musicology today · surely responds to the conference theme, ‘musicology today’, with a...

MUSICOLOGY TODAY:17th Annual Plenary Conference of the

Society for Musicology in Ireland

28–30 June 2019Maynooth University

Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland

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Programme Committee Organising Committee Dr Anja Bunzel (Chair) Dr Anja Bunzel (Chair) Dr Patrick Devine Dr Patrick Devine Dr Darina McCarthy Dr Darina McCarthy Dr John O’Flynn Dr Adrian Scahill Dr Adrian Scahill

Conference Assistants Technical SupportFintan Farrelly David DunneNiamh Rita Keane Frank C. O’DonnellConor Lawrence Power Geke RemerieCathal Twomey

The conference organisers would like to extend their sincere thanks to the following individuals and institutions for their support of this event:

•BrepolsPublishing•ContemporaryMusicCentre,Dublin•Prof.LorraineByrneBodley,PresidentoftheSocietyforMusicologyin

Ireland•DúnLaoghaireOrganConcerts•FáilteIreland•FourCourtsPress•GalwayCathedralRecitals•InstituteofArtHistory,CzechAcademyofSciences•KildareCountyCouncil•MaynoothConferenceandAccommodationCentre:KatjaNolan,FionaSmith,allreceptionistsandadministrativestaff

•MaynoothUniversityBookshopJohnandCianByrne•MaynoothUniversityMusicDepartment:allteachingandadministrative

staff as well as students•MaynoothUniversityResearchDevelopmentOffice•Prof.ChristopherMorris,HeadofMusic,MaynoothUniversity•ReverendProfessorMichaelMullaney,President,StPatrick’sCollege,

Maynooth•Prof.PhilipNolan,PresidentofMaynoothUniversity•Prof.ThomasO’Connor,MaynoothUniversityArtsandHumanitiesInstitute•PuginHallstaff•Prof.RayO’Neill,Vice-PresidentforResearch,MaynoothUniversity•Prof.MariaPramaggiore,MaynoothUniversityGraduateStudiesOffice•ThomasRyan,MaynoothUniversityITServices(ShopCart)•Prof.ArndWitte,GermanDepartment,SchoolofModernLanguages•SocietyforMusicologyinIreland•TechnologicalUniversityDublin


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We thank the following institutions and businesses for supporting various elements of this event:

Brepols Publishing

Contemporary Music Centre, Dublin

Czech Academy of Sciences, Institute of Art History

Dún Laoghaire Organ Concerts

Fáilte Ireland

Four Courts Press

Galway Cathedral Recitals

Kildare County Council

Maynooth University Research Development Office

Maynooth University Graduate Studies Office

Maynooth University German Department, School of Modern

Languages

Maynooth University Music Department

Maynooth University Arts and Humanities Institute

Society for Musicology in Ireland

Technological University Dublin


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WELCOME

The Department of Music is proud and honoured to host the 17th Annual Plenary Conference of the Society for Musicology in Ireland. Musicology is fundamental to our research and teaching here in Maynooth. I am delighted to see this focus sowellreflectedinthenumberofourstaffandstudentspresentingthisweekendandinthebooksbeinglaunchedduringtheconference.Iamproud,too,thatourdistinguished colleague,ProfessorLorraineByrneBodley, has so ably led thesociety as president over the past four years.

The diversity of expertise and methodology represented by my colleagues ischaracteristic of contemporary musicology, as vividly demonstrated in therich and varied conference programme. Taken as a measure of the state of the discipline, the breadth – not tomention quality – of the sessions and paperssurely responds to the conference theme, ‘musicology today’, with a confidentaffirmation. It asserts the value of what we do as scholars and augurs well for the futureofmusicscholarshipinIrelandandbeyond.

I am very pleased to welcome you to the Department of Music and to Maynooth University.Aparticularlywarmwelcometoourmany internationalvisitors: Ihope you enjoy your stay in Ireland. May the conference prove provocative and enriching for all delegates.

Professor Christopher MorrisHead,DepartmentofMusic,MaynoothUniversity

It is a great pleasure to welcome all of you gathering at Maynooth for the 17th Annual Plenary Conference of the Society for Musicology in Ireland. It is a particular pleasure towelcome somany international contributors to ourbeautifulcountryanduniversity.MaynoothUniversitypridesitselfonthequalityand compass of its scholarship which has spanned the arts and humanities,socialsciences,andnaturalandtechnologicalsciences forover220years,andmusic scholarship occupies a particularly special place within the humanities forMaynooth and Ireland.While there are currently challenges faced by thehumanitiesinuniversities,inIrelandandinternationally,thereisnodoubtbutthattherewillalwaysbeaneedinoursocietyforthehighestlevelsofscholarlythinking and artistic creativity. The variety of presentations at thismeeting,encompassing,totakejusttwoexamples,musicologyandpoliticsortwentieth-centurymusicandvisualculture,isemblematicofacross-disciplinaryapproachtoscholarshipwhichthisuniversityembracesandwhich,Ibelieve,willanswersome of the challenges. Likewise the span of genres across classical, popular,traditionalandjazz,andwiderangeoftopics,shouldmakeforanextremelyopenandstimulatingatmosphere–whichisexactlyastheorganisersintend.Iwishallparticipantseveryintellectualsatisfactionandaveryenjoyableconference.

Professor Ray O’NeillVice-PresidentforResearchandInnovation,MaynoothUniversity


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WelcometotheDepartmentofMusic,MaynoothUniversity,Ireland,andtotheinternational conference Musicology Today,the17th Annual Plenary Conference of the Society for Musicology in Ireland. I should like to extend our warm appreciation for your participation in this event and a very special welcome to thosewhohavetravelledfartoshareyourresearch.Wearehonouredbyyourpresence,andourhopeforyouinthenextthreedaysisthateachofyouwillenjoythe extraordinary range of papers presented at the conference and that you will have ample opportunity for meaningful engagement and exchange.

Theaimofthisconferenceistoembracethebroadrangeofsubjectspecialismswhich musicology enjoys today and to address topical issues in our discipline bothinacademiaandinthepublicdomain.Itisourhopethatthisconferencewillmakeanimportantcontributiontocurrentdebatessurroundingmusicologytoday while searching for new ways in which musicology can illuminate our lives bothprivatelyandprofessionally.

One of the aims of our society is to foster a culture of inquiry, collegialityand collaboration among ourmembers.On behalf of the SMI council andmycolleagues in Maynooth I offer you a traditional warm Irish welcome: céad míle fáilte-100,000welcomes.Thankyouforyourvitalcontributiontoourconferenceand for your engagement with our society.

ProfessorLorraineByrneBodley,DMUS,PHD,MRIAPresident,SocietyforMusicologyinIrelandProfessorofMusicology,MaynoothUniversity

On behalf of the organising committee I am honoured towelcome you to the17th Annual Plenary Conference of the Society for Musicology in Ireland. In the conception and planning of this conference two aspects featured prominently in discussionswithinbothSMICouncilandtheconferenceorganisingcommittee.Firstly, musicology in Ireland transcends Ireland’s borders geographically,methodologically and intellectually. Secondly, musicology in Ireland unites awiderangeoftopics,schoolsofthought,agegroupsandcareerstages.Itisthosetwo aspects which led to the seemingly unspecific (yet hopefully encouraging and open)titleofthisyear’sconference,Musicology Today.Itisourhopetounveil,questionand furtherdevelop current tendencies inmusicology in its broadestsense,andweareverymuchlookingforwardtoalivelyexchangeofideas.Wewishtoextendoursincerethankstoallattendeesfortheirinterestinourconference,fortheirinvariablyopen-heartedandreliablecooperationinthelead-uptothisevent,andforalltheadministrativeeffortsandspatial(de)tourstheyhavetakeninordertobeinMaynoothfrom28to30June2019.Iwishusallaninspirationalweekendfullofinterestinglectures,lecturerecitals,discussionsandconcertsaswellasstimulatingconversations,happyreunionswitholdfriendsandfruitfulnewacquaintanceshipsinmusicologicalresearch.

Dr Anja BunzelChairofConferenceCommittee,CzechAcademyofSciences

Frid

ay 2

8 Ju

ne 2

019

09:0

0Re

gist

ratio

n (fo

yer,

Mus

ic D

epar

tmen

t, Lo

gic

Hous

e, S

outh

Cam

pus,

May

noot

h U

nive

rsity

)

09:3

0O

peni

ng &

Wel

com

e (B

ewer

unge

Roo

m, M

usic

Dep

artm

ent)

Sess

ion

1be

wer

unge

roo

mo’

call

agha

n ro

omgi

llen

roo

m

10:0

0–12

:00

1a: M

usic

-Cul

tura

l Pra

ctice

and

Pop

ular

Cul

ture

Th

en a

nd N

owCh

air:

Prof

esso

r Lor

rain

e By

rne

Bodl

ey

1b: G

lanc

es in

to A

rchi

ves a

nd T

rans

crip

tions

Chai

r: Dr

Ker

ry H

oust

on (T

U D

ublin

, Ire

land

)1c

: Iris

h an

d Br

itish

Tw

entie

th-C

entu

ry A

rt

Mus

icCh

air:

Dr M

artin

O’L

eary

(May

noot

h U

nive

rsity

, Ire

land

)Dr

Anj

a Bu

nzel

(Cze

ch A

cade

my

of S

cien

ces,

Cz

ech

Repu

blic

): ‘N

inet

eent

h-Ce

ntur

y Eu

rope

an

Salo

n Re

pert

oire

with

in th

e Co

ntex

t of P

opul

ar

Cultu

re’

Patr

ick

Huan

g (U

nive

rsity

of L

ondo

n, U

K): ‘

In

Sear

ch o

f Los

t Chi

nese

Mus

ic th

roug

h Ja

pane

se

Arte

fact

s and

Man

uscr

ipts

’

Orla

Sha

nnon

(Dub

lin C

ity U

nive

rsity

, Ire

land

): ‘U

nder

rate

d, U

nder

estim

ated

: The

Co

ntrib

ution

s of J

oan

Trim

ble

(191

5–20

00) t

o Ire

land

’s Ca

non

of T

wen

tieth

-Cen

tury

Art

Son

g’,

30-m

inut

e Le

ctur

e Re

cita

lDr

Hyu

n Jo

o Ki

m (S

eoul

Nati

onal

Uni

vers

ity

Yons

ei/E

wha

Wom

ans U

nive

rsity

Seo

ul, S

outh

Ko

rea)

: ‘Ap

proa

chin

g Re

prod

uctiv

e Ar

ts: L

iszt a

s M

usic

al E

ngra

ver,

Tran

slato

r, an

d Co

lour

ist’

Scott

Fla

niga

n (U

nive

rsity

of U

lster

, UK)

: ‘A

Que

stion

of S

tyle

: Pra

ctisin

g Tr

ansc

riptio

ns a

nd

Tran

scrib

ing

Prac

tices

’

Dr It

a Be

ausa

ng (I

ndep

ende

nt S

chol

ar, I

rela

nd):

‘A S

ea P

oem

: Ina

Boy

le’s

Fing

al’s

Cave

’

Dr E

sthe

r Cav

ett (K

ing’

s Col

lege

Lon

don,

UK)

: ‘P

layi

ng to

Be/

com

e Al

ive:

Wha

t Pia

nos M

ean

for A

dult

Amat

eur P

erfo

rmer

s Tod

ay’

Dr A

dèle

Com

min

s (Du

ndal

k In

stitu

te o

f Te

chno

logy

, Ire

land

) and

Dr D

aith

í Kea

rney

(D

unda

lk In

stitu

te o

f Tec

hnol

ogy,

Irela

nd):

‘Life

be

yond

the

Libr

ary:

Sha

ring

Rese

arch

with

the

Orie

l Tra

ditio

nal O

rche

stra

and

Ceo

lta S

í’

Prof

esso

r Fio

na M

. Pal

mer

(May

noot

h U

nive

rsity

, Ire

land

): ‘C

onso

lidati

ng th

e Po

sition

of

Briti

sh C

ondu

ctor

s: Is

sues

of I

denti

ty a

nd

Influ

ence

in th

e M

usic

al C

ondu

ctor

s’ A

ssoc

iatio

n (1

916)

’Ka

rishm

eh (K

ay) F

elfe

li (In

depe

nden

t Sch

olar

, U

K): ‘

Mus

icol

ogy,

Subj

ectiv

ity a

nd M

edic

al

Mus

ic A

naly

sis: M

ozar

t’s F

anta

sia in

C M

inor

, K.

475’

Prof

esso

r Yo

Tom

ita (Q

ueen

’s U

nive

rsity

Bel

fast

, U

K): ‘

The

Bach

Prin

ted-

Mus

ic D

atab

ase

and

Its

Role

s in

the

Rece

ption

Stu

dyof

Bac

h’s W

orks

in

the

Long

Nin

etee

nth

Cent

ury’

Dr A

xel K

lein

(Ind

epen

dent

Sch

olar

, Ger

man

y):

‘Sw

an H

enne

ssy’

s Criti

que

of th

e Av

ant-G

arde

’

12:0

0–13

:00

Lunc

h (P

ugin

Hal

l, St

Pat

rick’

s Col

lege

May

noot

h)

Mu

sico

logy

Tod

ay:

17th

An

nu

al P

len

ary

Con

fere

nce

of

the

Soc

iety

for

Mu

sico

logy

in

Ire

lan

dC

ON

FE

RE

NC

E S

CH

ED

UL

E

Sess

ion

2be

wer

unge

roo

mo’

call

agha

n ro

omgi

llen

roo

m

13:0

0–15

:00

2a: A

naly

sis:

Lis

zt, M

ende

lsso

hn, a

nd B

rahm

sCh

air:

Prof

esso

r Nic

ole

Grim

es (U

nive

rsity

of

Calif

orni

a, Ir

vine

, USA

)

2b: M

usic

olog

y an

d Po

litics

Chai

r: Dr

Sha

ne M

cMah

on (M

ayno

oth

Uni

vers

ity A

rts a

nd H

uman

ities

Insti

tute

, Ire

land

)

2c: N

ew M

edia

in M

usic

olog

y an

d M

usic

Ed

ucati

onCh

air:

Dr Jo

hn O

’Fly

nn (D

ublin

City

Uni

vers

ity,

Irela

nd)

Mad

die

Kava

nagh

Cla

rke

(Dur

ham

Uni

vers

ity,

UK)

: ‘De

laye

d Ca

denti

al C

losu

re: A

n Ex

amin

ation

of

Str

uctu

ral C

aden

ces i

n M

ende

lssoh

n’s

Ove

rtur

es’

Mic

hael

Whi

tten

(Que

en’s

Uni

vers

ity B

elfa

st,

UK)

: ‘Sh

ould

we

be p

ragm

atic

or c

ritica

l abo

ut

auth

entic

ity?

Tow

ards

a d

iagn

ostic

app

roac

h to

au

then

ticity

in c

ultu

ral c

onsu

mpti

on a

nd ta

ste’

Dona

l Ful

lam

(Uni

vers

ity C

olle

ge D

ublin

, Ire

land

): ‘In

tera

ctive

Mus

ic a

nd th

e Lo

gic

of N

ew

Med

ia’

Brya

n A.

Whi

tela

w (Q

ueen

’s U

nive

rsity

Bel

fast

, U

K): ‘

Fran

z Lisz

t and

the

Post

-Cla

ssic

al S

onat

a De

form

ation

’

John

Moo

re (U

nive

rsity

of L

iver

pool

, UK)

: ‘N

egati

ve H

arm

ony,

Post

-Tru

th M

usic

olog

y an

d th

e Ill

usio

n of

Mus

ical

Pro

fund

ity’

Nog

a Ra

chel

Che

louc

he (T

el A

viv

Uni

vers

ity,

Isra

el):

‘Cla

ssic

al M

usic

, Tex

t and

Con

tem

pora

ry

Art:

List

enin

g to

Moz

art i

n An

ri Sa

la’s

Inst

alla

tion

The

Last

Res

ort’

Dr V

adim

Rak

ochi

(Glie

re K

yiv

Mun

icip

al

Acad

emy

of M

usic

, Kiy

v, U

krai

ne):

‘Bra

hms’s

Se

cond

Pia

no C

once

rto

Orc

hest

ratio

n an

d “t

he

Mus

ic o

f the

Fut

ure”

’

Chris

Will

iam

s (Ce

ntra

l Mus

ic L

ibra

ry o

f the

BBC

/Au

stra

lian

Mus

ic C

entr

e, A

ustr

alia

): ‘S

un M

usic

, Su

n Bo

oks:

Hist

oric

al M

usic

olog

y in

Ser

vice

of

the

Nati

onal

ist A

gend

a’

Laur

en F

arqu

hars

on (D

unda

lk In

stitu

te o

f Te

chno

logy

, Ire

land

): ‘A

n In

vesti

gatio

n of

the

Repe

rtoi

re a

nd Te

chni

cal S

tand

ards

in th

e Br

itish

Co

llege

of A

ccor

dion

ists 2

019

Sylla

bi fo

r Gra

ded

Exam

inati

ons’

Fede

rico

Fava

li (U

nive

rsity

of B

irmin

gham

, UK)

: ‘R

ecom

posin

g Br

ahm

s: A

Gla

nce

into

the

Futu

re’

Dr M

artin

Knu

st (L

innæ

us U

nive

rsity

Väx

jö,

Swed

en):

‘The

Spi

rit o

f Pro

paga

nda:

Mus

ic in

Po

litica

l Jou

rnal

ism’

Dr M

ary

Nug

ent (

Mar

ino

Insti

tute

of E

duca

tion,

Du

blin

, Ire

land

): ‘B

imus

ical

Lea

rnin

g:

Idire

atar

thu,

the

Best

of B

oth

Wor

lds?

’15

:00–

15:3

0Br

eak

(foye

r, M

usic

Dep

artm

ent)

Sess

ion

3be

wer

unge

roo

mo’

call

agha

n ro

omgi

llen

roo

m

15:3

0–16

:30

3a: S

chub

ert –

Lat

e St

yle

Chai

r: Dr

Nat

asha

Log

es (R

oyal

Col

lege

of M

usic

, Lo

ndon

, UK)

3b: M

usic

The

ory:

Orig

ins

Chai

r: Pr

ofes

sor Y

o To

mita

(Que

en’s

Uni

vers

ity

Belfa

st, U

K)

3c: I

rish

Coun

try

Mus

icCh

air:

Dr L

aura

Wat

son

(May

noot

h U

nive

rsity

, Ire

land

)Dr

Joe

Davi

es (L

ady

Mar

gare

t Hal

l, O

xfor

d U

nive

rsity

, UK)

: ‘Sc

hube

rt a

nd th

e Go

thic

’Dr

Nik

ola

Kom

atov

ić (I

ndep

ende

nt S

chol

ar,

Serb

ia):

‘Whe

re W

as I

Born

?: T

he Q

uesti

on o

f an

Una

mbi

guou

s Orig

in o

f the

Oct

aton

ic S

cale

’

Chris

tina

Lynn

(Dun

dalk

Insti

tute

of T

echn

olog

y,

Irela

nd):

‘The

Roa

d Le

ss T

rave

lled:

The

mati

c An

alys

is of

Sus

an M

cCan

n’s M

usic

al O

utpu

t of

the

Past

50

Year

s’

Dr S

hane

McM

ahon

(May

noot

h U

nive

rsity

Art

s an

d Hu

man

ities

Insti

tute

, Ire

land

): ‘C

odes

of

Cond

uct:

Rota

tiona

l For

m a

nd E

ntro

py in

the

Firs

t Mov

emen

t of S

chub

ert’s

Pia

no S

onat

a in

B-

flat M

ajor

, D.9

60’

Prof

esso

r Xav

ier H

asch

er (S

tras

bour

g U

nive

rsity

, Fr

ance

): ‘R

amea

u’s “

Chor

ds b

y Su

ppos

ition

” an

d th

e U

nrav

ellin

g of

Rav

el’s

Harm

ony’

Dr S

tan

Erra

ught

(Uni

vers

ity o

f Lee

ds, U

K): ‘

The

Coun

try

‘n’ I

rish

Prob

lem

’

17:0

0–18

:00

Org

an R

ecita

l: Pr

ofes

sor E

mer

itus G

erar

d G

illen

(May

noot

h U

nive

rsity

, Ire

land

) Ch

air:

Prof

esso

r Chr

istop

her M

orris

(May

noot

h U

nive

rsity

, Ire

land

)Ve

nue:

St P

atric

k’s C

olle

ge C

hape

l, So

uth

Cam

pus

18:0

0O

peni

ng R

ecep

tion:

Rec

ogni

tion

of N

ew S

MI H

onor

ary

Mem

bers

and

Join

t Boo

k La

unch

(Pug

in H

all,

St P

atric

k’s C

olle

ge M

ayno

oth)

Satu

rday

29

June

201

9

Sess

ion

4be

wer

unge

roo

mo’

call

agha

n ro

omgi

llen

roo

m

9:00

–10

:30

4a: S

even

teen

th- a

nd E

ight

eent

h-Ce

ntur

y St

udie

s: In

divi

dual

and

Gen

eric

Con

side

ratio

nsCh

air:

Dr M

icha

el L

ee (T

rinity

Col

lege

Dub

lin,

Irela

nd)

4b: I

rish

Publ

ic M

usic

al C

ultu

reCh

air:

Dr A

xel K

lein

(Ind

epen

dent

Sch

olar

, Ge

rman

y)

4c: C

hurc

h M

usic

Chai

r: Dr

Dar

ina

McC

arth

y (M

ayno

oth

Uni

vers

ity, I

rela

nd)

Dr E

stel

le M

urph

y (M

ayno

oth

Uni

vers

ity,

Irela

nd):

‘“And

Is T

here

One

Fan

atiqu

e Le

ft?”:

An

ticip

ating

Abs

oluti

sm in

the

Rest

orati

on C

ourt

O

de’

Dr Jo

e Ke

hoe

(Inde

pend

ent S

chol

ar, I

rela

nd):

‘The

me

and

Varia

tions

: Bor

der C

ross

ings

in th

e St

ory

of th

e Ra

dio

Éire

ann

Sym

phon

y O

rche

stra

’

