The April 2017 Newsletter is a special issue that concentrates on the SMA’s 2017 Strategy Document. It contains the document itself and an introduction from its author, the SMA’s President Julian Horton. It is available here: SMA_newsletter_April 2017
The Society for Music Analysis is launching its third Music Analysis Workshop, to be held at Middlesex University London on Saturday 29th April 2017 from 12pm to 6pm. Following the success of the previous workshop on Analysis and (Critical) Theory in 2016, this event aims to build further upon the intersections between analysis, philosophy, and history.
The workshop is designed to benefit graduate students of any level who might want to learn more about a particular analytic method, practice analytical skills in a friendly environment, or who might be interested to discover ways in which analysis might be used as a tool to supplement broader research questions. Challenging negative preconceptions, it aims to make both analytical methodologies and their hermeneutic applications more accessible to anyone interested in enriching their interpretations of musical works.
The event begins with two interactive workshops that will explore the historical aspects of Schenker’s philosophy, as well as philosophical interpretations of Schenkerian theory within an analytical case study, and concludes with a roundtable session. The workshops will be led by William Drabkin (Emeritus Professor, University of Southampton), who will discuss some of Schenker’s thoughts on his worldly surroundings (including human behavior, nature, aesthetics and religion), as found mainly in private writings: his voluminous correspondence, and especially the entries in his diaries immediately prior to the onset of the First World War; and by Christopher Tarrant (Lecturer in Music, Anglia Ruskin University) who will speak about the ways in which Nielsen’s symphonic sonata forms might relate to Schenkerian thought, and in particular to the syntactical, hermeneutic, and historical implications of a ‘break in the hierarchy’. The final roundtable session will consider the place of Schenkerian analysis in the current musicological climate from the perspective of students and academics, and will debate the relevance (and necessity) of Schenkerian analysis for the ever-increasing diversity of musical study.
Call for participants
Expressions of interest are to be sent to Rebecca Day (firstname.lastname@example.org) by Saturday 1st April 2017.
You do not have to be a member of the SMA but members will be eligible for travel bursaries. The deadline to apply for bursaries is Saturday 8th April 2017. Information on how to apply can be found at http://www.sma.ac.uk/grants/travel/. For information on membership fees see http://www.sma.ac.uk/.
Conference dates and venue: 4 –7 September 2017, Bangor University, Wales
Deadline for Proposals: 1 March 2017
Proposal Submissions: email@example.com
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:
- Popular Music
- Internationalism in Music
- 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)
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 – firstname.lastname@example.org
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 email@example.com 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
- 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.
Dr Sophie Fuller, Faculty of Music, Trinity Laban Conservatoire of Music and Dance
For any additional information, please contact Rhiannon Mathias – firstname.lastname@example.org
The December 2016 Newsletter is available online: http://www.sma.ac.uk/wp-content/uploads/2016/12/SMA_newsletter_2016.pdf
You can navigate its different sections through the links in the contents page.
If you would like to respond to any of the items featured here in the next Newsletter, please send your response to email@example.com.
Despite all care taken, mistakes are not impossible; happily they are amendable, as this is an online version. Therefore, if you spot any, please get in touch with the Information Officer, Shay Loya: firstname.lastname@example.org.
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 (email@example.com) 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
College Road, Bangor LL57 2DG
Saturday 18th to Sunday 19th 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 on Saturday 18th and Sunday 19th of February, 2017. The conference interlinks with the Bangor Music Festival. The event provides a supportive and friendly environment in which postgraduates can gain experience in presenting their work and meet fellow researchers. Participants who do not wish to give a paper are also very welcome.
Our keynote speaker, Dr John Rink, is Professor of Musical Performance Studies in the Faculty of Music at the University of Cambridge. In our TAGS 2017 conference, the SMA particularly invite papers from postgraduate students exploring the intersections between analysis and musical performance and/or performance analysis, but proposals are 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. This includes:
• Analysing non-Western Musics;
• Performance as Analysis / Analysis as Performance;
• Analysis, Philosophy, and Critical Theory;
• Intersections between History, Theory, and Analysis;
• Analysing Popular Music and Improvisation;
• Music Perception and Cognition;
• Empirical Approaches to Music
• Analysing a-/microtonal Music;
• Themed sessions focusing on the analysis of a particular work(s), or on specific arrangements or transcriptions are also welcomed.
For 20-minute paper proposals, abstracts of no more than 250 words should be sent by email to Matthias Wurz at firstname.lastname@example.org. Please include name, affiliation, postal address, email address, and AV requirements on a separate cover sheet (Ms Word or PDF). Organisers of themed sessions should submit a brief overview together with the individual abstracts. Proposals for lecture recitals / composition performances should include full details of the proposed performance and any relevant requirements in their cover sheet.
The closing date for receipt of proposals is 16th December 2016. All those submitting proposals will be notified of the outcome by the beginning of January 2017. Delegates will be invited to register from lunchtime on Saturday 18th February, and the conference will run until Sunday afternoon, 19th February, 2017.
For information about travel to the School of Music at Bangor University: https://www.bangor.ac.uk/music/study-with-us/find-us/en
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.
The 9th European Music Analysis Conference (EuroMAC 9) will be held in Strasbourg from 28 June to 1 July 2017.
We are delighted to announce that the UK’s Society for Music Analysis was granted the status of Charitable Incorporated Organisation by Charity Commission for England and Wales on 8 August 2016. This new unified legal body succeeds the earlier separate entities of the original Society for Music Analysis and the Music Analysis Editorial Board. The ‘Charitable Objects’ for the newly incorporated SMA are as follows: ‘The advancement of education in music theory and analysis for the public benefit, in particular, but not exclusively, by the dissemination of the latest scholarly research.’
The ‘First Trustees’ of the organisation are Julian Horton (President and Chair of Trustees), Michael Spitzer (ex officio, as Chair of the Music Analysis Editorial Board), David Bretherton, Christopher Dromey, Shay Loya and Kenneth Smith. In accordance with our new Constitution, elections will be held for all elected trusteeships at our first Annual General Meeting (time and place to be announced). The SMA’s Constitution and other documents relating to our governance will be posted on this website in due course. The editorial team of Music Analysis continue in their current roles.
This is an exciting time for the SMA. Our newly granted charitable status provides us with better financial and legal security, and also presents us with an opportunity to reassess our activities. Further announcements will be made on our website and via our membership email list in due course.
The Trustees, 13 September 2016
Society for Music Analysis (Charity Number: 1168650)
The fourth and final episode in the SMA’s inaugural series of educational videos is here!
In this episode, Kenneth Smith explores some basic and intuitive analytical methods in conjunction with contextual information to demonstrate how analysis can be used as a tool to sharpen and enrich our appreciation of music. Kenneth’s analysis of a short piano piece, Poeme, Op. 32, No. 1 by the Russian twentieth-century composer Alexander Skryabin, illustrates the insights that analysis can offer to listeners and performers.
You can access the video here: http://www.sma.ac.uk/videos/episode-4/. Please check it out, and share with friends and colleagues.
We are keen to receive feedback on the reach, impact and application of these videos in teaching and independent study. Please email your thoughts on these videos and ideas for future educational materials to email@example.com to enable us to develop new and appropriate teaching materials in the future.
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.
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 firstname.lastname@example.org or email@example.com. 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.
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).
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• 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
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For any further inquiries, please send an email to firstname.lastname@example.org or email@example.com.