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Thursday, 25 August

Lunch available in the Downs Restaurant in Bramber House, Level 1


Terrace Room: Time, Rhythm and Metre in Late Twentieth-century Music
Chair: Robert Adlington (University of Nottingham)

Mark Delaere: ‘Self-Portrait with Boulez and Machaut (and Ligeti is there as well): Harrison Birtwistle’s Hoquetus Petrus’
Eve Poudrier: ‘The Interaction of Foreground and Middleground Polyrhythms in the Music of Carter’
Tiina Koivisto: ‘Modes of Temporality in Non-tonal Music’

Gallery Room I: Discourses of Popular Music
Chair: Kenneth Gloag (Cardiff University)

Ethan Kaplan: ‘Space, Complexity, Rock Concerts: If There is Some Confusion, Who is to Blame?’
Mark Spicer: ‘What Makes a Great Chorus?’
Jan Butler: ‘High Fidelities: The Discourse of Authenticity and the Work of Jimi Hendrix’
Steen Kaargaard Nielsen: ‘Wife Murder as Child’s Game: On Eminem’s Performative Self-Dramatization’

Gallery Room II: Contexts of Twentieth-century Music
Chair: Martin Butler (University of Sussex)

Lilian Hickey: ‘Post-Kleinian Thought: Meaning and the Psyche in Twentieth-century Music’
Margaret Alexomanolaki: ‘Music and Meaning in TV Advertising: A Musical Application of Hall’s Representational Theories’
Emma Robertson: ‘Harmonious Relations? Music in the Rowntree and Cadbury Chocolate Factories in the Twentieth Century’

4-4,30pm: Tea


TR: Sacred Machines: Messiaen’s Relationship with Modernity, Technology and Automation (Symposium 1)
Chair: Nigel Simeone (University of Sheffield)

Stephen Broad: ‘Messiaen and Modern L’art sacré’
Nigel Simeone: ‘Messiaen, Martenot and the 1937 Exposition’
Christopher Dingle: ‘The Mysterious Workings of Liberty: Mechanical Procedures in Messiaen’s Natural and Theological Works’
Vincent Benitez: ‘Understanding Messaien as Serialist: Theological Time and Its Musical Expression Through Number in His Later

GR I: Discourses of Valorisation
Chair: Cecilia Wee (University of Sussex)

Marcel Cobussen: ‘Deconstructing the Canon of the New Spiritual Music Movement’
Anthony Gritten: ‘Contemporary Musical Judgements’
Ian Pace: ‘Verbal Discourse as Aesthetic Validation in Contemporary Music’
Claire Taylor-Jay: ‘The Composer’s Voice? Issues of Identity and Criteria of Musical Value’

GR II: Vocality
Chair: Jeongwon Joe (University of Cincinnati)

Megan Jenkins: ‘Artistic Subjectivity and Alienation in Berio’s Recital I (For Cathy)’
Wesley Phillips: ‘Homage to Ulysses: Joyce, Berio and the Vocal Absurd’
Grant Olwage: ‘Analysing Paul Robeson’s Voice’
Joshua Walden and Christopher Doll: ‘”Grow for Me”: Vocal Timbre and the Performance of Identity in Little Shop of Horrors’

6,30-8pm: Dinner, Laines Restaurant, Bramber House, Level 2


TR: First Anthony Pople Memorial Lecture, sponsored by twentieth-century music
Chair: Christopher Mark (University of Surrey)

Gianmario Borio: ‘Avant-garde as a Plural Concept: Music around 1968’

Grapevine Bar open 6-11pm (Bramber House, Level 2)
Friday, 26 August


TR: Christian Wolff: Experimental Music and the Social Dimension (Symposium 2)
Stephen Chase: ‘Politicized Music/Musical Politics’
Clemens Gresser: ‘Christian Wolff, the Performer as Co-creator and the Redefinition of Relationships Between Composer and
Philip Thomas: ‘A Performer’s View on Wolff’s Music’