Dr D

avid

Con

nolly

(Dun

dalk

Insti

tute

of

Tech

nolo

gy, I

rela

nd/S

t Mic

hael

’s, D

ún L

aogh

aire

, Ire

land

): ‘G

igou

t and

Gui

lman

t – A

New

Ap

proa

ch to

the

Inte

grati

on o

f Cha

nt a

nd O

rgan

in

Nin

etee

nth-

Cent

ury

Fran

ce’

Dr A

nton

io C

asce

lli (M

ayno

oth

Uni

vers

ity,

Irela

nd):

‘Nic

ola

Vice

ntino

and

the

Met

apho

r of

the

Nud

e Fi

gure

’

Dr A

dria

n Sc

ahill

(May

noot

h U

nive

rsity

, Ire

land

): ‘S

uppo

rting

and

Sha

ping

Cre

ativi

ty in

the

Reco

rdin

g of

Irish

Tra

ditio

nal M

usic

Alb

ums’

Elea

nor J

ones

-McA

uley

(Trin

ity C

olle

ge D

ublin

, Ire

land

): ‘G

enev

an P

salm

Tun

es in

Eig

htee

nth-

Cent

ury

Dubl

in: A

Cro

ss-D

enom

inati

onal

Re

pert

ory’

Mau

rice

Mul

len

(Dun

dalk

Insti

tute

of

Tech

nolo

gy, I

rela

nd):

‘The

Flo

w a

nd E

bb o

f Tr

aditi

onal

Mus

ic P

racti

ce in

Fin

gal’

10:3

0–11

:00

Brea

k (fo

yer,

Mus

ic D

epar

tmen

t)

11:0

0–11

:30

SMI P

resi

dent

’s Ad

dres

s (Be

wer

unge

Roo

m, M

usic

Dep

artm

ent)

Sess

ion

5be

wer

unge

roo

mo’

call

agha

n ro

omgi

llen

roo

m

11:4

5–13

:15

5a: S

chub

ert’s

Sur

roun

ding

s (Fr

iend

s, C

ritics

, Au

dien

ces)

Chai

r: Pr

ofes

sor X

avie

r Has

cher

(Str

asbo

urg

Uni

vers

ity, F

ranc

e)

5b: D

ublin

at t

he E

nd o

f the

Nin

etee

nth

Cent

ury

Chai

r: Pr

ofes

sor F

iona

M. P

alm

er (M

ayno

oth

Uni

vers

ity, I

rela

nd)

5c: P

opul

ar M

usic

Stu

dies

Chai

r: Dr

Lau

ra A

nder

son

(May

noot

h U

nive

rsity

, Ire

land

)

Prof

esso

r Lor

rain

e By

rne

Bodl

ey (M

ayno

oth

Uni

vers

ity, I

rela

nd):

‘Ars

et A

mic

itia:

The

Ae

sthe

tics o

f Frie

ndsh

ip in

Sch

uber

t’s C

ircle

’

Eogh

an C

orrig

an (U

nive

rsity

Col

lege

Dub

lin,

Irela

nd):

‘Mus

ic a

t the

Abb

ey T

heat

re: A

Pr

elim

inar

y As

sess

men

t’

Sara

h Li

ndm

ark

(Uni

vers

ity o

f Cal

iforn

ia, I

rvin

e,

USA

): ‘“

Hip

Hop

Caus

es V

iole

nce”

: Arg

umen

ts

and

Anal

yses

Con

cern

ing

Child

ish G

ambi

no’s

“Thi

s Is A

mer

ica”

‘Dr

Mar

ie-C

harli

ne F

occr

oulle

(Ind

epen

dent

Sc

hola

r, Ge

rman

y): ‘

Purp

oses

and

Nec

essit

y of

Len

gth

in th

e Fi

rst M

ovem

ents

of F

ranz

Sc

hube

rt’s

Last

Thr

ee P

iano

Son

atas

’, 60-

Min

ute

Lect

ure

Reci

tal

Dr A

nne

Stan

yon

(Uni

vers

ity o

f Lee

ds,

UK)

: ‘Al

mos

t an

Irish

man

? Ar

thur

Sul

livan

: Pe

rcep

tions

, Con

tact

s, In

fluen

ces a

nd th

e Gr

eat,

Big

Dubl

in C

once

rt o

f 189

4’

Dr L

aura

Wat

son

(May

noot

h U

nive

rsity

, Ire

land

): ‘“

Nin

a Cr

ied

Pow

er”:

Sto

ries a

bout

Nin

a Si

mon

e,

Hozie

r and

Per

form

ing

Activ

ism’

Hele

n Do

yle

(TU

Dub

lin, I

rela

nd):

‘Com

petiti

on

and

Com

positi

on: C

hora

l Acti

vity

in th

e Fe

is Ce

oil,

1897

–192

2’13

:15–

14:3

0Lu

nch

(Pug

in H

all,

St P

atric

k’s C

olle

ge M

ayno

oth)

14:3

0–15

:00

Soci

ety

of M

usic

olog

y in

Irel

and

AGM

(Bew

erun

ge R

oom

, Mus

ic D

epar

tmen

t)

15:0

0-15

:45

Net

wor

king

Bre

ak —

Spo

nsor

ed b

y Co

ntem

pora

ry M

usic

Cen

tre,

Dub

linTw

entie

th-C

entu

ry/C

onte

mpo

rary

Mus

ic/C

ompo

sition

, Bew

erun

ge R

oom

— N

inet

eent

h-Ce

ntur

y M

usic

, O’C

alla

ghan

Roo

m —

Ope

n Sp

ace,

Gill

en R

oom

Sess

ion

6be

wer

unge

roo

mo’

call

agha

n ro

omgi

llen

roo

m

15:4

5–17

:45

6a: S

ean-

Nós

Sin

ging

: Con

tinui

ty, C

reati

vity

an

d So

ngCh

air:

Sylv

ia O

’Brie

n (R

oyal

Irish

Aca

dem

y of

M

usic

, Ire

land

)

6b: C

once

pts o

f Gen

der a

nd M

agic

Chai

r: Dr

Est

elle

Mur

phy

(May

noot

h U

nive

rsity

, Ire

land

)

6c: L

ate

Nin

etee

nth-

and

Tw

entie

th-C

entu

ry

Mus

icCh

air:

Dr W

olfg

ang

Mar

x (U

nive

rsity

Col

lege

Du

blin

, Ire

land

)Dr

Ste

ve C

olem

an (M

ayno

oth

Uni

vers

ity,

Irela

nd):

‘Med

iatio

n, A

lterit

y an

d “L

ife”

in th

e Se

an-N

ós S

ong

Trad

ition

’

Cath

al T

wom

ey (M

ayno

oth

Uni

vers

ity, I

rela

nd):

‘Dia

na a

nd E

ndim

ione

as C

elib

ate

Love

rs:

Celib

acy,

Plea

sure

and

Gen

der D

ynam

ics i

n Ca

valli

’s La

Cal

isto’

Ange

lo P

into

(The

Ope

n U

nive

rsity

, Milt

on

Keyn

es, U

K): ‘

“Die

Fed

er is

t zur

Han

d”: T

he

“Scr

ipto

rial”

Unfi

nish

edne

ss o

f Mah

ler’s

Tent

h Sy

mph

ony’

Step

hani

e Fo

rd (M

ayno

oth

Uni

vers

ity, I

rela

nd):

‘Sea

n-N

ós a

nd Ir

ish C

onte

mpo

rary

Mus

ic: S

inge

r Pe

rspe

ctive

s on

Colla

bora

tion

and

Crea

tivity

’

Shau

na L

ouise

Caff

rey

(Uni

vers

ity C

olle

ge C

ork,

Ire

land

): ‘O

ther

wor

dly

Thre

shol

ds: L

imin

ality

an

d M

agic

in H

enry

Pur

cell’

s The

Fai

ry Q

ueen

’

Dr P

atric

k De

vine

(Ind

epen

dent

Sch

olar

, Ire

land

): ‘N

ext-D

oor N

eigh

bour

s as a

De

term

inan

t of L

ate

Styl

e: T

he D

imin

ished

Thi

rd

in A

nton

Bru

ckne

r’s S

ymph

ony

no.9

’Ci

ara

Conw

ay (Q

ueen

’s U

nive

rsity

Bel

fast

, UK)

: ‘T

he D

istrib

ution

of I

rish

Folk

Mus

ic in

John

O

’Kee

ffe’s

The

Cast

le o

f And

alus

ia (1

782)

’

Joha

nne

Hera

ty (I

ndep

ende

nt S

chol

ar, I

rela

nd):

‘Mic

roto

nalit

y in

Ezr

a Si

ms’s

Im M

irabe

ll’

Nad

ine

Scha

rfette

r (U

nive

rsity

of M

usic

an

d Pe

rform

ing

Arts

Gra

z, A

ustr

ia):

‘The

In

terr

elati

onsh

ip b

etw

een

Psyc

he a

nd B

ody

in

Diet

er S

chne

bel’s

Exp

erim

enta

l Mus

ic’

18:0

0–19

:00

Keyn

ote:

Pro

fess

or M

icha

el B

ecke

rman

(New

Yor

k U

nive

rsity

, USA

) — ‘D

vořá

k’s F

lash

back

s’Ch

air:

Prof

esso

r Lor

rain

e By

rne

Bodl

ey (M

ayno

oth

Uni

vers

ity, I

rela

nd),

Pres

iden

t of t

he S

ocie

ty fo

r Mus

icol

ogy

in Ir

elan

d (B

ewer

unge

Roo

m)

19:1

5 C

onfe

renc

e Di

nner

(Pug

in H

all,

St P

atric

k’s C

olle

ge M

ayno

oth)

Sund

ay 3

0 Ju

ne 2

019

Sess

ion

7be

wer

unge

roo

mo’

call

agha

n ro

omgi

llen

roo

m

9:00

–11

:00

note

: sta

rt ti

me f

or th

is se

ssio

n is

9:30

am7a

: Arti

stic

Rese

arch

Chai

r: Dr

Ant

onio

Cas

celli

(May

noot

h U

nive

rsity

, Ire

land

)

7b: A

ren’

t We

All E

thno

mus

icol

ogist

s…?

Chai

r: Dr

Adr

ian

Scah

ill (M

ayno

oth

Uni

vers

ity,

Irela

nd)

note

: sta

rt ti

me f

or th

is se

ssio

n is

9:30

am7c

: Mer

ging

Com

posi

tiona

l Sty

les

Chai

r: Fe

deric

o Fa

vali

(Uni

vers

ity o

f Bi

rmin

gham

, UK)

Eilís

O’S

ulliv

an (M

ayno

oth

Uni

vers

ity, I

rela

nd):

‘Initi

al D

irecti

ons i

n Ar

tistic

Res

earc

h’Dr

Javi

er C

ampo

s (In

depe

nden

t Sch

olar

, Sp

ain)

: ‘Ill

ustr

ious

Pea

sant

s: T

he In

here

nt

Valu

e of

Pop

ular

Bag

pipe

Mel

odie

s in

Clas

sical

Co

mpo

sition

s’

Paul

Cle

sham

(Uni

vers

ity C

olle

ge C

ork,

Irel

and)

: ‘C

onte

mpo

rary

Com

positi

ons o

f Iris

h Tr

aditi

onal

M

usic

Inco

rpor

ating

Wes

tern

Com

positi

onal

El

emen

ts: A

n Ex

plor

ation

of V

ario

us Ir

ish

Com

pose

rs/A

rran

gers

’Sy

lvia

O’B

rien

(Roy

al Ir

ish A

cade

my

of M

usic

, Ire

land

): ‘T

ext a

nd M

elod

y in

Seó

irse

Bodl

ey’s

The

Hidi

ng P

lace

s of L

ove’,

60-

min

ute

Lect

ure

Reci

tal

Deird

re W

alsh

(Uni

vers

ity C

olle

ge D

ublin

, Ire

land

): ‘F

rom

Jew

ish F

olk

Mus

ic’

Mar

gare

t Col

lins S

toop

(Trin

ity C

olle

ge D

ublin

, Ire

land

): ‘A

ddre

ssin

g th

e In

tegr

ation

of F

olk

Inst

rum

ents

into

Wes

tern

Art

Mus

ic E

nsem

bles

’

Anik

a Ba

bel (

Uni

vers

ity C

olle

ge D

ublin

, Ire

land

): ‘C

lass

ical

Mus

ic M

emes

: Etic

and

Em

ic P

ersp

ectiv

es o

n th

e Po

rtra

yal o

f Cla

ssic

al

Mus

icke

rs’

Dr E

mm

anue

l Ndu

buisi

Nna

man

i (U

nive

risty

of

Port

Har

cour

t, N

iger

ia):

‘Afr

ican

Con

tem

pora

ry

Art M

usic

, Com

positi

onal

Idea

tion

and

the

Dial

ectic

s of t

he C

anon

ic “

Wal

l” –

Cre

ating

So

unds

cape

, Loc

ating

Lan

dsca

pe a

nd E

voki

ng

the

Psyc

hoph

ysic

al in

Uzo

igw

e’s “

Talk

ing

Drum

s fo

r Pia

no S

olo”

’Dr

Dam

ian

Evan

s (Re

sear

ch F

ound

ation

for

Mus

ic in

Irel

and,

Irel

and)

: ‘In

Sea

rch

of Ja

zz: I

rish

Jazz

and

Dan

ce B

ands

’11

:00–

11:3

0 B

reak

(foy

er, M

usic

Dep

artm

ent)

11:3

0–13

:00

Plen

ary

Sess

ion

(Bew

erun

ge R

oom

)Pr

ofes

sor H

arry

Whi

te (U

nive

rsity

Col

lege

Dub

lin, I

rela

nd) —

‘The

Une

mpl

oym

ent o

f Mus

icol

ogy’

Dr N

atas

ha L

oges

(Roy

al C

olle

ge o

f Mus

ic, L

ondo

n, U

K) —

‘Re-

Empl

oyin

g an

d Re

-Dep

loyi

ng M

usic

olog

y’Ch

air:

Prof

esso

r Em

eritu

s Ger

ard

Gille

n (M

ayno

oth

Uni

vers

ity, I

rela

nd)

13:0

0–14

:00

Lunc

h (P

ugin

Hal

l, St

Pat

rick’

s Col

lege

May

noot

h)

Sess

ion

8be

wer

unge

roo

mo’

call

agha

n ro

omgi

llen

roo

m

14:0

0–15

:30

8a: C

lara

Sch

uman

nCh

air:

Dr Jo

e Da

vies

(Lad

y M

arga

ret H

all,

Oxf

ord

Uni

vers

ity, U

K)

8b: F

renc

h/Ru

ssia

n N

inet

eent

h-Ce

ntur

y Pi

anis

mCh

air:

Dr A

lison

Hoo

d (M

ayno

oth

Uni

vers

ity,

Irela

nd)

8c: T

wen

tieth

-Cen

tury

Mus

ic a

nd V

isua

l Cu

lture

Chai

r: Dr

Gar

eth

Cox

(Mar

y Im

mac

ulat

e Co

llege

, U

nive

rsity

of L

imer

ick,

Irel

and)

Emily

Shy

r (Du

ke U

nive

rsity

, USA

): ‘A

Rom

antic

M

odel

: Rel

ation

ship

s bet

wee

n Ro

bert

and

Cla

ra

Schu

man

n’s R

oman

ces,

Op.

94

and

Op.

22’

, 30

-min

ute

Lect

ure

Reci

tal

Luod

mila

Pod

lesn

ykh

(TU

Dub

lin, I

rela

nd):

‘Ale

xand

er D

ubuq

ue a

nd th

e Pe

dago

gica

l Leg

acy

of Jo

hn F

ield

’

Rach

ael F

ulle

r (Bo

ston

Uni

vers

ity, U

SA):

‘Cyb

org

Fem

inism

and

Cac

tus P

oliti

cs in

Ste

ven

Snow

den’

s Lan

d of

the

Livi

ng’

Hann

ah M

illin

gton

(Oxf

ord

Broo

kes U

nive

rsity

, U

K): ‘

Clar

a Sc

hum

ann’

s Dep

ictio

ns o

f the

N

inet

eent

h-Ce

ntur

y “W

ande

rer”

‘

Dr G

rego

ry M

ario

n (U

nive

rsity

of S

aska

tche

wan

, Ca

nada

): ‘D

ebus

sy’s

Prél

udes

(Deu

xièm

e Li

vre)

: “W

here

Do

We

Go fr

om H

ere?

”‘

Dr L

aura

Dal

lman

(Uni

vers

ity o

f Flo

rida,

USA

): ‘P

robl

emati

zing

Mic

hael

Dau

gher

ty’s

Mot

orCi

ty

Trip

tych

(200

0)’

Prof

esso

r Nic

ole

Grim

es (U

nive

rsity

of

Calif

orni

a, Ir

vine

, USA

): ‘F

orm

al In

nova

tion

and

Virt

uosit

y in

Cla

ra W

ieck

-Sch

uman

n’s P

iano

Trio

in

G M

inor

, Op.

17’

Dr C

lare

Wils

on(U

lster

Uni

vers

ity, U

K): ‘

Andr

é Ca

plet

: Pia

nist

Inco

gnito

?’Dr

John

O’F

lynn

(Dub

lin C

ity U

nive

rsity

, Ire

land

): ‘E

pic

and

Intim

ate:

Mau

rice

Jarr

e an

d th

e So

undt

rack

to R

yan’

s Dau

ghte

r (Le

an, 1

970)

’

FHG

Music and Theology in the European ReformationsEdited by David Burn, Grantley McDonald, Joseph Verheyden & Peter De Mey

ISBN 978-2-503-58226-9

Ludwig Senfl (c.1490-1543): A Catalogue Raisonné of the Works and Sources Vol. 1: Catalogue of the WorksBy Birgit Lodes, Sonja Tröster & Stefan Gasch

ISBN 978-2-503-58420-1

With a grace not to be captured Representing the Georgian theatrical dancer, 1760-1830By Michael Burden & Jennifer Thorp

ISBN 978-2-503-58356-3

Cinema Changes: Incorporations of Jazz in the Film SoundtrackEdited by Emile Wennekes & Emilio Audissino

ISBN 978-2-503-58447-8

www.brepols.net [email protected]

Musical Improvisation in the Baroque EraEdited by Fulvia Morabito

ISBN 978-2-503-58369-3

Nineteenth-Century Programme Music Creation, Negotiations, ReceptionEdited by Jonathan Kregor

ISBN 978-2-503-58346-4

Music Criticism 1950-2000Edited by Roberto Illiano & Massimiliano Locanto

ISBN 978-2-503-58442-3

Camille Saint-Saëns, Le Carnaval des animaux Facsimile Edition of the Autograph ManuscriptBy Marie-Gabrielle Soret

ISBN 978-2-503-58122-4

Nino Rota: La dolce vita Sources of the Creative ProcessBy Giada Viviani

ISBN 978-2-503-56644-3


— 15 —


ABSTRACTS

Friday 10:00–12:00: Session 1abewerunge room:Music-CulturalPracticeandPopularCultureThenandNow

Chair:ProfessorLorraineByrneBodley(MaynoothUniversity,Ireland)

Dr Anja Bunzel(CzechAcademyofSciences,CzechRepublic)‘Nineteenth-CenturyEuropeanSalonRepertoirewithintheContextofPopularCulture’

Scholarsscrutinisingthenineteenth-centuryGermanLiedhavegrappledwithdifficultiesinsituatingthisgenreasregardsitsaesthetic(andcommercial)value,becauseitispositionedsomewherebetweenpopularcultureandhighart.Whiletheworksrooted inthisgenrevary intermsoftheircompositionalaesthetics,andindeedmaybearsimilaritieswiththeirpendantsinotherlanguages,theysharetheirperformancecontextswithsuchothergenresastwo-andfour-handpianopiecesandsmall-scalechamberworks:distributedassheetmusic,manyofthesecompositionswereperformedin(semi-)privatesettingsbeyondtheirownregionaland/ornationalrealms.Thesesettingsrangefromhigh-calibremusicalsalons (for instancethoseofFannyHensel inBerlinandVáclavJanTomášekin Prague) to less musically-oriented gatherings in the homes of writers,politiciansand/orpeopleholdingother formsofsocialresponsibility.Thus far,salon scholarship has advocated surveys of important European cities and/orcase studies of specific salons. There is a need for further studies of this kind in ordertore-evaluatethesocio-culturalsignificanceofsalonculture.Furthermore,Isuggestapan-Europeanperspectivewithafocusonthemusic,throughwhichI hope to examine the salon’s impact on popular culture and cultural transfer. Introducing aspects of a new research project on musical repertoire in regular private social gatherings between1815and1850, this paper offers first ideasastohowthesalon,asasemi-privateplatform,tookanactivepartinshapingnineteenth-centurypopularcultureandininspiringanddisseminatingpopularsong. I invite a vivid discussion thematising current scholarly chances and challenges inresearchingnineteenth-centurysaloncultureasapan-Europeanplatform for the promotion of popular music and cultural transfer.

Dr Hyun Joo Kim(SeoulNationalUniversityYonsei/EwhaWomansUniversitySeoul,SouthKorea)‘ApproachingReproductiveArts:LisztasMusicalEngraver,Translator,andColourist’

RecentscholarshiphasbeguntorecognizeLiszt’sexperimentationintranscriptionin a way that acknowledges the executor’s creativity and the work’s independence in a broader cultural and philosophical context. Drawing on the discipline ofFrenchvisual-culturalhistory,thispaperrelatesLiszt’ssonicreproductionstothewidespreadnineteenth-centuryinterestinvisual-artreproduction.Basedonawidearrayofreviewsandcritiquesfromjournalssuchas Gazette des beaux-arts and L’artisteaswellasbookssuchasGrammaire des arts du dessin bytheartcriticCharlesBlanc,Idemonstratethepressingissueswiththereproductive


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arts, includingthe lackofcolour, thenotionof translation,andthedichotomybetweencolourandcontour,throughwhichanewconceptionwasemergingofthe relationships between visual printmakers and musical transcribers. Justas the eminent engravers and lithographers of Liszt’s time invested heavily in new technical apparatus to control light and shade and thus bring aboutstrikingvisualeffectsthatwouldberoughlyequivalenttotheoriginalcolours,so did creative arrangers such as Liszt develop new methods to render the sonicpropertiesofinstrumentalcoloursontheblack-and-whitekeyboard.ThispaperalsodemonstrateshowLiszt’sarrangements,throughdistinctivetypesofkeyboardfiguration,useofpedalandsoon,createdakindofone-manorchestrainthemid-nineteenthcentury.Thiscollectiveevidence–derivinginpartfrommyforthcomingbook (Liszt’s Representation of Instrumental Sounds on the Piano: Colors in Black and White)butalsogoingbeyondit–shedslightonhowLisztfashionedhisroleasamusicalengraver,translator,interpreter,andcolouristtomakethereproductionin‘blackandwhite’asvibrantandaliveastheoriginal.

