SMT Preview

By Edward Klorman (McGill University) and Nathan Pell (The Graduate Center, CUNY)

As we look forward to the upcoming SMT meeting in Arlington, PAIG has surveyed the program and abstracts to identify papers that pertain to performance topics, including those involving the analysis of recorded performances.  Below is a list of the papers we were able to identify; if you know of any we overlooked, please let us know.

In a future blog post, we will share some reflections on the papers listed below.  If you attend any of these papers and are inclined to share a few thoughts (even just a sentence or two), please email Nathan Pell by November 15.

 

Thursday 2:00–5:00 pm
Notation and Performance:  Influence, Intersection, and Interpretation (Studio D)

  • Solomon Guhl-Miller (Temple University), “The Early History of Modal Rhythm: What Theory Tells us about Practice”
  • Heather J. Holmquest (Buena Vista University), “Choosing Musica Ficta: The Modern Tradition of Historically Informed Performance Practice”
  • Carolann Buff (Indiana University), “In Search of the Ars Magis Subtiliter
  • Adam Knight Gilbert (University of Southern California), “Juxta artem conficiendi: Notating and Performing Polyphony in Solmization”
  • Megan Kaes Long (Oberlin College Conservatory), “The Mensural Ambivalence of Repeat Signs”
  • Karen Cook (University of Hartford), Loren Ludwig (Independent Scholar), Valerie Horst (Independent Scholar) Respondent Panel

Thursday 2:45–3:30 pm
Revisiting Prolongation and Dissonance in Jazz (Salons 1 & 2)

  • Joon Park (University of Arkansas), “Theorizing Outside Playing in the Improvised Jazz Solo”

Thursday 3:30–5:00 pm
Instruments and Transformations (Salons 1 & 2)

  • Jonathan De Souza (University of Western Ontario), “Instrumental Transformations in Heinrich Biber’s Mystery Sonatas”
  • Toru Momii (Columbia University), “Sounds of the Cosmos:  A Transformational Approach to Gesture in Shō Performance”

Thursday 9:45–10:30 pm
Rhythm and Meter in Popular Genres (Studio E)

  • Mitchell Ohriner (University of Denver), “(Why) Does Talib Kweli Rhyme Off-Beat?”

Friday 12:15–1:45 pm
SMT Performance and Analysis Interest Group (Studio A)

  • Bonnie McAlvin (The Graduate Center, CUNY), “Using Embodiment Schema to Help Student Performers Relate to Their Theory Work”
  • Jonathan Dunsby (Eastman School of Music), “Three Case Studies In Search of Holistic Performance Research”
  • Wing Lau (University of Arkansas), “Paradox of Interpretation and the Resolved(?) Dualism”

Friday 2:00–5:00 pm
Special Invited Session:  Models in Improvisation, Performance, and Composition (Salons 1 & 2)

  • Philippe Canguilhem (Université de Toulouse), “The Teaching and Practice of Improvised Counterpoint in the Renaissance”
  • Giorgio Sanguinetti (University of Rome–Tor Vergata), “Who Invented Partimenti? Newly Discovered Evidences of Partimento Practices in Rome and Naples”
  • Elaine Chew (Queen Mary University of London), “Notating the Performed and (usually) Unseen”

Friday 8:00–9:30, 10:00–10:30 pm
Considering Coltrane:  Analytical Perspectives after Fifty Years (Studio E)

  • Barry Long (Bucknell University), “‘The Black Blower of the Now’:  Coltrane, King, and Crossing Rhetorical Boundaries”
  • Brian Levy (New England Conservatory of Music), “‘Pursuance’ and ‘Miles’ Mode’:  Untangling the Complex Harmonic and Rhythmic Interactions of John Coltrane’s Classic Quartet”
  • Milton Mermikides (University of Surrey), “Changes over Time: The Analysis, Modeling, and Development of Micro-Rhythmic Expression through Digital Technology”

Saturday 10:30–11:15 am
Theorizing Musicality (Salons 1 & 2)

  • Elizabeth Hellmuth Margulis (University of Arkansas), “Theory, Analysis, and Characterizations of the Musical”

Saturday 10:30 am–11:15 pm
The Music of George Friedrich Haas (Studio E)

  • Landon Morrison (McGill University/Centre for Interdisciplinary Research in Music Media and Technologies), “Playing with Shadows:  The Reinjection Loop in Georg Friedrich Haas’s Live-Elektronische Musik
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PAIG’s Listserv Is Moving!

SMT has kindly offered to host a listserv for PAIG. This listserv will useful for allowing the PAIG community to communicate about the group’s plans and projects. (It replaces the PAIG Google Group, which will be discontinued). This PAIG WordPress site will continue to serve as the group’s public face.

If you wish to subscribe to the listserv, you may do so at this link:

http://lists.societymusictheory.org/listinfo.cgi/paig-societymusictheory.org

Multiple Agency in Mozart’s Chamber Music

Check out this new SMT-V videocast by PAIG co-chair Edward Klorman about multiple agency and the performance of Mozart’s chamber music. 

Haydn quartet painting (low res)

Abstract: Comparisons between the string quartet and artful conversation have flourished since the genre’s birth. If a quartet performance resembles stylized social intercourse, each player may be understood to enact the role of an individual persona engaged in the discourse. This study introduces the concept of multiple agency, whereby musical events are interpreted through the actions and interactions of these individual personas. This analytical approach is demonstrated through the analysis of a passage from Mozart’s Quartet in G Major, K. 387. A more thorough exposition of multiple agency’s historical and conceptual underpinning appears in the author’s forthcoming monograph, Mozart’s Music of Friends.

