Archive for the ‘Sister Organizations’ category

CFP: The First International Conference on Women’s Work in Music

Conference dates and venue: 4 –7 September 2017, Bangor University, Wales

Deadline for Proposals:  1 March 2017

Proposal Submissions:

The First International Conference on Women’s Work in Music aims to bring together academics, researchers and music professionals to share their research and experience of women working in music. The conference will explore and analyse the diverse historical, cultural and political themes of women’s work in music, and will provide a platform for participants to present and discuss recent developments and concerns as well as practical challenges encountered and solutions adopted.

The conference is organised by the School of Music at Bangor University, Wales and has been timed to mark the 40th anniversary of the death of Grace Williams (1906-77), one of the first professional Welsh composers of the 20th century to attain international recognition. Although Williams is best known as the composer of pieces such as the Fantasia on Welsh Nursery Tunes (1940), 2 Symphonies (No. 1, 1943 and No. 2, 1956) and Penillion for orchestra (1955), her career consisted of a number of different strands. A noted pianist and conductor, she became a successful music teacher in London in the 1930s and 40s, and also worked for the BBC’s Schools Music Services, writing scripts and musical arrangements for school radio programmes.

Williams’s multi-faceted career can be seen to be part of a much broader development of increased opportunities for women musicians in the 20th century. Even so, her achievements today suffer from a lack of public awareness. Is this lack of awareness connected to broader developments in the struggle for and against gender equality in society, culture, education and in the music industries? What are the intellectual, practical and institutional challenges that women musicians have encountered? While much progress has been made in terms of awareness of women’s work in music in the past 50 years, what solutions need to be adopted to ensure that women achieve recognition and parity in the future? The First International Conference on Women’s Work in Music will seek to both celebrate the achievements of women musicians, and to critically explore and discuss the changing contexts of women’s work in music on the international stage.

We invite researchers and practitioners to submit proposals which engage with a range of methodologies and perspectives on women’s work in music, whether these be from an academic, practice-based or educational viewpoint. Proposals are encouraged on the subject of women’s work in music in any musical genre, period or practice which may address, but need not be limited to, the following topics:

  • Composers
  • Performers
  • Conductors
  • Popular Music
  • Internationalism in Music
  • Ethnomusicology
  • Feminist Musicology
  • Music Analysis
  • Music Technology
  • Music, Women and the Politics of Gender
  • Queer Perspectives
  • Canonisation in Music
  • The Music Industries
  • Music Education (primary, secondary and tertiary / higher levels)
  • Musical Work by Women (historical and contemporary perspectives)
  • The Representation of Women making Music (photography, internet, CD covers, blogs)

Individual Papers

Proposals for papers should be sent as abstracts of not more than 200 words. Individual papers should be 20 minutes in length and will be followed by 10 minutes of discussion.


Proposals for lecture-recitals should be sent as abstracts of not more than 300 words.  Recitals should be 45 minutes in length and will be followed by discussion.


Proposals for organised panels of 4 speakers (2 hours) should submit a panel abstract (100 words) and individual abstracts (200 words each) in a single document together with the full names and email addresses of the participants. Questions about the organisation of panels should be directed to the conference organiser –


Proposals for posters should be sent as abstracts of not more than 200 words.  Proposals from graduate and postgraduate students will be particularly encouraged.


Please send your proposal as a Word document to no later than 1 March 2017. The following format should be used:

  • Name, affiliation (if applicable) and contact details (postal address, email and phone)
  • Type of presentation (paper, lecture recital, panel or poster)
  • Title of presentation
  • Abstract
  • Audio-visual and other requirements (the following are available: Data projector or large plasma screen; Desktop PC; VGA, HDMI and 3.5mm audio inputs; CD player; DVD player; Visualiser; Piano)
  • Brief biography (150 words)

The Conference Committee will make its final decision on the abstracts by 3 April 2017, and contributors will be informed immediately thereafter. Further information about the programme, registration, accommodation and the conference dinner will be posted on the website after that date.

Conference Organising Committee

Chris Collins, Bangor University; Annika Forkert, Bristol University; Christina Homer, Bangor University: Laura Hamer, Liverpool Hope University: Rhiannon Mathias (Organiser), Bangor University; Wyn Thomas, Bangor University.