Dr Esther Cavett(King’sCollegeLondon,UK)‘PlayingtoBe/comeAlive:WhatPianosMeanforAdult,AmateurPerformersToday’

The lived experience – and meaningfulness – of amateur, classical musicalperformancetodayhasbeensubmergedbycurrentmusicology’sdrive towardsplurality and inclusion, even when amateur music-making in earlier timesreceivescriticalattention(forinstance,Head,2013).To address this, I take asmy point of departure an event happening in a (Iconfess,my)domesticmusicroom.Pianists,fromhesitantbeginnertoproficientperformer,whowork orwhohave previouslyworked in day jobs far removedfrommusic conservatoiresoruniversities,gather togetherofanevening,eachto perform a short piece on my Steinway “model B”. These devotees do not think thattheirinstrumentissolastcentury,ebonyandivorysymbolisingoppression;theydonotthinkithasdiedandbeenreincarnatedasanelectrickeyboardoranon-westernsound-sourcetobetheorisedbytheethnomusicologistsweallarenow.Theyplaytobe/comealive.Iwanttoknowwhatexactlyisgoingon.I interrogate how these performers relate to this gleaming instrument and to the instrument they play to themselves back home (or in the office), to eachother,inalltheirvulnerabilityasperformers,andtotheprocessoflearninganinstrumentasanadult.Ialsothinkaboutmyownsubjectpositionamongstthemasex-colleague,asthepersonwhosetupamusicclubinthelawfirmwhereweonceallworked,andnowas(ethno-)musicologistandoutsider.RelationalityinclassicalmusicperformancehasbeenconsideredbyAmandaBailey(inNooshin,2014)but this study considers relationalitynot ofprofessionalperformersbutamateursof variouskinds–to themselvesboth individuallyand collectively, totheirinstruments,andtothosewhogazeuponthem.By means of interviewing these performers, collecting and interpreting theirdata using largely interpretative phenomenological analysis (Smith, Flowers,&Larkin,2009),Iofferanphenomenologicalaccountofthesocialmeaningsofpianosforaclassofardentperformerslargelyforgottenbytheworldofacademe.


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Itmediates between newmaterialism (instrument as relational object: Bates,2012)andethnographicalmethods, creatingunderstandingofhowadult,non-professional performers (but also, perhaps, I/we) might access the profoundthrough the musical instrument as loved thing.

Karishmeh (Kay) Felfeli(IndependentScholar,UK)‘Musicology,SubjectivityandMedicalMusicAnalysis:Mozart’sFantasiainCMinor,K.475’

Musicologyhasalwaysbeenreticentwhenitcomestoescapingfromtheclutchesof thearts andhumanities,which continue to exert apower overanykind ofresearch or scholarship that falls under the academic study of music. This paperexaminesthetensionsthatemergewhenspecialisttraining(inmycase,as amusic analyst) is rejected in favour of a broader,more all-encompassingapproach towriting aboutmusic (and this includeswriting up an analysis ofstructure, form, tonality). Via a single case study (Mozart’s Fantasia in CMinor, K.475), I demonstrate the difference between an unreflective analysisthat pays little homage to the author-composer’s larger-than-life spirit, and amore entertaining semi-historicist methodology that only relies on score andbiographical correspondence. Drawing from a range of sources (especially theworkofAnnetteRichards,2000,andMatthewHead,2014,alsolandmarktextsbyRobertSpaethling,JoelLester,CliffEisenet al.),andfromnearlythreeyearsofmyowntheoretical-analyticalresearchmadepossibleviaanAHRCNorthernBridgescholarship,Ipresenta‘medical’musicanalysisthatbringseighteenth-century discourse into direct contactwith present-daymusicology, psychiatry,psychology,musicalcriticismandmusictheory.Viamyownrecordinganddemonstrationatthepiano,whichiscomparedwithotherrecordings(followinginthefootstepsofDanielLeechWilkinson),IarguethatintherighthandsMozart’sfantasiabecomesanentertaininganddisturbingexampleofpublicmusicology,capableoftranscendingtimeandplace,thatcomestolifewhenmusicologymeansbusiness.

Friday 10:00–12:00: Session 1bo’callaghan room: Glances into Archives and Transcriptions

Chair:DrKerryHouston(TUDublin,Ireland)

Patrick Huang(UniversityofLondon,UK)‘InSearchofLostChineseMusicthroughJapaneseArtefactsandManuscripts’

Throughout history, Japan has absorbed large portions of Chinesemusic andtheory due to its political and cultural demand. Due to Japan’s relative isolation andpolitical stability, lostmusicpieces inChina canstill be found invariousJapanesesources.Thisprovidesvaluablefirst-handreferencetothemorphologyof music at the time and raises the possibility of historical reconstruction.However,asithasexternalorigins,themusicisinevitably‘Japanised’overtime.Assuch, therigorous tracingandreferencingofbothoralandwrittensourcesbecomeallthemorecrucialtotheintegrityoftheresearch.


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My case analysis is focused on Japanese Gagaku (雅樂, lit.: elegantmusic). Itoriginates from Yanyue (燕樂,lit.:diningmusic)inTangChina(618–907),andwasbroughttoJapanviadiplomaticmissionsintheeighthtoninthcenturies.Gagaku is still practised by ensembles today and is passed down by oraltradition.WrittensourcesfromtheJapanesemedievalperiod,suchasHakuga no fue-fu (博雅笛譜)in966,Sango yōroku (三五要錄) and Jinchi yōroku (仁智要錄) inthetwelfthcentury,andShinsen Shoteki-fu (新撰笙笛譜) in1303,alsodrawparallelswiththisandprovideaninsight intothechronological ‘Japanisation’of Gagakumusic.InmypresentationIwillcoversomebackgroundinformationandbrieflydescribe thenotationofGagaku, then furtherexplain the changesseen in different manuscripts and oral traditions in order to obtain a closerapproximation of ancient Tang music.

Scott Flanigan(UniversityofUlster,UK)‘AQuestionofStyle:PractisingTranscriptionsandTranscribingPractices’,

Transcription is an integral part of jazz studies. The initial stages of the process of transcription are underpinned with issues of stylistic accuracy, musicaldevelopment,content,intentandcoherency.Oncethetranscriptioniscomplete,the action of assimilating musical ideas into the performer’s personal musical style,aswellasmaintaininganimprovisatorybutindividualnature,unveilsamyriad of interpretative avenues and methods for the jazz musician. The exploration of the most productive ways in which the musician can transcribeajazzsolohasbeendiscussedinpreviousresearchbyThomasOwens,andapproachestosegmentingandcategorisingstructureshavebeendevelopedbyJohnWhite. In seeking toaddress theproblematicnatureof transcription,this paper draws upon theories suggested by White and Owens to outlineways inwhich jazz solosmaybe transcribed, segmentedandclassified.Theseclassifications provide a basis uponwhich the performer can effectively blendtranscribedelementsintonewimprovisatorystyles.Theoreticalquestions,concerningthepracticalnatureofperformingtranscribedstructuresandtheimpactthesehaveuponthecreativeoutputofthemusician,remain. The paper discusses practice issues pertaining to categorisation,reduction, practice ideas and effectiveness, supported by a methodologicalprincipleofpracticemethodsillustratedbydemonstrationsandmusicalexamplesthroughout. The paper will conclude with thoughts on the theoretical contexts and techniques involved in effective transcription and, additionally buildingon contemporary practice methods established by Mark McKnight and TomWilliams,willsuggestnewideasforbothtranscriptionpracticeandpractisingtranscriptions.

Dr Adèle Commins(DundalkInstituteofTechnology,Ireland)Dr Daithí Kearney (DundalkInstituteofTechnology,Ireland)‘LifebeyondtheLibrary:SharingResearchwiththeOrielTraditionalOrchestraand Ceolta Sí’

Drawing inspiration from a section in The Oxford Handbook of Music Revival that presents a historical perspective on the role of scholars and academics as


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revival agents, this paper provides a contemporary example of how researchatauniversity level researchcentre in Ireland informsmusickingboth in thesurroundingregion,withafocusontheactivitiesandrepertoireofacommunityorchestra,and furtherafield inthecontextofabranchofComhaltasCeoltóiríÉireann. The paper critically considers the merits and challenges of applied ethnomusicology,aswellasthoserelatedtocommunityengagement inhighereducation.Witha focusonresearch in theareaof Irish traditionalmusic, thepaperexamineshowthescholarshipofteachingandlearning,archivalresearchand creative arts practice with an emphasis on composing and arranging impact on some of the ‘hidden musicians’ of counties Armagh, Cork, Louth, Meath,Monaghan andWaterford, particularly in the context of participatory music-making.

Professor Yo Tomita(Queen’sUniversityBelfast,UK)‘The Bach Printed-Music Database and Its Roles in the Reception Study ofBach’sWorksintheLongNineteenthCentury’

In the last twodecades receptionhistoryhasbecomeone of themostpopularresearch topics in Bach studies. The majority of these studies tend to focus on the examinationofthefinalphaseofthereceptionprocess,wheretheinfluencefromBach’s compositions is evaluated within a new historical tide or under different aesthetic ideals from those of Bach’s own time. In other words the process leading tothespecifichistoricalcontext,forinstancehowthespecificversionofBach’sworksasmanifestedinaprintededitionbecameavailabletothepersonunderscrutiny,whichshouldreallybeconsideredsimultaneouslyastheothersideofthesamecoinfortheholisticunderstandingofthesubject,tendtobeignored.The richness of information that a printed edition can offer to scholars is often underestimated. Each edition reflects a work’s market appeal, the ambitionsof its editors and publishers, trends in its interpretation and the handling ofsource informationat thetimeof itspublication, tonamebut four.Tobeableto gain a better understanding of it I have started compiling aBachPrinted-MusicDatabase.InthispaperIshallshowhowasystematicexaminationoftheprinted music can give us access to the thoughts of the people who produced theseeditions,andhowwecanhaveabird’seyeviewofallthethreadsofBachreceptionspanningoveracenturyfromthisuniqueperspective.

Friday 10:00–12:00: Session 1cgillen room:IrishandBritishTwentieth-CenturyArtMusic

Chair:DrMartinO’Leary(MaynoothUniversity,Ireland)

Orla Shannon(DublinCityUniversity,Ireland),30-MinuteLectureRecital‘Underrated,Underestimated:TheContributionsofJoanTrimble(1915–2000)toIreland’sCanonofTwentieth-CenturyArtSong’

‘Compositionwasaman’sworld’,writesJoanTrimble(1915–2000)inonearticle.Whenexplainingtheimpactthatgenderhadplayeduponhercareer,shedrewonthewordsofH.G.Wells:‘Nooneexpects[aman]todealwiththenextmeal,or


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thechild’smeasles.’Despiteherlimitedcompositionaloutput,TrimblewasoneofthefewIrishorEnglishwomentohavegainedinternationalrecognitionduringthe twentieth century. Some of her early compositional achievements included theCobbettandO’SullivanPrizeattheRoyalCollegeofMusic,London.PerhapshermostradicalaccomplishmentwaswhenshebecamethefirstwomantohavebeencommissionedbytheBBCtowriteanoperafortelevision(1957).However,manyofherworksawaitpublicationtothisday.Inadoptingafeminist-musicologicalperspectivethispresentationwilldeliberatethereasonswhyTrimble’scompositionalidentityhasbeenoverlookedinIreland’sexisting canon of art song.Abiographical evaluationwill identify the varioussocio-politicaldifficultiesshefacedinadvancinghercompositionalcareer.UsingPeterStacey’smodelontext-settingandmusico-poeticrhetoric,thislecturewillreappraiseherearliesttrilogyofvocalworks–My Grief on the Sea (1937),Green Rain (1937),andGirl’s Song (1937)–toillustratethenuancesofherwritingstyle.Subsequentlytheaimsofthepaperaretwofold:toprovideacasestudyontherehabilitationofwomencomposers in thecanonof twentieth-centuryIrishartmusic,andtopresentTrimbleasarolemodelforcontemporaryfemalecomposersseeking representation across the British Isles.

Dr Ita Beausang(IndependentScholar,Ireland)‘A Sea Poem: Ina Boyle’s Fingal’s Cave’

The sea, with its changing moods and hypnotic rhythms has inspired manycomposersincludingBeethoven,Mendelssohn,Elgar,SibeliusandArnoldBax.Wagner andBenjaminBritten explored the drama and the turbulence of theocean in their operas.Debussywrote that he loved the sea and listened to itpassionately, but he found more inspiration for his music in paintings thanintheseaitself.InaBoyle livedinEnniskerry,onlyafewmilesfromthesea,andbecamearegulartravelleracrosstheIrishSeabysteamshipforhervisitsto London. A Sea Poem was her first substantial orchestral work, consistingof an introduction, theme, six variations and finale. It was completed on 29January1919andsubmittedtotheCarnegieTrustcompetitionlaterthatyear.According to her Memoranda‘ThejudgessentanotethattheyhopedIwouldnotbediscouragedbutwouldletthemseemoreofmywork’.Shehadenteredherorchestralrhapsody,The Magic Harp,atthesametime,andthatwasselectedforpublicationbythejudges,becominghermostsuccessfulcomposition.A Sea Poem hasneverbeenperformedinpublicandhasbeenovershadowedbyBoyle’sotherorchestralworks.Asitwasbeingrecordedin2018bytheBBCConcertOrchestraontheDuttonlabelitwaschristened‘InaBoyle’sFingal’s cave’. This paper will consideritonitsownmeritsasanambitiousandaccomplishedwork.

Professor Fiona M. Palmer(MaynoothUniversity,Ireland)‘Consolidating the Position of British Conductors: Issues of Identity andInfluenceintheMusicalConductors’Association(1916)’

Perceptions of British conductors – their function, status and authority –shiftedsignificantlybetweenthe1870sand1920s.EmergingfromtheshadowofcontinentalEuropeanexemplars,Britishconductorsbegantoforgeaclearer


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identity. The individual careers and contributions of high-profile conductorshavebeenthesubjectofcloseconsideration.However,littleattentionhasbeenpaidtothecollectiveeffortsofconductorstoinfluencetheopportunities,workingconditionsandstatusoftheirprofessionduringtheFirstWorldWar.ThispaperusestheestablishmentoftheMusicalConductors’Association[MCA](March1916,London)asalensthroughwhichtoexploretheissuessurroundingthe conductor’s role within the music profession at that time. Casting light on theplaceoftheconductingprofessionwithinthewidermusicalmarketplace,itquestionstheimpetus,timing,membershipandaspirationsoftheMCA,situatingitsactivitiesandeffectivenesswithinthebroaderframeworkofunionizationinBritainandincontinentalEurope.Withcentralaimsfocusedon‘improvingandconsolidatingthepositionofBritishConductors’, theMCA’sHonoraryCouncilincluded leading figures: Landon Ronald (Executive Chairman), Sir FredericCowen,SirEdwardElgar,EdwardGerman,SirAlexanderMackenzieandSirHenryWood.Arangeofsourcesunderpinstheresearch,includingunpublishedcorrespondence, institutional archives, contemporaneous newspapers andperiodicals.Asaresult,newunderstandingsemergeinrelationtoprofessionalhierarchies(publicandprivate),thestatusandworkingconditionsofconductors,and the power of collective action at this time.

Dr Axel Klein(IndependentScholar,Ireland)‘SwanHennessy’sCritiqueoftheAvant-Garde’

TheIrish-AmericancomposerSwanHennessy(1866–1929)livedinParisduringaperiodofprofoundanddynamicchangeinthestylisticdevelopmentofEuropeanartmusic.Hewitnessed first-hand not only the shaping of the ImpressionistsoundworldbutalsotheriseofSchönbergandhisreceptioninoneofEurope’spivotalmusicalcapitals.Acomposermotivatedbythecontrastsbetweenruralandurbanlifeaswellasbyhisnaturalandtechnicalenvironmentandimbuedwith his own peculiar musical humour, he reacted instinctively against thedodecaphonicartofSchönbergandhisdisciples.Hiscriticismtakesonavarietyof forms: from letters to the editors of music journals to ironic compositions,and fromridiculingpolemics to seriousarguments.Underlying this isadeep-rooted concern for the future ofmusic and the direction itwas taking,whichgoesfarbeyondreactionaryconservatism.InthispaperIamgoingtoshowsomeexamplesofhiscritiqueofthecontemporaryavant-gardethatmakehimoneofthemostoutspoken–andyetwhollyforgotten–opponentsoftheSchönbergianaesthetic of his time in Paris.

Friday 13:00–15:00: Session 2abewerunge room:Analysis:Liszt,MendelssohnandBrahms

Chair:ProfessorNicoleGrimes(UniversityofCalifornia,Irvine,USA)

Maddie KavanaghClarke(DurhamUniversity,UK)‘Delayed Cadential Closure: An Examination of Structural Cadences in


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Mendelssohn’s Overtures’

A frequent narrative of recent scholarship is that concepts of closure, andimportantlycadences,inthelate-eighteenthandearly-nineteenthcenturiesareimbued with goal-directedness (Schenker, 1979; Caplin, 1998; Neuwirth andBergé, 2015). As cadences represent ‘the structural end of broader harmonic,melodic,andphrase-structuralprocesses’(Caplin1998,43),theyofferamomentoffinality,helpingtoarticulatethebroaderformallandscape.Oneofthemostimportant strategic concepts in Mendelssohn’s repertoire is the continuous delayofcadentialclosure.Beginningattheintra-thematiclevel,andoperatingthrough to the inter-thematic level, Mendelssohn frequently avoids cadentialarticulation. This results in a disassociation between the concept of closureand the cadence,with the articulation of formal space dependent onmelodic,rhythmicorrhetoricalmarkers.Thisavoidance,deferralanddelayisparticularlyprevalent inthemainandsubordinatethemes.Thispaperexaminesthematiccadences inMendelssohn’sovertures,andthetreatmentof theEEC(essentialexpositional closure) and theESC (essential structural closure), the twomostimportantgenericandtonalcadentialgoalsofthesonataspace(HepokoskiandDarcy,2006).ThispaperinvestigatestheprocessesthroughwhichMendelssohndelaysstructuralcadences,andtheconsequencesofdelayedstructuralclosure,intermsoftheimpactonsyntax,theteleologyandconceptsofgoal-directedness,and the listener expectation.

Bryan Whitelaw (Queen’sUniversityBelfast,UK)‘FranzLisztandthePost-ClassicalSonataDeformation’

As recent attempts to theorise the practices of post-Classical composers gainrenewed momentum, a comprehensive study of Liszt’s engagement with theprinciples of sonata form is overdue.Save for a selectivenumber of analyses,recent attempts at the formal study of nineteenth-century repertoires havetended to disregard Liszt’s output. Due to Liszt’s apparent resistance of standard sonata-formmodels–thoserecentlycapturedbybothWilliamCaplin(1998)andHepokoskiandDarcy(2006)–hisworksareoftenexplainedsolelyintermsoftheirprogrammaticcontent.WhileitisimportanttoacknowledgetheprogrammaticismofsomeofLiszt’smusic,anditspoeticandliteraryinspirations,itsrelationshipwith formal models demands more attention than it has previously received. Hepokoski (1993, 2006) has suggested that composers from the turn of thenineteenth century were occupied with a variety of sonata deformational features that imply a ‘post-sonata’ generic subtype, and, in light of this, this paperattempts to explore what these structural features are and how they manifest themselves inLiszt’s sonata compositions.Calling forahybridised theoreticaldiscoursebeyondthemodelsoftheViennese-Classical,IshowhowLisztemploysa common formalprocessacrossanumber of symphonicworks,and in turn Iattempt to endorse his significance for the pursuit of a Romantic Formenlehre.

Dr Vadim Rakochi(GliereKyivMunicipalAcademyofMusic,Kiyv,Ukraine)‘Brahms’sSecondPianoConcertoOrchestrationand“theMusicoftheFuture”‘

Botstein (1990) wrote that it was rather Brahms than Wagner who should


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represent ‘the music of the future’ because of the former’s unprecedentedsynthesis of the old and the new. Rosen’s (2000) ‘structural quotation’ andNeunzig’s(2003)‘symphonyreinvention’revealedthesetwosourcesinBrahms’streatmentofmusicalformsandgenres.Still,theroleoftheBrahmsianorchestrain this synergy remains largely unexamined.ThispaperdiscussesfourconvergingfieldsofinteractionbetweentheClassicaland the Romantic styles in the orchestration of Brahms’s Second Piano Concerto. It is their synthesis that conditions an original character of sound and highlights aparticularorchestralstyle.First,analmostBeethovenianorchestra(intermsofstructure,compositionofinstruments)inapost-BerliozandWagnereracreatesbotharigidandinspiredsound.Second,anumberofsolosembodytheromanticatmosphereandpersonifythestory;astrongverticalofsections,inherentmostlytotheclassicalstyle,objectifiesthenarrative.Third,doublingsinthirdsorsixthscreatea touchofRomantic sentiment toa ‘Classical’, straightforwardmelodicmovement. Fourth, the alternations between the ‘in-the-orchestra’ soloists –horn,clarinet,cello–andthe‘out-of-orchestra’soloist–piano–form‘ensembles-in-the-orchestra’;thisprecludestimbralortexturalmonotonyandaddsintimacyto a massive orchestra.Brahms conceptualized the Classical orchestral structure and the Romantic expressionofdoublings,alternationsandsolosasunifieddomains.Thisapproachto the orchestra is reflected in twentieth-century symphonic works and thusshouldbeconsidered‘themusicofthefuture’.

