CONFERENCE ARCHIVE: 2017
Musica movet: affectus, ludus, corpus
12th Biennial International Conference on Music Theory and Analysis
13-15 October 2017
KEYNOTE SPEAKERS
Arnie Cox, Oberlin College and Conservatory of Music, USA
Danuta Mirka, University of Southampton, UK
Michael Spitzer, University of Liverpool, UK
CONFERENCE PROGRAM
Friday, 13 October 2017
Musica movet: affectus
Keynote Lecture
Michael Spitzer, University of Liverpool, UK
Musical Emotion and Conceptual Blending
SESSION 1: Affektenlehre: Affect Epistemologically, Psychoanalytically, Historically...
Miloš Zatkalik, University of Arts in Belgrade, Serbia
Aleksandar Kontić, College of Fine and Applied Arts in Belgrade, Serbia
Is There a “Musical Affect”?
William Teixeira, The Federal University of Mato Grosso do Sul in Sao Paulo, Brazil
Pathos as Epistemological Connection in Music
Angelika Moths, University of Early Music in Basle, Switzerland
A tempo del’ affetto del animo, A Short History of the Non-Written Treatises
Nejc Sukljan, University of Ljubljana, Slovenia
Gioseffo Zarlino between Ancient and Modern Music: Musical Effect in Le Institutioni harmoniche
SESSION 2: Music Moves: From Josquin to Chopin
Denis Collins, University of Queensland, Australia
Emotion and Communities of Musical Expression in the High Renaissance
Senka Belić, University of Arts in Belgrade, Serbia
Musica movet: Counterpoint Eloquence in the 16th-Century Ave regina coelorum Motets
Nikola Komatović, University of Music and Performing Arts in Vienna, Austria
Catel’s Compromise: You Have Won Your Right to Be Deceived
SESSION 3 ... The Mozart Effect – The Chopin Effect
Sonja Koković, University of Music and Performing Arts in Vienna, Austria
Mozart through the Eyes of Poulenc. An Experimental Study on Ergotropic Effects of Their Piano Concertos
Žaneta Kicińska, University of Zielona Góra, Poland
The Impact of Frederic Chopin's Music on the Chosen Works of the 20th and 21st-Centuries Polish Jazz Composers
SESSION 4: Music...moves...movies
Olja Janjuš, University of Music and Performing Arts in Vienna, Austria
Sacramental Confession of All Musical “Sins” – Reflections on a Postludium for Orchestra by Marko Nikodijević
Aleksandar Trajkovski, University of Audio-Visual Arts ESRA in Skopje, Macedonia
The Impact of Music in Creating the Atmosphere and the Emotional Shaping of Director Milcho Manchevski’s Movies
Saturday, 14 October 2017
Musica movet: ludus
Keynote Lecture
Danuta Mirka, University of Southampton, UK
Fiddler on the Roof in Haydn’s String Quartets
SESSION 5: Musica ludens 1
Nico Schüler, Texas State University, USA
Expressive Timing at the Beginning of Beethoven's Piano Sonata op. 2 no. 1
Hristina Šušak, University of Music and Performing Arts in Vienna, Austria
The Power of Instrumental Corpora. Reflections on the Occasion of Edgard Varése’ Ionisation
Tijana Ilišević, University of Arts in Belgrade, Serbia
It’s Time for Silence — Aspects of Time and Silence in Krzysztof Penderecki’s Dimensions of Time and Silence
SESSION 6: Musica ludens 2
Predrag Repanić, University of Arts in Belgrade, Serbia
Polymorphous Canon Non nobis, Domine: Theoretical Framework of Composability in the Real Four-Part Polyphonic Setting
Jelena Janković Beguš, University of Arts in Belgrade, Serbia
Game Pieces of Iannis Xenakis: ludus musicus et mathematicus
Dominika Mical, Academy of Music in Kraków, Poland
Play as Profanation. Andrzej Kwieciński’s Concerto. Re Maggiore
SESSION 7: Ludus mimesis/repraesentationis
Iwona Sowiriska-Fruhtrunk, Academy of Music in Kraków, Poland
Intellectual Play and Intellectual Pleasure: Various Aspects of Musical Representation and Mimesis in Arnold Schoenberg’ Atonal and Dodecaphonic Works
Ivana Medić, Institute of Musicology of the Serbian Academy of Sciences and Arts, Serbia
“The Tide is High”: Alfred Schnittke’s Passacaglia for Large Orchestra
