SMI Annual Plenary Conference 2017

Programme

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Friday 16th June 2017

 

1.30–2.00                  WELCOME (Harty Room)

 

2.00–4.00                  PARALLEL SESSIONS 1  

      

Session 1a: Irish Musical Institutions (Harty Room) 

  • Catherine Ferris (DIT Conservatory of Music and Drama): ‘Documenting the Dublin Music Trade’
  • Adèle Commins (Dundalk Institute of Technology): ‘Stanford and the Dublin Feis Ceoil: A Tumultuous Relationship’
  • Clíona Doris (DIT Conservatory of Music and Drama): ‘The Vanbrugh Quartet in Ireland: A Survey of Concert Programmes, Recordings and Collaborations, 1986–2017’
  • Harry White (University College Dublin): ‘Musica Hibernica: A Proposal’

 

Session 1b: Pedagogy (Lecture Room) 

  • Mary Black (University of Leeds): ‘“Cut yourself on these words!” Can Imagery in Choral Rehearsals be Utilised by Choral Directors as a Valid Strategy to Affect the Sound?’
  • Majella Boland (Royal Irish Academy of Music): ‘Reappraising the RIAM Syllabus: A Musicological Perspective’
  • Galina Crothers (Queen’s University Belfast): ‘Heinrich Neuhaus: Questions of Musical Interpretation in the Light of Philosophical Studies of Aleksey Losev and Gustav Schpet’
  • Luodmila Podlesnykh (DIT Conservatory of Music and Drama): ‘Alexander Dubuque: Documenting the Art of John Field’ (lecture-recital)

 

Session 1c: Schubert and Mozart (McMordie Hall)

  • Lorraine Byrne Bodley (Maynooth University): ‘The Seductive Muse: On Schubert’s Opera’
  • Katie Cattell (Royal Holloway, University of London): ‘The Many Guises of Schubert’s Rosamunde music: Repetition, Memory, and Adorno’s “New Lighting”’
  • Ian Woodfield (Queen’s University Belfast): ‘“Che soave zeffiretto” and the Structure of Act III of Le nozze di Figaro
  • Daesik Cha (Massachusetts Institute of Technology): ‘The Art of Wandering and Revelation: A Study of Mozart Fantasia in C minor, K475’ (lecture-recital)

 

 

4.00–4.30                  TEA AND COFFEE (Foyer)

  

4.30–6.30                  PARALLEL SESSIONS 2  

                                                        

Session 2a: Eighteenth-Century Music (Harty Room) 

  • Cathal Twomey (Maynooth University): ‘“Setting Words that Set Themselves”: Handel and the Poetic Rhythms of Alexander’s Feast
  • David Hunter (University of Texas, Austin): ‘Handel’s Music in the Lives of Slave Owners in Britain and its Caribbean and North America Colonies’
  • Yo Tomita (Queen’s University Belfast): ‘Exploring J.S. Bach’s Musical Thinking and Performance Intentions through the Examination of his Quaver-Beam Notation’
  • August Guan (Cardiff University): ‘A Rethinking of Harpsichord Articulation in “Handelian-Era” England from the Perspective of Keyboard Arrangements’ (lecture-recital)

 

Session 2b: Imag(in)ing Ireland (Lecture Room)

  • Aidan J. Thomson (Queen’s University Belfast): ‘Faking It to Make It: Bax, Fiona Macleod and Celticism’
  • John O’Flynn (Dublin City University): ‘William Alwyn’s Irish-Themed Film Scores’
  • Laura Anderson (Maynooth University): ‘Sounding the Landscape: Brian Boydell’s scores for Patrick Carey’s documentary films’
  • Áine Mulvey (Dublin City University): ‘Hamilton Harty and Irish Art Song’ (lecture-recital

 

Session 2c: Voices (McMordie Hall)

