Annual Meeting, Nottingham 11-14 July 2006
Conference Programme
All meals, and tea and coffee, will be served in the Dining Room at Hugh Stewart Hall.
The hall bar will be open until 1am every night.
Rosemary Dooley’s bookstall (http://www.booksonmusic.co.uk/) will be open during the conference.
Parallel sessions (at Hugh Stewart Hall unless otherwise indicated):
A in the Library
B in the Reading Room
Tuesday afternoon
12.00
REGISTRATION and LUNCH
14.00—15.30
A
Brahms, Bruckner, Strauss
Chair: J. P. E. Harper-Scott
1. Inge van RIJ (Victoria University of Wellington)
‘All art is the same and speaks the same language’:
Brahms’s song collections and the graphic cycles of Max
Klinger
2. Nicholas ATTFIELD (St Catherine’s College Oxford)
Bruckner’s ‘Farewell to Life’?: Auflösung and the Absolute in
Ernst Kurth’s Reading of the Adagio of the Ninth Symphony
3. David LARKIN (Christ’s College, Cambridge)
‘Deeds of Music [almost] made Visible’: Realisations of the
Extra-Musical in Strauss’s Tone Poems
B
Landscapes 1
Chair: Laura Tunbridge
1. Fiona RICHARDS (Open University)
Illawarra Music
2. Juliette APPOLD (University of Leipzig)
Nineteenth-Century Landscape Perception and Mendelssohn
3. Helena TYRVÄINEN (University of Helsinki)
Uuno Klami’s orchestral suite Pictures from Country Life—
Village Festival: pictorialism, identity and orchestral style
15.30—16.00: TEA
16.00—17.30
A
French Exoticism and Festivity
Chair: Barbara Kelly
1. Gurminder BHOGAL (Wellesley College)
Bejwelled Divinity and Exotic Fantasy in Delibes’s Lakmé
(1883)
2. David CODE (University of Glasgow)
Carnival and Ceremony: Rehearing the Festivities in
Debussy’s “Fêtes”
B
Urbanization and Postmodernism
Chair: Annette Davison
1. Simon WARNER (University of Leeds)
Cover Versions: How Pop Art shaped the rock album sleeve
2. David WONG (Open University)
Western classical music and urban geography in Sabah,
Malaysia
3. Germán GIL-CURIEL (University of Nottingham, Ningbo)
The Confluence of Music, Literature and Cinema: a
Comparative Approach to the Aesthetics of Death in Tous les
Matins du Monde
18.30: DINNER
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Wednesday morning
9.30—10.45
A
Film and Appropriation
Chair: Nikki Dibben
1. Annette DAVISON (University of Edinburgh)
Locating the “jazz” in the music for A Streetcar Named
Desire
2. Pieter SCHOONDERWOERD (University of Nottingham)
Zwartboek – A cross-cultural exposition in film-scoring
B
German Romanticism 1
Chair: Robert Pascall
1. Susan K. de GHIZE (University of Denver)
Goethe’s Farbenlehre and Hauptmann’s Die Natur
2. Matthew RILEY (University of Birmingham)
Musical Landscapes of the Fantastic and the Uncanny in E. T.