GR I: Issues in Jazz
Chair: Peter Elsdon (University of Hull)

Catherine Parsonage: ‘Contextual Understanding of Avant-gardism: The Pre- and Post-war Avant-gardes in Jazz'
Tony Whyton: ‘Why take the G out of Genius?’
Michael T. Spencer: ‘“In the Blood”: Emotion, Blackness, and the Quest for Authenticity in ‘Cool’ Jazz, 1953-1963’

10,30-11am: Tea


TR: Experimentalism and Interpretations of China (Symposium 3)
Virginia Anderson: ‘Cornelius Cardew: The Man Who Went to Mao’
Andrew Granade: ‘From Emperor Chun to Corporeality: China’s Aesthetic Influence on Harry Partch’
David Patterson: ‘Fighting Self: Mao as Icon in Cage’s Evolving Aesthetic’

GR I: Cultural Geographies of Twentieth-century Music
Chair: Nicholas Till (University of Sussex)

Laudan Nooshin: ‘Underground, Overground: Rock Music and Youth Discourses in Iran’
Manuel Sosa: ‘The Ear and the Eye: South-American Art Music, Painting and Sculpture, and their Relationship in the Second Half of
the Twentieth Century’
Noriko Manabe: ‘A Mulata’s Memory: Remembrance Themes and Mestizaje in the Musical Characterization of Coloured Women in
Cuban Zarzuelas’

GR II: Lecture Recital
Fabrice Fitch and Neil Heyde: ‘Re-inventing the ´Cello: The Collaborative Process as Research’

12,30-2pm: Lunch, Laines Restaurant, Bramber House, Level 2


TR: Key-note Lecture
Chair: Björn Heile (University of Sussex)

David Toop, ‘Why Connections Are More Important than Dogma: Arguing for Open Listening rather than Closed Narratives’

3,30-4pm: Tea


TR: Round Table: ‘Marketing New Music: From Assimilation to Affiliation?’ (Symposium 4)
Nicholas Reyland (London Sinfonietta, Cardiff University – chair)
Karen Cardy (Marketing Manager, London Symphony Orchestra)
John Fosbrook (Promotion Manager, Chester Music/Novello & Co., formerly SPNM)
Stephen Goss (Composer and guitarist, University of Surrey)
Gillian Moore (Artistic Director, London Sinfonietta, Audience Development Projects Director, South Bank Centre)
Keith Potter (The Independent, Goldsmiths College)
Philip Tagney (Senior Producer BBC Radio 3, responsible for new music)

6-7,30pm: Dinner, Laines Restaurant, Bramber House, Level 2


Meeting House: Conference Concert
The New Music Players perform compositions by Xenakis, Grisey, Murail, Wood
Please note that, due to building work, the toilets in the Meeting House are closed. Please use the facilities in adjacent Falmer House
(right doorway in first archway, first floor).

Grapevine Bar open 6-11pm (Bramber House: Level 2)
Saturday, 27 August


TR: Analytical Approaches I
Chair: Nicholas McKay (University of Sussex)

Tatiana Ursova: ‘Interpreting Preludes and Fugues by Soviet Composers: Analysis of Polyphonic Texture from a Performer’s
David Carson Berry: ‘Stravinsky’s Array-Pathway Analogues in Context: The Concept of Anasystemic Variation Procedure’
Marina Lupishko: ‘The “Rejoicing Discovery” Revisited: Re-accentuation in Stravinsky’s Setting of Russian Folk Verse’

GR I: Music and the Body in the Twentieth Century
Beate Kutschke: ‘The Scream in Avant-garde Music: The New Left and the Rediscovery of the Body’
Florian Keller: ‘Visual Music Revisited: Pop Promos and the Optical Body of Sound’
Steffen Schmidt: ‘Duncan’s Device: Traces of Early Modern Dance in Music Theory’

