To celebrate the forthcoming publication of the Oxford Handbook of Spectral Music, the theme for this year’s meeting was Spectralism. Because spectral music is still relatively underrepresented in publications and textbooks on twentieth-century analysis, and a significant portion of the literature on spectralism is not in English, a portion of the meeting was be devoted to workshop-style presentations designed to enhance familiarity with the repertoire.
- 12:30: Opening remarks (Amy Bauer, co-editor of forthcoming Oxford Handbook of Spectral Music)
- 12:40: Ingrid Pustijanac, The Many Faces of Dissonance in 1970s Spectralism
- 1:00: Dylan Principi, Grisey’s Time and its Conceptual Implications
- 1:20: Joshua Banks Mailman, Analysis of Texture in Spectral Music
- 1:40: Post-1945 Music Analysis Interest Group business meeting
- 12:20: Preliminary business meeting
- 12:30: Laura Emmery, Proustian Memory in Elliott Carter’s String Quartet No. 1
- 12:39: Brian Moseley, Elements of Serialism in Thomas Adès Recent Music
- 12:48: Discussion
- 12:52: Matt Schullman, Complex-Quality Confluences: Descriptive Problems and Solutions
- 1:01: Sara Everson: Berio Sequenza IXb
- 1:10: Discussion
- 1:14: Elizabeth Hambleton, Wishart and the Anti-Score
- 1:23: George Adams, Conceptualism, Minimalism, and Steve Reich’s Instrumental Music
- 1:32: Timothy Johnson, Lines and Points: Caroline Shaw’s Partita for 8 Voices and Sol LeWitt’s Wall Drawings
- 1:41: Discussion
- 1:47: General discussion on future plans and directions.
Workshop on rhythm, form, and hermeneutics regarding Lutoslawski’s Venetian Games (1960) and Third Symphony (1983).
A guide to discussion includes the following questions:
- Do we agree with Hasty’s analysis of the excerpt from Venetian Games (VG)?
- Does it conflict with Paja-Stach, Hextall, and Thomas’s analyses? Of other authors?
- How do all three analyses agree, mutually support one another, or coordinate?
- How would/does Hasty’s interpretation affect analysis of form and rhythm of the remainder of VG
- Are there any other curious facets of Lutoslawski’s rhythm, form, or hermeneutics left unaccounted for by these authors?
The theme of this year’s meeting is Music of the Pacific (The American West Coast, Asia, and Oceania). We have accepted three short papers on the music of Isang Yun, James Tenney and Hildegard Westerkamp. We will begin with a discussion of Cage’s Sonatas and Interludes for Prepared Piano and issues of listening approaches.
- 12:15: Discussion of Jeffrey Perry’s “Cage’s Sonatas and Interludes for Prepared Piano: Performance, Hearing and Analysis,” Music Theory Spectrum, Vol. 27, No. 1 (Spring 2005), pp. 35-66.
- 12:35: Jung-Min Lee, Pitch expansion as a developing mechanism in Isang Yun’s Distanzen (1988)
- 12:55: Rebecca Flore, Orchestrating Speech in the Works of James Tenney
- 1:15: Kate Galloway, Hearing Vancouver, Analyzing Place: The Material and Social Life of Urban Environment Soundscape Compositions
- 1:35: Business meeting concerning future plans of the group and related issues.
- 12:00: Business Meeting
- 12:25: Zachary Bernstein, If a Piece of Music is ‘Experimental,’ What Do We Learn?
- 12:40: Bruce Quaglia, Berio’s Transformation of the Musical Past: Toward the Exegesis of a Minor Musical Literature
- 1:00: Christopher Gainey, Shadow Puppets: Analytical Questions of Spectral Music
- 1:20: Discussion of Lydia Goehr’s “Dissonant Works and the Listening Public” as it applies to post-1945 music
A special session dedicated to the music of Kaija Saariaho.
Contributions by Judy Lochhead, John Roeder, Christopher Gainey, and Brian Moseley.
- Saariaho, Kaija. 1987. “Timbre and Harmony: Interpolations of Timbral Structures.” Contemporary Music Review 2:1, 93-133.
- Sept Papillons (2000)
- Près (1992)
- Lichtbogen (1986) (9 instruments + electronics)
- From the Grammar of Dreams, III (1988) (two sopranos)
- Leino Songs, II (2008)
Other suggested readings:
- Saariaho, Kaija. 2000. “Kaija Saariaho: Colour, Timbre and Harmony.” In The Voice of Music: Conversations with Composers of Our Time. Ed. Anders Beyer, 301-316. Aldershot: Ashgate.
- Pousset, Damien. 2000. “The Works of Kaija Saariaho, Philippe Hurel ad Marc-Andre Dalbavie–Stile Concertato, Stile Concitato, Stile Rappresentativo.” Translated by Joshua Fineberg and Ronan Hyacinthe. Contemporary Music Review 19(3): 67-110.
- Sivuoja-Gunaratnam, Anne. 2005. “Miniatures and Tensions: Phenomenological Reverberations in and around Kaija Saariaho’s Lichtbogen.” Intersections 25(1/2): 44-66
2013 Inaugural Meeting
- Business: establishing the foundations for the group’s future, and evaluating the interests of the group members.
- Joshua Mailman:
Assertive and Furtive Forms and Processes in Post-war Art Music Off-Center: Berio, Carter, and Others
- Bruno Alcalde:
The Past as Topos in Music of the Post-War
Mailman will deal with models related to musical flow and issues of listenability, and Alcalde will present a Hatten-inspired approach that evaluates form based on musical expressions of and relationships with the past.