  • Claire Fedoruk (Azusa Pacific University): ‘The Voices of Mary: An Analysis of Choruses from John Adams’s The Gospel According to the Other Mary
  • Bláithín Duggan (Trinity College Dublin): ‘The Shape of the Voice: Analysing Vocal Gestures in Popular Song’
  • Roslyn Steer (Maynooth University): ‘Anton Webern’s Silent Scream’
  • Aylish Kerrigan (Wuhan Conservatory of Music) and Dearbhla Collins (Royal Irish Academy of Music): ‘A Girl: A Narrative of Life and Death’ (lecture-recital

 

 

6.45                OPENING RECEPTION (Harty Room)

 


 

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SATURDAY, 17 JUNE 2017

8.45                   POSTER PRESENTATION (exhibited all day, Music foyer)

  • Matthew Webb (Stephen F. Austin State University, Texas): 'Liturgical Borrowings and Other Influences in "Little Green Grove" by Sergei Prokofiev'

 

 

9.00–11.00        PARALLEL SESSIONS 3                                                                  

 

Session 3a: Bunting and Moore (Harty Room)

  • Siobhán Armstrong (Middlesex University): ‘16th- to 18th-Century Irish Harp Repertory: Performance Practice Evidence in Queen's University Belfast Special Collections MS 4.29, the 1792 Field Notebook of Edward Bunting’
  • Una Hunt (DIT Conservatory of Music and Drama): ‘Thomas Moore: Drawing Room Entertainer or Rebel Songster?’
  • Anja Bunzel (Maynooth University): ‘The Sublime Genius: Nineteenth-Century Nationalism in the Peri by Robert Schumann and Thomas Moore’
  • Conor Caldwell (Queen’s University Belfast): ‘Re-imagining Bunting: Belfast's Lost Sounds’ (lecture-recital

 

Session 3b: Film Music (Lecture Room)

  • Judith Wiemers (Queen’s University Belfast): ‘“Let’s Be Common”: Musical Humour in American and German Films of the 1930s and their Roots in Theatrical Practice’
  • Hans Hess (University of Bristol): ‘Orfeu Negro
  • Marc Brooks (University of Vienna): ‘“When Did Music Become So Important?” Intensity and Intertextuality in Mad Men
  • Catrin Angharad Watts (University of Texas, Austin): ‘Establishing the Popular Music Soundtrack’ 

 

Session 3c: Nineteenth-Century Song (McMordie Hall)

  • Barbora Kubečková (Palacký University, Olomouc): ‘Song Tradition in the Czech Lands in the 19th Century: Was Goethe’s Poetry Overlooked by Czech Composers?’
  • Cathal Mullan (Maynooth University): ‘Text-setting in Lindpaintner's Sechs Lieder zu Göthe's Faust
  • Nicolás Puyané (Maynooth University): ‘The Elusive Quest for Urtexts: Textual Fluidity in the Lieder of Franz Liszt’
  • Clare Wilson (Ulster University): ‘Beyond the Veil: André Caplet’s Tonal Boundaries’

 

11.00–11.30        TEA/COFFEE (Foyer) 

                                                                                                                                   

11.30–1.00          PARALLEL SESSIONS 4    

                                                          

 Session 4a: Jazz in the European Periphery (Harty Room)

  • Ruth Stanley (CIT Cork School of Music): ‘Surviving Conflict and Cultural Insularity: The Hidden History of Jazz in Ireland and Northern Ireland during the 1940s’
  • Damian Evans (DIT Conservatory of Music and Drama): ‘Down with Jazz: Power and Agency in Localised Musicking’
  • Ioannis Tsioulakis (Queen’s University Belfast): ‘Embodying Cosmopolitanism: Jazz music in the Greek Crisis’ 

 

Session 4b: Music and the Legacy of Irish Republicanism (Lecture Room)

  • Maria McHale (DIT Conservatory of Music and Drama): ‘Raids and Writs: Seditious Songs in Post-Rising Ireland’
  • Stephen R. Millar (Limerick University): ‘Songs of Resistance: Irish Rebel Music and the Onset of the Troubles’
  • J. Griffith Rollefson (University College Cork): ‘“Strangers in Paradise”: Performing Rebellion, Embodying Postcoloniality on the Emerald Isle’ 