Renata Skupin, Stanislaw Moniuszko Academy of Music in Gdansk, Poland
Giacinto Scelsi’s Pfhat and the Great Liberation through Hearing
SESSION 8: Ludus formalis
Daniel Brown, Music Intelligent Systems, USA
Camellia Boutros, University of Santa Cruz, USA
A Visual Interface for Composing Interactive Game Music
Amra Bosnić, University of Sarajevo, Bosnia and Herzegovina
Formal Principles of the Bosnian-Herzegovinian Golden Age Compositions
Ram Reuven, The Hebrew University in Jerusalem, Israel
Aspects of the Definability of the Sequence Phenomenon in Tonal Music
SESSION 9: Affektenlehre: Affect Aesthetically
Manos Perrakis, University of Music and Performing Arts in Graz, Austria
Presentation of the Monograph Nietzsches Musikästhetik der Affekte (Freiburg: Karl Alber Verlag, 2011)
Sunday, 15 October 2017
Musica movet: corpus
Keynote Lecture
Arnie Cox, Oberlin College and Conservatory of Music, USA
From Mimesis to Affect, Conceptualization, and Meaning
SESSION 10: Cognition of Voices and Gestures
Mihailo Antović, University of Niš, Serbia
Schemas, Metaphor, Grounding: A Research Program on the Relationship of Music, Language, and Movement
Nataša Crnjanski, University of Novi Sad, Serbia
Musical Gesture: From Body and Mind to Sound
Monika Karwaszewska, Stanisław Moniuszko Academy of Music in Gdansk, Poland)
Piotr Rojek, Karol Lipinski Academy of Music in Wrocław, Poland
“Media Hybrids” in Selected Works by Polish Modern Composers – Krzysztof Olezak and Krzysztof Knittel
SESSION 11: The Passions of Voices and Gestures 1
Ruth Litai-Jacoby, Levinsky of Education, Faculty of Music Education in Tel Aviv, Israel
Mozart’s Musical Kinesthetic Motifs Revealing Latent Links between the “I” and the “Other”
Stamatia Gerothanasi, Aristotle University of Thessaloniki, Greece
“Croce e Delizia” in La Traviata. Interaction and Contrast of Words in Musical Discourse
Milena Medić, University of Arts in Belgrade, Serbia
“It (Music) Comes from Me”: The Passions of (Affective) Voices, (Ludic) Riddles, and (Hysterical) Gestures in Richard Strauss’s Opera Elektra
SESSION 12: The Passions of Voices and Gestures 2
Marko Aleksić , University of Arts in Belgrade, Serbia
Musica movet the Undead: The Tritone and Parallel Relations in the Third Act of Arnold Schoenberg’s Gurre-Lieder
Anna Aleksandra Gluc, Academy of Music in Krakéw, Poland
Hypertextual Destruction and Metaphorical Reconstruction. Grotesque in Historia von D. Johann Fausten by Alfred Schnittke
Srdjan Teparić, University of Arts in Belgrade, Serbia
Movement Strategies as the Basis for Creating Transcendence in the Composition of The Tree of Life by Ivana Stefanović
PROGRAM COMMITTEE
Patrick McCreless, Department of Music, Yale University, USA
Márta Grabócz, Faculté des Arts, Université de Strasbourg, France
Gesine Schröder, Institut für Komposition und Elektroakustik der Universität für Musik und darstellende Kunst, Vienna, Austria
Denis Collins, School of music, Faculty of Humanities and Social Sciences, The University of Queensland, Australia
Benedict Taylor, The Reid School of Music, University of Edinburgh, UK
Miloš Zatkalik, Faculty of Music, University of Arts in Belgrade, Serbia
Milena Medić, Faculty of Music, University of Arts in Belgrade, Serbia
Srđan Teparić, Faculty of Music, University of Arts in Belgrade, Serbia
ORGANIZATION COMMITTEE
Milena Medić, Srđan Teparić, Miloš Zatkalik
Musica movet: affectus, ludus, corpus
12th Biennial International Conference on Music Theory and Analysis
13-15 October 2017
KEYNOTE SPEAKERS
Arnie Cox, Oberlin College and Conservatory of Music, USA
Danuta Mirka, University of Southampton, UK
Michael Spitzer, University of Liverpool, UK
CONFERENCE PROGRAM
Friday, 13 October 2017
Musica movet: affectus
Keynote Lecture
Michael Spitzer, University of Liverpool, UK
Musical Emotion and Conceptual Blending
SESSION 1: Affektenlehre: Affect Epistemologically, Psychoanalytically, Historically...