Keynote Speakers

Dr Sophie Fuller, Faculty of Music, Trinity Laban Conservatoire of Music and Dance

Jessica Duchen

For any additional information, please contact Rhiannon Mathias –

Posted on 10th January 2017 by Shay Loya in Sister Organizations No comments »

Be not afeard: language, music and cultural memory in the operas of Thomas Adès

Thomas Adès has drawn attention to the ‘mysterious thing that happens when you set actions to music: a third shape that emerges when something non-visual like a musical score is acted out by people moving on a stage’. This conference will explore Adès’s three operatic shapes of music, text, and performative realisation through the lenses of language and cultural memory.

The event will take place over two days. The first day will focus on analytical approaches to Adès’s operas, and will conclude with a round table on The Exterminating Angel prior to the UK premiere of the opera at the Royal Opera House that evening. The second day will focus on interdisciplinary approaches to Adès’s operas and their broader contexts.

Call for Papers

The conference organisers welcome paper proposals (20 minutes maximum, with 10 minutes for questions) for this event. The themes of the conference will include:

-       the translingual negotiation between music, verbal, filmic and theatrical languages

-       translations and reworkings of source materials for the operas

-       place, space and cultural memory (including on stage, screen or in performance)

-       time and temporality (music, text, staging)

Send proposals (including title, academic affiliation, 300-word abstract and technical requirements) to Edward Venn ( by 4pm (GMT) on Monday 16th January 2017.

Confirmed Speakers: Thomas Adès; Peter William Evans (Queen Mary University of London); and John Roeder (University of British Columbia, Vancouver)

Programme Committee: Paul Archbold (Kingston University), Catherine Davies (Institute of Modern Languages Research, School of Advanced Study), Christopher Dromey (Middlesex Univeristy), Philip Stoecker (Hofstra University), Edward Venn (University of Leeds)

Sponsors: AHRC Open World Research Initiative, Institute for Modern Languages Research, Music and Letters Trust, Society for Music Analysis

Posted on 21st November 2016 by Shay Loya in CFPs, Music Analysis, SMA, Sister Organizations No comments »

CFP: 9th European Music Analysis Conference (EuroMAC 9)

The 9th European Music Analysis Conference (EuroMAC 9) will be held in Strasbourg from 28 June to 1 July 2017.

It is organised by the University of Strasbourg’s GRÉAM Research Centre and the French Society for Music Analysis (SFAM) with the support of the European societies for music analysis. The call for papers is now available from the conference website and we are particularly keen to receive proposals in keeping with the themes of the conference.
The first European Music Analysis Conference was held in 1989 in the city of Colmar (France); other previous meetings were held in Trento (1992), Montpellier (1995), Rotterdam (1999), Bristol (2002), Freiburg im Breisgau (2007), Rome (2011) and Leuven (2014).
EuroMAC 9 is calling for submissions in the following formats:
• Pre-organised sessions,
• Spoken papers,
• Poster presentations.
Proposals should be submitted in one of the four designated conference languages, i.e. English, French, German or Italian. They should not exceed 400 words (see the presentation instructions given on the website for each type of proposal).
EuroMAC 9 wishes to encourage proposals for original and innovative contributions on music analysis from a wide range of perspectives. However, special attention will be given to proposals that address the conference’s suggested themes.
Submission deadline (papers, posters, pre-organsied sessions): 15 November 2016
Participating societies:
• Gesellschaft für Musiktheorie (GMTH)
• Gruppo Analisi et Teoria musicale (GATM)
• Polskie Towarzystwo Analizy Muzycznej (PTAM)
• Société belge d’analyse musicale (SBAM)
• Société française d’analyse musicale (SFAM)
• Society for Music Analysis (SMA)
• Society for Theory of Music/Obščestvo teorii muzyki (OTM)
• Vereniging voor Muziektheorie (VvM)
Please visit for further information
Posted on 18th September 2016 by Shay Loya in CFPs, Music Analysis, SMA, Sister Organizations No comments »

CFP: 13th International Music Analysis and Theory Conference

The 13th International Music Analysis and Theory Conference, organized by the Italian research association Gruppo di Analisi e Teoria Musicale (GATM), in collaboration with the Istituto Superiore di Studi Musicali G. Lettimi, the Sagra Musicale Malatestiana, and the Municipality of Rimini, will be held in Rimini from Thursday, 29 September, to Sunday, 2 October 2016.

