10 September 2025 - 12 September 2025
Venue - Sir James Matthews Building (SJM)
All conference locations will be in SJM unless specified otherwise
| 9:00–17:00 | Early Career Colleague ‘chill out’ space: Room 3025 / Dance Studio (available all day; drop in / drop out) |
| 9:00–17:00 | One-to-One CV Workshop/Clinic (facilitated by Katherine Williams) – see sign-up sheet at Registration; the room for this will be the ECC ‘chill out’ space – Room |
| 9:00–17:00 | Quiet / Recharge Room: Room 1023 (available all day; drop in / drop out) |
| 9:00–17:00 | Publishers’ Displays (open all day): Room 1073 |
| Registration opens 9:00 | Registration Desk: The Junction (first room to your right after main entrance) Coffee / refreshment stations: 2063 and 2065 Extra catering stations can be found in rooms 1029 and 4033 |
| 9:15–9:25 | Room 2007 (Lecture Theatre 1) | Welcome Remarks (Erin Johnson-Williams) |
| Room 2007 (Lecture Theatre 1) (A) |
Session 1A: Roundtable: A Space Free of Politics? Orchestras, Orchestral Audiences and Political Oppression, Then and Now
Panellists: Elaine Kelly; Jessica Duchen; Neil Gregor Chair: Tom Irvine
|
| Room 2089 (Lecture Theatre 2) (B) |
Session 1B: Making It: Competition, Gatekeeping, and Myths of Meritocracy in U.S. Musical Institutions (themed session)
Erin Brooks, ‘Winning Fame and Fortune? Race and Operatic Competitions in Mid-Century America’
Lindsay J. Wright, ‘The Gong and the Wheel of Fortune: Modeling Meritocracy on the Original Amateur Hour’ Jillian C. Rogers, ‘Trauma and the Abuse of “Excellence” in 20th-Century US Musical Training Programs
Chair: TBD
|
| Room 4029 (C) |
Session 1C: RMA Composer-Performer Collaboration Study Group Themed Session I: ‘Working from a Distance’
Michael Boyle and Carla Rees, ‘Collaboration at a Distance: Time and Flux for Baroque Flutes’
Katalin Koltai, ‘Re-Creating Illusion: Collaborating with Hans Abrahamsen on a New Work for Guitar’
Chair: Edmund Hunt
|
| Room 4031 (D) |
Session 1D: Systems of Education
Fiona M. Palmer, ‘Training Conductors in 1920s Britain: Exploring Ideologies, Practicalities, and Professional Status’ Jakob Leitner, ‘From Research to Teaching: How Austrian Music Educators Engage with Women Composers’
João Alexandre Dias, ‘Music Teaching and Didactic Materials at the Real Seminário da Patriarcal of Lisbon (1713–1834): A Case Study on David Perez's Partimenti and Accompaniment Solfeggios’
Chair: TBD
|
| Room 6033 (E) |
Session 1E: Race, Sound and Identity
Lizzie Bowes, ‘[Auto]fiction as Ethnography: New Approaches to Lyrical Analysis in Black-British Grime Music’
Gayle Murchison, [title TBC; WWII styles of Black American jazz]
Tom Edney, ‘“Into your Sussex Quietness I Came”: An Overview of Avril Coleridge-Taylor’s Orchestral Works’
Chair: Hettie Malcomson
|
| Room 6027 (F) |
Session 1F: Sound, Song and Humour
Larry Zazzo, ‘Qui cade in riso naturale’: Paramusical Expression in Baroque Song’ Chloë-Jade Hill, ‘Silencing the Noise in the Elizabethan Domestic Interior: Depicting Dissonance at Montacute House’ Katherine Butler, ‘Music and Humour in Early Modern England: The Case of Catch-Singing, c.1580–1650’ Chair: Jeanice Brooks |
| Room 6031 (G) |
Session 1G: Trajectories of Form and Disjuncture
Jonathan Churchill, ‘“Uncompromising and Unrelenting”: Formal-Expressive Disjunction in Ralph Vaughan Williams’s Fourth Symphony’ Martin Čurda, ‘Musical Topics, Rhetorical Questions, and Narrative Trajectories in Mozart‘s Piano Concerto K. 488’ Rafael Echevarria, ‘Deformation and Disability in Sonata Theory’ [chair TBD] |
| [Location TBD**] (H) |
Session 1H: Virtuosic Challenges
Rachel Becker, ‘“Liszt’s Opera Fantasies are the Place to Start”: Challenges in Musicological Discussion of Wind Music Giulia Lorenzi, ‘Understanding Musical Virtuosity to Understand the Perception of Music Jack Adler-McKean, ‘Collaborative Creativity through Analysis and Experimentation: Bringing the Serpent into the Twenty-First Century’