Federico Favali (UniversityofBirmingham,UK)‘RecomposingBrahms:AGlanceintotheFuture’

Key elements of Brahms’s musical language still influence the work of contemporary composers. GyörgyLigeti’sTrio(1982)andThomasAdès’sBrahms (2001)are twoworks that includeelements ofBrahmsianphilosophy.Bothofthem are part of the Brahmsian heritage.Amongmanypre-eminentinnovationsintroducedbytheGermancomposerisanew way to deal with sonata form. Another aspect is the use of the developing variation:anewviewononeofthemostancientcompositionaltechniques.ThispaperaimstoshowhowBrahms’sheritage,specificallyaboutsonataformandthedevelopingvariation,hasbeenreceivedandinterpretedbyLigetiandAdèsin their respective pieces. For this purpose the form and structures of these compositions will be analysed. The result will highlight how they continuedthe Brahmsian philosophy of re-composing the past in order to move towardthe future, in a still-ongoing process, which can be described as a ‘historicaldeveloping variation’.

Friday 13:00–15:00: Session 2bo’callaghan room: Musicology and Politics

Chair: Dr Shane McMahon (Maynooth University Arts and HumanitiesInstitute,Ireland)


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Michael Whitten(Queen’sUniversityBelfast,UK)‘Shouldwebepragmaticorcriticalaboutauthenticity?Towardsadiagnosticapproach to authenticity in cultural consumption and taste’

Questionsabouttherelationshipbetweenauthenticityandmusical tastehavereceivedwidespreadinterestinthesociologyofcultureliterature.Oftendescribedasaqualityattributedtogoods,practicesorpeoplewhicharetakentobe‘real’,‘original’or‘unique’,recentsociologicalresearchindicatesthatauthenticityisamuch-sought-aftervaluewhichisbecomingincreasinglycentraltoquestionsofmusicaltaste.Emergingfromthedebatearetwoopposingcamps,oneconsistingofwhat I call ‘bystanders’ and the other ‘sceptics’.Thebystanders argue thatwhileauthenticityisdifficulttodescribeitnonethelesshassomerealvalueandwhat is needed are better sociological descriptions of what this value is. Thesceptics,however,suggestthatauthenticityservesasanotherformofsymbolicviolencewhichneeds tobeunmasked.Whilenot rejecting thebystandersandscepticswholesale,Iarguethatbothaccountshaveunderdevelopedthepracticalsignificance of authenticity, specifically that agents have recuperated in theirethicalreflectionsbothasensitivitytothedifficultiesofdescribingauthenticityaswell as their engagement inmakingunmasking critiques of their own.Onthisaccountagentshavecometounderstandthemselvesinthesewaysbynottakingsocialphenomenaatfacevalue,whichshowcasestheirdeepambivalenceabouttheirsociality.Thispaperwillconcludethattobetterunderstandmusicallife todayweneed toavoidanon-reductiveaccountofbothmusical tasteandauthenticity by takingmore seriously themoral sentiments of the agentsweresearchwho, likeus, are sensitive to the ethical hazards of ourunavoidablysocial nature.

John Moore(UniversityofLiverpool,UK)‘Negative Harmony, Post-Truth Musicology and the Illusion of MusicalProfundity’

In2017atheoreticalconceptknownas‘negative harmony’ begantoproliferateinonlinemusicalcommunitiespopularisedbyaYouTubeinterviewwithprominentjazzmusicianJacobCollier.PurportedlybasedontheworkoftheoristErnstLevyandhis1985monograph,A Theory of Harmony,negativeharmonyhasgainedasignificant cult following online. Since the interview’s publication amultitudeof response videos, articles and discussions have appeared online in variousforumsandformats,withsomecallingintoquestionthevalidityofthetheory.Thatbeingsaid,negativeharmony’ssupportersfaroutweighitsdetractors,andits unprecedented popularity is unrivalled in the expanding domain of music education media online. This study aims to analyse negative harmony as a digitalsubculturalphenomenonandmeme.Iwillsituatenegativeharmonyinitstheoreticalcontext,lookingatrelatedtheoreticalframeworksthatpavedtheway for the concept and highlight any correlations that may exist. I will also look athowtheeraofpost-truthmaybeaffectingmusicologymoregenerally.Basedon this I will evaluate the utility of negative harmony in a range of contexts including educational, compositional and performative. I will also examinenegative harmony’soriginsasamemeanduseacombinationofdiscourseanalysis


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and ethnographic research to analyse how negative harmony is perceived and evaluatedbyarangeofindividualsfromvaryingmusicalbackgrounds.

Chris Williams (CentralMusicLibraryof theBBC/AustralianMusicCentre,Australia)‘Sun Music, Sun Books: HistoricalMusicology in Service of theNationalistAgenda’

It wasn’t until the next day that news reached Sydney: Despite heavy rain and Londontraffic,thereviewsofthenightbeforeamountedto‘themostencouragingand unanimous reception of a new work during the whole Commonwealth Arts Festival‘,apieceof‘genuinedistinction’.ThisisthecanonicalstoryoftheworldpremièreofAustraliancomposerPeterSculthorpe’s Sun Music,aworkthatwouldgoontospawnseveralsimilarlytitledworks,inaseriesnowconsiderediconicforboththecomposerandthebroadersocio-politicalideaof‘AustralianMusic’.Intruththereviewswerenotunanimous.Thecanonicalaccount,however,comesfromRogerCovell,thentheSydney Morning Herald’schiefmusiccriticbutalsoaclosecollaboratorandconfidantofSculthorpe.Covellhadalreadypennedtheprogramme note for Sun Music in addition to the review of the first performance andwouldgoontoenshrinethework’s‘historicalsignificance’byinscribingitinhisbook,Australia’s Music: Themes for a New Society,publishedbySunBooks.Farfrombeinga historyof‘Australia’sMusic’thebookwouldbecomethe history of‘Australia’sMusic’,ahistoryinwhichthehistorianwasnotonlypresentbutactively participating. Covell’spublisherSunBookswasaself-consciously‘nationalistpublisher’,justas Sun Musicbecameaself-consciously ‘nationalist’music.Undertheguiseofhistoricalmusicology–perhapsatautologyatthetime–SunBooks’nationalistagendainscribeditsnamesake.By reconstruing Sun Music’sreceptionthispaperbringstolightthebroader,andlargelycovert,culturalinfluenceofSunBooksinshapingthedominantnarrativeof‘AustralianMusic’.This,inturn,opensnecessaryspacetoreconsiderCovell’shistory now that it is itself historical.

Dr Martin Knust(LinnæusUniversityVäxjö,Sweden)‘TheSpiritofPropaganda:MusicinPoliticalJournalism’

Eversincetheonsetoftheuseofthemovingimageinjournalismmusichasbeenplayed in connection with it. Music accompanied the newsreels and propaganda filmsthatwereproducedduringWorldWar2–bothliveandonsoundtrack–and,afteraperiodofrelativeabsence,isnowbackinallkindsofaudio-visualjournalistformats,beitTVnews,journalistvideosontheweb,politicalmagazinesand documentaries etc. Despite its presence in everyday life neither the impact northemechanismsnorthehistoryofthiskindofbackgroundmusichasbeenresearched systematically. In my paper I will present an attempt to take a grip on this phenomenon. Methodologically it is rooted in the critical tradition of the FrankfurtSchoolandaddssomeaspectsfromrecentmediaresearchaboutfilm,TVandmusic.


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AfterashorthistoricaloverviewabouttheoriginsofmusicinjournalismIwilloutline the circumstances of music production at the present state. An aspect which is central for this critical survey is the fact that music in journalism wasbornoutofthespiritofpropagandaandstilldisplaystracesofit.Specificcontradictions,problemsandunansweredquestionsthatthiskindofmusicposestotheresearcherswillbepresentedanddiscussed.

Friday 13:00–15:00: Session 2cgillen room:NewMediainMusicologyandMusicEducation

Chair:DrJohnO’Flynn(DublinCityUniversity,Ireland)

Donal Fullam(UniversityCollegeDublin,Ireland)‘InteractiveMusicandtheLogicofNewMedia’

The enclaves of post-industrial capitalism are surrounded by audio-visualpanoramas that have developed from European and American avant-gardeexperiments in musical composition and multimedia experience. Visions ofa panoptic media culture often appear oppressive and dystopian, but all-encompassingmediaeventsdesignedby composersandartists followingJohnCageduringthe1960swereintendedasparticipatory,democraticformsofart,in opposition to perceived fascist modes of top down communication. Avant-garde approaches towards the technologisation of music and democratic media choiceweretransformedwithintheconsumercultureofthe1980sandarenowconsolidated as commerce within modern algorithmic culture. More than any other medium computer games most fully reproduce the encompassingidealofthepost-warAmericanavant-garde,transfusedwiththerelentlesscommercialismofthe1980s.Computergamessurroundtheplayerwithchoice,buttheimpetustodesigntheseenvelopingaudio-visualenvironmentsdoesnotcomefromtheattempttodemocratiseculture–itcomesfromanoverarchingconsumerism and the rationalisation of computer logic. Avant-gardeexperimentsinparticipatoryart,named‘democraticsurrounds’byFredTurner,andinteractivemusic ingamesshareagenesis inthepoliticsofmediaparticipation thatdevelopedafterWorldWar2,butalso in the logicofcomputerisation. The modularity and automation of contemporary music and newmedia,and thepanoramaofuniquely individuatedaudienceexperiences,arenotnew,butthemeaningofmediainteractionhasbeenradicallytransformedwithin the hyper consumerism that developed towards the end of the millennium. Interactivechoiceiscentralforbothstylesofmodular,algorithmiccomposition,butittransformsfromapoliticaltoacommercialconceptaccordingtochangingcontexts. This paper outlines themovement of interactivemusical techniquesfromtheexperimentalaudio-visualsurroundsofthe1960stoourcontemporarymedia culture.

Noga Rachel Chelouche(TelAvivUniversity,Israel)‘Classical Music, Text and Contemporary Art: Listening to Mozart in AnriSala’s Installation The Last Resort’


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The Albanian Anri Sala is a contemporary artist who centres on sound andmusic. In some of his films and installationsheuses classicalWesternmusicby composers includingMozart, Tchaikovsky and Ravel. In these works Salasuggests new forms of execution and interpretation as well as new forms of listening.My talk focuses on Sala’s multimedia installation The Last Resort (2017).Inmytalk I show how the installation fashions new modes of perceiving and listening to music by integrating music, visual art and text.The Last Resort employs the adagio movement from Mozart’s A major Clarinet Concerto in an unusual way: themusic isheard fromabove through speakers located inside38 snaredrumshungupside down from the ceiling. In addition, Sala hasmade tempochangesinthemusicbyfollowingweatherindicationsinaprivatejournalfrom1838.ThejournalwaswrittenbyanEnglishsailoronhisvoyagetothecolonyofAdelaide,Australia.Sala,byjuxtaposingMozart’smusic(withitscontextoftheEnlightenment)withatext (inthecontextofColonialism) isrelatingthetwo,suggestinganewconnotationforthewell-knownmusic.Moreoverheisexploringnovel ways to listen to and perceive Mozart: the audience is situated under the orchestraandthesoundcomesfromabove;eachaudiencememberchooseswhatsectionoftheorchestratolistento.FurthermoreMozartisre-situatedhistoricallyandculturally.AsinmanyofSala’sworks,The Last Resort invents a new musical experience and offers ways to refigure the work and its performance.

Lauren Farquharson(DundalkInstituteofTechnology,Ireland)‘An Investigation of the Repertoire and Technical Standards in the BritishCollegeofAccordionists2019SyllabiforGradedExaminations’

Academic output on the classical accordion is to date limited. My research aims toaddtothisoutputbyinvestigatingtherepertoireandtechnicalstandardsoftheBritishCollegeofAccordionists[BCA]foundedin1935/36byDrOttoMeyer.This presentation will explore the institutionalisation of the accordion in Britain fromitsinceptionwithspecificreferencetotheBCA’sexaminationrequirements.It will also examine the selection of repertoire in the accordion examinations and the technical requirements within each grade. This will be conductedthrough analytical engagementwith the 2019 syllabi.Within each grade thispaperwill also compare the standard of techniques betweenBritish andnon-British composers.Simultaneously itwill consider if there isabalance in theselectionofBritishandnon-Britishrepertoireinthe2019syllabiandwillaimtoquantifytheresults. Inessencethispaperaimstoanalysethecontributionof British composers to the examination’s repertoire and thus the development of the accordion in Britain. The recent data collected from an interview with the directoroftheBCA,RaymondBodell,willofferauniqueinsightintotheselectionprocessfortheBCAsyllabiandwillcontributetothefindingsofthispaper.

Dr Mary Nugent(MarinoInstituteofEducation,Dublin,Ireland)‘BimusicalLearning:Idireatarthu,theBestofBothWorlds?’

The phenomenon of a musician playing and performing in diverse musical genres isfrequentlydescribedasbimusicality. Howthisphenomenonevolvesinvarious


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socialandeducationalcontextsisaddressedintheliteraturethroughperformer,researcher and educator perspectives. Thispresentationaddressesbimusicallearnerperspectivesthroughanexplorationofperceptions,learningprocessesandpracticesofstudentsinanIrishcontext,agedsixteentotwentyyears,astheycrossbetweenclassicalandIrishtraditionalmusics.Aqualitativehermeneuticresearchframeworkunderpinsthiscollectivecase study in which seven participants were purposively chosen from various formal and informal learning contexts. Data collected include the following: videotaped lessons, recordedpractice/playingsessions, observationsofa rangeof music-making activities, and interviews with the students, their parentsand teachers. Participants represent a range of instruments: a saxophonist/traditional flute/uilleann piper; two violinists/fiddlers; a cellist/uilleann pipes/whistle player; a classical/traditional harpist/concertina player; a pianist/fluteplayer;andapianist/accordionplayer.The research findings highlight the individuality of these students’ bimusicalpractices,suggestiveperhapsofamorenuancedimageofthenaturalbimusicalmusician than was indicated in earlier literature. There is evidence of different levels of immersion, participation, commitment and, to some extent, fluencyin the participants’ involvement in the two traditions. The research illustrates howissuessuchasdiversity,choice,easeandownershipareimportanttothesestudents as they sustain their many musical involvements. The communal/social dimension of music-making receives special attention in these narratives astheseyoungmusiciansnegotiate the similarities, confluencesand contrasts oftheirindividualbimusicalworlds.

Friday 15:30–16:30: Session 3abewerunge room:Schubert–LateStyle

Chair:DrNatashaLoges(RoyalCollegeofMusic,London,UK)

Dr Joe Davies(LadyMargaretHall,OxfordUniversity,UK)‘SchubertandtheGothic’

This paper engages the phenomenon of the gothic as a lens through which to contextualize Schubert’s penchant for all things strange and macabre. Areasof investigation include the arousal of extreme emotions, representations ofdeathandghostliness (as in theCminor Impromptu,D.899no.1), excessandtransgression(suchascanbefoundintheopeningmovementoftheGmajorStringQuartet,D.887),andanemphasisonfantasy,thesublimeandthegrotesque–allof which are interconnected at multiple levels in the music under consideration. These tropes are explored from both semiotic and hermeneutic perspectives,with attention devoted to their musical signifiers as well as their associations with trends in literature and the visual arts. In pursuing this interdisciplinary approachthepapernotonlyilluminatesanunderexploredaspectofSchubert’slatestylebutalsooffersfreshperspectivesonthesignificanceofthegothicinthecontextofEuropeanRomanticism.


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Dr Shane McMahon (Maynooth University Arts and Humanities Institute,Ireland)‘Codes of Conduct: Rotational Form and Entropy in the FirstMovement ofSchubert’sPianoSonatainB-flatMajor,D.960’

In A Secular Age Charles Taylor identifies the first half of the nineteenth century asthetimewhenaninvisibleborderiscrossedbetweenthepre-modernandthemodernsensesofself:thepre-modern‘porous’selfcedestoamodern‘buffered’selfwhich,inturn,reflectsabroadershiftfromanunderstandingoftheworldas a ‘cosmos’, a world of experiential and generational continuity permeatedwithmeaning,totheworldasa‘universe’,aplacewithoutinherent,preordainedmeaningandgovernedbytheprincipleofentropy.Thispaperwillarguethat,againstthebackgroundofthegradualerosionoftheculturally-positivemeaningofcyclicaltimeduringSchubert’slifetime,afundamentalaspectofthedialogueundertakenwithsonataconventioninthefirstmovementofD.960isthetensionbetweentherotational(asaculturalsignifierofrejuvenation)andtherectilinear(as a signifier of entropy). The movement’s hexatonic and octatonic cycles give risetoamarkedtendencytowardsequilibrium-inducing,or‘entropic’,harmonicmotion, of which its hexatonic poles are the most celebrated examples. Inanalytical commentary,however, the formal role of suchharmonic eventshasnotalwaysbeensufficientlyconsidered.Theanalyticaldiscussionpresentedherewillfocusontherelationshipbetweensuchharmoniceventsandformalstructureintheexpositionalanddevelopmentalrotations,withparticularattentiontotheconsequencesoftheexposition’sfunctionally-misplacedmedialcaesuraandtherecuperative task of the secondary theme zone.

Friday 15:30–16:30: Session 3bo’callaghan room: Music Theory: Origins

Chair:ProfessorYoTomita(Queen’sUniversityBelfast,UK)

Dr Nikola Komatović(IndependentScholar,Serbia)‘WhereWasIBorn?:TheQuestionofanUnambiguousOriginoftheOctatonicScale’

In the nineteenth century, various ‘exotic’ scales began to find a foothold inthe opuses ofmanyWestern composers.Among them is a scale that has haddifferent names in different traditions, although it has always kept the samestructure: Istrian scale, Pijper scale, Korsakov scale,Messiaen’s secondmodeandthegloballyacceptedterm–coinedbyArthurBerger–theoctatonicscale.NikolaiRimsky-Korsakov(1844–1908)wasoneofthefirsttoemphasizehisownconscious use of the octatonic as a reference system. Composers,music historians andmusic theorists (such asBoleslavYavorsky,JosephSchillinger,RichardTaruskin,AllenForte,DimitriTymoczko,KofiAgawuetc.)areusuallyinaweoftheimportanceoftheoctatonicscale,buthavesofarofferedveryfew–andverydifferent–theoriesaboutitsorigin.Whatwedoknowfor certain is that for centuries it found a fertile ground in Slavic countries and fromtherespilledintotheWest,firstofalltoFrance,whereOlivierMessiaen


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(1908–1992)acknowledgeditsRussianorigininhisseminaltreatiseTechnique de mon langage musical (1944).However,thereareindicationstosuggestthatthis scale had not originated exclusively in that region. Therefore this paper will attempttodiscerniftheoctatonicscalehasanunambiguousplaceoforiginand,ifso,whereitmightbelocated.

Professor Xavier Hascher(StrasbourgUniversity,France)‘Rameau’s“ChordsbySupposition”andtheUnravellingofRavel’sHarmony’

In its attempt to rationalise harmonic material, nineteenth-century theoryreducedallchordstostacksofthirdsofwhichthelowestnoteispositedastheroot,alsogivingitsnametothewhole.Thus,forJelensperger–whosetreatiseinspiredReber’s,whichinitsturnservedasabasisfortheteachingofharmonyattheParisConservatoire–‘achordisanassemblageof2,3,4or5differentnotes,alltakenfromthesamescale,whichcanbearrangedinasuccessionofthirds’(1830,p.12). Suspensions introduce dissonant combinations that differ temporarilyfromthistemplate,yetresolveintoit.Tripleandquadruplesuspensions,whichgiveriseto‘toniceleventh’or‘tonicthirteenth’chords,areofparticularinteresthere. Jelensperger notates them as follows: Required parameters aremissingor incorrect‘whereallthenotesofthe 5̂ chord[hereaminordominantninthinA]areheldabovethe1[tonic]chord’(pp.96–97).However,onlytherootofthelatterisimplied,beingatfirstplacedunderneaththedominantharmonyasan‘addition’ to it (Reber1862,p.158). Inhis1722TreatiseRameau labelledsuchaconstruction ‘chordofthesuperfluousseventh’andclasseditinthecategoryof‘chordsbysupposition’,whichincludedninthchordsand,moregenerally,allchordsgreaterthantheoctavewhichforRameaumarkedthe‘boundaryascribedtochords’.Wheneverachordexceedsthisboundaryithastobeassumedthatanotehasbeenaddedathirdorafifthbelowtheactual,‘supposed’root,whichisthereforedistinctfromthislowernote.Thispaperaimstoshowhowthisnotion,typicaloftheFrenchBaroque,canbefruitfullyappliedtothecontextofRavel’smusic,wherechordscommonlyspananintervalgreaterthantheoctave,yieldinginteresting insights into the functionality of such chords.

Friday 15:30–16:30: Session 3cgillen room: Irish Country Music

Chair:DrLauraWatson(MaynoothUniversity,Ireland)

Christina Lynn(DundalkInstituteofTechnology,Ireland)‘The Road Less Travelled: Thematic Analysis of Susan McCann’s MusicalOutputofthePast50Years’

Thematic analysis is the process of identifying patterns or themes within qualitative data. This paper will investigate themes and patterns that existwithin the output of one female performer of Irish country music. Thematic analysiswillallowforqualitativeanalysisontwoseparatelevels,semanticandlatent.Semanticthemesareassociatedwithsurfacemeaning,wherethe‘analystisnot lookingforanythingbeyondwhat iswrittenorsaid intext’ (Braunand


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Clarke2006,p.84).Latentthemeslookbeyondthewordsandstartto ‘identifyor examine the underlying ideas, assumptions and conceptualisations – andideologies–thataretheorisedasshapingorinformingthesemanticcontentofdata’ (ibid.).Thematicanalysis’smainobjectiveistoidentifythemesorpatternsthat exist within a given context. By utilising this method which Braun and Clarkehavedevisedthispaperwillexaminebothsemanticandlatentthemesin order to gain a further and more informed understanding of the musical output of Susan McCann. Additionally it will aid in one of my aims: to gain an understanding of how McCann’s music was reflective of the culture and society of Ireland at the time of its release.

