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ABSTRACTS

 

 

 

* The list below includes only AAWM invited speakers and presenters accepted by the AAWM Program Committee.

All presenters accepted by the BFE Program Committee are listed on the BFE website.

 

Keynote Addresses

 

Martin Clayton (Durham University, UK)

Music Analysis and Ethnomusicology: Some Reflections on Rhythmic Theory

Nicholas Cook (University of Cambridge, UK)

Music, Identity Politics, and the Clever Boy from Croydon

Laudan Nooshin (City University London UK)

Re-Imagining Difference: Musical Analysis, Alterity and the Creative Process


Paper Presentations

 

Mercibelle Barroso-Abejuela (Bukidnon State University Malaybalay City, Philippines)

Bangkakaw: Rhythm of the Highlands of Mindanao

Rosa Abrahams (Northwestern University, USA)

V’imru: Amen”: Vocal Rhythm in Solo and Congregational Jewish Ritual Chant

Linda Barwick (University of Sydney, Australia)

Innovation and Tradition-Making: Comparative Analysis of Three Song Corpora from the Daly

Region, Northwest Australia

Hannah Bates (School of Oriental and African Studies, University of London, UK)

Playing Cuban Piano Tumbao: Navigating Ethnographical and Analytical Perspectives to Inform

Performance Practice and Process

Ozan Baysal (Istanbul Technical University Turkish Music Conservatory, Istanbul, Turkey) and

Sirin Karadeniz (Halic University Conservatory, Istanbul, Turkey)

Structures of Rhythm in Mevlevi Music: A Cyclical Analysis Model

Fernando Benadon (American University, USA)

Deep Syncopation in Hindustani Tabla Drumming

Karolos S. Berahas (Georgetown University, USA)

Polyrhythms - A Mathematical Offering

Barış Bozkurt (Bahçeşehir University, Istanbul, Turkey), M. Kemal Karaosmanoğlu (Yıldız Technical

University, Istanbul, Turkey), and Nilgun Doğrusöz Dişiaçık (Istanbul Technical University, Turkey)

A Computational Approach to Representing Melodic Progression (Seyir) for
Turkish Makam Music

Svetlana Chashchina (Vyatka State University, Russia)

The Theory of Intonation Rhythm: To the Issue of Methodology of Analysis of Free Rhythm

Marc Chemillier (École des Hautes Études en Sciences Sociales, France)

Beat Detection and Computer Improvisation in Traditional Music from Madagascar

David Clarke (University of Newcastle upon Tyne, UK)

Between Formality and Informality: How Far Can Generative Theories of Music Analysis Be Applied

to Hindustani Classical Performance?

Kimi Coaldrake (The University of Adelaide, Australia)

Towards an Understanding of the Timbre of the Japanese Koto:  An Advanced Computational

Method for Analysis

Ian Cross (University of Cambridge, UK)

Music, Participation and Interaction

Julien Debove (Ecole des Hautes Etudes de Sciences Sociales, Paris, France)

Indian Classical Music: From Strict Composition to Free Improvisation

Ben Geyer (University of Kentucky, USA)

All Things Being Equal: The Problem of Reduction in Second Practice Jazz

Daniel Goldberg (Yale University, USA)

Diversity of Performance Timing in Balkan Music

John A. Graham (Princeton University, USA)

New Methods for Harmonic Analysis: Georgian Improvisatory Polyphony

Rachel Wells Hall (Saint Joseph’s University, USA)

Revisiting Tune Families in Shape-Note Hymns

Andre Holzapfel (ICS-FORTH, Heraklion, Greece, and Boğaziçi University, Istanbul, Turkey)

Leaping Dances in Crete: Tradition in Motion

Catherine Ingram (School of Oriental and African Studies, University of London, UK)

Tone-Tune Relationships and Indigenous Musical Theory in Kam Song from Southwestern