Chair: Ann van Allen-Russell |
| Room 1017 (I) |
Session 1I: Musical Communities
Sara McGuinness, ‘¡Como Mi Ritmo No Hay Dos! Cuban Big Band – a Vibrant Community of Practice’
Sue Miller, ‘Mainstreaming the Marginal – Cuban Music in 20th Century Paris’
Ceyda Çekmeci, ‘From Subversive Marginality to Hard-Right Populism: The Shifting Politics of “Arabesk” in Contemporary Turkey’
Chair: Fernanda Munoz Salazar
|
| 11:00–11:30 |
Coffee / refreshment stations: 2063 and 2065
Extra catering stations can be found in rooms 1029 and 4033 |
| Room 2007 (Lecture Theatre 1) (A) |
Session 2A: Resistance and Resilience
Marianne Brown, ‘Musical Resilience: Transformative Effects of Music Interventions for Families in Women's Refuges’ Mieke Struwig, ‘Complicities and Contestations: Navigating South African Music Studies During the 1980s’ Rosie Middleton, ‘Considering Consent in Multi-Disciplinary Music Collaboration’ Chair: Chiying Lam |
| Room 2089 (Lecture Theatre 2) (B) |
Session 2B: Archival Ecologies
Stephen Groves, ‘Green Music: Georgian Theatre Music and the Glee in the Age of the Picturesque Alexis Bennett, ‘Ecomusicology and the Archive’ Emma Kavanagh, ‘AixOPÉRA: Cataloguing the Heritage Collections of the Festival d’Aix-en-Provence’ Chair: Dikshant Uprety |
| Room 4029 (C) |
Session 2C: RMA Composer-Performer Collaboration Study Group Themed Session II: ‘PhD Projects in the Field of CPC’
Yajie Ye, ‘Convergence in Performance: Exploring Collaborative Dynamics within a Mixed Ensemble of Chinese Zheng and Classical Instruments’
Luciana Perc, ‘Performing the Algorithm: Open Form Scores Designed as Visual
Programming Interfaces to Devise Creative Participation in Performance’ Chair: Katalin Koltai
|
| Room 4031 (D) |
Session 2D: Training and Pedagogy for Practice Research, Best-Practices (themed session)
Panellists: Scott McLaughlin; Mira Benjamin; Emily Worthington; Caroline Kennedy
Chair: Benjamin Oliver |
| Room 6033 (E) |
Session 2E: Early Musics
Christopher Dingle, ‘Insights of Note(s): Editing Joseph Bologne, Chevalier de Saint-Georges' Nicholas Bleisch, ‘A Reconsideration of “Interrupted” Author-Organization in Trouvère Songbooks’ Michael Winter, ‘An Eton Mess: Rivalries and Misunderstandings in Renaissance Musicology’ Chair: Laurie Stras |
| Room 6027 (F) |
Session 2F: ‘Some Sober Brow will Bless it and Approve it with a Text’: Shakespeare’s Afterlife in Music within the Global, Social, and Political Contexts (themed session)
Julian Rushton, ‘“It’s All Right if it’s Shakespeare”: Shakespeare as Validator’ Helmut Reichenbacher, ‘The Suppression of Mendelssohn’s A Midsummer Night’s Dream Music during the Third Reich’ Michelle Assay, ‘“Belike you Mean to Make a Puppet of Me”: Verdi’s Macbeth as Puppet Opera in Iran’ Chair: David Fanning |
| Room 6031 (G) |
Session 2G: Histories of Singers and Singing
Emmanuela Wroth, ‘Vittoria Tesi: the Conception of the Black Diva in Italian Opera, 1715–1775’
Rosie Cameron, ‘Mendelssohn’s “Hear Ye, Israel” in the British Marketplace: The Profile of Clara Novello (1818–1908)’ Francesco Izzo, ‘Singing Verdi: Creativity, Tradition, Literality’
Chair: Ellan A. Lincoln-Hyde
|
| [Location TBD**] (H) |
Session 2H: Creative Practice
Desmond Clarke, ‘Tegmark Variations: Engendering Improvisation-Like Performance Practices in Fully Notated Music’ The Keeling Curve (Rhiannon Bedford and Will Frampton), ‘Atoms-on-the-Wall; Composing for Violin and Modular Synthesizer as part of a Site-Specific Multimedia Artwork’ Chair: Heather Mease |
| Room 1017 | RMA Council Meeting – NB 2 hours; 11:30–13:30 |
| 13:00–15:00 |
Lunch break