Performance-and-Analysis Pedagogy Resource now available

We’re pleased to present an online Pedagogy Resource for those teaching courses that relate analysis and performance. The Resource contains syllabi, course reading lists, lesson plans, assignments, and other materials representative of different kinds of courses taught at a range of institutions.

https://smtpaig.wordpress.com/pedagogy-resource/

The Resource is sponsored by the Performance and Analysis Interest Group of the Society for Music Theory, and we hope it will serve a larger community. It is curated by Daphne Leong, assisted by Edward Klorman; Richard vonFoerster assisted in the early stages of the project.

We thank all who contributed materials. Additional materials, particularly any that represent approaches or items not represented in the Resource, are welcomed.

To contribute to the Pedagogy Resource, please click here.

For questions, ideas, or feedback, please contact us at PAIG.pedagogy@gmail.com

You may also post comments on the webpage itself.

We hope that you will find this resource useful. Please pass this information on to others who may be interested, including those outside SMT.

Sincerely,

Daphne Leong

Call for Proposals – PAIG 2015 Meeting

At the 2015 SMT Annual Meeting in St. Louis (October 29 to November 1), the Performance and Analysis Interest Group (PAIG) will devote a portion of its session to short papers plus discussion. PAIG’s meeting is tentatively scheduled for Saturday, October 31, 5:30–7:30 PM.

PAIG invites proposals for 15-minute presentations on any topic pertaining to musical analysis and performance. Two areas of special interest are as follows:

* SCORES AND PERFORMANCE / SCORES VS. PERFORMANCE: Recent scholarship on musical performance studies, notably Nicholas Cook’s Beyond the Score: Music as Performance (2013), has criticized traditional modes of “score-based analysis” for privileging abstract musical “works” over their performances and for over-relying on metaphors of musical “structure.” To what extent are score-based and performance-based modes of analysis antithetical, compatible, or productively in dialogue? What are the costs and benefits of alternative modes of analysis?

* PERFORMERS ON PERFORMANCE AND ANALYSIS: It has been two decades since Joel Lester observed that something was conspicuously absent in the performance/analysis literature—“namely, the performers and their performances.” Regarding the latter point, a sophisticated body of literature analyzing recorded performances has developed in the ensuing decades. But efforts to integrate perspectives from performers themselves into scholarship on music analysis have been somewhat less successful and been criticized for a tendency to relegate performers to a subordinate or merely receptive role. What are the prospects for bringing perspectives from performers—either living or historical (e.g. Lussy, Schnabel, Casals)—into scholarship on musical analysis and performance? What kinds of collaborative or interdisciplinary perspectives would be most fruitful? What impediments might be hampering such research and how might they be overcome? To what extent might perspectives from performers and scholars be at odds or serve to critique one another’s values?

Proposals must be submitted to Edward Klorman, PAIG Co-Chair, at eklorman@qc.cuny.edu no later than July 1, 2015. A program will be announced by July 15, 2015. Your submission should include the following:

1) Two versions of the proposal in separate files, one anonymous and the other including the author’s name, institutional affiliation (if any), and contact information. Proposals should include a 250-word abstract plus up to one page of supplemental musical examples.

2) A list of all required equipment (such as piano, CD player, or LCD projector) other than the sound system that is typically available for all presenters. Please note that SMT normally cannot provide internet access for presentations.

Please note that submissions from non-SMT members are welcome. At the time of the conference, all presenters must be current SMT members and must register to attend the meeting. Information about SMT membership and conference registration is available at https://societymusictheory.org.

Sincerely,

Daniel Barolsky and Edward Klorman
PAIG Co-Chairs

PAIG at SMT/AMS 2014

We are thrilled to announce PAIG’s meeting at the upcoming SMT/AMS conference. The program, which includes short papers, respondents, and time for audience participation and discussion, is listed below. We hope you are able to attend! PERFORMANCE AND ANALYSIS TODAY: NEW HORIZONS  Saturday, November 8 from 5:30-7:30 PM MODERATORS: PAIG Co-Chairs Daniel Barolsky (Beloit College) and Edward Klorman (Queens College, CUNY; and The Juilliard School RESPONDENTS: John Rink (University of Cambridge) and Janet Schmalfeldt (Tufts University) PRESENTERS:

  • Benjamin Binder (Duquesne University): “Art and Science, Beauty and Truth, Performance and Analysis?”
  • Elisabeth Le Guin (UCLA): “Dividing in Order to Conquer: Early Baroque Division Treatises, Pedagogy, and the Concept of Mastery”
  • Daphne Leong (University of Colorado): “Analysis and Performance, or, Wissen, Können, Kennen
  • Peter Martens (Texas Tech University): “Ways of Knowing the Body, Bodily Ways of Knowing”
  • Fabio Morabito (Kings College London): “The Private Library of a Famous Nineteenth-Century Ensemble: Looking at Traces of the Interpretative Process as a Form of Analysis?”
  • Roger Moseley (Cornell University): “High Scores: Analyzing Performance as Musical Play”

Click here for more information about the session, including biographies of all panelists and respondents.

Welcome

Welcome to the blogging presence of the Performance and Analysis Interest Group (PAIG) of the Society for Music Theory. This site is maintained by PAIG co-chairs Daniel Barolsky and Edward Klorman. Please contact us if you are interested in guest blogging about your research, performance, or teaching activities on this blog or to share announcements of work in progress, forthcoming publications, news items, conference events, or other items of interest.

We particularly encourage participation by active performers who are interested in music analysis (whether they are card-carrying music theorists or not). All are welcome!