitelaw Queen’s University Belfast, UK [email protected] Twomey Maynooth University, Ireland [email protected]éleste Pagniello University of Cambridge [email protected]
Chris Williams Central Music Library of the BBC/Australian Music Centre, Australia
Christina Lynn Dundalk IT, Ireland [email protected]. Christopher Morris Maynooth University, Ireland [email protected] Conway Queen’s University Belfast, UK [email protected] Clare Wilson Ulster University, UK
Dr Damian Evans Research Foundation for Music in Ireland, Ireland [email protected]
Dr Darina McCarthy Maynooth University, Ireland [email protected]
Deirdre Walsh University College Dublin, Ireland [email protected]
Donal Fullam University College Dublin, Ireland [email protected]
Eilís O’Sullivan Maynooth University/ CIT Cork School of Music, Ireland [email protected]
Dr Eleanor Giraud University of Limerick [email protected] Jones-McAuley Trinity College Dublin, Ireland [email protected] Shyr Duke University, USA [email protected] Emmanuel Ndubuisi Nnamani
University of Port Harcourt, Nigeria [email protected]
Eoghan Corrigan University College Dublin, Ireland [email protected] Dr Esther Cavett King’s College London, UK [email protected] Favali University of Birmingham, UK [email protected] Prof. Fiona M. Palmer Maynooth University, Ireland [email protected]
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
DELEGATE AFFILIATION E-MAIL
Dr Gareth Cox Mary Immaculate College, University of Limerick, Ireland [email protected]
Prof. Gerard Gillen Maynooth University, Ireland [email protected]
Dr Gregory Marion University of Saskatchewan, Canada [email protected]
Hannah Millington Oxford Brookes University, UK [email protected]. Harry White University College Dublin, Ireland [email protected]
Helen Doyle TU Dublin, Ireland [email protected]
Dr Hyun Joo Kim Seoul National University Yonsei/Ewha Womans University Seoul, South Korea
Dr Ita Beausang Independent Scholar, Ireland [email protected] Javier Campos Calvo-Sotelo Independent Scholar, Spain [email protected]
Dr Jennifer McCay Royal Irish Academy of Music [email protected]
Dr Joe Davies Lady Margaret Hall, Oxford University, UK [email protected]
Dr Joe Kehoe Independent Scholar, Ireland [email protected] Heraty Independent Scholar, Ireland [email protected] Moore University of Liverpool, UK [email protected] John O’Flynn Dublin City University, Ireland [email protected]. Julian Horton Durham University, UK [email protected] (Kay) Felfeli [email protected] Kerry Houston TU Dublin, Ireland [email protected] Laura Anderson Maynooth University, Ireland [email protected] Laura Dallman University of Florida, USA [email protected] Dr Laura Watson Maynooth University, Ireland [email protected]
Lauren Farquharson Dundalk IT, Ireland [email protected]
Prof. Lorraine Byrne Bodley Maynooth University, Ireland [email protected]
Maddie Kavanagh Clarke Durham University, UKMargaret Collins Stoop Trinity College Dublin, Ireland [email protected] Marie-Charline Foccroulle Independent Scholar, Germany [email protected]
Dr Martin Knust Linnæus University Växjö, Sweden [email protected]
Dr Martin O’Leary Maynooth University, Ireland [email protected] Mullen Dundalk IT, Ireland [email protected]. Michael Beckerman New York University, USA [email protected]
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
DELEGATE AFFILIATION E-MAILDr Michael Lee Trinity College Dublin, Ireland [email protected] Whitten Queen’s University Belfast, UK [email protected]
Nadine Scharfetter University of Music and Performing Arts Graz, Austria [email protected]
Dr Natasha Loges Royal College of Music, London, UK [email protected]
Prof. Nicole Grimes University of California, Irvine, USA [email protected]
Dr Nikola Komatović Independent Scholar, SerbiaNoga Rachel Chelouche Tel Aviv University, Israel [email protected] Shannon Dublin City University, Ireland [email protected] Patrick Devine Independent Scholar, Ireland [email protected] Huang University of London, UK [email protected] Clesham University College Cork, Ireland [email protected] Paul Everett University College Cork, Ireland [email protected] Fuller Boston University, USA [email protected]
Sarah Lindmark University of California, Irvine, USA [email protected]
Scott Flanigan Ulster University, UK [email protected]
Dr Shane McMahon Maynooth University Arts and Humanities Institute, Ireland [email protected]
Shauna Louise Caffrey University College Cork, Ireland [email protected] Stan Erraught University of Leeds, UK [email protected] Ford Maynooth University, Ireland [email protected] Dr Steve Coleman Maynooth University, Ireland [email protected]