Fresh tea and coffee will be available from 14:30
|
| Room 2007 (Lecture Theatre 1) (A) |
Session 3A: Performance and Crisis
Mira Benjamin and Tim Parker-Langston, ‘Phenomenotechnics of Music Performance’
Kosmo Love, ‘Practicing Orality in the New Dark Age; An “Instrumentalist” Perspective on the Crisis in Music Education, Interpreted through Research and Practice’
Isaac Shieh, ‘Playing with Disability: Exploring Georgia Scott’s The Ghost in the Machine for Natural Horn and Electronics’
Tenley Martin, ‘Cohesive Harmonies: An Exploration of Community Music as a Mechanism for Active Citizenship’ Chair: TBD
|
| Room 2089 (Lecture Theatre 2) (B) |
Session 3B: Musical Theatre and All that Jazz (themed session)
Catherine Tackley, ‘Strike Up the Band: Cross-Genre Mobility of Music and Musicians in New York, 1930’ William A. Everett, ‘When Jazz Came to Ruritania’ George Burrows and Phoebe Rumsey, ‘Musical Theatre Meets Jazz: Reconceiving Forms, Practices and Meanings’ Nicholas Gebhardt, ‘Golden Age, Times Past: Jazz and the Historical Imagination in La La Land (2016)’ Chair: Katherine Williams |
| Room 4029 (C) |
Session 3C: RMA Composer-Performer Collaboration Study Group Themed Session III: Roundtable
Panellists: Michael Boyle; Edmund Hunt; Yajie Ye; Katalin Koltai; Luciana Perc; Carla Rees Chair: Katalin Koltai |
| Room 4031 (D) |
Session 3D: Ethics, Politics and Practice
Juan Gonzalez-Castelao, ‘Towards a Professional Musician’s Code of Ethics’ James Saunders, ‘Taskmasters and Box-Tickers: Make-Work as a Compositional Frame’ Franklyn Oliver, ‘Political Instrumentation: Using Instruments as an Ideological Parameter in Politically Motivated Composition’ Rob Crehan, ‘TEXT, DRUGS, & ROCK ‘N’ ROLL.: Championing Spoken Word as a Tool for Accessibility in Composition’ Chair: Benjamin Oliver |
| Room 6033 (E) |
Session 3E: French and Russian Music
Kerry Bunkhall, ‘From Mystery to Mysticism: Silence in Debussy’s Pelléas et Mélisande (1902) and Poulenc’s Dialogues des Carmélites (1957)’
Yuebei Xu, ‘Mélisande’s Water Sleeves: Re-inscribing Debussy in Shanghai (2016)’
Denise Clarke, ‘Denial, Death, and Distortion in Tchaikovsky’s Romeo and Juliet’ John Nelson, ‘A Forerunner of the Revolution – Rimsky-Korsakov the Schemer’
Chair: Caroline Rae
|
| Room 6027 (F) |
Session 3F: Sound Connections
Andrew Shenton, ‘Creativity and the “Derivative” Classical Covers of Pärt’s Für Alina Cheong, Wai-Ling, ‘Jean-Michel Jarre, Mitterrand and Chinese Electronic Art Music’ George Speck, ‘Establishing “Teletrust” in Networked Jazz Performance’ Efrat Urbach, ‘Berlioz: The Fugal-Amen Iconoclast’ Chair: TBD |
| Room 6031 (G) |
Session 3G: Some Mad Hauntings
Freya Jarman, ‘Vexatious Voices: Madness and Other Metaphysical Journeys of Pitch’ Carina Venter, ‘On Madness and Eros: Thoughts on an Arrested Present’ Henry Wadsworth, ‘Ursula Bogner at the End of History: Sonic Hauntology in German Electronic Music of the 2000s’ Chair: Fabio Morabito |
| [Location TBD**] (H) |
Session 3H: Creative Practice
Joyce Tang, ‘Danse Macabre: In Duet with the “Ghost” in Piano Rolls’ Cheryl Tan, Henri Herz’s Bravura Variations (1825): Variations and the Virtuosities of Postclassical Pianism’ Tom Smith, ‘Interdependence: From Linearity to the Role of Wayfarer in Interactive Electroinstrumental Improvisation’ Chair: David Owen Norris |
| Room 1017 | RMA Publications Committee Meeting |
| 17:30 |
LE HURAY KEYNOTE LECTURE (SJM Lecture Room 1)
Marianna Ritchey (Associate Professor of Music History, University of Massachusetts, Amherst), ‘Naturalizing Inequality: A Materialist Critique of American Classical Music Culture’
Chair: Miguel Mera (Dean of Faculty of Arts and Humanities, University of Southampton) |
| 19:00 - 20:45 | Drinks Reception, John Hansard Gallery** |
Venue - Sir James Matthews Building (SJM)