Dr Stan Erraught (UniversityofLeeds,UK)‘TheCountry’n’IrishProblem’

CountrymusicremainsextremelypopularinIreland,althoughperhapsbecausethis popularity is concentrated in the north and west of the island and away fromthemajorurbancentres(Millar2014,p.20)itreceiveslessattentionthanitmightmerit,bothinpopularmediaandinpopularmusicscholarship(seeforexampleO’Flynn,2009;Smyth,2005).Thispaperformspartofawiderresearchproject, still in itsearlystages, thatwill investigate threekey themesrelatedtothe“Country‘n’Irish”scene:(i)WhydidagenrethatwasoflimitedappealelsewhereinEuropebecomesopopularinIreland?(ii)Howdidthemusicbusinessin Ireland develop around countrymusic, and did this – as is often argued –retardthegrowthofanindigenouspopandrockscene?AndhowdoestheIrishcountrymusicbusinessoperatenow?(iii)WhoandwherearetheaudiencesforIrishcountryartistsnow–inIrelandandamongthediasporicIrishpopulationsintheUKandelsewhere?This paper will concentrate on the first of these: I want to look at contemporary sourcestolocatethepointatwhichasubsectionoftheshowbandscene–aquiteseparatephenomenon,alsosomewhatpeculiartoIreland–movedfromofferingmulti-genre entertainment to becoming specifically country-focused. I arguethatthesomewhatunder-examinedbelief inthecapacityofAmericancountryto resonate with a predominantly rural and socially conservative audience in Ireland, and the supposed correspondence and pattern of influence betweencountryandtheballadtraditionoftheseislands,needstobeinterrogated.Mytentativeviewisthat–aswithmanymusicbusinessphenomena–therewerecontingentandevenaccidentalelementsatplay,andaninvestigationofthewaylive and recorded music were managed and marketed in Ireland in the early to mid-1960s,alookatsomekeyfigures,andaconsiderationoftheresponsetotheoccasional touringUSartistsmighthelpus tobegin topiece togetheramorenuanced and materialist picture.

Saturday 9:00–10:30: Session 4ao’callaghan room: Seventeenth- andEighteenth-CenturyStudies: Individualand Generic Considerations

Chair:DrMichaelLee(TrinityCollegeDublin,Ireland)


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Dr Estelle Murphy(MaynoothUniversity,Ireland)‘“AndIsThereOneFanatiqueLeft?”:AnticipatingAbsolutismintheRestorationCourt Ode’

TherestorationofCharlesIIin1660isaneventthathasfosteredinterestfromscholarsacrossamultitudeofdisciplines.UnderstandingtheculturalaspectsofRestorationpolitics–themusic,poetry,visualandotherartsproducedatthistime–isafacetthathasprovenchallenging,notleastbecauseoftendenciestodismisssuchelementsasfrivolousatworstandreflectiveandinconsequentialatbest.A lack of extant works performed at the Restoration festivities has added to this challenge.Formanyyearstheonlysecularmusicidentifiedhasbeenthesolosong‘Welcome,WelcomeRoyalMay’byAlexanderBrome,settomusicbyMatthewLocke.Evidenceofamuchlargerwork–thetextofafullodebyJamesShirley,settomusicbyCharlesColeman–shedsnewlightonthere-establishmentofmusic at the Carolean court.ThispaperwilltakethisfirstodeforthekingattheRestorationand,followingAndrewR.Walkling’srevisionistapproachtounderstandingtheculturalaspectsofRestoration politics,will demonstrate the importance suchmusical outputshad for rebuilding themonarchy’s status. Itwill argue that suchactivitywasin fact indicativeofCharles II’s efforts towards creatingamore court-centredand royalist system of government than has previously been acknowledged.Moreover,itwillshowhowtheodeasagenreembodiedaspectsoftheabsolutismthatwouldemerge later in thereign,servingasan importantmeans throughwhichthecourtachieveditspoliticalobjectives.

Dr Antonio Cascelli (MaynoothUniversity,Ireland)‘NicolaVicentinoandtheMetaphoroftheNudeFigure’

The paragoneoftheartsisadiscourseaboutmusicandvisualcultureswidelyspread in renaissance Italy. Theorists, artista and writers from Leonardo to Comanini,fromVicentinotoZarlinoexploredthepotentialitiesoftheparagone asawaytonegotiateandconstructmeaning,viewingmusicandtheartsaspartof a continuous sensory experience. Among the various examples there is one which deserves particular attention. In his Antica musica ridotta alla moderna pratica (1555)Vicentinocomparesthedifficultyofwritingtwo-partcounterpointtothedifficultyofdrawinganudefigure,inoppositiontothe‘relative’easinessoffour-orfive-partcounterpointandafullyclothedfigure.ThesamemetaphorisrepeatedafewyearslaterbyOrazioTigriniinhisIl compendio della musica (1588).Dealingwithametaphoricallanguagealwaysraisesthequestionwhetheritisonlyawaytoembellishthediscourseoriftherearedeeperlayersofmeaningin terms of cognitive and cultural dynamics. The aim of this paper is to explore the significance of this particular analogy in the context of the renaissance interest in thenudefigureandthecriticaldebatesaroundit(GiorgioVasariandLudovicoDolce),alsothedevelopmentofsolosongswithinthetraditionofwrittenmusicandtwo-partcounterpoint,leadingthentothedevelopmentofoperaacrossthesixteenth and seventeenth centuries.


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Saturday 9:00–10:30: Session 4bo’callaghan room:IrishPublicMusicalCulture

Chair:DrAxelKlein(IndependentScholar,Germany)

Dr Joe Kehoe(IndependentScholar,Ireland)‘ThemeandVariations:BorderCrossings in theStory of theRadioÉireannSymphony Orchestra’

Bordersandboundariesexistatmanyontologicallevels,fromthemostabstract,etherealrealityoflinesinEuclideanspace,tothecartographicleveloflinesonamap, to themost concrete – sometimes literally concrete – level of physicalbarriersandwalls.Increasinglythetopicofnationalbordershasbecomethefocusofacademicdiscussionoverawiderangeofdisciplinessuchashistory,geographyandpolitical science.Moreover,evenoutside theworldof scholarship,bordersand thehuman impact of suchborders, fromBrexit toTrump’swall, arenowthestuffofnewsstoriesonadailybasis.Fromthemid-1940sontheorchestraof Radio Éireann underwent very significant development and expansion. Takinganinternationalperspective,andtouchingoncold-warpolitics,culturaldiplomacyandcommunicationstechnology,thispaperexploreshowinthemid-twentiethcenturyborders,bordercrossersandbordercrossingsfeaturedinthestory of that development. In particular this paper examines the context of the developmentoftheorchestraincludingthedesirabilityofestablishingashort-wave broadcasting service as a remedy for Ireland’s post-war isolation; theconsequentneedtorecruitorchestralmusiciansfortheradioorchestra;andthefactorswhichmotivatedEuropeanmusicianstocometoIreland,thenseenasahavencomparedtomanycountriesincontinentalEurope.Alsocoveredinthispaper are the events surrounding the forced resignation from Radio Éireann in 1948ofdirectorofmusicMichaelBowlesandhissubsequentemigrationtotakeup a foreign conducting post.

Dr Adrian Scahill (MaynoothUniversity,Ireland)‘SupportingandShapingCreativityintheRecordingofIrishTraditionalMusicAlbums’

MorethansixtyyearsafterthefirstLPsoftraditionalmusicwereissued,thealbumformatenduresasthepredominant(andgenerallysole)recordedartisticoutputoftraditionalmusiciansandgroups.Albumsaremarkedwithlaunches,advertised through different media, reviewed in newspapers, magazines andacademicpublications,andformthebasisforthemajorityofthediscographiesofIrishtraditionalmusic(e.g.Carolan1987;Carolan,McDermottandSmith2001).All of thisunderlineshow thealbum is an important cultural artefactwithinIrishmusic,yetlittleattentionhasbeengiventohowthealbumisconceivedasa particular type of creative artistic endeavour within traditional music and how thealbummightbeconsideredasatypeofmusicalworkwithinthetradition.Thispaperexamineshowtheconceptualizationofthe‘albumaswork’mayhavebeenshapedbytheavailabilityofaspecificfundingstream,theDeistraditionalartsscheme(2005),andthelaterDeisRecordingandPublicationAward,whichfocuseson‘therecordingorpublicationofwork’(www.artscouncil.ie).Itconsiders


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how the criteria for the award direct musicians into creating works with particular canonicvalues,whichmayconsequentlyleadtothecreationofatypeof‘instant’canon. Finally the paper reflects on whether the funding supports or hinders thetypeofagencyandautonomywhichLeahO’BrienBernini(2016)arguesarecentraltoculturalproductionandtotraditionalartists’well-beinginanageofneoliberalcapitalism.

Maurice Mullen (DundalkInstituteofTechnology,Ireland)‘TheFlowandEbbofTraditionalMusicPracticeinFingal’

This paper critically considers the impact of demographic change and urbanisation on music-making in Fingal with a focus on Irish traditionalmusic.Fingalisnotedforthepresenceoflocalstrongholdsoftraditionalmusic-makingandfortheenduranceofsomelong-standingcommunityartstraditions,suchasmummers atChristmas time, piping and singing.The growth of newcommunities has challenged the identity and prominence ofmore establishedgroupsandcontributestoafluctuatingengagementinIrishmusicaltraditions,a pattern that precedes the intense demographic change of the past two decades. EstablishedmusiciansandotherpartieswithaninterestinthetraditionshavesettledinFingalaspartofinwardmigrationtothecounty,augmentingexistingmusicalactivitiesandcontributing to change in traditionalmusicpractices intheir localities. The paper will examine the development of the music and community interest in thetraditionsinkeylocalitiessuchasBallyboughalandSkerriesoverthepast30years. This will include a consideration of relevant models defining communities ofpractice,musicscenesandapproachestocommunitydevelopment,asameansofbetterunderstandingandtheorisingimpactsofebbsandflowsinthepopularityand place of Irish traditional music practice over time in these localities.

Saturday 9:00–10:30: Session 4cgillen room: Church Music

Chair:DrDarinaMcCarthy(MaynoothUniversity,Ireland)

Dr David Connolly(DundalkInstituteofTechnology,Ireland)‘GigoutandGuilmant–ANewApproachtotheIntegrationofChantandOrganinNineteenth-CenturyFrance’

Asthemiddleofthenineteenthcenturyapproached,therewerechantreformerswho were interested in the improvement of the organ repertoire. Building on the integrationofLutheranchoralesintothemusicofBach,musicologistssuchasDanjou and Fétis were promoting integration of plainchant into organ music. TheseideasaidedtheworkofAlexandreBoely,EugèneGigoutandAlexandreGuilmant,andhelpedtoallowtheorganandchantrepertoiretoevolve.ToquoteGuilmant: ‘‘The German organists have composed some pieces based on themelodyofchorales,formingaliteraturefororganwhichisparticularlyrich;whyshouldwenotdothesamewithourCatholicmelodies?’The influence of the Schola Cantorum in the development of organ music


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more suited to the Solesmes ideas in terms of flexibility of rhythmand tonalstructurewillbeexplored,andtheimpactthattheseadvanceshadonthefuturedevelopment of chant-based organ repertoire by composers such as CharlesTournemire(1870–1937)willbeassessed.

Eleanor Jones-McAuley(TrinityCollegeDublin,Ireland)‘GenevanPsalmTunesinEighteenth-CenturyDublin:ACross-DenominationalRepertory’

TheGenevanPsalterof1562wasnotonlyaworkofgreatreligioussignificancebutalsooneof themost influential churchmusic collectionsof theProtestantReformation. Its 126 distinct tunes, designed to complement the poetic psalmtranslations of Marot and Beza, spread throughout Europe along with Jean’Calvin’sReformedreligion.Manyofthese‘‘Genevan’jigs’,asonecontemporaryobserverdescribedthem,wereadoptedbythechurchesofEnglandandScotlandand became a central part of those church music traditions in turn. DutchCalvinists brought the tunes with them to the American colonies. Genevanmelodies even made their way to the Sultan’’s court in Ottoman Istanbul,renderedintraditionalTurkishstylebyaPolish-borncourtmusician.This paper will examine the Genevan psalm tunes as they were sung and heard in eighteenth-century Dublin, a city deeply divided along religious lines. Inparticular itwill compare theuse of theGenevan tunes in the city’’sFrench-speakingHuguenot congregationswith that of theparishes of the establishedchurch,wheretuneslikethe‘OldHundredth’(thenameitselfareferencetoitsoriginal place in the Genevan Psalter) were mainstays of the metrical psalm repertory.Dublin’’sPresbyterianandBaptistcommunitiesmadesimilaruseofthe tunes in their musical practice. The Genevan melodies thus represented a pointofcommonalitybetweenDublin’sdifferentProtestantgroups,despitethetheological,politicalandevenlinguisticdifferencesthatdividedthem.

Saturday 11:45–13:15: Session 5abewerunge room:Schubert’sSurroundings(Friends,Critics,Audiences)

Chair:ProfessorXavierHascher(StrasbourgUniversity,France)

Professor Lorraine Byrne Bodley (MaynoothUniversity,Ireland)‘ArsetAmicitia:TheAestheticsofFriendshipinSchubert’sCircle’

WhereasthecultoffriendshipandtheaestheticdiscourseofSchubert’scirclehaveeachseparatelyreceivedafairamountofscholarlyattention, a more thorough examinationoftheaestheticsoffriendshipontheformationofSchubert’sworksis needed. Schubert’s compositions and correspondence offer insight into theintimateconnectionsbetweenfriendshipandtheaestheticsoftheperiod,notonlyduetotheextenttowhichsuchdiscoursesresonateinhismusicaloutput,butalsobecauseofhowuniquelyheregardsmusicalactivityitselfasfriendship.Thispaperwillre-examineSchubert’srelationshipwithSchoberandengageinclosereadingsofavarietyofhisvocalmusicandworksforpianofourhands,amediumwhichAlfredEinsteinnotedis‘symbolicoffriendship’.Throughthiswewillcome


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to a greater understanding of the extent to which the discourses of friendship and aesthetics intersect with and fundamentally affect one another with particular intensity inSchubert’smusical practice andproduction.Wewill also discoverhow friendship emerges asSchubert’s preferredmode for conceptualizing andshapingthecomplexrelationsbetweenacomposer,hisartandhisidealaudience.

Dr Marie-Charline Foccroulle (Independent Scholar, Germany), 60-minuteLecture Recital‘PurposesandNecessityofLengthintheFirstMovementsofFranzSchubert’sLast Three Piano Sonatas’

The doctoral thesis in music performance I did at the Royal Irish Academy of Music inDublin looksat the interpretationof the firstmovementsof the lastthreepianosonatasofLudwigvanBeethovenandFranzSchubert.Schubert’streatmentofsonata-formmovementswasabundantlycriticisedinthepast forits length and lack of inner organisation. It is only recently that opinions on Schubert’squalitiesofcomposition,seenanteriorlyasanimperfection,havebeenchallengedandstartedtochange.ThelengthinSchubert’spieces,forexample,isnowseenbyscholarsasabrilliantqualityofhismusic.Based on the research found in the doctoral dissertation this presentation focuses on the firstmovements of Schubert’s piano sonatasD.958,D.959 andD.960.Itexplainsthatspecificpurposesjustifythepresenceoflength;itshowsthenecessity of length inSchubert’smusicaswellas its essential role in thedevelopmentofthegeneraldiscourseofthemovements.Inparallel,andhelpedbymusicalexcerptsofthemovements,thislecturerecitaldescribesthepositiveimpact that length has on the interpretation and reveals the coherence it creates throughoutthemusic.SupportedbytherecentbutsuccessfulreassessmentbyscholarsofSchubert’scritics,thepresentationhelpsperformerstobeawareofthereasonsthatarebehindthelengths.Consequentlyitbecomeseasiertounderlinethesereasonsintheperformanceandthereforetomakethemunderstandableforthelistener.OnlythendoeslengthgetitsfullmeaningandbecomeasignificantexpressivefeatureofSchubert’smusic.

Saturday 11:45–13:15: Session 5bo’callaghan room:DublinattheEndoftheNineteenthCentury

Chair:ProfessorFionaM.Palmer(MaynoothUniversity,Ireland)

Eoghan Corrigan (UniversityCollegeDublin,Ireland)‘MusicattheAbbeyTheatre:APreliminaryAssessment’

ThepresenceofmusicinIrishtheatrehasbeenwidelyacknowledged,butneveradequatelyexplored.Although theAbbeyTheatremay justifiably lay claimtobeingIreland’smostprestigiousculturalinstitution,itisentirelycharacteristicthatnopreviouslypublishedhistoryoftheAbbeyhasincludedmusicwithinitspurview,despitethefactthatsinceitsfoundationin1904musichasconsistentlyfeaturedasavitalcomponentofproductionsappearingonitsstage,actingasanagentofbothpoliticalanddramaticexpression.Thispaperaddressesthislacuna


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inIrishscholarshipandhighlightstheuniquerolemusicologicalstudyplaysinbringing into focus aspects of cultural history otherwise inaccessible to thoseworkingoutsidethediscipline.Ibrieflysurveythechangingbehaviourofmusicthroughoutthenationaltheatre’srichhistoryfromtheearly1900sthroughtothe early twenty-first century in order to identify certain Abbey productionswhichreflectacrucialparadigmshiftfrom‘musicbetweentheacts’to‘creativesoundscape’ in the theatre’s history.

Dr Anne Stanyon (UniversityofLeeds,UK)‘AlmostanIrishman?ArthurSullivan:Perceptions,Contacts,InfluencesandtheGreat,BigDublinConcertof1894’

At 5:30pm on Friday 6 April 1894, following a smooth ferry crossing fromHolyheadandhavingdisembarkedatKingstown,SirArthurSullivanarrivedinDublin.Hemighthavebeenmistaken for royalty, suchwashis statusandreception.Hisvisithadthenatureofatriumphalprogress.HewaslionisedbyDublin society, photographed, drawn, interviewed and pursued by theDublinpress.SullivanwasinthecitytoconductaDublinMusicalSocietyconcert;itwasamajorcouptohaveengagedhim–hewasthemostfamousBritishmusicianofthenineteenthcentury,aconductorwhorivalledRichter,anA-listcelebrityanda household name. Thirty years earlier a twenty-one-year-old Arthur Sullivan arrived, virtuallyunnoticed,onhisonlypreviousvisittoIreland.However,hisfewweeks’vacationduringthesummerof1863wastohavemomentousconsequencesfortheyoungcomposer then on the cusp of fame.Using contemporary newspaper sources, Sullivan’s Diaries and unpublishedcorrespondence,thispaperwillexamineareasofSullivan’scareerthathavenotbeeninvestigatedpreviously: itwilladdressthequestionof identity,theearlyinfluenceandeffectofthatinitialvisituponhiswork,andassesshisforgotten1894appearance,theconcertatitsheartandthecultofmusicalcelebritythatitexemplified.

Helen Doyle (TUDublin,Ireland)‘CompetitionandComposition:ChoralActivityintheFeisCeoil,1897–1922’

By 1910 close to 400 choral performances had been programmed across thefull gamut of Feis Ceoil competitions. In a consideration of the nature of choral activityintheseearlyyears,boththetypesofchoralgroupsandtherepertoirewith which they engaged warrant scrutiny. Trends are apparent in competition listings, including choirs whose conductors enjoyed close links with the FeisCeoil Association, business owners with a penchant for choral singing andcompetitiondesignitself,notablychoralsingingas Gaeilge. Onesuchconductor,DrFrancisKoeller, aBelfastFeisCeoil representative, in 1898 alone pennedaprize-winning cantata and conducted twoprize-winning choirs,whileBrushmanufacturersVarian&Co.wereFeisCeoil stalwarts, representedby choralgroupsincompetitionandfamilymembersonmultiplecommittees.NumerousGaelicLeaguebranchchoirswerealsoregularlyrepresented.Thispaperconsidersthefactorswhichinfluencedtherepertoireprescribedfor


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thesechoralcompetitorsintermsofhowsetpiecesweresourced,whatgovernedcommissioning and what was published as a result. Furthermore, given thatFeis Ceoil founder Dr Annie Patterson turned her attentions resolutely to the Oireachtas in1897, thepaperexaminesthenatureofchoralactivityinboththeFeis Ceoil and Oireachtas where,despiteideologicaldifferences,commonalitiesare swiftly revealed.

Saturday 11:45–13:15: Session 5cgillen room: Popular Music Studies

Chair:DrLauraAnderson(MaynoothUniversity,Ireland)

Sarah Lindmark(UniversityofCalifornia,Irvine,USA)‘“Hip Hop Causes Violence”: Arguments and Analyses Concerning ChildishGambino’s“ThisIsAmerica”‘

On5May2018DonaldGloverreleasedanewmusicvideounderhislong-timestage name Childish Gambino. Entitled ‘This Is America’ the video has beenlaudedbyRolling Stone Magazineas‘anightmarewecan’taffordtolookawayfrom’becauseofitsshockingandabruptportrayalsofgunviolence.However,theaccompanyingtrackavailableforaudiostreamingomitsthegunfire.Withoutthevideosomethingbothshockingandintricatelylinkedtothemessageoftheworkas a whole is lost.UsingthewritingofscholarTriciaRoseasastarting-point this paper seeks to unveiltherelationshipbetweenthevideo’smessageanditsportrayalsofliteralandmetaphoricalviolence.AsRosediscussesinherbookentitledThe Hip Hop Wars, for example, the argument that hip hop causes violence has pervadeddiscussiononthegenrefordecades.Gambino’s‘ThisIsAmerica’posesadirectconfrontationtothisidea,althoughtheoutcomeofthedebatehasyettocometofruition.Inresponsetothevideo’squickshiftsfromtrapbeatstoagospelesquebackingtrack,criticshavenotedthatthemusicitselfseemstobeviolent.Thetraphalfofthetrackhasbeenparticularlylabelledassuch,withthePitchfork Reviewcallingit‘menacing’.Doestheviolenceexist,then,withoutthevideo?Bycompilingbothpopularreviewsoftheworkandrecentscholarshiponhiphopasawholethispaperpresentsananalysisof‘ThisIsAmerica’thatrevealsthenewaesthetic of sounding violence.