GR II: Czech Late Twentieth-century Music
Chair: Martin Iddon

Tereza Havelkova: ‘Czech Contemporary Music after 1989: Postmodernism without Modernism’
Thomas Svatos: ‘The Two Ideologies of Miroslav Barvík and Bohuslav Martin ’s Legacy under Czechoslovak Communism’

10,30-11am: Tea


TR: The Power of Disseminating Sounds: Interwar Market Forces Behind the New Sound Technologies
(Symposium 5)
Chair: Amanda Bayley (University of Wolverhampton)

Jenny Doctor: ‘What’s “New” in the Formula? The Transmission of Novelties in the Interwar Proms’
Timothy Day: ‘New Music, New Technologies, and New Audiences between the Wars’
Claire Launchbury: ‘BBC Overseas Music Policy and Broadcasts to France during the Second World War’

GR I: Aesthetic Issues in Late Twentieth-century Music I
Chair: Sam Hayden (University of Sussex)

David Metzer: ‘Kurtág’s Kafka Fragments and the Fragmentary’
Robert Adlington: ‘Avant-garde Music, Politics, and the State: The Case of Reconstructie’
Martin Iddon: ‘A Stranger in Paradise? The Meaning of Cage in Darmstadt’

12,30-1pm: Lunch, Laines Restaurant, Bramber House, Level 2


GR II: Society for Music Analysis Annual General Meeting (Members Only)


Debating Chamber (Falmer House, First Floor): Lunch-time Recital – Electro-acoustic Music
Jonathan Harvey will present his Ritual Melodies and Mortuos plango, vivos voco in conversation with Ed Hughes.

TR: Lutosławski’s String Quartet: Interpreting Performance – Performing Interpretations (Symposium 6)
Chair: Amanda Bayley (University of Wolverhampton)

Amanda Bayley: ‘Interpretative Processes in Lutosławski’s String Quartet’
Nicholas Reyland: ‘Emplotting Lutosławski’s String Quartet: A Liberating Action’
Neil Heyde: ‘Reading from the Inside and Listening from the Outside: Performers’ Responses to Lutosławski’s String Quartet’
Peter Sheppard Skærved
Paul Patterson

GR I: Marketing and Promotion
Chair: Jenny Doctor (University of York)

Richard Witts: ‘”Shopping & Fricker'
”: The Origins of the Cheltenham Festival of British Contemporary Music: Branding, Marketing,
Twelve-Tone Reds and the Rotary Club’
Martyn Harry: ‘The Promotion of New Music by Major Recording Companies in the Early 1990s: An Insider’s Viewpoint’
Sophie Fuller: ‘”Putting the BBC and T. Beecham to Shame”: The Macnaghten-Lemare Concerts 1931-1937’

GR II: Aesthetics of Modernism
Chair: Arnold Whittall (King’s College, London)

Lois Fitch: ‘Adorno and Deleuze: A Dialectical Relationship in the Music and Thought of Brian Ferneyhough’
Andrew Timms: ‘Modernism’s Moment of Plenitude’
Edward Campbell: ‘Boulez, Souvtchinsky and Dialectical Thinking: An Exercise in Genealogy’
Celina Wood: ‘A Crisis of Identity: Boulez, Modernism and Reception’

4,30-5pm: Tea


TR: Analytical Approaches II
Chair: Bethany Lowe (University of Newcastle upon Tyne)

Catherine Losada: ‘Between Modernism and Postmodernism: A Strand of Continuity’
Brenda Ravenscroft: ‘Rhythmic Complexity and Mechanization’
Matthew Schildt: ‘Mechanistic and Minimalist Techniques in George Antheil’s Music for a World Fair Film’
Charlotte M. Cross: ‘Schoenberg’s Gedanke Manuscripts: The Theoretical Explanation of Composition with Twelve Tones?’