All conference locations will be in SJM unless specified otherwise
| 9:00–17:00 | Early Career Colleague ‘chill out’ space: Room 3025 / Dance Studio (available all day; drop in / drop out) |
| 9:00–17:00 | One-to-One CV Workshop/Clinic (facilitated by Katherine Williams) – see sign-up sheet at Registration; the room for this will be the ECC ‘chill out’ space – Room |
| 9:00–17:00 | Quiet / Recharge Room: Room 1023 (available all day; drop in / drop out) |
| 9:00–17:00 | Publishers’ Displays (open all day): Room 1073 |
| Registration opens 9:00 | Registration Desk: The Junction (first room to your right after main entrance) Coffee / refreshment stations: 2063 and 2065 Extra catering stations can be found in rooms 1029 and 4033 |
| 9:15–9:25 | Room 2007 (Lecture Theatre 1) | Welcome Remarks (Erin Johnson-Williams) |
| Room 2007 (Lecture Theatre 1) (A) |
Session 4A: Popular Music and Identity
Patrick Mitchell, ‘“Boys like You, You Try Too Hard”: Topics of Desire, Fantasy, and Romance in 2000s Emo’ Brian Andrew Inglis, ‘Semiotics and Popular Music: Sandi Thom’s “Punk Rocker” and the Britpop Inheritance’ James How, ‘Courtney Love’s “America’s Sweetheart”: 1990s-style Guitar Swinging at the Start of the New Millennium’ Chair: Nyle Bevan-Clark |
| Room 2089 (Lecture Theatre 2) (B) |
Session 4B: From Lullabies to Birthing Playlists: Repertory as a Technology of Maternal Agency (themed session)
Karen Leistra-Jones, ‘Maternal Fear, Maternal Agency, and the Afterlives of Brahms’s Wiegenlied, Op. 49/4’ Christina Baade, ‘“My Son, My Son”: Navigating Celebrity and Motherhood in the 1950s Ballad’ Michelle Meinhart, ‘Sound Curation in the Delivery Room and Soundtracking Matresence’ Chair: TBD |
| Room 4029 (C) |
Session 4C: Musical Archives and Memory: Collecting and Preserving Musical Memories (themed session)
Katia Chornik, Jesse Freedman and Núria Bonet, ‘Cantos Cautivos: Ensuring the Long-Term Sustainability of a Musical Archive’ Sara Cohen, Lisa Shaw, Richard Smith and Jacqueline Waldock, ‘Musical Archives and Diasporic Memory: Exploring Music's Role in Cultural Preservation and Transgenerational Communication’ Stephen Millar, ‘Songs of the Northern Ireland Conflict (SoNIC) Archive’ Chair: Núria Bonet |
| Room 4031 (D) |
Session 4D: Opera and Digital Musicology: Towards a Digital Critical Edition of Bellini’s Works and Sketches (themed session)
Candida Billie Mantica, ‘Adelson e Salvini’ Mark Saccomano, ‘Interactive System of Fruition’ Candida Mantica and Giovanni Meriani, ‘Studi giornalieri’ Chair: Francesco Izzo |
| Room 6033 (E) |
Session 4E: Race, Place and Musicology c.1900
Philip Keller, ‘Race and the Academy: Jewish Musicologists at the University of Vienna 1880 to 1914’ Nicholas Ong, ‘Synagogue on Stage! God, how far Art is from Reality!’: Valentina Serova, Jewry, and Opera in Late Imperial Russia’ Sadie Menicanin, ‘The Wienerwald and the Making of Vienna as Musikstadt around 1900’ Chair: Tom Irvine |
| Room 6027 (F) |
Session 4F: Musical Commemorations
Katharine Ellis, ‘Processional Soundscapes of French Catholicism during the Long Nineteenth Century’ Frederick Reece, ‘Contagion and Commemoration in Fanny Hensel’s Cholera Music’ Olivia Childe, ‘Reviving Revolution: La Muette de Portici and the Manipulation of Memory on the Paris Opéra Stage’ Chair: Jonathan Hicks |
| Room 6031 (G) |
Session 4G: Music and Letters (Themed session)
Panellists: Kate Guthrie, Hettie Malcomson, William May, and Freya Jarman Chair: TBD |
| Room 4033 (H) |
Session 4H: Fiction, Narrative and Sound
Christian Thomas Leitmeir, ‘Lost Between Autobiography and Fiction: Rediscovering the Composer Julia Kerr (1898–1965)’ James Mackay, ‘Encoding Narrative in Jazz Ballads for Solo Guitar: A Phenomenology of Narrative Listening’ David Trippett, ‘Thing and Form: Seeing Sound, or What's in a Pendulum?’ Chair: TBD |