 

Session 4c: Music Technology and Electroacoustic Music (McMordie Hall)

  • Franziska Schroeder (Queen’s University Belfast): ‘Distributed Listening: Using a Mobile App for Exploring Listening in Everyday Life’
  • Koichi Samuels and Franziska Schroeder (Queen’s University Belfast): ‘Improvisation, Inclusion and Accessible Music Technology’
  • Neil O Connor (Dundalk Institute of Technology): ‘Electric Dawn: The Advent of Irish Electro-Acoustic Music’

 

1.00–2.00                 LUNCH (Foyer)

 


 

2.00–4.00                PLENARY SESSION and CONCERT

                                (Sonic Lab, Sonic Arts Research Centre)

 

2.00–2.45              Sarah McCleave and Tríona O’Hanlon (Queen’s University Belfast)

                        

3.00–4.00             CONCERT


  

4.00–4.30            TEA/COFFEE (Foyer)

 

4.30–5.30            PARALLEL SESSIONS 5                                                               

 

Session 5a: Traditional Music (Harty Room)

  • Daithí Kearney (Dundalk Institute of Technology): ‘Beyond Traditional: Engaging with the Diversity of Music in the Work of Pat Ahern’
  • Stephanie Ford (Maynooth University): ‘Appropriate Collaboration? Concepts of Collaborative Practice between sean nós Singers and Contemporary Composers in the 21st Century’ 

 

Session 5b: Music Societies (Lecture Room)

  • Margaret Doris (DIT Conservatory of Music and Drama): ‘The Provincial Cellist: A Comparative View of the Role of the Principal Cellist in the Oxford and Edinburgh Musical Societies’
  • Ian Maxwell (University of Cambridge): ‘“The Mystery of the Missing Musical Society”: The Dublin University Musical Society – or not?’ 

 

Session 5c: Music and the Church (McMordie Hall)

  • Carlos Guitiérrez Cajaraville (University of Valladolid): ‘Music, History, and the Presence of the Past in Sixteenth-Century Spain’
  • Eleanor Jones-McAuley (Trinity College Dublin): ‘Music at St Michan’s Church during the Eighteenth Century: Sources, Subscriptions and Society’

 

5.30–6.00        Annual General Meeting of the Society for Musicology in Ireland (McMordie Hall)

 


 

6.15–7.15       KEYNOTE LECTURE (Harty Room)

                        John Butt (Gardiner Professor of Music, University of Glasgow)

 


 

7.45                CONFERENCE DINNER (Deanes Restaurant, 36–40 Howard Street)

 


  

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SUNDAY, 18 JUNE 2017

                                                                                                                                                                                                      

 

9.30–11.00         PARALLEL SESSIONS 6                                                                  

 

Session 6a: Irish American Interactions (Harty Room)

 

  • Aaron Keebaugh (North Shore Community College): ‘Victor Herbert and Irish America’
  • Axel Klein (Independent Scholar): ‘Swan Hennessy’s Second String Quartet (1920) and its Significance for Ireland’
  • M. Ryan Crimmins (New College, Oxford): ‘From Appalachia to Éire: The “Return” of the Banjo to Irish Traditional Music’

 

Session 6b: Asian Identities (Lecture Room) 

  • Lonán Ó Briain (University of Nottingham): ‘Orchestrating the Nation: An Ethnography of the Voice of Vietnam New Music Ensemble’
  • Na Li (University of Birmingham): ‘The Imagined Chinese Nation from China Wind’
  • Jin Hyung Lin (University of York): ‘Cultural and Political Overtones: Understanding Diasporic Identity of Isang Yun’ (lecture-recital) 

 

Session 6c: Experimental Music (McMordie Hall) 