GR 1: Aesthetic Issues in Late Twentieth-century Music II
Chair: Michael Spencer (University of Leeds)

John Croft: ‘Sciarrino: Estranged Mimesis, Utopian Silence’
Renata Skupin: ‘Pfhat and Bar-do Thos-grol: Tibetan Inspirations in Giacinto Scelsi’s Music’
Eric Drott: ‘Spectralism, Politics and the Post-industrial Imagination’
Catherine Laws: ‘Feldman – Beckett – Johns’

GR II: Prokofiev
Chair: N.N.

Nathan Seinen: ‘Prokofiev’s War and Peace: A Stalinist Spectacle’
Kevin Bartig: ‘Lieutenant Kizhe and Prokofiev'
s Path to the Soviet Screen’
Anna Nisnevich: ‘Opera as Mechanism: The Case of Prokofiev’s Love for Three Oranges’


Conference Banquet, Laines Restaurant, Bramber House, Level 2

Grapevine Bar open 6-12 (Bramber House, Level 2)
Sunday, 28 August


TR: Tippett I: Aesthetic Contexts (Utopia, Melancholy and Other 'States of the Soul')
Chair: David Clarke (University of Newcastle upon Tyne)

Arnold Whittall: ‘The Bright Side of Utopia: Rhetoric and Allusion in The Midsummer Marriage’
Christopher Mark: ‘Tippett and Melancholy’
Iain Stannard: ‘Bergson and the Concept of ‘Flow’ in Tippett’s Concerto for Orchestra’

GR I: Ives
Chair: David Metzer (University of British Columbia)

Penelope Walcott: ‘Talking around Ives’
Anthony Alms: ‘The Inner World of Charles Ives: A Hermeneutic Approach to Central Park in the Dark’
Dorothea Gail: ‘The Second Movement of Charles Ives’s Fourth Symphony: An Analytical Approach to Form and Structure’

GR II: Mechanisation as Music? (Symposium 7)
Alexei Monroe: ‘The Evolution of Senso-Brutalism: Electronic Aesthetics of Force in Music / Industrial – Gabber – Minimal Techno
Peter Webb: ‘Two distinct Trajectories of the Industrial Culture Milieu: 1) From Raw Noise to Sonic Splicing and the New Science of
Breakbeat, and 2) From Mechanisation to Apocalyptic Fetishism and the Foregrounding of Despair’
Heinrich Deisl: ‘Cultural Noise: Noise as Musical Metaphor for Contemporary Aesthetics in Popular Culture’

10,30-11am: Tea


TR: Tippett II: Creative Dynamics
Chair: N.N.

Thomas Schuttenhelm: ‘Creative Process in the Works of Sir Michael Tippett’
John Schuster-Craig: ‘The Composer and His Models: The Second Movements of Sir Michael Tippett' s Double Concerto and
Beethoven' s Op. 95’
Edward Venn: ‘Singing the Blues for Mr. Charlie: The Blues as Archetype and Metaphor in Michael Tippett'
s The Knot Garden’
David Clarke: ‘Between Hermeneutics and Formalism: The Slow Movement of Tippett’s Concerto for Orchestra’

GR I: Social Issues in Early Twentieth-century Music
Chair: N.N.

William Brooks: ‘…from…to…In Flander’s Fields: Composers’ Reception of John McCrae’s Poem’
Benjamin Goose: ‘The Opernkrise: Criticism and the Control of Culture’
Nanette Nielsen: ‘Paul Bekker’s Opera Productions: A Critical Stage for Ethics’

GR II: Aesthetic Issues in Late Twentieth-century Music III
Chair: Edward Hughes (University of Sussex)

Darla Crispin: ‘Some Noisy Ruminations on Susan Sontag’s “Aesthetics of Silence” (1967)’
John Dack: ‘The Electroacoustic Music of Henri Pousseur: Between the “Fixed” and the “Open”’
Danae Stefanou: ‘“Travellers, there are no paths…”? The Case for a Nomadology of Performance’
Amy Beal: ‘”Music is a Universal Human Right”: Musica Elettronica Viva in Rome, 1968’

1pm: Lunch at the Laines Restaurant, Bramber House, Level 2