| Room 6029 (I) |
Session 4I: ‘Young RMA’ Session with musical presentations from local Southampton school children
Chair: Chiying Lam |
| 11:00–11:30 |
Coffee / refreshment stations: 2063 and 2065
Extra catering stations can be found in rooms 1029 and 4033
|
| 11:30–13:00 | EDI Plenary Session – Lecture Room 1 |
| 13:00–15:00 |
Lunch Break
Fresh tea and coffee will be available from 14:30 |
|
Room 2007 (Lecture Theatre 1)
(A) |
Session 5A: Sounding, Naming and (Re)Framing Musics
Eleanor Ryan, ‘Developing a Decolonial Praxis in Performance Music Education in Trinidad: Sound, Black Sociality and Affect’
Dolly Sharma, ‘Nauṭaṅkī as Svāṅg: The Naming of Svāṅg as Nautanki’
Ronit Ghosh, ‘“Does it Have to be an Exact Copy?” Gender, Archive, and Indigenous Music Cultures in the Global South’
Patrick Nickleson, ‘How Does Music Appear in Museums?: Experimentation, Rematriation, and Decolonization’
Chair: Ellan A. Lincoln-Hyde
|
| Room 2089 (Lecture Theatre 2) (B) |
Session 5B: Politics and Psyches
Madeline Roycroft, ‘Music and Friendship at a Political Crossroads: The Correspondence of Roger Désormière and Nicolas Nabokov’
Steven Jeon, ‘Understanding Psychological Depth using The Turn of the Screw (1954) to Examine Britten’s Early Life’
Hester Bell Jordan, ‘Phrenology in Nannette Streicher-Stein’s Musiksaal’
Lydia Lee, ‘Narrating Aphasic Trope in Unsuk Chin's Akrostischon-Wortspiel’Chair: Freya Jarman
|
| Room 4029 (C) |
Session 5C: Place, Identity, Memory
Jennifer Smith, ‘Localising the Welsh; Accents as the Celtic “Other” in Video Games’ Nyle Bevan-Clark,’“Play Something We Know!”: Covers, Originals, and the Long Shadow of Industry in the South Wales Valleys’
Apolline Gouzi, ‘Music Festivals as Time Warps in Post-War France (1946–1955)’
Daniel Elphick, ‘Soviet Holocaust Commemoration in Music (and the Lack Thereof)’
Chair: Steven Gamble
|
| Room 4031 (D) |
Session 5D: Connect the Dots: Increasing Inclusivity through Training Composers (themed session)
Panellists: Kate Ridson; Charlotte Bott; Liam Taylor West; Alexandra Skevington
Chair: Francesca Le Lohé
|
| Room 6033 (E) |
Session 5E: Amplification Matters: Sound, Technology, and Public Life (themed session)
Steve Waksman, ‘Building Amplification’
Gabrielle Kielich, ‘Amplification and Everyday Life’
Lawrence Davies, ‘Towards a Historical Ecomusicology of Amplification’ Rebekah Moore, ‘Amplifying Activism: The Essential Technologies of the Megaphone, Microphone, and Electric Guitar’
Frances Morgan, ‘Contact Microphones and the Amplified Mouth’
Ivan Mouraviev, ‘Subwoofer Subcultures’
Owen Coggins, ‘Amplifier Worship Service’
Chair: Steve Waksman
|
| Room 6027 (F) |
Session 5F: Music’s Contemporary Modernisms (themed session) Seth Brodsky, ‘Modernism: Undying’ Martin Iddon, ‘Musical Modernity and the Aesthetics of Care’ Jessie Cox, ‘Blackness Sounds Musics of the Alter-Destiny' Lauren Redhead, ‘Contemporary Music at the Speed of Light’ Co-Chairs: Christine Dysers and Samuel J. Wilson |
| Room 6031 (G) |
Session 5G: Canonical Figures and Stereotypes
Faith Thompson, ‘Gabriel Pierné as Conductor: Poetry over Precision’
Alexander Pott, ‘Occultism in 1890s Paris: The Case of Frederick Delius’
Miloš Zapletal, ‘How Janáček Became Janáček: Early Reception, Cult, and Canonic Discourses’
Vera Wolkowicz, ‘Racial Mockeries? Stereotypes, Foreignness, and National Customs in the Argentine Zarzuela Chin Yonk (1895)’
Chair: Lukas Perry
|
| Room 4033 (H) |
Session 5H: Echoes of Care (themed session)
Panellists: Liz Gre; Kwame Phillips; Sophie Iddles; Erin Johnson-Williams
Chair: TBD
|
| Room 6029 (I) |
Session 5I: Sounding (Out) Female Power
Amy Zigler, ‘“Love Has the Victory”: Musical Representations of Female Power in Ethel Smyth’s Der Wald’