Miloš Zatkalik, University of Arts in Belgrade, Serbia
Aleksandar Kontić, College of Fine and Applied Arts in Belgrade, Serbia
Is There a “Musical Affect”?
William Teixeira, The Federal University of Mato Grosso do Sul in Sao Paulo, Brazil
Pathos as Epistemological Connection in Music
Angelika Moths, University of Early Music in Basle, Switzerland
A tempo del’ affetto del animo, A Short History of the Non-Written Treatises
Nejc Sukljan, University of Ljubljana, Slovenia
Gioseffo Zarlino between Ancient and Modern Music: Musical Effect in Le Institutioni harmoniche
SESSION 2: Music Moves: From Josquin to Chopin
Denis Collins, University of Queensland, Australia
Emotion and Communities of Musical Expression in the High Renaissance
Senka Belić, University of Arts in Belgrade, Serbia
Musica movet: Counterpoint Eloquence in the 16th-Century Ave regina coelorum Motets
Nikola Komatović, University of Music and Performing Arts in Vienna, Austria
Catel’s Compromise: You Have Won Your Right to Be Deceived
SESSION 3 ... The Mozart Effect – The Chopin Effect
Sonja Koković, University of Music and Performing Arts in Vienna, Austria
Mozart through the Eyes of Poulenc. An Experimental Study on Ergotropic Effects of Their Piano Concertos
Žaneta Kicińska, University of Zielona Góra, Poland
The Impact of Frederic Chopin's Music on the Chosen Works of the 20th and 21st-Centuries Polish Jazz Composers
SESSION 4: Music...moves...movies
Olja Janjuš, University of Music and Performing Arts in Vienna, Austria
Sacramental Confession of All Musical “Sins” – Reflections on a Postludium for Orchestra by Marko Nikodijević
Aleksandar Trajkovski, University of Audio-Visual Arts ESRA in Skopje, Macedonia
The Impact of Music in Creating the Atmosphere and the Emotional Shaping of Director Milcho Manchevski’s Movies
Saturday, 14 October 2017
Musica movet: ludus
Keynote Lecture
Danuta Mirka, University of Southampton, UK
Fiddler on the Roof in Haydn’s String Quartets
SESSION 5: Musica ludens 1
Nico Schüler, Texas State University, USA
Expressive Timing at the Beginning of Beethoven's Piano Sonata op. 2 no. 1
Hristina Šušak, University of Music and Performing Arts in Vienna, Austria
The Power of Instrumental Corpora. Reflections on the Occasion of Edgard Varése’ Ionisation
Tijana Ilišević, University of Arts in Belgrade, Serbia
It’s Time for Silence — Aspects of Time and Silence in Krzysztof Penderecki’s Dimensions of Time and Silence
SESSION 6: Musica ludens 2
Predrag Repanić, University of Arts in Belgrade, Serbia
Polymorphous Canon Non nobis, Domine: Theoretical Framework of Composability in the Real Four-Part Polyphonic Setting
Jelena Janković Beguš, University of Arts in Belgrade, Serbia
Game Pieces of Iannis Xenakis: ludus musicus et mathematicus
Dominika Mical, Academy of Music in Kraków, Poland
Play as Profanation. Andrzej Kwieciński’s Concerto. Re Maggiore
SESSION 7: Ludus mimesis/repraesentationis
Iwona Sowiriska-Fruhtrunk, Academy of Music in Kraków, Poland
Intellectual Play and Intellectual Pleasure: Various Aspects of Musical Representation and Mimesis in Arnold Schoenberg’ Atonal and Dodecaphonic Works
Ivana Medić, Institute of Musicology of the Serbian Academy of Sciences and Arts, Serbia
“The Tide is High”: Alfred Schnittke’s Passacaglia for Large Orchestra
Renata Skupin, Stanislaw Moniuszko Academy of Music in Gdansk, Poland