Sylvia O’Brien Royal Irish Academy of Music, Ireland [email protected]
Dr Vadim Rakochi Gliere Kyiv Municipal Academy of Music, Kyiv, Ukraine [email protected]
Dr Wolfgang Marx University College Dublin, Ireland [email protected]. Xavier Hascher University of Strasbourg, France [email protected]. Yo Tomita Queen’s University Belfast, UK [email protected]
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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SMI COUNCIL 2018–2021
ProfessorLorraineByrneBodleyMRIA(MaynoothUniversity,President)DrDamianEvans(ResearchFoundationforMusicinIreland,Honorary
Secretary)DrPaulEverett(UniversityCollegeCork,WebAdministrator)DrEleanorGiraud(UniversityofLimerick,HonoraryMembershipSecretary)DrDeniseNeary(RoyalIrishAcademyofMusic,HonoraryTreasurer)BryanWhitelaw(Queen’sUniversityBelfast,StudentRepresentative)Dr Anja Bunzel (Czech Academy of Sciences)ProfessorUnaHunt(TechnologicalUniversityDublin)DrJohnO’Flynn(DublinCityUniversity)DrJ.GriffithRollefson(UniversityCollegeCork)DrDanielleSofer(MaynoothUniversity)ProfessorYoTomita(Queen’sUniversityBelfast)
PreviousSMIPlenaryandPostgraduateConferences(2015–2019):2015PGConference:UlsterUniversityPlenaryConference:UniversityCollegeCork
2016PGConference:TrinityCollegeDublinPlenaryConference:DublinCityUniversity
2017PGConference:UniversityCollegeDublin(December2016,JointICTM-IE/SMI Conference)PlenaryConference:Queen’sUniversityBelfast
2018PGConference:MaynoothUniversity(JointICTM-IE/SMIConference)Plenary Conference: Cork Institute of Technology
2019PG Conference: Dundalk Institute of Technology (Joint ICTM-IE/SMIConference)PlenaryConference:MaynoothUniversity
ForthcomingSMIPlenaryandPostgraduateConferences(2020)PGConference:UniversityofLimerick(JointICTM-IE/SMIConference)PlenaryConference:TrinityCollegeDublin
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ForthcomingSMI-affiliated events (until next SMIPGConference, January2020;asof19May2019):
Music and Sound Design for the ScreenMaynoothUniversity,6–7September2019
Joint ICTM-Ireland/SMI PG ConferenceUniversityofLimerick,17–18January2020Official CfP to follow soon
TheSocietyforMusicologyinIreland,incollaborationwiththeIrishNationalCommitteeoftheInternationalCouncilforTraditionalMusic,arepleasedtoannouncea joint postgraduate conference to takeplace at theUniversity ofLimerick on Friday 17 and Saturday 18 January 2020. The conferencewillfeatureakeynoteaddressfromPhilipBohlman,‘“LiftedUpfromtheEarthattheVeryMomentofDeath”:TheBorder,theWallandtheMusicalTopographyof Migration Crisis’.
The conference committee would like to invite postgraduates working in all areasofmusicalresearchtosubmitproposalsforconferencepapers.Speakerswillbegiven20minutesfortheirpaper,followedbya10-minutediscussion.Areas of research include, but are not limited to, historical musicology,ethnomusicology,musictheoryandanalysis,musictechnology,musicpedagogy,popularmusicstudies,musicalpracticeasresearch,psychologyofmusicandmusicandgender.InadditiontothetraditionalpapersessionstherewillbeaCareers Forum on the Saturday as part of the conference. Master’s students arealsowelcometodisplaytheirworkinprogressina10-minutepresentation.
Feel free to contact the Conference Committee at:[email protected]
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SMI Grants Committee
— Call for Applications —
The SMI operates a peer-reviewed scheme to award a limited number of grants to its members. Grants of up to €400 in support of musicological research and grants of up to €200 in support of conference presentations involving international travel may be awarded to postgraduate research students, non-affiliated scholars, or academics without recourse to institutional funds.
EligibilityTo qualify for consideration applicants must be in good standing with the Society and have been a member for a minimum of six months at the point of application. Please note that applications for grants must be made at least two months in advance of the research activity or international conference concerned. Grants are payable to successful applicants on production of receipts as detailed below, after the research / presentation has been completed.
Applications should include:• a short CV;• a brief description of the proposed research and its intended purpose;• a proposed budget;• (if applicable) an account of awards received or applied for in connection with the
project;• a copy of a short letter of support from a supervisor or appropriate academic
colleague.