Emma Butterworth, ‘The Unheard Symphony: How Composer Mothers are Fighting to Reshape the Music Industry’
Martha Sprigge, ‘The Gendered Labor of Musical Widowhood in Post-War Avant Garde Music Scenes’
Rachel McCarthy, ‘“We’re not just a Boy Band Made up of Four Joshes”: Crazy Ex-Girlfriend, Boy Band Parodies and Female Subjectivity’
Chair: Amy Williamson
|
| 17:30 | RMA AGM and DENT MEDAL Lecture – SJM Lecture Room 1: Sarah Collins (University of Western Australia) Chair: Simon Keefe |
| 19:00 - 20:45 | Drinks Reception, Sea City Museum* |
Venue - Sir James Matthews Building (SJM)
All conference locations will be in SJM unless specified otherwise
| 9:00–17:00 | Early Career Colleague ‘chill out’ space: Room 3025 / Dance Studio (available all day; drop in / drop out) |
| 9:00–17:00 | One-to-One CV Workshop/Clinic (facilitated by Katherine Williams) – see sign-up sheet at Registration; the room for this will be the ECC ‘chill out’ space – Room |
| 9:00–17:00 | Quiet / Recharge Room: Room 1023 (available all day; drop in / drop out) |
| 9:00–17:00 | Publishers’ Displays (open all day): Room 1073 |
| Registration opens 9:00 | Registration Desk: The Junction (first room to your right after main entrance) Coffee / refreshment stations: 2063 and 2065 Extra catering stations can be found in rooms 1029 and 4033 |
| 9:15–9:25 | Room 2007 (Lecture Theatre 1) | Welcome Remarks (Erin Johnson-Williams) |
|
Room 2007 (Lecture Theatre 1)
(A) |
Session 6A: Public Policy Southampton Training and Discussion Panel: ‘Framing your Research for Policy’
Panellists: Joseph Owen; Erin Johnson-Williams; Diljeet Bhachu
Chair: Lexi Webster
|
| Room 2089 (Lecture Theatre 2) (B) |
Session 6B: Reconfiguring Opera
Michelle Assay, ‘When Puppets Sing in Tehran’: Reconfiguring Iran's National Opera
Betty Zhaoyi Yan, ‘Cross-Gender Performance in Chinese Opera: Theatricality, Conventionalization, and Codified Aesthetics’
Tommaso Sabbatini, ‘Recovering Dialogue, Rethinking Genre, Rediscovering Sources: A Digital Humanities Work in Progress on French fin-de-siècle Operetta’
Chair: Valeria De Lucca
|
| Room 4029 (C) |
Session 6C: Post-Human and Post-Western Developments
Federica Nardella, ‘Beyond Conflict, Towards a Musicology of Non-Human Agency: Vocality, Listening and Interspecies Harmony in the Man/Golden Eagle Partnerships of Kyrgyz Eagle-Hunting’
Dikshant Uprety, ‘Social Work, (Under)Development and Musicians in Nepal’
Amy Bauer, ‘Have we ever been Western? Musical modernism on the Periphery’
Chair: Carina Venter
|
| Room 4031 (D) | Session 6D: Women Musicians, Past and Present Anastasia Zaponidou “‘[R]eady to Make her ‘Cello Speak”: Navigating the Suffrage Activism of Cellist May Henrietta Mukle’ Ruairidh Pattie, ‘When to be a Professional Musician: Understanding the Different ways Members of the Society of Women Musicians Described their Occupations in the 1911, 1921 and 1939 Censuses’ Laura Hamer and Helen Julia Minors, ‘Women’s Musical Leadership in Practice: Sustaining Networking and Mentoring for the Creative Industries’ Chair: Michelle Meinhart |
| Room 6033 (E) |
Session 6E: JRMA Journals Publishing Workshop Facilitators: Amanda Hsieh; Deborah Mawer; Hettie Malcomson; Tamsin Alexander [please note: this session will start at 10:00] |
| Room 6027 (F) | Session 6F: Music Education’s Challenges: Global and Local Jatin Mohan, ‘The Muses Unbound: Systemic and Cultural Challenges in Indian Music Education’ Richard Wistreich, ‘Instrumentalizing Children’s Voices in the Era of Colonisation’ Giles Masters, ‘For a Semi-Public Musicology (Or, Hindemith in the Playground)’ Chair: Jillian C. Rogers |