The Conference Committee hereby invites those interested to submit proposals related to music theory and analysis of repertoires, practices and musical experiences of any genre, period or geographic area.

Submission guidelines

Proposals should be related to one of the following categories:

• individual or co-authored papers;

• panel sessions (containing a number of papers ranging from three to six).

Proposals for individual (or co-authored) papers must include an abstract of no more than 500 words. Proposals for panels sessions, submitted by a convenor, must include a session summary of no more than 500 words, as well as a separate abstract of no more than 350 words for each paper. Proposals must be written in Italian or English. Clearly expressing research goals, applied methodology, and interest as regards the current state of knowledge, is highly recommended. Each proposal must also include:

• full name, institutional affiliation (if any), email address and a short curriculum vitae/biographical essay (max 200 words) of the author(s); this information is also required for each participant in a panel session;

• selected bibliography;

• supplementary materials, if any, such as musical examples, figures, and diagrams (maximum two pages);

• list of required equipment.

The official languages of the conference are Italian and English. Each paper will be given a time slot of 30 minutes, followed by 10 minutes of discussion. Session chairs will be appointed by the Conference Committee.

Deadline for proposal submission and notification of the outcome

All proposals must be sent by email as an attachment (in PDF format) to or Submissions will be open until June 30, 2016. Proposals sent after this deadline, or not in line with the submission guidelines above, will not be taken into consideration.

Those having sent a proposal will be informed of the outcome of their submission(s) via email by July 15, 2016.

Participation, final program, and publication of abstracts

As a general rule, an individual may participate in no more than one session and in no more than one panel session. The conference program will be sent to all participants by July 25, 2016, and will be available on the GATM and Analitica online websites.

All the accepted abstracts will be published on the Analitica online website. The Conference Committee reserves the right to ask those submitting proposals to make changes to their abstract. After the conference, the Rivista di Analisi e Teoria Musicale and Analitica online will be notified by the Conference Committee as to the most interesting papers.

Conference Scientific Committee

Mario Baroni, Alessandro Bratus, Domenico Colaci, Rossana Dalmonte, Catello Gallotti, Ignazio Macchiarella, Alessandro Maffei, Enrico Meyer, Susanna Pasticci, Egidio Pozzi.

Conference fees

Participation in the conference requires a subscription to the semi-annual journal Rivista di Analisi e Peoria Musicale. The subscription fee amounts to € 30 (students: € 25).

Payment methods:

Print format:

• bank transfer addressed to LIM EDITRICE srl, IBAN code: IT 80 K 01030 13701000000682017

• payment on postal payment slip n. 11748555, addressed to LIM EDITRICE srl

• credit card, communicating details to the following number +39 0583 394464

Digital format (or print format):

• bank transfer addressed to GRUPPO ANALISI E TEORIA MUSICALE, IBAN code: IT 43 O 07601 02400 000023163405

• credit card payment with PayPal

Go to subscription page:


For any further inquiries, please send an email to or

Posted on 27th May 2016 by Shay Loya in CFPs, Music Analysis, Sister Organizations No comments »

CFP: AAWM 2016


Fourth International Conference on
Analytical Approaches to World Music (AAWM 2016)
June 8–11, 2016
Hosted by The New School, New York, USA

Deadline: 1 December 2015

World music traditions are receiving increasing attention in all areas of music research, including ethnomusicology, music theory and analysis, music history, music psychology, and music information retrieval. Analytical Approaches to World Music 2016 is the fourth in a series of conferences that bring together scholars from diverse disciplines and cultures, in order to foster interdisciplinary and cross-cultural dialogue and promote new approaches and methods for the study of world music.

We welcome submissions that examine world musical traditions from any analytical and theoretical angles, including (but not limited to) ethnographic, historical, formal, computational, and cognitive perspectives. Submission formats include papers, posters, special sessions, and workshops.

Please see below for information on conference organization and submission guidelines.