China: Research Techniques and Approaches

Maho A. Ishiguro (Wesleyan University, USA)

When Bima Gets His Rage On: Semiotics in Aural Disorientation in Ladrang Bima Kurdha Pelog Barang

Kalin Kirilov (Towson University, USA)

Harmony in Bulgarian Music: Village Style Accompaniment from the 1920s to the 1990s

Francesca R. Sborgi Lawson (Brigham Young University, USA)

Is Music an Adaptation or a Technology? Ethnomusicological Perspectives from an Analysis of

Chinese Shuochang

Frédéric Léotar (Université de Montréal, Canada)

A New Tool for the Analysis of Lute Melodies

Ethan Lustig (University of British Columbia, Canada)

Toward a Naive Analysis: Transcribing Western Art Music

Nikki Malley (Knox College, USA)

The Sale that Sings: Considering Melody, Rhythm, and Meter in American Auctioneering

Panayotis Mavromatis (New York University, USA)

Rule-Based Meter Induction in the Syllabic (heirmologikon) Style of Modern Greek Church Chant

Andrew McGraw (University of Richmond, USA)

Materialities of Musical Analysis

Marie-France Mifune (National Museum of Natural History, Paris, France)

Memorizing the Repertoire and the Musical Gesture with the Same Learning Process

Christopher J. Miller (Cornell University and Wesleyan University, USA)

The Sound of Stretched Time: The Modulation of Phrase, Pattern, and Attention in Central

Javanese Gamelan Music

Simon Mills (Durham University, UK)

Revealing the Changing Faces of Korea’s East Coast Shaman Ritual Music: Analysing

Personal Style in an Improvised Musical Tradition

Salvatore Morra (Independent Scholar)

Authenticity and Innovation: Analysing Tunisian ‘ūd Improvisation

Somangshu Mukherji (University of Michigan, Ann Arbor, USA)

A Grammatical Isomorphism between Western tonal and North Indian Classical Music

John Napier (University of New South Wales, Australia)

Never Losing One’s Way: Structure, Pacing and Proportion in North Indian Ālāp

Martin Orwin (School of Oriental and African Studies, University of London, UK)

A Dynamic Analysis of the Somali Gabay Luuq

Lara Pearson (Durham University, UK)

A Kinetic Approach to Music Analysis: Coarticulation in South Indian Rāga Performance

Marc Perlman (Brown University, USA)

What and Where Is Metrical Accent? Prolegomena to a Comparative Study

M. Pooley (University of South Africa, South Africa)

“Beyond semantics”: Continuities and Discontinuities in Maskandi Song and Izibongo

Polina Proutskova (Goldsmiths, University of London, UK), Geraint Wiggins (Queen Mary University

of London, UK), Christophe Rhodes (Goldsmiths, University of London, UK), and

Tim Crawford (Goldsmiths, University of London, UK)
Vocal Production in the World's Music Cultures

Jay Rahn (York University, Canada)

Pairs of Interval Classes in Southeast Asian Tunings

Dana Rappoport (Centre National de la Recherche Scientifique, France)

Form and Counterpoint in a Duet Genre from Tanjung Bunga (Indonesia, Flores, Western

Lamaholot)

John Roeder (University of British Columbia, Canada) and Michael Tenzer (University of British

Columbia, Canada)

Large-Scale Formative Processes in Ostinato Music

Martin Rohrmeier (Massachusetts Institute of Technology, USA) and Richard Widdess (School of

Oriental and African Studies, University of London, UK)

Recursion in Indian music: Towards a Grammar of Ālāp

Grant Sawatzky (University of British Columbia, Canada)

Hearing Cycle in Korean Court Ensemble Music

Rob Schultz (University of Kentucky, USA)

Reshaping the Paradigm: Pitch Contour and Melodic Variation Principles in an Aka Polyphonic

Song

Lawrence Shuster (College of St Rose, USA)

Spectral Sets, Classes and Transformations in Tuvan, Mongolian, and Tibetan Throat-Singing