| Room 6031 (G) | Session 6G: Annotations, Obituaries, and (Auto)Biographies Fabio Morabito, ‘The Musical Work of Tidying Time’ Sarah Kirby, ‘Percy Grainger and the ‘Celebrity’ Obituary: Fashioning a Life Narrative after Death’ Matthew Head, ‘What Autobiography Does: Reading Harriet Wainewright Stewart’s “My Musical Career” (1836)’ Chair: Daniel Elphick |
| Room 4033 (H) |
Session 6H: Musical (Re)Constructions of Identity Mollie Carlyle, ‘“As I Went a-Walking Down Ratcliffe Highway”: Reconstructing London’s 19th-Century Sailortown through Shanty Repertoire’ Sarah Fuchs, ‘“Mes disques dormaient au fond de mes tiroirs”: Curating Emma Calvé’s Personal Record Collection’ Daniel Boucher, ‘Constructing the “Outsider”: Ernst Krenek and Twentieth-Century Music Historiography’ Chair: Sarah Hibberd |
| Room 1017 | RMA Student Committee Meeting |
| 11:00–11:30 |
Coffee / refreshment stations: 2063 and 2065
Extra catering stations can be found in rooms 1029 and 4033 |
|
Room 2007 (Lecture Theatre 1)
(A) |
Session 7A: The Translocal in English Music of the 18th Century (Themed session) Stephen Rose, ‘Localism and Tune Names in English Parish Church Music of the Early Modern Era’ Caro Lesemann-Elliott, ‘Tunes, technology, and Translocality: Musical Production in Regional England During the mid-18th Century’ Andrew Frampton, ‘Continental Connections: European Music of the Long 18th Century in Regional English Archives’ Chair: Rebecca Herissone |
| Room 2089 (Lecture Theatre 2) (B) |
Session 7B: AHRC Hub for Public Engagement with Music Research: Towards New Research Directions in Music and Social Justice (themed session) Panelists: Erin Johnson-Williams; Benjamin Oliver; Beth Pickard; Sophia Loizou; SJ Cooper-Knock; Surabhi Shukla; Melanie-Marie Haywood Chair: Liz Gre |
| Room 4029 (C) |
Session 7C: Performance on the Move: The Musical World of Fairgrounds in Switzerland, 1850–1950 (themed session) Anna Stoll Knecht, ‘Wagner at the Fairground: Mechanical Music as a Vehicle out of the Concert Hall’ Achille Kienholz, ‘Objectifying the Orchestra: The Fairground Organ as a Stage in the Institutionalisation Process of Musical Performance’ Nicholas Rogers, ‘Fairground Organ Decoration, Multimedia Performance, and Travelling Cinema, 1896–1914’ Chair: Clair Rowden |
| Room 4031 (D) |
Session 7D: Interdisciplinary Approaches to Opera
Barbara Gentili, ‘Notes Towards an Ethnography of Opera: Case Studies from Milan and Parma’
Cormac Newark, “‘La solita forma de’ poliziotti: Italian Opera in Detective Novels’
Adrianna Chmielewska, ‘A Cultural Wealth: Adaptation of Literature into Opera Reconsidered’
Chair: Valeria De Lucca
|
| Room 6033 (E) |
Session 7E: Music Analysis
Rajan Lal, ‘The “Individualisation of Harmony” and its Ramifications for Gendered Theories of Musical Structure’
Dimitra Ananiadou, ‘Misplaced, Missing and Inconsistent Dynamics in Beethoven’s Compositions’
Edward Klorman, ‘Bach’s Cello Suites before Pablo Casals: Three Case Studies’
Chair: William Drabkin
|
| Room 6027 (F) |
Session 7F: Music Education and Training
Heidi Fardell, ‘The 1:1 Learning Musical Learning Space – “Chatting and Listening”’
Yi Wang, ‘Critical Issues in Music Higher Education (HE) Pedagogy and Policy: An Exploration of Music Performance Anxiety (MPA) in HE Vocal Students’
Bardia Hafizi, ‘Between the Breath and the Heartbeat: Rhythm-Making, Attention Training, and Affective Therapy’
Chair: Helen Dromey
|
| Room 6031 (G) |
Session 7G: Technology and Sound
Lee Cheng, ‘Making Music with Accessible Digital Musical Instrument (DMI) Augmented Reality (AR) App’
Xingyu Jl, ‘Shuttling Between Music and Sound: The Manifestation of Phonography in Samson Young’s Sound Art Works’
Olha Myronenko-Mikheishyna, ‘The Poetry of Musical Time and its Perception in Non-Metric Musical Composition: Witold Lutoslawski Studies’
Chair: Pablo Galaz
|
| Room 4033 (H) |
Session 7H: Academic Resilience Workshop
Facilitator: Katherine Williams
|