Conference web site:

Organizing Committee
Lawrence Shuster (College of Saint Rose, USA), Chair
John Roeder (University of British Columbia, Canada)
Michael Tenzer (University of British Columbia, Canada)

Local Arrangements Committee
Chris Stover (The New School College of Performing Arts, USA), Chair
Evan Rapport (The New School Eugene Lang College, USA)
Lynne Rogers (The New School College of Performing Arts, USA)
Nancy Rao (Rutgers University, USA)

Keynote Speakers
Jay Rahn (York University, Canada)
Richard Widdess (School of Oriental and African Studies, University of London, UK)

Program Co-Chairs
Panayotis Mavromatis (New York University, USA)
Chloe Alaghband-Zadeh (University of Cambridge, UK)

Submission Guidelines

Papers Proposals for spoken papers should be submitted in an extended abstract format with customary headings (Introduction, Analysis, Conclusions, etc.). They should be about 700 words in length, including footnotes but not counting examples and bibliography. They should be accompanied by a separate 200-word abstract. Accepted papers will be allocated 30 minutes for presentation plus 15 minutes for discussion.

Posters Poster proposals should follow the same format as spoken paper proposals.

Authors may submit a given proposal as a paper, a poster, or both. The program committee will make a final recommendation on the presentation format, taking the author’s request into consideration. Abstracts and full proposals of the accepted papers and posters will be published online.

Special Sessions Authors of papers that share a common theme may propose to deliver them in a special session. Each paper should be submitted separately, and will be reviewed following the same process as that for spoken papers. In addition, a separate 700-word proposal and 200-word abstract should be submitted for the session as a whole.

Workshops / Alternative Formats Proposals for workshops or other alternative formats should also take the form of a 700-word proposal and a 200-word abstract. The proposals should give as many details as possible about the precise format they will employ, how many participants can attend, and the size and type of space they will require.

The submission deadline for all proposals is December 1, 2015. Notification of acceptance will be sent via email by early February 2016.

Submissions will be accepted electronically starting July 1st using the following link:

Further detailed instructions will be provided by the online submission system.

Additional Information

For additional information regarding the conference, including venue, transportation, and accommodations, please check the conference website:

Updated information will be posted there as soon as it becomes available.

Please direct all remaining questions to

Program Committee

Simha Arom (Directeur de Recherche Emérite au CNRS, France)
Linda Barwick (University of Sydney, Australia)
Emmanouil Benetos (Queen Mary, University of London, UK)
Filippo Bonini-Baraldi (Centre de Recherche en Ethnomusicologie, France)
Steven Brown (McMaster University, Canada)
Ya-Hui Cheng (University of South Florida, USA)
Martin Clayton (Durham University, UK)
Darrell Conklin (University of the Basque Country, Spain)
Ruth Davis (Cambridge University, UK)
Monique Desroches (Université de Montréal, Canada)
Byron Dueck (Open University, UK)
Daniel Goldberg (Yale University, USA)
Rachel Hall (St. Joseph’s University, USA)
Áine Heneghan (University of Michigan, USA)
Andre Holzapfel (Bogazici University, Istanbul, Turkey)
Henry Johnson (University of Otago, New Zealand)
Kalin Kirilov (Towson University, USA)
Ellen Koskoff (Eastman School of Music, University of Rochester, USA)
Peter van Kranenburg (Meertens Institute, Netherlands)
Laura Leante (Durham University, UK)
David Locke (Tufts University, USA)
Justin London (Carleton College, USA)
Shay Loya (City University London, UK)
Yonatan Malin (University of Colorado at Boulder, USA)
Peter Manuel (Graduate Center and John Jay College, City University of New York, USA)
Andrew McGraw (University of Richmond, USA)
Sue Miller (Anglia Ruskin University, UK)
Simon Mills (Durham University, UK)
Sam Mirelman (Institute for the Study of the Ancient World, New York University, USA)
Robert Morris (Eastman School of Music, University of Rochester, USA)
Somangshu Mukherji (University of Michigan, USA)
Laudan Nooshin (City University London, UK)
Marc Perlman (Brown University, USA)
Jay Rahn (York University, Canada)
Nancy Rao (Rutgers University, USA)
Dana Rappoport (Centre National de la Recherche Scientifique, France)
Evan Rapport (The New School, USA)
John Roeder (University of British Columbia, Canada)
Martin Rohrmeier (Technische Universität Dresden, Germany)
Frank Scherbaum (University of Potsdam, Germany)
Martin Scherzinger (New York University, USA)
Rob Schultz (University of Kentucky, USA)
Edwin Seroussi (Hebrew University of Jerusalem, Israel)
Lawrence Shuster (College of St. Rose, USA)
Jonathan Stock (University College Cork, Ireland)
Chris Stover (The New School, USA)
Gabriel Solis (University of Illinois at Urbana-Champaign, USA)
Michael Tenzer (University of British Columbia, Canada)
Godfried Toussaint (McGill University, Canada and New York University, Abu Dhabi)
Costas Tsougras (Aristotle University of Thessaloniki, Greece)
Anja Volk (Utrecht University, Netherlands)
Chris Walshaw (University of Greenwich, UK)
Richard Widdess (School of Oriental and African Studies, University of London, UK)