Recipients are expected to:• acknowledge, when publishing or presenting, the assistance of the SMI;• submit a short report on the work undertaken to the SMI Grants Committee Chair
within 12 months of the allocation of the award;Recipients are encouraged to present their findings at an SMI Conference.
Payment processTo comply with Irish Revenue charitable status requirements recipients must submit all relevant receipts to the Hon. Treasurer before the payment of the full grant can be made.
Applications (and any queries) should be addressed to:[email protected] John O’Flynn (Dublin City University)Chair, SMI Grants Committee
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Routledge Free-To-View Collection
Valid 17 June to 15 July 2019Follow this link to get your free access code:
www.crcpress.com/go/smi-free-to-view-collection?utm_source=shared_link&utm_medium=post&utm_
campaign=B190507968
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
TRANSPORT
Maynooth has two suburban bus routes, the 66 and 67. Maynooth is also served by Bus Éireann and private coach companies en route to Galway and the West of Ireland. There is a commuter train service from Maynooth to Connolly Station and Pearse Station in Dublin city centre. Maynooth is on the Sligo intercity line.
Travelling by bus to Dublin:Two buses serve Maynooth: the 66 (going through Leixlip) and 67 (going through Celbridge). The 66 bus stop is located on Main Street at McCormack’s Pharmacy, while the 67 departs from an island just opposite the Glenroyal Hotel. Both buses have their termini just off Pearse Street in Dublin city centre. These buses leave Dublin from Pearse Street (just opposite the Screen Cinema); they also stop in Westmoreland Street and along the Quays. Each line runs regularly to and from Maynooth. You need to have exact change for the fare or alternatively you can purchase a Leap Card from one of the newsagents on Main Street, Maynooth. More information is available from www.dublinbus.ie.
Travelling by train to Dublin:Maynooth is on the Western Suburban Line, which departs from Connolly Station in Dublin city centre. The journey from Maynooth to Dublin takes about 50 minutes, and less if the train is an express service. Transfers to the DART are available from Pearse and Connolly Stations. More information is available from www.irishrail.ie.
Travelling to Dublin Airport:There are three main ways to get to the airport from Maynooth.
The Airport Hopper operates between Maynooth and Dublin Airport. This bus leaves from an island just opposite the Glenroyal Hotel. More information is available from www.airporthopper.ie. A one-way ticket is €10, and this bus goes every hour from 4:00am to 9:00pm. The Airport Hopper leaves Dublin Airport at the following times: 4:45am, 6:45am, 7:50am; from then on every hour at ten minutes to the full hour until 21:50.You can go to Dublin city and then take the Airlink (747) or Aircoach bus. Both buses leave from Westmoreland Street or O’Connell Street. These buses operate on a 24/7 basis.You can hire a taxi to take a direct route to the airport. The taxi will cost between €50 and €70. A few contact numbers for local taxi companies are provided here:Murray Cabs 087 268 4399; Express Cabs 01 628 9999
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
EMERGENCY CONTACTS
RECEPTIONThe Reception Desk at Maynooth Campus Conference & Accommodation Centre is open at the following times:
Monday to Sunday, 08:30 to 23:00Reception may be contacted from any phone on 01 708 6400. If you ring from an internal phone, just dial 6400.
SECURITYSouth Campus Security may be contacted in the event of an emergency outside of Reception opening hours at 01 708 3929. If you ring from an internal phone, just dial 3929. Please note that this is a one-way radio system.
MEDICAL EMERGENCIESDoctor on call:
Dr Maurice Cowhey/ Dr O’Sullivan: 01 628 9044Dr Gaffney: 01 629 1169Dr O’Rourke: 01 628 5210
Emergency Ambulance Service: 999
Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
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Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland
PLACES TO EAT
Amber Tree Bistro 01 629 1022
Apache Pizza (pizza takeaway) 01 629 2929
Bistro 53 01 628 9001
Brady’s Bar 01 628 6225
Caulfield’s Bar 01 628 6078
Coffee 4 085 703 5489
Coffee Mill 01 601 6594
Glenroyal Hotel 01 629 0909
O’Neill’s Bar 01 628 6255
Oak Alley Cocktail Bar 01 610 6558
Picaderos 01 629 2806
Pizza Dog (pizza takeaway) 01 531 0909
Royal City 01 629 0686
Stone Haven 01 629 1229
The Avenue Restaurant 01 628 5003
The Linden Tree @ Carton House 01 651 7777
The Orient (Chinese takeaway) 01 628 5888
The Roost 01 628 9843
Yeah Burger 01 6886484
MUSICDEPT:Bewerunge RoomO’Callaghan RoomGillen RoomLogicHall
Conference & Accommodation
Centre
LOCATION GUIDE