  • Danielle Sofer (Maynooth University): ‘Un-bracketing the objet sonore in Schaeffer’s “Erotica”’
  • Guro Rønningsgrind (Norwegian University of Science and Technology): ‘Work or/and event. The issue of John Cage’s Musicircus
  • Zeynep Bulut (Queen’s University Belfast): ‘Vocal Responses in Pauline Oliveros’s Environmental Dialogue (1975/1996)’

  

11.00–11.30       TEA/COFFEE (Foyer)                                                                                                                                

 

11.30–1.30         PARALLEL SESSIONS 7      

                                                           

Session 7a: Gender and Sexuality (Harty Room) 

  • Tes Slominksi (Beloit College): ‘Queer as Trad: LGBTQ Performers and Irish Traditional Music in the United States’
  • Liam Moloney (University of York): ‘House Music: Reconstructing a Secular Christianity for the Gay Diaspora’
  • Estelle Murphy (Maynooth University): ‘Postfeminist Posthuman Performance: Reveiling Gender and Identity in Death Metal’
  • Laura Watson (Maynooth University): ‘The Gender Politics of the Rock Memoir’ 

 

Session 7b: Nineteenth-Century Piano Music (Lecture Room)

  • Xin Yi Joyce Lee (Maynooth University): ‘Early Schubert: Tracing the Stylistic Hallmarks of the Late Sonatas’
  • Rory Dowse (Independent Scholar): ‘Beethoven’s Waldstein Variations, WoO 67: The Development of the Keyboard Variation Coda’
  • Marie-Charline Foccroulle (Royal Irish Academy of Music): ‘Final Thoughts? Interpretation of the First Movements of Beethoven’s and Schubert’s Last Three Piano Sonatas’
  • Bryan Whitelaw (Queen’s University Belfast): ‘Franz Liszt’s Piano Sonata in B Minor: Thematic Typology and Hermeneutic Narrative’

 

Session 7c: Music Making in Ireland (McMordie Hall) 

  • Moyra Haslett (Queen’s University Belfast): ‘Dublin Printed Ballads, 1720–1725’
  • Kerry Houston (DIT Conservatory of Music and Drama): ‘The Hibernian Catch Club’
  • Denise Neary (Royal Irish Academy of Music): ‘“Performing Research, Researching Performance”: An Irish Perspective’
  • Clare McCague (DIT Conservatory of Music and Drama): ‘Ireland and the European Pedal Harp Tradition’ (lecture-recital)

 

1.30–2.30           LUNCH (Foyer) 

 

2.30–4.00           PARALLEL SESSIONS 8              

                                       

Session 8a: Twentieth-Century Composers (Harty Room) 

  • Maureen A. Carr (Pennsylvania State University): ‘Stravinsky’s Use of a Baroque Model’
  • Wolfgang Marx (University College Dublin): ‘Writing Music vs. Writing about Music? György Ligeti as Public Speaker and Essay Writer’
  • Hilary Bracefield (Ulster University): ‘“More Pricks than Kicks”: The Compositional Progress of Stephen Gardner

 

Session 8b: Archives and Biography (Lecture Room) 

  • Federico Furnari (University of Sheffield): ‘New Sources for Giovanni Battista Serini’s Biography’
  • Paula Telesco (University of Massachusetts, Lowell): ‘Identifying the Unknown Source of a pre-Rameau Harmonic Theorist: Who was Alexander Malcolm’s Mysterious Ghostwriter?’
  • David O’Shea (Trinity College Dublin): ‘Professor John Smith, 1797–1861: A Nineteenth-Century Musical Social Climber’

 

 Session 8c: Music-Making in Edinburgh (McMordie Hall) 

  • Jennifer Oates (Queens College, CUNY): ‘Opera in Edinburgh from the 1870s to the Great War’
  • Michelle Meinhart (University of Durham/Martin Methodist College): ‘Music and Trauma in The Hydra, Journal of Craiglockhart War Hospital, Edinburgh, 1917–18’

 

 4.00–4.30         CLOSING REMARKS (Harty Room) 

 

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