Posted on 5th May 2015 by Shay Loya in CFPs, Music Analysis, Sister Organizations No comments »

CfA: Summer School Popular Music Analysis

the German Society for Popular Music Studies and the University of Osnabrueck are organizing their second summer school for graduates “Popular Music Analysis”.

The Summer School will take place from 14th to 18th September 2015 at the University of Osnabrueck, Germany. More information can be found in

Dietrich Helms, Ralf v. Appen, André Doehring

Posted on 5th May 2015 by Shay Loya in CFPs, Music Analysis, Sister Organizations, Uncategorized No comments » Tags:

CFP: GMTH 15th Annual Congress

‘Organized Time’

The fifteenth Annual Congress of GMTH will deal with the temporal dimension of music and music theory. Three sections are devoted to the topic ‘organized time’: (1) revolution and evolution in music; (2) rhythm, meter, form; (3) the simultaneity of the non‐simultaneous (Die Gleichzeitigkeit des Ungleichzeitigen). There is a fourth, free section.

For more information about the conference, individual sections, format, and proposal requirements please click here.

The deadline for proposals is the 15th May, 2015.

Posted on 9th January 2015 by Shay Loya in CFPs, Music Analysis, Sister Organizations No comments »

Analysis of World Music Interest Group events at the SMT/AMS conference

We are pleased to announce two upcoming activities sponsored by the Analysis of World Music Interest Group at the SMT/AMS conference in Milwaukee. The first consists of the special panel session “Cycles in World Music” sponsored by SMT Analysis of World Music Interest Group. The second involves a symposium on theme Global Hip-Hop.


Analytical Approaches to Time Cycles in World Music, Nov. 7th Friday 9:30-11:00 pm (H:Mitchell)

Chair: Lawrence Shuster (College of Saint Rose)

  • John Roeder and Michael Tenzer (University of British Columbia), “Large-Scale Formative Processes in Ostinato Music”
    ·         Kofi Agawu (Princeton University), “The Metrical Underpinnings of African Time-Line Patterns”

*Please find abstract of this event at SMT/AMS program.


Global Hip-Hop, Nov. 8th Saturday 12:15-1:45 pm (H: Walker)

Chair: Ya-Hui Cheng (Fort Valley State University)

  • Michael Berry (University of Washington), “Understanding Improvisation in Early Hip-Hop”
  • Eric Charry (Wesleyan University), “Making Hip Hop African”
  • Ellie Hisama (Columbia University), TBA


* Understanding Improvisation in Early Hip-Hop

Michael Berry, University of Washington

At its inception, hip-hop culture was a fusion of writing (graffiti), breakdancing, DJing, and MCing. Each element was improvised, typically in response to one of the other elements. Schema theory provides a useful framework for studying and comparing improvisatory practices both within and across elements. The critical apparatus developed by Henry Louis Gates in The Signifying Monkey (1988) functions as a bridge between the work of scholars such as Walter Ong, Ian MacKenzie, and Alison Wray, and the more specific cultural practices of hip-hop.

In the first part of this essay, I use schema theory to examine improvisation in each of the four elements. The focus of this section is on a collection of live performances by Chief Rocker Busy Bee Starski, a well-known party MC. Busy Bee’s live performances consist of stock phrases and more abstract outlines that are organized according to the specific performance context. The second part of the essay examines the impact of commercialization on the four elements. Recording and broadcasting split up the four elements and initiated a shift from improvisation to more fixed, homogenous forms that are separate from their time and place of production (Rose 1994, 58).