Dr Laura Watson(MaynoothUniversity,Ireland)‘“Nina Cried Power”: Stories about Nina Simone, Hozier and PerformingActivism’’’

AsdocumentedbyscholarssuchasSalamishahTillet,thereexistsahistoryofUShip-hopmusiciansminingNinaSimone’srecordedcataloguetousehermaterialinnewcontexts.Hip-hopsamplingpracticesforegroundSimone’svoice,therebyensuringhercontinued(albeitmediated)sonicpresenceincontemporaryculture.Morerecently,however,musiciansfromIrelandandtheUKwhohappentoworkin other traditions have explored new ways of engaging with Simone’s legacy. InSeptember2018theIrishsinger-songwriterHozierreleasedtheEP‘NinaCried


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Power’.FeaturingvocalcontributionsfromsoulsingerMavisStaplesthesinglenamechecks more than a dozen performers associated with political protest. As anactofhomage,however,itcentresonSimone,whomHoziercanonisesviathesong’stitleandreferencetothelyricsofher‘Sinnerman’recording(1965).Weeksafter theHozier releaseBritish performer JosetteBushell-Mingo brought herone-womantheatricalpieceNina: A Story about Me and Nina SimonetoIreland,having toured England, Scotland and Sweden in 2016–2018. In this paper Idiscussbothperformances.While addressinghow they functionas tributes toSimone the artist and activist I also argue that their rootedness in contemporary discourseextendsSimone’slegacyfortwenty-first-centuryaudiencesonthissideof the Atlantic. In times of heightened tensions around identity politics it further seems appropriate to reflect on the political legibility of certainmusical acts,namelyherewhatitmeansforHozierasawhiteIrishmantotreattheworkofanAfrican-Americanwomanasculturalinheritance.

Saturday 15:30–17:30: Session 6abewerunge room:Sean-NósSinging:Continuity,CreativityandSong

Chair:SylviaO’Brien(RoyalIrishAcademyofMusic,Ireland)

Dr Steve Coleman(MaynoothUniversity,Ireland)‘Mediation,Alterityand“Life”intheSean-NósSongTradition’

Whatdoes itmean foramusicalperformance,genreor tradition tobe ‘alive’?Thispaperinvestigatesthewaysthatsemioticideologies,e.g.culturallyspecificideas about the transmission and mediation of cultural forms, influence thecreationandreceptionofmusic.Isuggestthatwhatwehearinmusic,andwhatperformers produce as music, includes complex sets of relationships betweenpersons,historicalfiguresorpersonae,andthematerialperformed,initssonicand linguistic immediacy. I argue that in Irish traditional music performance whatisconsideredthe‘life’ofaperformance,agenreorindeedawholetraditionhasbeenevaluatedintermsofthewaysthatidentities(ofperformer,audience,etc.)areconnectedtoalteritieswhichmayormaynotbemadepresentatthemoment of performance.

Stephanie Ford (MaynoothUniversity,Ireland)‘Sean-NósandIrishContemporaryMusic:SingerPerspectivesonCollaborationand Creativity’

Historical perceptions of sean-nós singing in academic literature frequentlyportraythegenreasthepreserveoftheGaeltachtareas,itspracticebestsuitedto community-focused performance settings. Gaelic League nationalism andgovernment policy at the beginning of the twentieth century have helped tomaintaintheseperceptions,imbuingsean-nóswithasenseofmarginalitybothwithin and outside of traditional music. However,contemporarysean-nóspracticehasexperiencedafundamentalshiftinrelationtoitsperformancecontexts.Particularlyneglectedhasbeenitsuseinthetwenty-firstcenturyinIrishcontemporarycomposition,whichdrawson


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the traditional voice as a starting point formusical collaboration. This paperwill investigate how sean-nós practices are used in the compositional processinthesecreativecollaborations,drawingonmyownethnographicresearchandfocusing on singer perspectives and experiences in particular. I argue that such collaborations operate as sites of negotiation and exploration for the creativeidentityofsean-nóssingers,aswellasinrelationtothegenre’spositioningasamarginal practice within Irish musical culture.

Saturday 15:30–17:30: Session 6bo’callaghan room: Concepts of Gender and Magic

Chair: DrEstelleMurphy(MaynoothUniversity,Ireland)

Cathal Twomey(MaynoothUniversity,Ireland)‘Diana and Endimione as Celibate Lovers: Celibacy, Pleasure and GenderDynamics in Cavalli’s La Calisto’

TheGreekmyth of Endymion, a shepherdwho fell in lovewith themoon, isattestedasearlyas200BCE.Themoon’sgoddess reciprocated,butaswritersbegantoshifttheroleoflunardeitytoDianathestorybecameconfusing.Howcouldthisgoddess,famedforchastity,formhalfofaniconiccouple?InLa Calisto,a 1651 operatic adaptation of the myth, Endimione and Diana resolve thatconfusionwithasimplerealisation:thatbodilypleasure,evenwhenpartnered,neednotnecessarilybesexual.Releasedfromatraditionalstatusasprecursorstocopulation,theactsofkissing,andtoalesserextentofcaressingandembracing,acquire new weight for the couple as mutually pleasurable experiences andasameans to explorenew formsof identity-expression.Simplyput, ‘foreplay’becomesanend(theend)initself.Throughtheirromantic,sensual,butsexlessrelationship,Diana andEndimione reconcile apparently binary opposites intocomplementaryfacetsofacoherentidentity:thecelibatelovers.This paper argues that the relationship thus queers normative concepts ofintimacy andcelibacy,andthattheopera’screatorsdrewonwell-knowntropesof their genre to convey this unconventional nature. The paper examines the complex interactionsofgender, statusandagency in theopera,attempting toexplainwhyDiana, the story’s only fully divine celibate, is also the only oneto reconcile celibacy with partnered pleasure. Finally it posits La Calisto as a moment in the spotlight for one of Venetian opera’s least-discussed stockcharacters: the sworn virgin.

Shauna Louise Caffrey(UniversityCollegeCork,Ireland)‘OtherwordlyThresholds:LiminalityandMagicinHenryPurcell’sThe Fairy Queen’

Thehistoryofmusicandmagic is one that isboth longandstoried.From itsearliestlinguisticoriginstheactofenchantmenthasbeentiedtothatofsong,magical charms to tunes, andmusic itself to the divine custodians of art andknowledgeinancientGreece,theMuses.FolktalesofEarlyModernBritainandIreland tell of the irresistible power of fairymusic, its ability to transfix and


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transport those lucky (or unlucky) enough to hear its strains. The year 1692sawfairy-songofadifferentsorttaketothestageoftheQueen’sTheatreinthefirst performance ofHenryPurcell’sThe Fairy Queen.DrawinguponWilliamShakespeare’s A Midsummer Night’s Dream–firstperformedlessthanacenturyearlier–Purcell’sworkseesmusicserveasthelanguageofthemagicalandthemad.InthispaperI illustratethecomplexpositionoccupiedbymagicandfairylorein Early Modern Britain and its relationship to Purcell’s stage music. I willillustrate that Purcell’s use of music in The Fairy Queendefinesbordersbetweenthenaturalandsupernaturalworld, inparallelwithdivisionsbetweenworldsreal and imagined in A Midsummer Night’s Dream,aprocessthatcharacteriseshismusico-theatricalworks.Inordertodoso,theoriesofliminalitypioneeredbyArnoldVanGennepandVictorTurnerwillbeappliedtoexaminemusicaltheatreas a ritual form and the construction of liminal space in The Fairy Queen. The findingsof these literarystudieswill thenbeexaminedcomparativelyagainsttheaforementionedculturalhistorytoascertaintherelationsbetweentheatricaldepictionsofmagicanditssocio-politicalconstructioninRestorationEngland.

Ciara Conway(Queen’sUniversityBelfast,UK)‘TheDistributionofIrishFolkMusicinJohnO’Keeffe’sThe Castle of Andalusia (1782)’

In late-eighteenth-century London the CoventGarden andHaymarket stageswere often occupied with the musical comedies of Irish playwright John O’Keeffe (1747–1833). Critic Thomas Gilliland states that O’Keeffe’s dramas conveyed ‘someofthebestmusicknowntothestage’.O’KeeffeinfacttransmittedIrishtunestocomposershewasworkingwithinLondon,whothentranscribedandadapted them accordingly. This paper will address the wider distribution ofIrish music in O’Keeffe’s comic opera The Castle of Andalusia (1782). Songsin eighteenth-centuryEnglish comic opera often followed a hierarchy: seriouscharacterssanginanItalianmusicalstyle,andcomiccharacterssangfolkmusic.In this work the Irish airs are allocated to two serious roles: Italian soprano Giovanna Sestini and Irish contralto Margaret Kennedy. The unconventional distributionofIrishmusicinThe Castle of Andalusia sees O’Keeffe addressing a fixed notion of musical hierarchy and through this empowering Irish music and identity on the London stage.

Saturday 15:30–17:30: Session 6cgillen room:LateNineteenth-andTwentieth-CenturyMusic

Chair:DrWolfgangMarx(UniversityCollegeDublin,Ireland)

Angelo Pinto (TheOpenUniversity,MiltonKeynes,UK)‘“DieFederistzurHand”:The“Scriptorial”UnfinishednessofMahler’sTenthSymphony’

In the literature on Gustav Mahler it is a commonplace to discuss his music innarratologicalterms.However,thewritingsinthisfield,giventhattheyare


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focusedonlyonthework’s finalversion,donotgiveattentiontotheauthorialdimension of how the composer constructs his musical ‘novel’ through thecompositionalprocess.Instead, inliterarytheorythereisanestablishedtrendof studies that combine narratology with manuscript analysis to explain thehermeneutic enigmas of modernist literary works whose fragmentation suggests their nature of ‘works in progress.’ This kind of approach seems particularlysuitableforMahler’sTenthSymphony,whosemanuscriptincludesperhapsthehighestnumberofsketchesanddraftsexistingforanyofMahler’sworks.Inthiswaywecanreconstructpossiblerelationshipsbetweenstructure,narrativeandthehermeneuticinthecompositionalprocess, fromtheinitialsketchymusicalideas to the draft of the last compositional stage. Indeed this perspective seems to befruitful,asthesameMahlerianliteraturesuggeststhatMahler’ssymphoniesoftenseem,giventheirconstantreworkings,just‘worksinprogress’.With this context inmindmyresearchquestion ishowMahler’sTenth, in itscompositional process, can be regarded as a novel, both from structural andhermeneuticpointsofview.Toanswerthisquestion,firstIwilldefinethekey-conceptsof‘musicnarrativity’and‘musicnarrativization’theoretically.ThenIwillapplytosomekeypassagesofthesymphonymythreestaged‘genetic’approachof sketches and drafts to detect in them textual supports for these concepts. As a result this analysis, with the help of the composer’s letters,will reveal theoriginalpiecesof evidenceofhis intention to represent in the symphony, inameta-referentialplay,the‘workinprogress’ofitscompositionalprocess.

Dr Patrick Devine (IndependentScholar,Ireland)‘Next-DoorNeighboursasaDeterminantofLateStyle:TheDiminishedThirdinAntonBruckner’sSymphonyno.9’

Thelinearintervalofthediminishedthirdismostfamiliarinchord-progressionswhich featuretheNeapolitansixth inacadentialrole,where it is followedbydominantharmony;heretheintervaloccursindescendingform(e.g.inthekeyofCmajor/minorDb[-C]-B).InthenineteenthcenturycomposerssuchasChopinexploitedpossibilitiesinbothdirections,usuallywithchromaticneighbournotesasagentsoflocalcolour.Onenotablethematictreatmentoftheintervaloccursinthe principal motive of Dvořák’sRequiem.Asaverticalcombinationtheintervalisalsofundamentaltoanotherchromaticchord,theaugmentedsixth,whereinthebasicpositionitisusuallyinverted(e.g.inthekeyofCmajor/minorthechordAb[+C]+F#).Bachrealizedthepotencyofthecombinationinanalternativeposition(inthe‘Crucifixus’oftheMass in B minor),andbythenineteenthcenturyBeethovenandespeciallySchubertwouldexperiment with this arrangement of the chord, although in an enharmonicvariant,asalocaldominant6–4–2.Brucknerinheritedthisworldofsoundandenrichedthepotentialofbothlinearand vertical orientations of the diminished third in hismusical language.Healso recognized its expressive tension in his fugal writing. As he wrestled with the composition of his final symphony his increasingly emancipated approach to tonalharmonyfoundnewcontextsforthisinterval,andthesemaybeidentifiedas markers of a late style.


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Johanne Heraty(IndependentScholar,Ireland)‘MicrotonalityinEzraSims’sIm Mirabell’

EzraSims(1928–2015)wasanAmericanmicrotonalcomposer.In1944Sims’sattempt at setting Death by Water highlighted his desire for a more minute division of tonal intervals. In this particular setting it was a need to add more pitcheswithinaminorthird,morethanthediatonicscalecouldprovide.ThisisthefirsttimeSimsbecameawareofthesesmallerdivisions;however,hisscalewould not come to fruition until years later. AsJuliaWerntznotes,‘SimsneithercomesfromthetraditionofthoselikeAloisHábaandJulianCarillo,whoexpandedthemodeloftheequal-temperedscalewiththeirmicrotonalchromatics,norbelongsproperlywiththejustintonationschoolanditsverystrictadherencetoprinciplesbasedupon“acousticalfact”‘.Sims’ssong-cycleIm Mirabell,writtenin2006–2008,isbasedontextsbyGeorgTraklandFriedrichNietzsche.InthispaperIwillexplorethe18-noteasymmetricalmicrotonal scale Sims employs and how it is used with the composer’s final piece. In addition this paper will demonstrate Sims’s creation of his own notation system and his theory of microtonality.

Nadine Scharfetter (UniversityofMusicandPerformingArtsGraz,Austria)‘The Interrelationship between Psyche and Body in Dieter Schnebel’sExperimentalMusic’

InfluencedbyperformancesofJohnCage’sworks inEurope in the1950s, theGerman composer Dieter Schnebel started to compose experimental musichimself. His interest in experimental music was awoken by the fact that itofferedopportunitiesthatdeliberatelysubvertedthetraditionalunderstandingof composing and performing a musical work. In their experimental works composersdisregardedconventionalcompositional theories, they includednewsound materials and used instruments in new non-traditional ways. In thecaseofSchnebelthisexperimentalapproachmadethehumanbodythefocusofmanyofhismusicalworks.However,Schnebeldidnot limithimself topurelyphysicalaspects.Rather,hewas concernedwithan interrelationshipbetweenthepsychologicalandphysical.ForexampleSchnebel’scompositionsareaboutexpressingmentalprocessesthroughthebodyanditspossibilitiesofmovement.Throughthebodythesementalprocessesbecomevisibleand/oraudible.InmypresentationIfocusontheinterrelationshipbetweenpsycheandbodyinDieterSchnebel’sexperimentalmusic.ByanalysingsomeofSchnebel’sworks–for example Maulwerke für Artikulationsorgane und Reproduktionsgeräte or the series of works entitled Psychologia–Idealwiththefollowingquestions:HowistheinterrelationshipofpsycheandbodyimplementedinSchnebel’smusicalworks?WheredoesSchnebel’sinteresttoapplyapsychologicalapproachinhismusicalworksstemfrom?WhataretherequirementsofSchnebel’spsychologicalapproachinhisworksforthemusicians?Forwhomdidhecomposetheseworks:professionalmusicians,amateurmusiciansorboth?


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Sunday 9:30–11:00: Session 7abewerunge room: Artistic Research

Chair:DrAntonioCascelli(MaynoothUniversity,Ireland)

Eilís O’Sullivan (MaynoothUniversity/CITCorkSchoolofMusic,Ireland)‘InitialDirectionsinArtisticResearch’

Social networks and interaction in music performance are areas of growing interest inmusicology.Aconsiderablequantityofworkhasemergedfromthisnewareaof research. This paper presents initial findings and issues arising from doctoral research focused on performances of classical flute repertoire with the musician atthecentreoftheenquiry.Itexploresthepotentialoftechnologytofacilitatemeasurement of the artistic process.This enquirydraws ona larger researchprojectthatexploresthenatureandqualityofactionsandinteractionswithinliveperformances.Itinvestigateshowtomovebeyondtechnicalreproductioninlive performance and how to make these processes explicit. Inherent in this is the central challenge of how to measure music performance. Artisticresearchisanewanddynamicfieldofenquirywithagrowingliteratureinto areas of concern to artist researchers. One of the challenges of artistic research is in findingways to bridge the gap between a sensory activity andthe creation of awritten argument as research (Wesseling, 2017). This paperoutlines previous research done in the measurement of interactions that occur in liveperformanceanddraws initialconclusionsaboutthe issues inherent inthis investigation. Future opportunities and directions are outlined. Performance interaction is an area of interest to all performers. The focus here on canonic flute repertoirewillbeespeciallyrelevanttoflutepedagogyofconservatoirestudents,affordinginsightsintoinsiderknowledgeandtheperformers’problematizationof the repertoire.

Sylvia O’Brien(RoyalIrishAcademyofMusic,Ireland)‘TextandMelody inSeóirseBodley’sThe Hiding Places of Love’, 60-MinuteLecture Recital

Seóirse Bodley is one of Ireland’s leading composers with a large output ofcompositions for voice with varying accompaniment. Bodley has evolved his approachtocompositionovertheyears.However,melodicstructureofthevocalline has always primarily served the text. The Hiding Places of Loveisasong-cycleforsopranoandpianothatIcommissionedin2011withfundingfromTheArtsCouncilofIreland.ItissettoatextbytheIrishpoet,playwrightandtranslatorSeamusHeaney,whoreceivedtheNobelprizeforliteraturein1995,selectedfromhisworksThe Spirit Level and District and Circle. Ipremieredthissong-cyclewithSeóirseBodley(piano)on8May2011attheHughLaneGalleryDublininthepresenceofSeamusHeaney.The lecture recital will present an overview of Bodley’s vocal works to date and explore thesong-cycleThe Hiding Places of Love in detail with a performance of several songs from the work. I will discuss the varying styles of melodic composition that Bodley demonstrates in this work and how the common feature of each style is to serve the word as primary focus. I will discuss Bodley’s choice


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ofpoemsandtreatmentofthevocalrange,register,tessituraandtextfocusingon issues relating to my vocal range and dynamic used within this piece. I will discusstherelevanceofcollaborationbetweenperformer(recreativeartist)andcomposer(creativeartist),composerandpoet,andfinallythatofrehearsalandperformance with the composer.

Sunday 9:00–11:00: Session 7bo’callaghan room:Aren’tWeAllEthnomusicologists…?

Chair:DrAdrianScahill(MaynoothUniversity,Ireland)

Dr Javier Campos(IndependentScholar,Spain)‘Illustrious Peasants: The Inherent Value of Popular Bagpipe Melodies inClassical Composers’

ThepastoralrevivalthatspreadthroughoutEuropeintheEarlyModernperiodpopularizedpopularisedbagpipecitationsinculturedmusic.Winternitz,LeppertandOberlanderattributeittotheadoptionoffolklorewithintheframeworkofArcadianBaroqueandgallantsplendouraesthetics.Theinstrumentwasrarelyincluded in thescoreorperformedonstage;evocationsportrayedbagpipesbyimitatingthedroneswithstrings,withstereotypedbeats,restrictedpitch-rangemelodies and other formal elements.Bagpipes became an affable brushstrokeincomplicitywiththepeasantworld.However,therearereasonstoconsiderarelevant unevenness in this fashion and put forward a different causality. Thispresentation firstlyaimstoevincehowbagpipes featuredprominently inoutstanding pages of the history of music in examples by Corelli (Christmas Concerto),Vivaldi(‘Spring’fromThe Four Seasons),Bach(Christmas Oratorio),Handel (Messiah, twice), Mozart (Bastien und Bastienne), Haydn (Symphonyno.82), Beethoven (Pastoral Symphony), Brahms (Serenade no.1) and Grieg(Peer Gynt). Neither before nor after this time have bagpipes received suchhonourable recognition by canonic composers. Secondly, this study suggestsas an explanatory theory the closeness of composers to the rural world and its bagpipes (still universal in eighteenth-century Europe). Classical composersmust have heard pipemelodies of inherent beauty and strength; as excellentmusicians they recognized their aesthetic potential, adopting them in capitalfragmentsof their ownproduction.Thisbecomes clear in relevant confessionsbyTelemann,MendelssohnandBartók.Theanalysisofspecificscoresandothersources reinforces the hypothesis.

Deirdre Walsh(UniversityCollegeDublin,Ireland)‘FromJewishFolkMusic’

AlthoughmanyscholarlystudieshavebeenmadeintothemusicofShostakovich,therecertainlyseemstobeagapwithregard tohissong-cyclesandcertainlythe song-cycle From Jewish Folk Poetry. Concentrating on previous studies examiningJewishfolkmusicbyMosheBeregovskyIwillconsiderifShostakovichwassoinspiredbyJewishpoetrythatheintegratedelementsofRussianJewishfolkmusicintohiscompositionforthissong-cycle.


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Speakingmoregenerallyaboutthecompletesong-cycleIwilldemonstratethesignificance of the composition during a time in Russia where Stalin, pieceby piece, was dismantling Jewish culture. I will also study Shostakovich’spositionasa composerduring that time, inparticularhis careerashe fell inandoutoffavourwithStalin,especiallyasacomposerwhowasinStalin’seyes‘contaminated’byWesternculture,aswellasexaminingtheapparentrisksittooktocomposemusicwhichborrowedpoetryfromYiddishculture.Concentratingmypresentationontwocontrastingsongsfromthesong-cycle,songno.1‘LamentforaDeadChild’andsongno.11simplynamed‘Happiness’,andusingmyknowledgeofRussian Jewish folkmusic from the extensive study and song-collecting byMosheBeregovsky,IwilldemonstratethatthereisevidenceofJewishfolkmusicinthissong-cycleaswellasthedistinctlymoderniststyleofShostakovich.

Anika Babel (UniversityCollegeDublin,Ireland)‘Classical Music Memes: Etic and Emic Perspectives on the Portrayal ofClassical Musickers’

The contemporary artefacts of internet memes not only offer humour to the masses on social media platforms but serve as exquisite material insight fordigital ethnographers and musicologists alike. Rather than taking for granted certainsocietalconventionsthisresearchendeavouraimstopinpointsemiotics,traitsandattributesofclassicalmusickers,ashighlightedinmemes,toalludetotheunequivocal(andlargelyuncritiqued)‘othering’ofclassicalmusic:privilege,elitism and whiteness. Through a survey and categorisation of classical music memes,bothfrometicandemicperspectives,egosoftheclassicalmusic(online)communityareputintosharpfocus.Ascontentthatisprimarilyuser-generated,non-ulteriorandnon-commercial,memesmustbeconsidereddifferentlytothemediaoffilm,televisionandadvertisement;thatmeaningandintentionaretobeappraiseduniquelywhenexaminingmemes’tangibilitytoactuality.Justhowaccuratelydomemesportrayclassicalmusickers?