Giacinto Scelsi’s Pfhat and the Great Liberation through Hearing
SESSION 8: Ludus formalis
Daniel Brown, Music Intelligent Systems, USA
Camellia Boutros, University of Santa Cruz, USA
A Visual Interface for Composing Interactive Game Music
Amra Bosnić, University of Sarajevo, Bosnia and Herzegovina
Formal Principles of the Bosnian-Herzegovinian Golden Age Compositions
Ram Reuven, The Hebrew University in Jerusalem, Israel
Aspects of the Definability of the Sequence Phenomenon in Tonal Music
SESSION 9: Affektenlehre: Affect Aesthetically
Manos Perrakis, University of Music and Performing Arts in Graz, Austria
Presentation of the Monograph Nietzsches Musikästhetik der Affekte (Freiburg: Karl Alber Verlag, 2011)
Sunday, 15 October 2017
Musica movet: corpus
Keynote Lecture
Arnie Cox, Oberlin College and Conservatory of Music, USA
From Mimesis to Affect, Conceptualization, and Meaning
SESSION 10: Cognition of Voices and Gestures
Mihailo Antović, University of Niš, Serbia
Schemas, Metaphor, Grounding: A Research Program on the Relationship of Music, Language, and Movement
Nataša Crnjanski, University of Novi Sad, Serbia
Musical Gesture: From Body and Mind to Sound
Monika Karwaszewska, Stanisław Moniuszko Academy of Music in Gdansk, Poland)
Piotr Rojek, Karol Lipinski Academy of Music in Wrocław, Poland
“Media Hybrids” in Selected Works by Polish Modern Composers – Krzysztof Olezak and Krzysztof Knittel
SESSION 11: The Passions of Voices and Gestures 1
Ruth Litai-Jacoby, Levinsky of Education, Faculty of Music Education in Tel Aviv, Israel
Mozart’s Musical Kinesthetic Motifs Revealing Latent Links between the “I” and the “Other”
Stamatia Gerothanasi, Aristotle University of Thessaloniki, Greece
“Croce e Delizia” in La Traviata. Interaction and Contrast of Words in Musical Discourse
Milena Medić, University of Arts in Belgrade, Serbia
“It (Music) Comes from Me”: The Passions of (Affective) Voices, (Ludic) Riddles, and (Hysterical) Gestures in Richard Strauss’s Opera Elektra
SESSION 12: The Passions of Voices and Gestures 2
Marko Aleksić , University of Arts in Belgrade, Serbia
Musica movet the Undead: The Tritone and Parallel Relations in the Third Act of Arnold Schoenberg’s Gurre-Lieder
Anna Aleksandra Gluc, Academy of Music in Krakéw, Poland
Hypertextual Destruction and Metaphorical Reconstruction. Grotesque in Historia von D. Johann Fausten by Alfred Schnittke
Srdjan Teparić, University of Arts in Belgrade, Serbia
Movement Strategies as the Basis for Creating Transcendence in the Composition of The Tree of Life by Ivana Stefanović
PROGRAM COMMITTEE
Patrick McCreless, Department of Music, Yale University, USA
Márta Grabócz, Faculté des Arts, Université de Strasbourg, France
Gesine Schröder, Institut für Komposition und Elektroakustik der Universität für Musik und darstellende Kunst, Vienna, Austria
Denis Collins, School of music, Faculty of Humanities and Social Sciences, The University of Queensland, Australia
Benedict Taylor, The Reid School of Music, University of Edinburgh, UK
Miloš Zatkalik, Faculty of Music, University of Arts in Belgrade, Serbia
Milena Medić, Faculty of Music, University of Arts in Belgrade, Serbia
Srđan Teparić, Faculty of Music, University of Arts in Belgrade, Serbia
ORGANIZATION COMMITTEE
Milena Medić, Srđan Teparić, Miloš Zatkalik