A. Hoffmann’s Lebensansichten des Katers Murr
10.45—11.15: COFFEE
11.15—12.45
A
Twentieth-Century French Music
Chair: Nigel Simeone
1. Colin ROUST (University of Michigan)
The Lost Years: Georges Auric’s Film Scores of the 1930s
and 1940s
2. Michael BAUMGARTNER (University of British Columbia)
Reinventing the Musical Comedy: Michel Legrand, Jean-Luc
Godard, Jacques Demy
3. Wai Ling CHEONG (Chinese University of Hong Kong)
Twelve-tone painting of nature in Messiaen’s Catalogue
d’oiseaux
13.00: LUNCH
Wednesday afternoon
14.00—15.30
B
Modernity and Historicism
Chair: Charles Wilson
1. Gwendolyn TIETZE (London)
Medieval music in the 1920s: art history and the ‘unity of
the arts’
2. Stephen DOWNES (University of Surrey)
Modern Musical Waves: A Technical and expressive Aspect
of Post-Wagnerian Form
3. Hugh MacDONALD (Washington University, St Louis)
Modernisms That Failed
A
Installations
Chair: Robert Adlington
1. Holly ROGERS (University College Dublin)
Beyond the frame: music and image in video installation art
2. Nikki DIBBEN (University of Sheffield)
Cybjörk: the role of the visual in the music of Björk
3. Laura DOLP (Wellesley College)
‘Body into Sky’: Arvo Pärt’s Lamentate and Anish Kapoor’s
Marsyas
B
Staging, Sources, Texts
Chair: Philip Olleson
1. Arnold JACOBSHAGEN (Bayreuth)
Staging Grand Opéra in nineteenth century Paris: Louis
Palianti and the myth of the original mise en scène
2. Roy JOHNSTON (Independent Scholar)
Carl Rosa and the gilded elephants: the genesis, decline and
resurrection of a provincial opera house
3. Barry COOPER (University of Manchester)
An Unrecorded Music Collection in Wales
15.30—16.00: TEA
16.00—17.00
A
Brokeback Mountain
Chair: Roberta Pearson
1. Michael LONG (SUNY, Buffalo)
Slow-dancing on Brokeback Mountain
2. Paula HIGGINS (University of Nottingham)
Stemming the Rose, Queering the Pitch: The Cultural
Politics of Rufus Wainwright’s The Maker Makes
B
Twentieth-Century Opera
Chair: Sarah Hibberd
1. Robert ADLINGTON (University of Nottingham)
Avant-garde music, politics, and the state: the case of
Reconstructie
2. Nicholas BARAGWANATH (Royal Northern College)
Melodic Strategy in the Arias of Puccini
17.30: Dent Medal Lecture (Library)
Julian Johnson (St Anne’s College, Oxford)
Chair: John Deathridge
Music as Self-Critique: The Case of Mahler
18.30: DINNER
20.00: Concert (Djanogly Recital Hall)
Sharona Joshua (fortepiano): programme to include music by C. P. E. Bach, Mozart and Beethoven.
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Thursday morning
9.15—1045
A
German Film
Chair: Guido Heldt
1. Markus BANDUR (University of Freiburg)
On-screen music synchronisation in German silent film
2. Fiona FORD (University of Nottingham)
Mutiny on a Chinese Train: Composed sound effects in
Edmund Meisel’s score for Ilya Trauberg’s The Blue Express
B
Iconography
Chair: Philip Weller
1. Tim SHEPHARD (University of Nottingham)
Rebus – Synthesis – Dionysus: the Bacchanal of the
Andrians
2. Debra PRING (Goldsmiths)
Beware Greeks Bearing Gifts—Music Iconography in Harmen
Steenwyck’s Vanitas with Antique Sculpture
3. Peter FRANKLIN (St Catherine’s College, Oxford)
Booing the Infanta, and the musical genealogy of
Hollywood’s ‘romanticism’.
10.45—11.15: COFFEE
11.15—12.15
A
Voice and German Modernism
Chair: Peter Franklin
1. Carola DARWIN (University of Sheffield)
The Other point of view: gender and autonomy in Strauss’
Salome
2. Nanette NIELSEN (University of East Anglia)
Should politics be sung?’: voice and ethics in Bekker and
Weill
B
Temporality in late Twentieth Century Music
Chair: Holly Rogers
1. Jeremy BARHAM (University of Surrey)
Temporal Relations in Music and Screen Media
2. Maarten BEIRENS (University of Leuven)
Non-narrative approaches to musical and dramatic structure
in minimal music-related music theatre by Michael Nyman
and Steve Reich
12.30 Lunchtime Wine Reception hosted by the AHRC Pötzlinger Project (University of Nottingham), foyer and
terrace
(12.45 AHRC ICT Review Project: catered lunch and Q & A session. Jared Bryson, Reading Room)
13.00: LUNCH
Thursday afternoon
14.00—15.30
A
Landscapes 2
Chair: Dan Grimley
1. Danae STEFANOU (Royal Holloway, University of London)
Paradigms and Parables on how Music becomes Landscape
2. Tomi MÄKELÄ (University of Magdeburg)
The Nordic Landscape and Sibelius in the Context of the
Cultural Geography
B
Early Music
Chair: Peter Wright
1. Alexandra BUCKLE (Magdalen College, Oxford)
Music and Iconography in Richard Beauchamp’s Chantry
Chapel
2. Kate MAXWELL (University of Glasgow)
"Quant jeus tout recorde par ordre": the visual presentation
of the music in Guillaume de Machaut's Remede de Fortune
3. Stephen RICE (Wolfson College, Oxford)
Musical Aesthetics in Motets of the ‘Generation in-between’,
c. 1525-1550
15.30—16.00: TEA
16.00—17.00
A
Wagner and Prokofiev
Chair: Roger Parker
1. Nathan SEINEN (Clare College, Cambridge)
Buffered by buffa?: Prokofiev’s Betrothal in a Monastery
2. Katherine SYER (University of Illinois at Urbana-Champaign)
Digital Dreams: Wagner and 21st-Century Technology
B
Sondheim
1. Lois KIVESTO (Scarborough, Ontario)
‘Sunday in the Park with George’: The First Collaboration of
Stephen Sondheim and James Lapine
2. Freda CHAPPLE (University of Sheffield)
Performing Sondheim today: music theatre, cinema, art and
digital media.