| 13:00–15:00 |
Lunch break
Fresh tea and coffee will be available from 14:30
|
|
Room 2007 (Lecture Theatre 1)
(A) |
Session 8A: Sound(scape)s of Place
Tristan Harkcom, ‘The Composer of “Rienzi”’ and “The Dresden Bloodbath”: Lessons in (Auto)biography from Richard Wagner’s Participation in the May Uprising of 1849’
Lola San Martin Arbide, ‘The Musical Life of the Eiffel Tower in Early Twentieth-Century Paris’
Valentina Montalvo Villalba, ‘“If You Don’t Like It, Take a Taxi”: Non-Place, Transnationalism, and Musical Practices of Venezuelan Immigrants in Bogotá’s Public Transportation (TransMilenio)’
Jonathan Hicks, ‘Peter Handford’s Steamscapes’Chair: Erin Johnson-Williams
|
| Room 2089 (Lecture Theatre 2) (B) |
Session 8B: Creative Innovations Past and Present
Simon Zagorski-Thomas, ‘Creating a Dub Mix of Quimbara’
McKenna Sheeley-Jennings, ‘Pedal Schemas: A Harp-Centric Mode of Analysis
Elisabeth Pfeiffer, ‘Early Ukulele Tone Production and its Contemporary Application’
Cheong, Wai-Ling, ‘Jean-Michel Jarre, Mitterrand and Chinese Electronic Art Music’
Chair: Andrew Pinnock
|
| Room 4029 (C) |
Session 8C: Peering through the Cracks: How do we Narrate Forgotten Migrant Stories? (themed session)
Laudan Nooshin, ‘Polish Musicians in Tehran 1942 to 1945: The Case of Irena Valdi-Gołębiowska’ Florian Scheding, ‘Staging Migrant Voices: Refugee Cabaret in Wartime Britain’
Simón Palominos Mandiola, ‘Music, Memory, and the Making of Futures: The Organisation of New Chilean Song Concerts by Chilean exiles in Bristol in the Early 1980s’
Gabrielle Messeder, ‘Brazilian Performers in Lebanon: Precarity, Discrimination and Geopolitics’
Chair: TBD
|
| Room 4031 (D) |
Session 8D: (Un)Sound Futures Peter Edwards, ‘The Eye of the Storm: Music and the Aesthetics of Overload’ Victor Arul, ‘When Systems Fail: Unmasking Modernist Illusions in a Precarious World’ Samuel J. Wilson, ‘Music, Self, and Identity in the Twenty-First Century’ Christine Dysers, ‘AI Doubles and Hermeneutics of the Self in Post-Digital Music’ Chair: Tom Irvine |
| Room 6033 (E) |
Session 8E: Operatic Contexts Feng-Shu Lee, ‘The Ghosts, the Ocean, and Der fliegende Holländer’ Amanda Hsieh, ‘The Bandmann Opera Co. in Japan’ Riccardo La Spina, ‘A Death Lost to Time – The Last Years of Carlo “Gaetano” Marinelli (1745–1824)’ Chair: TBD |
| Room 6027 (F) |
Session 8F: Seventeenth and Eighteenth-Century Processes
Robert Rawson, ‘The “Opus One” Problem in Seventeenth-Century England’
Andrew Woolley, ‘Music as Process in the 17th Century? Re-Composition in Keyboard Music Associated with Pedro de Araújo’
Ann van Allen-Russell, ‘Music, Manners, and Money: The Bach-Abel Subscription Concerts, 1773–1780’
Tegan Sutherland, “‘The Gross Judgement of an Indelicate Audience”: Virtuosic Expectations in Eighteenth-Century London’
Chair: Simon McVeigh
|
| Room 6031 (G) |
Session 8G: Notated Identities
Malte Kobel, ‘“Capture in Notation”: Ornette Coleman, Transcription and the Unnotable’
Christos Yiallouros, ‘Authorship, Authority and Intention in Un-Notated and Posthumously Notated Composition’
Mingyue Li, ‘Hearing Naturlaut and the Self-Reflexive Subject in Helmut Lachenmann’s “...zwei Gefühle ...”, – Musik mit Leonardo’
Nana Wang, ‘“A Little Flower in the Wild?: The Soundscape and Cultural Politics in Hu-Wei Huang’s Pictures from Bashu’
Chair: William Drabkin
|
| Room 4033 (H) |
Session 8H: Composing Communities Charlotte Miller, ‘Composing Connection: Intergenerational Music as Creative Social Justice’ Nicholas Jones, ‘Composing Community: Peter Maxwell Davies’s Operas for Children’ Marat Ingeldeev, ‘The British School of Emotionalism and Metamodernism: Towards a New Expressive Paradigm in Contemporary Music’ Chair: Chiying Lam |
| 17:00–17:15 | Thank you and closing Remarks (Lecture Theatre 1) |