Dr Damian Evans (ResearchFoundationforMusicinIreland,Ireland)‘InSearchofJazz:IrishJazzandDanceBands’

AlthoughjazzhasbeenconsistentlypresentinIrelandsince1918,attentionhasgenerallyfocusedononlytwoperiods,thatofthe‘anti-jazz’periodfromthe1920stothemid-1930s,andthe‘modern’period,usuallyunderstoodasstartinginthe1960sandcontinuinguntil today.Popularmusicstudiesof the interimperiodhavelookedatthemovementsoffolkandtraditionalmusic,whiledancebandsthat provided entertainment throughout the island of Ireland during this period have rarely been researched or even documented beyondnewspaper archives.Recentresearchdemonstrates,however,thatmuchofthejazzactivitiesduringthisperiodstemmedfromwithinthedancebandcommunities.ThispaperassertsthattheIrishdancebandswereanimportantaspectintheevolution of jazz in Ireland. It asks why the championing of a new generation of musiciansinthe1960sledtoacollectivepassingfrommemoryofmusiciansonceheld in high esteem. This paper reports on the first stages of an investigation ofdancebandsupuntil1960,drawing from interviewsandarchival research.


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Fromawiderperspectiveitmakesacasefortheinclusionofdancebandsintheunderstanding of the journey of a national jazz heritage.

Sunday 9:30–11:00: Session 7cgillen room: Merging Compositional Styles

Chair:FedericoFavali(UniversityofBirmingham,UK)

Paul Clesham(UniversityCollegeCork,Ireland)‘ContemporaryCompositionsofIrishTraditionalMusicIncorporatingWesternCompositionalElements:AnExplorationofVariousIrishComposers/Arrangers’

Cross-cultural collaboration between Irish traditional music andWestern artmusicaltraditionshasbeenprevalentoverthepasthalf-centuryandhasgrowninpopularitydue to thegrowingnumberof composerswho intertwinebothofthese traditions in their works. The performance of orchestral music which flourishedinWesterncountriesparticularlyfromthe1700stothe1900shashada profound impact on composition and arrangement in Irish traditional music. ThisisespeciallyevidentinthevastarrayofworksbyvariousIrishcomposersincorporatingIrishtraditionalmusicandWesternartmusicaltraditionsthroughvariousmediums includingorchestras, chamberensemblesand choralgroups.Creative approaches to composition and arrangement in Irish traditional music havebecome fundamental to Irish traditionalperformancepractice inmodernsociety, many of these incorporating Western influences along with variousexamplesofculturalhybridity(McAvoy,2018).Thispaperwillexplorethewaysinwhichcontemporarycomposersnavigatebothofthesemusicalworldsintheircompositionsandarrangements,througharangeofvariousworksandensembles.Withanelaborationofthetopicofcreativityinmusic(Bayley,2017;Hill,2018)and the creative process in Irish traditionalmusic (ÓSúilleabháin, 1990) theaestheticvaluesofcreativeandcompositionalpracticeswillbeexploredindepth,withparticularfocusonhowtheyinteract,co-existandcombinetocreatenewcross-culturalworksdrawingonIrishtraditionalpractices.

Margaret Collins Stoop(TrinityCollegeDublin,Ireland)‘Addressing the Integration of Folk Instruments into Western Art MusicEnsembles’

Folk instruments and their accompanying techniques, which were previouslyconsideredoutsidetherealmoftheWesternorchestra,arenowbeingintegratedintoWesternensembleswithincreasingregularity.Thepresentationwilladdressconsiderations which necessarily arise when incorporating folk instruments into Westernart-musicensembles.Theseconsiderationsinclude(i)emphasison‘sound’attheexpenseof‘behaviour’and ‘concept’; (ii) comprehension of the original context allowing for greaterculturalexchange;(iii)integrationvs.cameoappearance;(iv)whetherornottonotateforthefolkinstrument,andwhichsystemofnotationtouse;(v)tuningsystemsotherthanthatofequaltemperament;and(vi)theexchangeofinfluencebetweenfolkinstrumentsandWesternorchestralinstrumentsasseeninspecific


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compositions.Abriefdiscussionof“NewComparativeMusicology”asoutlinedbyPatrickSavageandStevenBrownwillaidinaddressingthefirsttwooftheconsiderationslistedabove.“Integrationvs.cameoappearance”willbeaddressedthroughtheexaminationofspecificworksasoutlinedbelow.AlloftheaboveconsiderationswillbesupportedthroughthecitationofworksandnotesbycontemporarycomposersJamesDeMars,KevinVolansandDonnachaDennehy,aswellasportionsofmyowncompositions.Otherpresentationmaterialwill include archival transcriptions of original folk tunes.

Dr Emmanuel Ndubuisi Nnamani(UniversityofPortHarcourt,Nigeria)‘AfricanContemporaryArtMusic,CompositionalIdeationandtheDialecticsoftheCanonic“Wall”–CreatingSoundscape,LocatingLandscapeandEvokingthePsychophysicalinUzoigwe’sTalking Drums for Piano Solo’

Is contemporary artmusic limited to a particular geographical space? Shoulditsstudybeconfinedtoanddefinedbydisciplinaryboundariesbasedonmeregeo-morphological standpoints? Do composers’ choices of specific soundscapesdevaluetheircreativity?Canlandscapeandworldviewbecapturedinamusicalscore?Whatistheimplicationofnon-WesternartmusicinamusicologythatiscircumscribedbythewallsofWesternart-musiccanon?Thesequestionspointtothepuzzleregardingthepracticeofcontemporaryartmusic,especiallythosefrom non-Western traditions such as Nigeria. Current discussions on Africancontemporary art music mostly seem not only lost in the dialectics of disciplinary contextualizationbutalsodonotaddressthequestionsraisedaboveforabettercomprehension of the sonic materials in the works of such composers as Joshua Uzoigwe (an African composer). Redressing this gap is the motivation of thepresent discussion.Thispaperattemptstomakeanin-depthexaminationofUzoigwe’spianoworksusing Talking Drums for Piano Soloasareference-point.Theanalysisfocusesontwomovementsofthisfive-movementwork,namely‘Ùkóm’and‘ÉgwuÀmàlà’.The discussion digs into the spiritual and gendered undertones of the movements to highlight their aesthetic fabric and the sonic choices of the composer. Thepaper argues that in these compositions music not only provides a pathway to life-understanding and life-enhancement beyond the notion of absolutism butalsotranscendsthephysicaltoprojectcertainpsychophysicalembodiments.Infact in Talking Drums thecomposerisabletoconstructanddeconstructculturalmeanings and psychophysical connections that provoke new sonic meanings withoutsacrificingthemusico-structuralpermutationsintheworks.

Sunday 14:00–15:30: Session 8abewerunge room: Clara Schumann

Chair:DrJoeDavies(LadyMargaretHall,OxfordUniversity,UK)

Emily Shyr(DukeUniversity,USA)‘A Romantic Model: Relationships between Robert and Clara Schumann’sRomances,op.94andop.22’,30-minuteLectureRecital


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OnthebicentennialofClaraSchumann’sbirthdayIproposeare-examinationofhercompositionalrelationshipwithherhusband,RobertSchumann.Thetwosharedalong,mutuallyenrichingmusicallife,inwhichRobertreliedonClaratoplayhispieces,ClaraenlistedRobertforhelponherworks,andbothliberallyquoted from each other’s compositions and found inspiration in each other.AlthoughClarawasaformidablepianistandtalentedcomposer,sheoftenlackedconfidenceinherabilities;indeedinthededicationofherop.20toherhusbandshewrote‘tomybelovedhusbandon8June1853thisweakattemptoncemorefrom your Clara’. IfwekeepinmindthatClaraundoubtedlylookeduptoRobertasthecomposerofthehouseholdandoftensolicitedherhusbandforcompositionaladvice,andthatbothwrotemusicwithintheromancegenre,thenthequestionofinfluencearises.Robert Schumann’s Romances for Oboe and Piano, op.94 (with an alternateversionforviolinandpiano)waswrittenin1849andpresentedasaChristmasgiftforClara.HerRomancesforViolinandPiano,op.22,writtenin1853,washerlastchamberpieceandraisesthepossibilitythatshekeptherhusband’sop.94inmindasamodelforherwork.Thispaperwillexaminetheformal,harmonic,andmelodic similaritiesanddivergencesbetween the two,aswell aspossiblequotationsandallusions,andwillcontextualizethetwocompositionswithinthebroadergenreoftheromance.

Hannah Millington (OxfordBrookesUniversity,UK)‘ClaraSchumann’sDepictionsoftheNineteenth-Century“Wanderer”’

GermanRomanticpoetry,whichexpressesthemesoflove,natureandalongingfortheinfinite,reflectstheRomantictendencyforintrospectionandabsorption.TheWanderer,asolitaryfigureonaspiritualjourneywhosymbolisesthequestfor the infinite and unobtainable, is depicted in art, poetry andmusic.Franz Schubert’sDer Wanderer(1816)and Winterreise(1827), andRobertSchumann’sDichterliebe(1840),areparadigmaticinthegenre.ClaraSchumann’sLiederoutputisrelativelysmall,butthepoetryshechosetosetisreflectiveofthethemesaddressedabove.Der Wanderer and Der Wanderer in der Sägemühle,writtenaround1831–1832,aresettingsofpoemsbyJustinusKerner. Both pieces were published, initially appearing as an appendix toFriedrich Wieck’s Musikalische Bauernsprüche. In 1992 the pieces appearedunderClaraSchumann’snameinacollectionofherunpublishedvocalworks,buttheseLiederhavereceivedlittlescholarlyattention.Kerner’s texts provided intrinsically romantic scenes for Schumann to depict. This paper explores Schumann’s interpretation and setting of the texts, andexamineshowadistinctivesenseofmovementispresentinbothpieces,reflectiveofthejourneyingWanderer.ItalsoexploresSchumann’schromaticallyrichuseofharmonyandthesubtletemporalmanipulationsthatsheemploys.AstudyoftheseLiedercastslightonSchumann’searlycompositionalstyle,showingthatthetwelve-year-oldhadboththematuritytocomprehendthepoeticcontentandthe skill to set the texts.


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Professor Nicole Grimes (UniversityofCalifornia,Irvine,USA)‘FormalInnovationandVirtuosityinClaraWieck-Schumann’sPianoTrioinGMinor,op.17’

ClaraWieck-Schumann’sPianoTrioinGminor,op.17(1846)holdsacontestedplace in the nineteenth-century repertory. One of her finest compositionalachievements,itwasperformedregularlythroughoutthenineteenthcentury.YetitsreputationlanguishedwhencomparedtoRobertSchumann’sPianoTrioinDminor,op.63,composedayearlater.Wieck-Schumann’sTrioisusuallycitedinrecentscholarshipmerelytocontextualizeRobert’strios(Daverio,1997;Nemko,1997)ortoexemplifyhercapacityforwithdrawalintotheprivatemusicalspherebywayofcopingwiththeemotionalandpsychologicaldistresswithwhichshewasdealingwhenshecomposedthepiece(Reich,1985,Rev.2001;Ferris,2004).This paper considersWieck-Schumann’sTrio in relation to recent approachesto the New Formenlehre, givingparticular emphasis to the closingmovement.Thestrikingpianisticvirtuosityofthismovementismatchedbyacompositionalvirtuosity that significantly enhances our understanding of Romantic sonata form. It courts formal innovation not only in the interpolation of a fugato in the developmentbutalsointhetreatmentoftonalitywhich,amongstotherseemingdeformations, flouts what James Webster calls the ‘double return’. Wieck-Schumann’sinnovationsareexploredinrelationtotheSchumannianbeliefthatonlythroughinterioritymightvirtuositybelegitimizedandelevated.ThepaperconcludeswithaconsiderationofWieck-Schumann’sTrioasaformalmodelforSchumann’sPianoTrioinDminorandBrahms’s(original)PianoTrioinBmajor,op.8.

Sunday 14:00–15:30: Session 8bo’callaghan room:French/RussianNineteenth-CenturyPianism

Chair:DrAlisonHood(MaynoothUniversity,Ireland)

Luodmila Podlesnykh (TUDublin,Ireland)‘AlexanderDubuqueandthePedagogicalLegacyofJohnField’

John Field (1782–1837) is still widely recognised as the father of pianism inRussia which was his adopted home. In his own lifetime devotees to his school were tobe foundall overEurope; these included someof themost influentialteachers of the day. Field’s revolutionary methods also had a profound effect on thedevelopmentofarecognisablepianoschoolinRussiawhichprevailstothisdayandwhichpointstoFieldasitsfounder.However,quantifyingField’spianomethodsisnotstraightforward,asheleftbehindnospecifictechnicalexercises.His favouriteandmostdevotedstudent,AlexanderDubuque (1812–1898),diddocumentField’spedagogicalbeliefsthroughhisownmethodbook,Technique of Piano Playing,whichbecameacoretextbookforstudentsinthenewly-openedMoscowConservatoirein1866,whereDubuqueheldaprofessorshipforsixyearsalongsideTchaikovskyandRubinstein.AmongDubuque’sstudentsweresomeprominentRussian composersandmusicians suchasMilyBalakirev,NikolayKashkin,NikolayZverevandHenryLarosh,whoexertedasignificantinfluenceon


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thehistoryoftheRussianMusicSociety,theMoscowConservatoireandRussianmusic ingeneral.ThispaperdrawsonDubuque’sTechnique of Piano Playing and the memoirs of his students to draw conclusions on the main principles of his pedagogical legacy which impacted on Russian pianists and teachers through several generations.

Dr Gregory Marion (UniversityofSaskatchewan,Canada)‘Debussy’sPréludes (Deuxième Livre):“WhereDoWeGofromHere?”’

ThepaperinterpretsincongruousmomentsinDebussy’sPréludes(1911–1912)asnodalpoints,providingentréetoaveilednetworkofembeddedstories.Andyetifuniquefromamusicalperspectivethenotionofstorieswithinstoriesisacentralproposition in postmodern fiction, where the manifest presence of authorialconsciousnessunderpinsacentralaim– interrogatingtheveryactofreading.In this regard Italo Calvino’s If on a Winter’s Night a Traveler (1979) standsascounterparttotheDebussycompositionintestingthefollowingproposition:Calvino’snovelistoreadingwhatDebussy’spreludesaretoengagedlistening.Eachworkmakessportofthemalleableboundariesbetweenpast,presentandfuture, emphasizing that ‘meaning’ transcends chronologyandas such is onlyever provisional.Calvinoenjoinsustoassembleappositethreadsamongthebook’schaptersanditsinterruptivenovellas(novellaswhichappeartobeboundneithertothechaptersthemselvesnor to one another). This powerful clinic on reading benefits fromthefactthatCalvinoinsertshimselfintotheprocessofnavigatingthetroubledinterpretive waters.Debussy’s titles affixed to the conclusion of each prelude parallel Calvino’sinterruptive novellas; more critically, however, Traveler provides a frame of reference forunderstandingthepeculiarsurface-leveldisruptionsencounteredthroughout the preludes; for author and composer alike these non-sequiturmoments represent portals accessing networks of allied but noncontiguousnarratives crisscrossing the entirety of each respective work. In the end the paper advocates challenging the constraints of a linear reality as a viablemeans ofengagingDebussy.

Dr Clare Wilson (UlsterUniversity,UK)‘AndréCaplet:PianistIncognito?’

André Caplet (1878–1925) composed approximately forty mélodies for piano andvoice throughouthis compositional life.Caplet’smodest,often-overlooked,mélodie repertoire contains a range of complex and adventurous settings that place advanced demands on performers. These mélodies,oftensettopoetrybylesser-knownpoets,exploreamultiplicityofthemesandatmospheres,notonlythrough vocal expression, but through orchestral-like, complex and elaboratepiano accompaniments.Despite his composition of sophisticated and adventurous accompaniments Caplet’s repertoire of solo piano compositions is unusually small. The elevated position of the piano in the mélodies, however, gives significant insight intoCaplet’s acute sense of pianism. By addressing the proportions of equality


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and dialogue between the piano and vocal line this paper aims to illuminateCaplet’s creative strategies of piano composition in the mélodie. The exploration of Caplet’s treatment of the piano in this genre is underpinned by analogiesand examples drawn from the mélodies of his contemporaries and successors suchasLiliBoulanger,Ravelandmembers ofLesSix.Framedby thisbroadhistoricalandculturalbackdropthepaperwillconcludewithperspectivesontheimaginativeand inventivepianistic structures embeddeddeep in the fabric ofCaplet’s mélodies.

Sunday 14:00–15:30: Session 8cgillen room:Twentieth-CenturyMusicandVisualCulture

Chair: Dr Gareth Cox (Mary Immaculate College, University of Limerick,Ireland)

Rachael Fuller (BostonUniversity,USA)‘CyborgFeminismandCactusPoliticsinStevenSnowden’sLandoftheLiving’

In2012StevenSnowdenpremieredLand of the Living,acollaborativepieceforamplifiedcactus.Snowdenplaystheamplifiedcactusbyplucking,swipingandbowingthecactus’sfragileneedlesashiscollaboratorRosalynNaskydancesinaninsect-likemanner.TheconnectionbetweenNaskyandthecactus(sometimesnamed Cathy) is deeper upon further speculation: Nasky’s relationship with thecactusextendsbeyondaconnectionbetweenmanorwomanandhumanorplant,insteadblurringthelinesofman,woman,humanandplant.Whenaskedif his cactus on stagewasmore thanan instrumentSnowden responded ‘Thecactusismyduopartner...itkindoflookslikeahumanhead…shetakesonapersonality’.WhenSnowden likenshiscactustoahumanfemalehecreatesatransspeciesconnectionthatdemandsarethinkingofidentity,thebodyandthedomination of other bodies. I interviewSnowdenand examinehis pieceLand of the Living to explore the different levels of human and plant interaction to reinterpret the liberalhumansubject,which forcesustore-examinethewaysin which humans and nonhumans treat each other. We cross boundaries byaccepting different species as autonomous beings that deserve the same levelof respect and agency as humans. WhenSnowdentakescontrolofhiscactushedominatesanotherbody.Hemanipulatesthecactus inordertomake it speak withhisnotation.Iwillexplorehowthebody,whetheritisplayedorplaying,usestouchtounderstandandviolateotherbodies.

Dr Laura Dallman (UniversityofFlorida,USA)‘ProblematizingMichaelDaugherty’sMotorCity Triptych(2000)’

Michael Daugherty’s MotorCity Triptych (2000) is a symphonicwork in threemovementsthatdepictsandpayshomagetoDetroit,Michigan(TheMotorCity).In each movement Daugherty makes musical references to Detroit; however,musicalborrowingsinthefirstandsecondmovementsmakeitdifficulttoviewMotorCity Triptych as a simple portrayal of the city and its iconic institutions. After abriefintroductiontoMotorCity Triptychthispaperconsiderseachborrowingin


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detail,examininghowitmayormaynotconnecttosoundsofDetroit.The first movement, ‘Motown Mondays’, clearly evokes Detroit’s famousrecordingstudio,MotownRecords.Itbeginswithasoul-inspiredriffthatrepeatsthroughouttheopeningsection.YetthisriffisaparaphraseofSamandDave’s‘HoldOn,I’mComin’’(1966),recallingahitsongfromtheMemphis-basedStaxlabelas opposed toMotown.This forcesadiscerning listener toquestionwhyDaugherty might have chosen to paraphrase music from Motown’s competitor. ‘PedaltotheMetal’,thesecondmovement,suggestsspeedydrivinginbothnameand tempo and evokes the factories of the Detroit car industry with metallic percussion and sirens. It opens with a paraphrase of Copland’s Fanfare for the Common Man,thencontinueswithallusionstoMiddleEasternmusic.Atfirstthesemusicalborrowingsmightseemunrelated,buthistoricalanddemographicdocumentsrevealconnectionsbetweenthecarindustry,asuburbofDetroitandArabpopulations.CombinedwiththeparaphraseofCopland’sfanfare,then,theMiddleEasternallusionraisesquestionsaboutthe‘exoticother’andinclusivity.

Dr John O’Flynn (DublinCityUniversity,Ireland)‘Epic and Intimate:Maurice Jarre and the Soundtrack toRyan’s Daughter (Lean,1970)’

Conventionallyviewedbyfilmhistoriansas‘epiccinema’slastgasp’(GenePhillips,Beyond the Epic,2006,p.393),Ryan’s Daughter(1970)canalsobeconsideredanahead-of-its-timefilmictextthatrealisesitsambitiontotranslocateFlaubert’sMadame Bovarytoadifferenttimeandplace.Yetthisapproachcouldbeviewedas inappropriately ‘light touch’ given the film’s historical setting in Irelandimmediatelyafterthe1916rising.Adetachmentfromlocalconcernsalsoappearstoinformthesoundtrack;apartfromtraditionalmusicplayeddiegeticallyduringan early wedding scene, the flavour of Maurice Jarre’s original score can beinterpretedasmoreEmmaBovarythanRosyRyan.In this paper I argue that the soundtrack to Ryan’s Daughter reflects the film’s juxtaposition of the epic and the intimate. Jarre achieves this through original thematic material that at first accompanies the production’s acclaimed cinematographybased inWestKerry,but that then isprogressivelyreworkedto portray psychological aspects of its main protagonists and the relationships thatemergebetweenthem.InasimilarveinexcerptsfromthefirstmovementofBeethoven’s Eflat(‘Eroica’)Symphony,firstheardassourcemusicinintimate,domesticscenes,arelateremployedinanextendedpsychodramasequence;thesecometobeintegratedinacontinuouscuewithoriginalmaterialbyJarreagainstan‘epic’widescreenlandscape.OtherapproachesadoptedbyJarreincludethescoring of pseudo-military cues to augment the screenplay’s ridicule of bothimperialandrevolutionaryforces,andthecombinationofrhythmicentrainmentwith music to convey psychological distress. IconcludebyappraisingthesoundtracktoRyan’s Daughter in light of the film’s eschewalofhistorical-politicalcontexts.