17.30: PETER LE HURAY MEMORIAL LECTURE (Djanogly Recital Hall)
Annette Richards (Cornell University)
Chair: Paula Higgins
Picturing the Moment in Sound: C. P. E. Bach and the Musical Portrait
18.30: Evening Wine Reception sponsored by Boydell & Brewer (Aqua café, Lakeside)
20.00: CONFERENCE DINNER (Hugh Stewart Dining Room)
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Friday morning
9.15—10.45
A
Representation and Meaning in EighteenthCentury Opera
Chair: Jacqueline Waeber
1. Michele CABRINI (Hunter College)
‘But, what do I see, what do I hear?’: Representing Storms
in late 17th- and early 18th-century France
2. Peter A. HOYT (University of South Carolina)
Monostatos, the Recumbent Pamina, and EighteenthCentury Comic Art
3. Berta JONCUS, (St Catherine’s College, Oxford)
‘Of all the Arts that sooth’: Imaging Kitty Clive (1711-1785)
10.45—11.15: COFFEE
11.15—12.45
B
Music, Cosmology, Identity
Chair: Jonathan Stock
1. Senem ACAR (Istanbul Technical University)
Whirling Dervishes: Cosmic Reference to the Absolute
Divine Unity in Music and Movement
2. Tsan-huang TSAI (Nanhua University, Taiwan)
Reconstructing the Cosmological Landscape of Mythical
China – The Case Study of the Chinese Seven-stringed
Zither
A
Latin Colonialism
Chair: Geoff Baker
1. David IRVING (Clare College Cambridge)
Music in regulations, reforms and controversies of the
church in 18th-century Manila
2. Henry MacCARTHY (Ohio University)
Visualizing the Americas: Spanish Musical Theater and the
Colonial Imagination
3. Caroline RAE (University of Cardiff)
Alejo Carpentier and the Promotion of New Music in preRevolutionary Cuba
B
Experimental Music
Chair: Julian Johnson
1. Christopher HOBBS (Coventry University)
‘Well, it’s a vertebrate’: The Paradigms of Graphic Notation
2. Bruce COATES (University of Birmingham)
Relationships between Visual Art and Free Improvisation
3. Virginia ANDERSON (Experimental Music Catalogue)
‘Just the job for that lazy Sunday afternoon’: British
Readymades, Systems Music and The Visual Arts
13.00: LUNCH
Friday afternoon
14.00—15.30
A
Australian Landscapes
Chair: Danae Stefanou
1. Linda KOUVARAS (University of Melbourne)
Music, Identity and Landscape: Tropes of The Outback in
Two Contemporary Australian Compositions
2. Dennis LEO (University of Nottingham)
The Earth Crying: Australian Music, Australian Landscape,
Australian Identity
15.30-16.00 TEA and farewell
END OF CONFERENCE
B
German Romanticism 2
Chair: James Garratt
1. Elizabeth KRAMER (University of West Georgia)
Authenticity in Visual Art, Authenticity in Music: Raphael’s
Transfiguration and Mozart’s Requiem in German Aesthetics
of the Early Nineteenth Century
2. Jonathan KREGOR (Harvard University)
From Partition to Hausmusik: Franz Liszt’s Symphonie
fantastique and the Berlin firm of A. M. Schlesinger