TAGS 2017

School of Music, Bangor University, 18–19 February 2017

Deadline for proposals: 16th December 2016
Keynote Speaker: Professor John Rink (University of Cambridge)

The SMA’s annual Theory and Analysis Graduate Students (TAGS) Conference will be hosted by Bangor University, in the newly refurbished building of the School of Music from Saturday 18th to Sunday 19th February 2017. The event provides a supportive and friendly environment in which postgraduates can gain experience in presenting their work and meet fellow researchers, and will interlink with the Bangor Music Festival. Participants who do not wish to give a paper are also very welcome to attend.

Our keynote speaker, Prof. John Rink, is Professor of Musical Performance Studies in the Faculty of Music at the University of Cambridge. In TAGS 2017, the SMA particularly invited papers from postgraduate students exploring the intersections between analysis and musical performance and/or performance analysis, but proposals were also invited for 20-minute papers, themed sessions and lecture recitals addressing any analytical, critical or theoretical subject and in relation to any style of music.

If you are presenting a paper you will be eligible to apply for an SMA Student Travel Bursary to help cover the costs of travel and accommodation (B&B accommodation will be available). Further details can be found here; please note that the deadline for applications for bursaries is 17th February 2017. For information about travel to the School of Music at Bangor University: http://tags2017.bangor.ac.uk/our-location.php.en

Programme

Saturday, 18th February

14:00 Vice-President’s Welcome

14:15 Session A: Romantic Music

  • Maddie Kavanagh Clarke (Durham University): ‘Exposition and Recapitulation Correspondence in Mendelssohn’s String Quartets’
  • Frankie Perry (Royal Holloway): ‘Analysing the Afterlife of Schubert’s Symphonic Sketch Fragments D.936a’
  • Oliver Chandler (Royal Holloway): ‘Elgar’s Introduction and Allegro: Brief Thoughts on Musical In-between-ness’

15:45 Coffee Break

16:00 Session B: Musical Diversity

  • Juliano Abramovay & Michalis Cholevas (Codarts, University of the Arts, Rotterdam): ‘Unveiling Taksim: Analytical Procedures Regarding Improvisational Forms on Makam Music’
  • Karishmeh Crawford (N.N.): ‘Pop to Rave: Embodiment in Musical Analysis’
  • Liam Maloney (University of York): ‘House Music: Reconstructing a Secular Christianity for the Gay Diaspora’
  • Daniela & Bernd Willimek (University of Music, Karlsruhe): ‘Music and Emotions: Research on the Theory of Musical Equilibration’

18:00 Conference Reception, Foyer of the School of Music

19:30 Optional Concert: The Towers of Silence (Fidelio Trio)



Sunday, 19th February

09:00 Morning Coffee

09:30 Session C: 20th Century Music

  • Jean-Baptiste Masson (Institute of Psychoacoustic and Electronic Music IPEM – University of Gent / Conservatory of Reims): ‘To Weave Time: The Late Music of Feldman Through the Example of Violin and String Quartet’
  • James Savage-Hanford (Royal Holloway): ‘Intuiting Form: Memory and Discontinuity in Enescu’s Piano Quintet, Op. 29’ Özlem Yıldırım (Istanbul Technical University): ‘The Place of Cengiz Tanc (1933-1997) in European Modernism’
  • Clare Wilson (Ulster University): ‘André Caplet’s Mélodie: Interpretation of a Blurred Language’

11:30 Coffee Break

11:45 SMA Workshop
Writing Reviews: Grasping the Essence

12:15 Keynote lecture
Professor John Rink (University of Cambridge): ‘Playing with Structure: The Performance of Musical Analysis’

13:15 Lunch Break

14:00 Workshop Performance Shades of Pierrot
Bangor Music Festival, Prichard-Jones Hall, Bangor University: Chamber Choir Cantamus, directed by Matthias Wurz (Bangor University). The performance also includes Soprano Organ Prawang, Chris Atherton (violin), Yanmi Au (piano), Ellie Lighton (flute) and Sioned Roberts (clarinet).

15:00 Session D: Early Music & Historically Informed Performance

  • Rob Luke Jones (Bangor University): ‘Is it Possible, in a Historically Informed Manner, to Perform Classical French Organ Repertoire on a British Instrument, and if so how?’
  • Adam Behan (Trinity College, University of Dublin): ‘Gould’s Variations on the Goldberg Variations: An Analysis of Glenn Gould’s two Recordings of the Goldberg Variations BWV 988’

16:00 Break

16:15 Session E: Opera

  • Charlotte Danford (Bangor University): ‘Chinese Influences in 1987 Operas’
  • Christopher Kimbell (Royal Holloway): ‘Hans Sachs and the Concrete Universal in Wagner’s Die Meistersinger von Nürnberg’
  • Emily Tan (University of Oxford): ‘Transcendence as Pleasure in Ariadne auf Naxos’

17:45 Group Discussion with Tea & Coffee
‘The Relevance of Analysis for Musical Performance’ Chaired by Kenneth Smith

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