* Making Hip Hop African

Eric Charry, Wesleyan University

Hip hop from the US has been embraced and transformed throughout Africa to such an extent that it could be considered as an African (or Senegalese, Ghanaian, etc.) cultural style there, or perhaps an African tributary of a global current. This is but the latest in a very long lineage of global cultural transformations in Africa. Islam and Christianity have long impacted musical practice in Africa, being reshaped in the process. More recent currents, such as Cuban son/rumba in the 1940s and 50s, US rock and soul in the 1960s and 70s, and Jamaican reggae and ragga in the 1970s and 80s have also stimulated innovative artistic production. The processes of transformation that African hip hop has undergone in the past few decades bear striking similarities and differences with those that unfolded about the time of decolonization and political independence in the 1950s and 60s. Indeed, hip hop draws on some of these earlier hybrid styles to gain local relevancy and authenticity. In this paper I examine the process of making hip hop African, paying special attention to the language, musical accompaniment, sampling strategies, and flow. Examples will be drawn from Senegal, France, and elsewhere in Africa.


To know more about our group (Analysis of World Music), events and journals, please visit:

Looking forward to seeing everyone in Milwaukee this November.


Lawrence Shuster and Ya-Hui Cheng,

Co-Chairs, SMT Analysis of World Music

Posted on 10th October 2014 by Shay Loya in Music Analysis, Sister Organizations No comments » Tags:

Impressions from the BFE-AAWM conference

The Analysis, Cognition and Ethnomusicology Conference took place at the School of Oriental and African Studies (SOAS), London, in the first four days of July. This was a joint Meeting of the Third International Conference on Analytical Approaches to World Music (AAWM 2014), and the Annual Conference of the British Forum for Ethnomusicology (BFE 2014). It was hosted by the Department of Music SOAS as well as the Institute of Musical Research (IMR) at Senate House, and associated with the Centre for Music and Science (University of Cambridge). The SMA’s involvement comprised of a some financial assistance and also being represented there by a special panel, which I will tell you about in a moment.

Why were we involved? AAWM was launched about four years ago and since then went from strength to strength. It is not exactly an organization in the formal sense as an interest group within the Anglophone (and so far predominantly North American) music theory and analysis community. It started as an international conference (see their 2010 CFP), and then expanded also into an online journal that has seen five issues since its launch in 2011. It has an impressive line-up of editors, advisers and contributors, many of whom made their name theorizing Western classical music (take a look). But both conferences and journal are part of a greater ongoing convergence among historical/critical musicology, ethnomusicology, music theory and cognitive studies that has accelerated in the last decade — a trend theorized in publications by Nicholas Cook, Georgina Born, Wim van der Meer and Laudan Nooshin among others. If these writers I mentioned represent different agendas, that is precisely because such a massive trend is pulled by different interests. Perhaps not every agenda is that friendly to the kind of scholarly activities that engage most SMA members, but I would argue that this trend is very good for our discipline.

Analysis has taken a battering in the 1990s, prompting several defences– memorably by Kofi Agawu in 2004 (Music Analysis, 23/ii-iii) and more recently by Julian Horton in a keynote address at TAGS 2014 (to be published soon in the SMA Newsletter). It is the inherent malleability of the discipline and the intellectual curiosity of its practitioners that nullifies such attacks in the first place. Moreover, many of us have already moved some time ago into studies of music from everywhere in the world, beyond the West vs. rest divisions. As institutionalized boundaries continue to dissolve, the systematic and rigorous analysis of music is no longer regarded, at least not by serious scholars, as some form of Western intellectual imperialism, to be kept with a barge poll away from the study of ‘non-Western’ music. If it were, then a joint conference of AAWM and BFE would have been all but impossible.

Nevertheless, some institutional divisions were still apparent through the simple fact that this was a joint event, organized by two different bodies with two different conference traditions. Panels did not mix: they were either based on 30-minute analytical papers, or 20-minute ethnomusicology ones. This says absolutely nothing about the excellent coordination and relations between the BFE and AAWM, and this being early days one can understand t7he practical, logistical difficulties of a more complete merger. But perhaps in future — perhaps with the SMA’s help — we can try somehow to integrate the two traditions in a single conference so that the boundaries are further dissolved, and delegates have an even greater chance to mix with and meet scholars across disciplines.