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ORGAN RECITAL, FRIDAY, 28 JUNE 2019

GERARD GILLEN(Professor Emeritus of Music, Maynooth University)

PreludeandFugueinBMinor,BWV544 J.S.Bach(1685–1750)

AndanteinDwithvariations(1844) FelixMendelssohn-Bartholdy(1809–1847)

FugueinC(1839) F.Mendelssohn-Bartholdy

FourSketches,op.58 RobertSchumann(1810–1856)

No.1inCminor,Nichtschnellundsehrmarkirt

No.2inCmajor,Nichtschnellundsehrmarkirt

No.3inFminor,Lebhaft

No.4inDflatmajor,Allegretto

PièceHéroïque CésarFranck(1822–1890)

Arioso LeoSowerby(1895–1968)

Idols(1972) RaymondDeane(b.1953)

GerardGillenistitularorganistemeritusofDublin’sPro-CathedralandprofessoremeritusofmusicatMaynoothUniversity.Hehasgivenover1,000recitalsinacareerthathastakenhimtofourcontinents,actingasamemberofanumberofinternationalcompetitionjuries,andperformingatmanyoftheworld’smostprestigious recital venues.

Professor Gillen was founder-chairman of the Dublin International Organ &ChoralFestival(nowPipeworks)ofwhichhewasartisticdirectorfrom1980to1986andagainfrom1990to2000.HehasbeenhonouredbytheVaticanandbythegovernmentsofFrance,BelgiumandAustria.OtherhonoursincludetheJohnBettsVisitingFellowshipatOxford(1992)andtheawardofadoctoratehonoriscausabythePontificalUniversityofMaynooth,andanhonoraryfellowshipbythe RIAM.

Engagements abroad this year take him to the UK, Belgium, Germany andPoland.

Musicology Today: 17Th annual Plenary conference of The socieTy for Musicology in irelandMusicology Today: 17Th annual Plenary conference of The socieTy for Musicology in ireland


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KEYNOTE LECTURE, SATURDAY, 29 JUNE 2019

‘Dvořák’sFlashbacks’,ProfessorMichaelBeckerman(CarrollandMiltonPetrieProfessorofMusicandCollegiateProfessorofMusic,NewYorkUniversity,USA)

In the coda from the finale of Dvořák’sCelloConcertowehear briefwisps ofthe main theme from the first movement. My talk asks questions about thesignificanceofthispassage,andalsowhat itmightmeanto ‘mean’somethingininstrumentalmusic.These‘flashbacks’,andalsoparallelpassagesfromsuchworksastheTrio inFMinor,PianoQuintet inAandthecomposer’s lasttwosymphonies, raise further questions about a certain conflict inDvořák’sworkbetweennon-referentialandprogrammaticallyexplicitmaterial,andasomewhatspecialzonethatliesinbetween.Thoughmypresentationdealswitharelativelycircumscribedgroupofworksbyasinglecomposer,itismyviewthatthroughthese considerations we may explore broader, increasingly contemporary,questionsabouttherelationshipbetweenmusicandtherestoftheworld.

Michael Beckerman is Carroll and Milton Petrie Professor of Music and Collegiate Professor at New York University. Hehas written on Czech music, film studies,Mozart, form and meaning, orientalism,musicof theRoma,andcomposition inthecamps. He has been a regular contributorto The New York Times,appearedonmanyepisodes of Live from Lincoln Center and has lecturedthroughoutNorthAmerica,Europe,AsiaandAustralia.Asapublicmusicologisthe has given numerous pre-concert talks,and has organized many international conferences and music festivals. Beckerman

hasbeentherecipientofmanyprizesandhonours,includingtwoASCAPDeemsTaylor awards, an honorary doctorate from Palacký University in the CzechRepublic, the Janáček and Dvořákmedals and other awards from the Czechgovernment, a Distinguished Alumni award from Hofstra University and aGoldenDozenteachingawardfromNYU.HehastaughtatColumbiaUniversity,WashingtonUniversity,theUniversityofChicago,theUniversityofCalifornia,SantaBarbara,CentralEuropeanUniversityandCharlesUniversityinPrague.From2011to2015heservedasDistinguishedProfessoratLancasterUniversityinEngland,andhewastheLeonardBernsteinScholarinResidenceofTheNewYorkPhilharmonicfrom2016to2018.HeisauthorofseveralbooksincludingNew Worlds of Dvořák,Martinů’s Mysterious Accident and Janáček as Theorist,andhegavehispreviouskeynoteforthissocietyin2004.


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PLENARY DISCUSSION, SUNDAY, 30 JUNE 2019

‘TheUnemploymentofMusicology’,ProfessorHarryWhite(UniversityCollegeDublin,Ireland)

In Ireland theword ‘musicology’ has begun to recede: it is in a very gradualstate of unemployment. This would not matter in the least if the profession it designateswerenotalsoinrecession,butageneral(andgenuine)reluctancetoconcede musicology as a profession (as distinct from musicology as a discipline) hascontributedtothisdecline.ThesoftpowerofAnglo-Americanusageinthisrespect entails much more than a lexical preference: it reflects instead a pervasive culturalaestheticinwhichmusicisentertainment,andmusicalthoughtalmostacontradiction in terms. In this address I wish not only to adduce hard evidence of thisstateofaffairsbuttoarguethatunlessitisremediedthedeclineofmusicologyasaself-standingprofessionwillcontinueindefinitely.ThisdoesnotmeanthatthestudyofmusicwillbeabandonedinIrishuniversities,butthenatureofthis(musical) engagement will ultimately void the relationship betweenmusic asa subjectandmusicologyasaprofession. Inpragmatic terms theprofessionalstandingofaPhDinhistoricalmusicology,ethnomusicologyortheoryisalreadyunder severe stress, at least to judgeby employmentpoliciesand educationalobjectiveswhichcurrentlyobtaininmanyIrishuniversities,includingmyown.The implications of this stress for recent or current PhD students of musicology deservetobecountenanced.

Harry White teaches historical musicologyand cultural history at University CollegeDublin,wherehehasheldtheChairofMusicsince 1993. He was inaugural President ofthe Society for Musicology in Ireland from 2003until2006andservedonthecounciloftheSMIuntilJune2018.Hislatestbook,The Musical Discourse of Servitude,isforthcomingfromOxfordUniversityPress.


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‘Re-EmployingandRe-DeployingMusicology’,DrNatashaLoges(RoyalCollegeofMusic,London,UK)

Dependingonone’sperspectivethegrowingimplicationsoftheword‘musicology’arediversifyingexcitingly–orbecomingworryinglydiffuse,splinteredintotinyhyper-specialisedcampswithlittlecommunicationbetweenthemandthewiderworld,and/orexcessivelydistancedfromthe‘actual’materialsofmusic(formany,thisisstilltheworldofcomposition,worksandnotation).Butevenwithinthisfragmentationtheplaceofthedisciplineofmusicasbothpracticeandscholarshipis spirallingdownwards,asnumbers taking thesubjectMusicatALevelandintouniversity and conservatoiredecline.Yetwehavemoremusic than ever.Certainly there is a seemingly irresistible pull towards a conception ofmusicasentertainment,politics,sociologyormuchelse(anything,indeed,apartfrommusic).However,ours isnot theonlydisciplineexperiencingprofoundchangeand the dissolution of traditional boundaries in linewith the evolution of themusicalprofession;furthermore,itiswisealsotoacknowledgethecontributionofmusicologiststothissituation.Howdowecommunicate,towhom,andhoweffectively?Forwhatfuturesdoourdegreestrainourstudents,andhowdoweknowtheyarevalid?This responseconsidersa rangeofquestionsmusicologycould–andshould–beaskingifitistohaveafuture.

Natasha Loges is Head of PostgraduateProgrammesattheRoyalCollegeofMusic.Herinterests include concert history, music andliterature, and the life andmusic of JohannesBrahms. Her work has been funded by theArts and Humanities Research Council, theBritish Academy and the Scouloudi Foundation. Her books are Musical Salon Culture in the Long Nineteenth Century (2019), Brahms in Context (2019), Brahms and His Poets (2017)

and Brahms in the Home and the Concert Hall(2014).Hernext,German Song Onstage,will appear in2020.Shehas contributed toMusic and Literature in German Romanticism, The Cambridge Companion to the Singer-Songwriter and The Cambridge History of Musical Performance,andtothejournalsMusic & Letters,Nineteenth-Century Music Review and 19th-Century Music. She has givenkeynotelecturesfortheconferences‘TheIntellectualWorldsofJohannesBrahms’attheUniversityofCalifornia,Irvineand‘ClaraSchumann(néeWieck)andHerWorld’atOxfordUniversity.Natasha performs regularly as a pianist. She also broadcasts on BBC Radio3,writes reviews forBBC Music Magazine and speaks at many festivals and venues,includingtheSouthbankCentre,BBCPromsPlus,SheffieldMusicintheRound,theOxfordLiederFestivalandLeedsLieder.


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CONFERENCE ATTENDEES

DELEGATE AFFILIATION E-MAILDr Adèle Commins Dundalk IT, Ireland [email protected] Adrian Scahill Maynooth University, Ireland [email protected] Alison Hood Maynooth University, Ireland [email protected]

Angelo Pinto The Open University, Milton Keynes, UK [email protected]

Anika Babel University College Dublin, Ireland [email protected]

Dr Anja Bunzel Czech Academy of Sciences, Czech Republic [email protected]

Dr Anne Stanyon University of Leeds, UK [email protected] Dr Antonio Cascelli Maynooth University, Ireland [email protected] Axel Klein Independent Scholar, Germany [email protected] Bryan A. Whitelaw Queen’s University Belfast, UK [email protected] Twomey Maynooth University, Ireland [email protected]éleste Pagniello University of Cambridge [email protected]

Chris Williams Central Music Library of the BBC/Australian Music Centre, Australia

Christina Lynn Dundalk IT, Ireland [email protected]. Christopher Morris Maynooth University, Ireland [email protected] Conway Queen’s University Belfast, UK [email protected] Clare Wilson Ulster University, UK

Dr Damian Evans Research Foundation for Music in Ireland, Ireland [email protected]

Dr Darina McCarthy Maynooth University, Ireland [email protected]

Deirdre Walsh University College Dublin, Ireland [email protected]

Donal Fullam University College Dublin, Ireland [email protected]

Eilís O’Sullivan Maynooth University/ CIT Cork School of Music, Ireland [email protected]

Dr Eleanor Giraud University of Limerick [email protected] Jones-McAuley Trinity College Dublin, Ireland [email protected] Shyr Duke University, USA [email protected] Emmanuel Ndubuisi Nnamani

University of Port Harcourt, Nigeria [email protected]

Eoghan Corrigan University College Dublin, Ireland [email protected] Dr Esther Cavett King’s College London, UK [email protected] Favali University of Birmingham, UK [email protected] Prof. Fiona M. Palmer Maynooth University, Ireland [email protected]


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DELEGATE AFFILIATION E-MAIL

Dr Gareth Cox Mary Immaculate College, University of Limerick, Ireland [email protected]

Prof. Gerard Gillen Maynooth University, Ireland [email protected]

Dr Gregory Marion University of Saskatchewan, Canada [email protected]

Hannah Millington Oxford Brookes University, UK [email protected]. Harry White University College Dublin, Ireland [email protected]

Helen Doyle TU Dublin, Ireland [email protected]

Dr Hyun Joo Kim Seoul National University Yonsei/Ewha Womans University Seoul, South Korea

[email protected]

Dr Ita Beausang Independent Scholar, Ireland [email protected] Javier Campos Calvo-Sotelo Independent Scholar, Spain [email protected]

Dr Jennifer McCay Royal Irish Academy of Music [email protected]

Dr Joe Davies Lady Margaret Hall, Oxford University, UK [email protected]

Dr Joe Kehoe Independent Scholar, Ireland [email protected] Heraty Independent Scholar, Ireland [email protected] Moore University of Liverpool, UK [email protected] John O’Flynn Dublin City University, Ireland [email protected]. Julian Horton Durham University, UK [email protected] (Kay) Felfeli [email protected] Kerry Houston TU Dublin, Ireland [email protected] Laura Anderson Maynooth University, Ireland [email protected] Laura Dallman University of Florida, USA [email protected] Dr Laura Watson Maynooth University, Ireland [email protected]

Lauren Farquharson Dundalk IT, Ireland [email protected]

Prof. Lorraine Byrne Bodley Maynooth University, Ireland [email protected]

Maddie Kavanagh Clarke Durham University, UKMargaret Collins Stoop Trinity College Dublin, Ireland [email protected] Marie-Charline Foccroulle Independent Scholar, Germany [email protected]

Dr Martin Knust Linnæus University Växjö, Sweden [email protected]

Dr Martin O’Leary Maynooth University, Ireland [email protected] Mullen Dundalk IT, Ireland [email protected]. Michael Beckerman New York University, USA [email protected]


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DELEGATE AFFILIATION E-MAILDr Michael Lee Trinity College Dublin, Ireland [email protected] Whitten Queen’s University Belfast, UK [email protected]

Nadine Scharfetter University of Music and Performing Arts Graz, Austria [email protected]

Dr Natasha Loges Royal College of Music, London, UK [email protected]

Prof. Nicole Grimes University of California, Irvine, USA [email protected]

Dr Nikola Komatović Independent Scholar, SerbiaNoga Rachel Chelouche Tel Aviv University, Israel [email protected] Shannon Dublin City University, Ireland [email protected] Patrick Devine Independent Scholar, Ireland [email protected] Huang University of London, UK [email protected] Clesham University College Cork, Ireland [email protected] Paul Everett University College Cork, Ireland [email protected] Fuller Boston University, USA [email protected]

Sarah Lindmark University of California, Irvine, USA [email protected]

Scott Flanigan Ulster University, UK [email protected]

Dr Shane McMahon Maynooth University Arts and Humanities Institute, Ireland [email protected]

Shauna Louise Caffrey University College Cork, Ireland [email protected] Stan Erraught University of Leeds, UK [email protected] Ford Maynooth University, Ireland [email protected] Dr Steve Coleman Maynooth University, Ireland [email protected]

Sylvia O’Brien Royal Irish Academy of Music, Ireland [email protected]

Dr Vadim Rakochi Gliere Kyiv Municipal Academy of Music, Kyiv, Ukraine [email protected]

Dr Wolfgang Marx University College Dublin, Ireland [email protected]. Xavier Hascher University of Strasbourg, France [email protected]. Yo Tomita Queen’s University Belfast, UK [email protected]

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SMI COUNCIL 2018–2021

ProfessorLorraineByrneBodleyMRIA(MaynoothUniversity,President)DrDamianEvans(ResearchFoundationforMusicinIreland,Honorary

Secretary)DrPaulEverett(UniversityCollegeCork,WebAdministrator)DrEleanorGiraud(UniversityofLimerick,HonoraryMembershipSecretary)DrDeniseNeary(RoyalIrishAcademyofMusic,HonoraryTreasurer)BryanWhitelaw(Queen’sUniversityBelfast,StudentRepresentative)Dr Anja Bunzel (Czech Academy of Sciences)ProfessorUnaHunt(TechnologicalUniversityDublin)DrJohnO’Flynn(DublinCityUniversity)DrJ.GriffithRollefson(UniversityCollegeCork)DrDanielleSofer(MaynoothUniversity)ProfessorYoTomita(Queen’sUniversityBelfast)

PreviousSMIPlenaryandPostgraduateConferences(2015–2019):2015PGConference:UlsterUniversityPlenaryConference:UniversityCollegeCork

2016PGConference:TrinityCollegeDublinPlenaryConference:DublinCityUniversity

2017PGConference:UniversityCollegeDublin(December2016,JointICTM-IE/SMI Conference)PlenaryConference:Queen’sUniversityBelfast

2018PGConference:MaynoothUniversity(JointICTM-IE/SMIConference)Plenary Conference: Cork Institute of Technology

2019PG Conference: Dundalk Institute of Technology (Joint ICTM-IE/SMIConference)PlenaryConference:MaynoothUniversity

ForthcomingSMIPlenaryandPostgraduateConferences(2020)PGConference:UniversityofLimerick(JointICTM-IE/SMIConference)PlenaryConference:TrinityCollegeDublin

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ForthcomingSMI-affiliated events (until next SMIPGConference, January2020;asof19May2019):

Music and Sound Design for the ScreenMaynoothUniversity,6–7September2019

Joint ICTM-Ireland/SMI PG ConferenceUniversityofLimerick,17–18January2020Official CfP to follow soon

TheSocietyforMusicologyinIreland,incollaborationwiththeIrishNationalCommitteeoftheInternationalCouncilforTraditionalMusic,arepleasedtoannouncea joint postgraduate conference to takeplace at theUniversity ofLimerick on Friday 17 and Saturday 18 January 2020. The conferencewillfeatureakeynoteaddressfromPhilipBohlman,‘“LiftedUpfromtheEarthattheVeryMomentofDeath”:TheBorder,theWallandtheMusicalTopographyof Migration Crisis’.

The conference committee would like to invite postgraduates working in all areasofmusicalresearchtosubmitproposalsforconferencepapers.Speakerswillbegiven20minutesfortheirpaper,followedbya10-minutediscussion.Areas of research include, but are not limited to, historical musicology,ethnomusicology,musictheoryandanalysis,musictechnology,musicpedagogy,popularmusicstudies,musicalpracticeasresearch,psychologyofmusicandmusicandgender.InadditiontothetraditionalpapersessionstherewillbeaCareers Forum on the Saturday as part of the conference. Master’s students arealsowelcometodisplaytheirworkinprogressina10-minutepresentation.

Feel free to contact the Conference Committee at:[email protected]

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SMI Grants Committee

— Call for Applications —

The SMI operates a peer-reviewed scheme to award a limited number of grants to its members. Grants of up to €400 in support of musicological research and grants of up to €200 in support of conference presentations involving international travel may be awarded to postgraduate research students, non-affiliated scholars, or academics without recourse to institutional funds.

EligibilityTo qualify for consideration applicants must be in good standing with the Society and have been a member for a minimum of six months at the point of application. Please note that applications for grants must be made at least two months in advance of the research activity or international conference concerned. Grants are payable to successful applicants on production of receipts as detailed below, after the research / presentation has been completed.

Applications should include:• a short CV;• a brief description of the proposed research and its intended purpose;• a proposed budget;• (if applicable) an account of awards received or applied for in connection with the

project;• a copy of a short letter of support from a supervisor or appropriate academic

colleague.

Recipients are expected to:• acknowledge, when publishing or presenting, the assistance of the SMI;• submit a short report on the work undertaken to the SMI Grants Committee Chair

within 12 months of the allocation of the award;Recipients are encouraged to present their findings at an SMI Conference.

Payment processTo comply with Irish Revenue charitable status requirements recipients must submit all relevant receipts to the Hon. Treasurer before the payment of the full grant can be made.

Applications (and any queries) should be addressed to:[email protected] John O’Flynn (Dublin City University)Chair, SMI Grants Committee

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Routledge Free-To-View Collection

Valid 17 June to 15 July 2019Follow this link to get your free access code:

www.crcpress.com/go/smi-free-to-view-collection?utm_source=shared_link&utm_medium=post&utm_

campaign=B190507968


— 68 —


TRANSPORT

Maynooth has two suburban bus routes, the 66 and 67. Maynooth is also served by Bus Éireann and private coach companies en route to Galway and the West of Ireland. There is a commuter train service from Maynooth to Connolly Station and Pearse Station in Dublin city centre. Maynooth is on the Sligo intercity line.

Travelling by bus to Dublin:Two buses serve Maynooth: the 66 (going through Leixlip) and 67 (going through Celbridge). The 66 bus stop is located on Main Street at McCormack’s Pharmacy, while the 67 departs from an island just opposite the Glenroyal Hotel. Both buses have their termini just off Pearse Street in Dublin city centre. These buses leave Dublin from Pearse Street (just opposite the Screen Cinema); they also stop in Westmoreland Street and along the Quays. Each line runs regularly to and from Maynooth. You need to have exact change for the fare or alternatively you can purchase a Leap Card from one of the newsagents on Main Street, Maynooth. More information is available from www.dublinbus.ie.

Travelling by train to Dublin:Maynooth is on the Western Suburban Line, which departs from Connolly Station in Dublin city centre. The journey from Maynooth to Dublin takes about 50 minutes, and less if the train is an express service. Transfers to the DART are available from Pearse and Connolly Stations. More information is available from www.irishrail.ie.

Travelling to Dublin Airport:There are three main ways to get to the airport from Maynooth.

The Airport Hopper operates between Maynooth and Dublin Airport. This bus leaves from an island just opposite the Glenroyal Hotel. More information is available from www.airporthopper.ie. A one-way ticket is €10, and this bus goes every hour from 4:00am to 9:00pm. The Airport Hopper leaves Dublin Airport at the following times: 4:45am, 6:45am, 7:50am; from then on every hour at ten minutes to the full hour until 21:50.You can go to Dublin city and then take the Airlink (747) or Aircoach bus. Both buses leave from Westmoreland Street or O’Connell Street. These buses operate on a 24/7 basis.You can hire a taxi to take a direct route to the airport. The taxi will cost between €50 and €70. A few contact numbers for local taxi companies are provided here:Murray Cabs 087 268 4399; Express Cabs 01 628 9999


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EMERGENCY CONTACTS

RECEPTIONThe Reception Desk at Maynooth Campus Conference & Accommodation Centre is open at the following times:

Monday to Sunday, 08:30 to 23:00Reception may be contacted from any phone on 01 708 6400. If you ring from an internal phone, just dial 6400.

SECURITYSouth Campus Security may be contacted in the event of an emergency outside of Reception opening hours at 01 708 3929. If you ring from an internal phone, just dial 3929. Please note that this is a one-way radio system.

MEDICAL EMERGENCIESDoctor on call:

Dr Maurice Cowhey/ Dr O’Sullivan: 01 628 9044Dr Gaffney: 01 629 1169Dr O’Rourke: 01 628 5210

Emergency Ambulance Service: 999


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PLACES TO EAT

Amber Tree Bistro 01 629 1022

Apache Pizza (pizza takeaway) 01 629 2929

Bistro 53 01 628 9001

Brady’s Bar 01 628 6225

Caulfield’s Bar 01 628 6078

Coffee 4 085 703 5489

Coffee Mill 01 601 6594

Glenroyal Hotel 01 629 0909

O’Neill’s Bar 01 628 6255

Oak Alley Cocktail Bar 01 610 6558

Picaderos 01 629 2806

Pizza Dog (pizza takeaway) 01 531 0909

Royal City 01 629 0686

Stone Haven 01 629 1229

The Avenue Restaurant 01 628 5003

The Linden Tree @ Carton House 01 651 7777

The Orient (Chinese takeaway) 01 628 5888

The Roost 01 628 9843

Yeah Burger 01 6886484

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