Gabriel Solis (University of Illinois at Urbana-Champaign, USA)

Thoughts on Music as a Creative Process: Revisiting Nettl’s Continuum of Improvised Music

Chris Stover (The New School for Jazz and Contemporary Music, USA)

Affect, Improvisation, and Interaction in Diasporic West African Performance Practice:

An Interdisciplinary Perspective

Maisie Sum (Conrad Grebel University College and University of Waterloo, Canada)

Guembri Motives in Gnawa Music: The Nuance of Repetition

William Tallotte (School of Oriental and African Studies, University of London, UK)

Tēr-mallāri: Analysing a Musical Form in a Śaiva Temple Ritual Context

Angsumala Tamang (University of California Los Angeles, USA)

Music From the Margins: (Re)marking Gorkha Identity in Darjeeling Music Festivals at India’s

Borderlands

Leslie Tilley (Kwantlen Polytechnic University and Vancouver Community College, Canada)

“The Lanang Drum is the Bus Driver”: How Ethnography Informs Analysis in a Study of Balinese

Kendang Arja

Elizabeth Tolbert (Peabody Conservatory of the Johns Hopkins University, USA)

Analyzing Musical Meaning: An Ethnomusicological Perspective

Julia Ulehla (University of British Columbia, Canada)

Musical Traces of the Holy Spirit: Identifying Linear Progression Within Cyclic Form in an

African-American Folk Spiritual

Duncan Williams (ICCMR, Plymouth University, UK)

Brazilian Capoeirista and Thai Sarama: Ritual and Form in the Musical Accompaniment

of Two Seemingly Disparate Martial Arts

Maria A.G. Witek (University of Aarhus, Denmark), Jingyi Liu (Williams College, USA),

John Kuubeterzie (African Footprint International, Cape Coast, Ghana), Senyo Adzei

(University of Cape Coast, Ghana), Appiah P. Yankyera (University of Cape Coast, Ghana),

Morten L. Kringelbach (University of Aarhus, Denmark and University of Oxford, UK ),

and Peter Vuust (University of Aarhus and Royal Academy of Music, Aarhus, Denmark)

Cognitive, Affective and Embodied Responses to Syncopation: A Cross-Cultural Comparison

of West African and North American Non-Musicians

Philip Yampolsky (University of Illinois at Urbana-Champaign)

Divergent Forms of “the Same” Melody in the Duet-Singing of Fataluku-Speakers (East Timor)

 

Special Session on Meter in Malian Music: Theoretical, Analytical, and Perceptual Perspectives

 

Rainer Polak (Hochschule für Musik und Tanz Köln/Cologne University of Music and Dance, Germany)

Swinging Together: Towards a Comparative Concept of Swing-Based Meters in African(-American)

Musics

Hans Neuhoff (Hochschule für Musik und Tanz Köln/Cologne University of Music and Dance, Germany),

Rainer Polak (Hochschule für Musik und Tanz Köln /Cologne University of Music and Dance,

Germany), and Timo Fischinger (Max-Planck-Institute for Empirical Aesthetics, Germany)

Perception of Metric Timing Patterns in Malian Jembe-Music

Justin London (Carleton College, US, Centre for Music and Science, University of Cambridge, UK and

University of Jyväskylä, Finland)
Non-Isochronous Meters in Theory and Cross-Cultural Practice

 

Society for Music Analysis Session on Traversing Disciplinary and Geographic Continuums

Shay Loya (City University London, UK) Schenkerian Analysis and the Transcultural Harmony

of Hungarian Verbunkos

Mark Gotham (University of Cambridge, UK) ‘Mixed Meters’ in Theory and Practice

Costas Tsougras (Aristotle University of Thessaloniki, Greece) Applying the Generative Theory of Tonal

Music to World Music Idioms: An Analytical Approach to the Polyphonic Singing of Epirus