With over 100 papers spread over four days, a structure of four parallel sessions, three keynotes and concerts galore, t he organizers and formidable team of student helpers (with unforgettable tee-shirts) should be applauded for making the whole thing run like a well-oiled machine. But all this richness is also difficult to capture in one review: in fact, this is not the kind of review that should attempt such a thing. Looking solely at the more analytical part of the conference, papers theorized all manner of musical parameters across cultures from melody, harmony, rhythm, metre, sound/timbre and so on to ostinato patterns, cycles, improvisation, schemata and gesture. Familiar tonal theories, most notably pitch-class-set, Schenkerian, and generative theories, were put through their paces as they ventured beyond their cultural comfort zones. But if you really want to get a sense of the content you should take a peak at the programme and abstracts. As I mentioned, a more fulfilling review selecting a few papers and picking up more specific themes from this conference may be forthcoming: watch this space.

But I should get back to the SMA’s contribution. I explained why we were involved but not so much how. Apart from the sponsorship, we were represented by a special panel (no. 26 in the programme) entitled ‘Traversing Disciplinary and Geographic Continuums. As the title suggests, there was a fortuitous geographic continuity between my paper that focused on Transylvanian Gypsy-band music, Mark Gotham’s (University of Cambridge) which looked an Balkan music, and Costas Tsougras’s (Aristotle University of Thessaloniki) that applied (Lehrdhal’s) generative theory to the polyphonic singing tradition of Epirus in North Greece. Furthermore the middle (Mark’s) paper on metre and rhythm counterbalanced the two outer papers that concentrated on pitch. We also progressed from the near past (nineteenth-century and early twentieth-century repertoire) to the present. So it was a really nice, well-balanced and coherent session, I thought; and happily it was well attended and well-received too, with plenty of follow-up discussion, even if my time-keeping left something to be desired.

Shay Loya addressing the BFE-AAWM conference on behalf of the SMA

Anyway, this panel took place on day 3 of the conference by which time the SMA’s profile was already raised so to speak. As the panel’s chair I originally planned to speak a little about the SMA’s involvement when our session started and read out a message from our President, Julian Horton, to those attending our session. But fortunately, in an early meeting on the first day of the conference Richard Widdess kindly suggested I should address the whole conference in the more imposing surroundings of the Brunei Gallery Lecture Theatre, just before Nicholas Cook was due to give the first keynote. And so I did (see photo), which certainly meant we got more attention. I was also able to read out Julian’s message, now addressed to all of the delegates. It sums up, in more elegant prose, some of the points I have made above about the purpose of our involvement:

One of the happiest consequences of the pluralism that defines our present scholarly environment is a new rapprochement between analysis and ethnomusicology. Disciplines, which may in the past have seemed irretrievable distant, have come together over the shared territories of performance, cognition and expression; structural commonalities between the musics of widely dispersed cultural contexts have returned decisively to the research agenda; and repertoires that until recently seemed beyond the pale of analytical engagement are now comfortably within its purview.

The energy behind these developments is amply attested by this year’s joint BFE/ AAWM conference, which brings together an extraordinary diversity of papers around its theme of Analysis, Cognition and Ethnomusicology. I would like to take this opportunity to congratulate the programme committees of the AAWM and the BFE and the conference organisers. I’m delighted to offer the Society for Music Analysis’ wholehearted support, and look forward to many fruitful affiliation in the future.

In my view, this healthy growth that Julian describes above counteracts the shrinking habitat of our discipline in other fields. So when the AAWM came to town, as it were, all the SMA needed to do was seize the opportunity and signal our interest, show that we really do welcome analytical research ‘in all musical repertoires and cultures’ as our home web page declares. And so we did: sponsorship, panel and welcoming message–a good start. But the fourth aspect of our involvement is perhaps the most important, namely the ‘fruitful affiliation in the future’, Julian hinted at. It has already started, in fact, through informal networking during and after the conference, and will probably lead in the short term to some involvement with the next AAWM 2016. Expect more news to follow.

Shay Loya

Pictures from our panel, in order of appearance: Shay Loya, Mark Gotham, Costas Tsougras

Posted on 9th September 2014 by Shay Loya in Reviews, SMA, Sister Organizations, Uncategorized No comments »

Last chance to register for EuroMAC

Dear colleagues,

The Eight EuroMAC conference starts in less than 20 days. The full program is now available on our website (see ). Please consult these pages to convince yourself to join the conference, and to outline your own personal schedule.

Looking forward to welcome you in Leuven,

Pieter Bergé

Posted on 30th August 2014 by Shay Loya in Music Analysis, SMA, Sister Organizations No comments » Tags: