Fifth Conference on Analytical Approaches to World Music ...fma2018.mus.auth.gr/files/AAWM-FMA 2018...

Fifth Conference on Analytical Approaches to

World Music

Eighth Folk Music Analysis International Workshop

JOINT MEETING

CONFERENCE PROGRAMME & Book of Abstracts

Hosted by the School of Music Studies

Aristotle University of Thessaloniki

26-29 June 2018 Piraeus Bank Conference Center, Katouni 12-14, Thessaloniki

AAW

M&FM

A

FifthConferenceon

AnalyticalApproachestoWorldMusic

EighthFolkMusicAnalysis

InternationalWorkshop

JOINTMEETING

Inassociationwiththe:

AristotleUniversityofThessaloniki

UniversityofBritishColumbia

NewYorkUniversity

SocietyforMusicAnalysis

BritishForumforEthnomusicology

CONFERENCEPROGRAMME

&BookofAbstracts

Hostedbythe

SchoolofMusicStudies

AristotleUniversityofThessaloniki

26-29June2018PiraeusBankConferenceCenter,Katouni12-14,Thessaloniki

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CONTENTS

Page

Welcomenote

3

UsefulInformation

4

Committees-Acknowledgements

6

ConferenceTimetable

8

Abstracts

15

ConcertsProgramme

60

AboutthePerformers

61

DirectoryofAuthors

65

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WELCOMETOTHEAAWM-FMA2018JOINTCONFERENCE

Deardelegates,Wewould like towelcome you all in Thessaloniki for the jointmeeting of the5th Conference onAnalyticalApproaches toWorldMusic (AAWM)andthe8th InternationalWorkshoponFolkMusicAnalysis (FMA). This is the first joint meeting of the AAWM and FMA societies. The conference,hostedby theSchoolofMusicStudiesof theAristotleUniversityofThessaloniki,andorganized inassociationwiththeUniversityofBritishColumbia,theUniversityofNewYork,theSocietyforMusicAnalysis(SMA)andtheBritishForumforEthnomusicology(BFE),willtakeplaceatthePiraeusBankConferenceCenter,inThessaloniki'shistoricalcommercialcenter.

The5thConferenceonAnalyticalApproachestoWorldMusicbelongstoaseriesofconferencesthatbringtogetherscholarstoexplorethepanoplyofglobalmusical traditions,bothpastandpresent,that lieoutsidethepurviewofWesternArtMusic,fromthebroadestpossiblearrayoftheoretical,cultural,historicalandanalyticalperspectives, inordertofoster interdisciplinaryandcross-culturaldialogueandpromotenewapproachesandmethods.The8thInternationalWorkshoponFolkMusicAnalysis summons researchers from the fieldsof ethnomusicology,musicology, computer scienceandmusicinformationretrieval(MIR)andprovidesaforumthatencouragessharingofideas,needs,researchmethodsanddiscoveries.Itsaimistosupportcross-disciplinarycollaborativenetworksandthe development of new interdisciplinary tools that promote an enriched understanding oftraditionalmusics.

Thessaloniki,functioningforcenturiesasamulti-culturalcrossroadbetweentheEastandtheWest,is perhaps an ideal meeting place for scientists and artists aiming at promoting the study,preservationanddisseminationofthemusicalculturalheritageoftheworld.TherichprogramofthejointAAWM/FMA2018conferencecomprisespresentationsthatexamineworldmusical traditionsfrom any analytical and theoretical viewpoint, including ethnographic, historical, formal,computational,andcognitiveperspectives.Thescheduleincludes84paperpresentations,3keynoteaddressesbydistinguished international scholars—twoproposedbyAAWMandoneby FMA—,1plenary session onmusical transcription and 1 workshop on European folk dances. The scientificprogram is complemented by three fascinating evening concerts featuring a diverse collection oftraditionalorexperimentalMediterraneanmusicalgenres.

We hope that the richness of research topics, the quality of papers, the lively and friendlyenvironmentofThessalonikiandthemusicalconcerts,willmakethisconferenceamostrewardingexperience.Wehopethateveryonewill leavewithfresh ideasandmotivationforfutureresearch,andcreatenewcollaborationsthatwillgiverisetoinspiringnovelconceptsandlastingfriendships.

Wewould like to thankallourco-organizers,ourcolleagues in theSchoolofMusicStudiesof theAristotleUniversityandourcollaboratorsatSYMVOLIfortheirsupport.Specialcreditdeservestogoto themembers of the Program Committees of AAWM and FMA—Michael Tenzer, John Roeder,Aggelos Pikrakis and Andre Holzapfel—who accomplished the demanding tasks of collecting thepaper submissions, conducting the reviewing process and arranging the presentations in theschedule.CostasTsougras,EmiliosCambouropoulosCo-Chairs,LocalArrangementsCommitteeonbehalfoftheOrganizingCommitteesofAAWMandFMA

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USEFULINFORMATION

AbouttheConference

This is a joint conference, so all registered or invited participants have access to all the papersessions, plenary sessions, workshops, keynote lectures and concerts of the four-day event,regardlessoftheSocietyinwhichtheyaremembersortheirregistration(AAWMorFMA).Allpaperpresentations,exceptforthe3keynotelecturesandtheplenarysession,willruninthreeparallel tracks, as outlined in the timetable. However, there is an important difference betweenAAWM and FMA paper presentations: the AAWM presentations last 45 minutes (30' talk & 15'discussion),whereasFMApresentations30minutes (20' talk&10'discussion). So, youwillnoticethattheparalleltrackscontainingFMAsessionsarenotentirelyinsyncwithAAWMsessions.

ConferenceVenue

The Piraeus Bank Conference Center is housed in a three-story renovated historic building inLadadika (Katouni 12-14 str.), a neighborhoodnear the Port, in thehistoric commercial center ofThessaloniki.Theconferencewilltakeplaceatthe2ndand3rdfloorsofthebuilding.The3rdfloorincludestheAuditorium,where thekeynote lectures, theplenary sessionsand theconcerts,aswellas the1stparallelsessionsofeachtrackwillcommence,Hall1,whichwillhostthe2ndparalleltrack,andtheCafeteria/RoofGarden.Onthe2ndflooryouwill findHall2,wherethe3rdparalleltrackwill takeplace. The 3rd floor also includes a round-table room for small-group meetings, which will beavailabletothedelegatesattheirrequest.At the foyer of the 3rd floor you will also find the Registration/Information and Technical Desk,whichwillbeatyourservicethroughouttheconference.Thevenue'scafeteriawillofferfreecoffee/tea,refreshmentsandcookiestothedelegatesnotonlyatthescheduledCoffeeBreaks,butthroughouteachdayoftheconference.The venue provides freeWiFi access to the internet (the login password will be available at theRegistrationDesk).Please, avoidusing itheavilyduring the conference sessions,because someofthepresenterswillneedthebandwidthforlivevideoorforskypecommunication.PresentationGuidelines

AAWM spoken papers are allotted 30minutes plus 13minutes for discussion,while FMA spokenpapers are allotted 20minutes plus 8minutes for discussion. In both cases a 2-minutes break isprovidedforchangingequipmentorrooms.Thetimetablemustbestrictlyadheredtosothatpeoplecaneasilychangeroomsandplanmeetingsduringbreaks.AllpapersarepresentedinEnglish.Eachofthethreepresentationhallshasalaptopcomputer,aprojector,aprojectionscreenandasetof loudspeakers installed.TheprojectorshavestandardVGAcablesandtheloudspeakersstandardstereo3.5mmminijackcables.The computers in the presentation halls are laptops with Microsoft Windows or Apple MacOS.Presentations should be prepared in MS Office Powerpoint or in Acrobat pdf formats. Thepowerpointpresentationsshouldbepptxfiles(notppt)—sothatallaudio/videocontentisincludedinthesamefile—andnamedafterthepresenter'ssurname.PleasehaveyourfilesinstandardUSB

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flashdisks (not in CD/DVD disks). If you prefer or if it is necessary (e.g. if youwant to use otherpresentationsoftware),bringyourownlaptopandcheck inadvancethatyourandourequipmentwork together inharmony. If youuseAppleMacintoshlaptops, you shouldprovideanynecessaryadaptorsforvideo(VGA)outputtotheprojector.Meetyourchairandtechnicalassistant15-20minutesbeforethestartofyoursession.Ifyouhaveahandout,giveittoanassistantalongwithanyinstructionsonwhattodo.If something goes wrong with the equipment during your talk, ask the technician to fix it.Meanwhile,pleasecontinueyourtalk,evenifyouhavetoimprovisewithoutslides. It is importantthat the 45-minute (AAWM) or 30-minute (FMA) period must not be extended on account of atechnicalproblem.AAWMRobSchulzAward

GraduatestudentsandscholarswithinfiveyearsofreceivingthePhDwillbeconsideredfortheRobSchultz Junior Scholar Award, established in 2016 to honor thememory of the co-founder of theAnalyticalApproachestoWorldMusicjournalandconferenceseries.Thebestpaperpresentedbyajuniorscholarwillbepublishedinthejournal,andtheauthorwillalsoreceiveamodestcashaward.

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COMMITTEES-ACKNOWLEDGEMENTSAAWM2018OrganizingCommitteeLawrenceShuster,Co-Chair(SUNYPurchase,USA)PanayotisMavromatis,Co-Chair(NewYorkUniversity,USA)JayRahn(YorkUniversity,Canada)YannisRammos(NewYorkUniversity,USA)AAWM2018ProgramCommitteeMichaelTenzer(UniversityofBritishColumbia,Canada)JohnRoeder(UniversityofBritishColumbia,Canada)AAWM2018ReviewingCommitteeMohammadRezaAzadehfar(TehranUniversityofArts,Iran)EmmanouilBenetos(QueenMaryUniversityofLondon,UK)StephenBlum(TheGraduateCenter,CityUniversityofNewYork,USA)FilippoBonini-Baraldi(CentredeRechercheenEthnomusicologie,France)StevenBrown(McMasterUniversity,Canada)Ya-HuiCheng(UniversityofSouthFlorida,USA)MartinClayton(DurhamUniversity,UK)RichardCohn(YaleUniversity,USA)DarrellConklin(UniversityoftheBasqueCountry,Spain)JuanDiegoDiazMeneses(UniversityofCalifornia,Davis,USA)ByronDueck(OpenUniversity,UK)DavidFossum(UniversityofPittsburgh,USA)TakanoriFujita(KyotoCityUniversityofArts,Japan)SusanneFürniss(CNRS-Muséedel'Homme,Paris,France)DanielGoldberg(YaleUniversity,USA)ÁineHeneghan(UniversityofMichigan,USA)NathanHesselink(UniversityofBritishColumbia,Canada)AndreHolzapfel(KTHRoyalInstituteofTechnology,Stockholm,Sweden)DavidHughes(SchoolofOrientalandAfricanStudies,UniversityofLondon,UK)HenryJohnson(UniversityofOtago,NewZealand)KalinKirilov(TowsonUniversity,USA)EllenKoskoff(EastmanSchoolofMusic,UniversityofRochester,USA)PetervanKranenburg(MeertensInstitute,Netherlands)LauraLeante(DurhamUniversity,UK)SylvieLeBomin(Muséumnationald'Histoirenaturelle,France)GavinLee(SoochowUniversity,China)ShayLoya(CityUniversityLondon,UK)YonatanMalin(UniversityofColoradoatBoulder,USA)PeterManuel(GraduateCenterandJohnJayCollege,CityUniversityofNewYork,USA)PanayotisMavromatis(NewYorkUniversity,USA)AndrewMcGraw(UniversityofRichmond,USA)SamMirelman(InstitutefortheStudyoftheAncientWorld,NewYorkUniversity,USA)RobertMorris(EastmanSchoolofMusic,UniversityofRochester,USA)SomangshuMukherji(UniversityofMichigan,USA)LaudanNooshin(CityUniversityLondon,UK)StefanPohlit(IstanbulTechnicalUniversity,Turkey)JayRahn(YorkUniversity,Canada)DanaRappoport(CentreNationaldelaRechercheScientifique,France)EvanRapport(TheNewSchool,USA)PatSavage(UniversityofOxford,UK)FrankScherbaum(UniversityofPotsdam,Germany)MartinScherzinger(NewYorkUniversity,USA)LawrenceShuster(SUNYPurchase,USA)AmySimon(UniversityofPrinceEdwardIsland,Canada)ChrisStover(ArizonaStateUniversity,USA)MaisieSum(UniversityofWaterloo,Canada)AlanThrasher(UniversityofBritishColumbia,Canada)

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LeslieTilley(MassachusettsInstituteofTechnology,USA)CostasTsougras(AristotleUniversityofThessaloniki,Greece)KeithWaters(UniversityofColoradoatBoulder,USA)PhilipYampolsky(UniversityofIllinois,USA)

FMA2018Organizing/ProgramCommitteeAggelosPikrakis(UniversityofPiraeus,Greece)AndreHolzapfel(KTHRoyalInstituteofTechnology,Stockholm,Sweden)FMA2018ReviewingCommitteeChristinaAnagnostopoulou(UniversityofAthens,Greece)GeorgeAthanasopoulos(AristotleUniversityofThessaloniki,Greece)PierreBeauguitte(DIT,Dublin,Ireland)EmmanouilBenetos(QueenMaryUniversity,London,UK)BarışBozkurt(UniversitatPompeuFabra,Spain)EmiliosCambouropoulos(AristotleUniversityofThessaloniki,Greece)DavidCarroll(DIT,Dublin,Ireland)DarrellConklin(UniversityoftheBasqueCountryUPV/EHU,Donostia-SanSebastián,Spain)Jose-MiguelDíaz-Báńez(UniversityofSeville,Spain)BryanDuggan(DIT,Dublin,Ireland)MaximosKaliakatsos-Papakostas(AristotleUniversityofThessaloniki,Greece)NadineKroher(UniversityofSeville,Spain)MatijaMarolt(UniversityofLjubljana,Slovenia)JulienPinquier(IRIT,Toulouse,France)CostasTsougras(AristotleUniversityofThessaloniki,Greece)PeterVanKranenburg(MeertensInstitute,Amsterdam,TheNetherlands)AnjaVolk(UtrechtUniversity,TheNetherlands)ChrisWalshaw(OldRoyalNavalCollege,London,UK)

LocalOrganizingCommitteeCostasTsougras,Co-Chair(AristotleUniversityofThessaloniki,Greece)EmiliosCambouropoulos,Co-Chair(AristotleUniversityofThessaloniki,Greece)LocalOrganizingTeamGeorgeAthanasopoulos,NikosDiminakis,MatinaKalaitzidou,NikolaosNikolaidis,KaterinaPenintaProgramme&AbstractsBookeditingandDTPCostasTsougras

ConferenceBureau,RegistrationsManagement:SYMVOLI(www.symvoli.gr)VickyPapadimitriou,HelenaPistolaki

ParticipatingSocietiesandInstitutions

AnalyticalApproachestoWorldMusic(www.aawmconference.com,www.aawmjournal.com)FolkMusicAnalysisInternationalWorkshop(www.folkmusicanalysis.org)SchoolofMusicStudies,AristotleUniversityofThessaloniki(www.mus.auth.gr)UniversityofBritishColumbia(www.ubc.ca)NewYorkUniversity(www.nyu.edu)SocietyforMusicAnalysis(www.sma.ac.uk)BritishForumforEthnomusicology(bfe.org.uk)SponsorResearchCommitteeoftheAristotleUniversityofThessaloniki(www.rc.auth.gr)

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CONFERENCETIMETABLE

Day1:Tuesday26June

8:00-17:00:Registration(Foyerofthethirdfloor)8:30-9:00 Welcome(Auditorium)

ParallelSessionsA:9:00-12:00 A1:Auditorium A2:Hall1 A3:Hall2

9:009:4510:3011:15

AAWMSessionA1:

Non-isochrony

Chair:LawrenceShusterNasimAhmadianTheElasticityofMeterandTemporalityinPerformingIranianClassicalMusicMichailCholevasandJulianoAbramovayMakampedia:UnveilingtheLocallyRhythmicalandMetriccharacterofFreeRhythmTaksimImprovisationswiththeUseofMusicalAnalysisEshanthaPeirisTheoryandPerformancePracticeinSouthAsia:HaveChangingIdeasaboutMeterInfluencedHowRhythmsarePlayed?RainerPolakEmpiricalEvidencefortheTheoryofSwing-BasedMeterinMalianDance-Drumming

AAWMSessionA2:Mediterranean

Chair:DeirdreMorganAndreHolzapfelACaseStudyofEthnographyandComputationalAnalysisasComplementaryToolsforAnalyzingDanceTunesSpirosKalozakisandAnastasiaGeorgakiAcousticalCharacteristicsandVocalTimbreNuancesoftheCretanRizitikaSingingIdiomHarisSarrisandMarianthiKoiliaMusicandMusicNetworksintheAegean:TheExampleofNaxosIsland

—

AAWMSessionA3:Indigenous

TheoryandPractice

Chair:CostasTsougrasFerhatÇaylıandCenkGürayABriefHistoryofOttoman/TurkishMusicTheoryviaItsMusic-TheoreticalInstrumentsPolinaDessiatnitchenko“ImprovisationisNottheRightWord!”:NativeTerminologyandPerformanceTechniquesofAzerbaijaniMughamCreativityEleniKallimopoulouandPetrosVouvarisArion:HarmonizingTheoryandIdeologyinPracticeNikosOrdoulidisDeconstructingDipoles:TheTerm‘Minor’inSmyrna

12:00-13:30 LunchBreak

9

ParallelSessionsB:13:30-16:30

B1:Auditorium B2:Hall1 B3:Hall2

13:3014:1515:0015:45

SessionB1:Drumming

SensibilitiesandForm

Chair:MichaelTenzerAdamKingBalineseSoloDrummingandtheWesternDrumsetAndyMcGrawCello-DrumminginIndonesianKeroncongCarlosGuedes,KonstantinosTrochidisandAkshayAnantapadmanabhanChallengesinComputationalModellingandGenerationofCarnaticPercussionMusicNathanHesselinkCross-CulturalResonanceintheCadentialHemiola

SessionB2:MusicandMassMedia

Chair:NancyMurphyAnjniAminandRichardAshleyTheInfluenceofTimbreonEmotionPerceptionDimitrisTasoudisandPetrosVouvarisBuildingBridges:TwoCaseStudiesofMusicinFilmKostasChardas"GreeceGoesModern"orSearchingfortheRoots?OntheUseofGreekFolksongbytheGreekPop/RockScenePatrickSavage,CharlesCronin,DanielMüllensiefenandQuentinAtkinsonQuantitativeEvaluationofMusicCopyrightInfringement

SessionB3:MelodyandScales

Chair:MartinClaytonMohammadR.AzadehfarANewApproachtotheAnalysisofMelodicMovementsinCollectivePieces:MelodicContoursofGūsheh-hainIranianDastgāhiMusicStefanPohlitMaqāmandBeyond:AUnifiedTheoryinJulienJalâlEd-DineWeiss’sLastCompositionAthenaKatsanevakiExploringaThree-LevelCompositionintheMusicalSystemofanOralTraditionSomangshuMukherjiBhatkhande,Schenker,Humboldt:AnEternalRagamala

16:30-17:00 CoffeeBreak

17:00-18:00 AAWMKeynoteAddress1(Auditorium)MartinStokes(King’sCollege,London)

TranslatingModes

18:00-20:00 Break

20:00-21:00 Concert1(Auditorium)NikosDiminakis:Beatbox&Winds

Modal4:Musicfromtheensemble'srecentCD

21:00-22:30 WelcomeReception-cheeseandwine

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Day2:Wednesday27June

ParallelSessionsC:9:00-12:00 C1:Auditorium C2:Hall1 C3:Hall2

9:009:4510:3011:15

AAWMSessionC1:Regionsof

Europe

Chair:MartinStokesItziarNavarroTransformationsinBertsolarisSingingStyleinOiartzunthroughoutthe20thCenturyArgibelEubaUgarteBasqueTxalaparta:Meter,RhythmandPerformanceDeirdreMorganArchaicFusion:AnAnalysisofNorwegianMunnharpeStyleandRepertoireYannickWeyTransformationofToneSystemsofYodelingintheMuotatalValley,CentralSwitzerland:AMulti-generationalLongitudinalStudy

AAWMSessionC2:BritishForumfor

Ethnomusicology:Paperson

Aesthetics,Timbre,and

Transcription

Chair:LeslieTilleyChloëAlaghband-ZadehTheSocialAestheticinNorthIndianClassicalMusicRuardAbsarokaTimbralConsonanceandMusical"Flavor":SpectralDensity,TimbreSpaces,andtheCultivationofListenersintheWorldofJiangnanSizhuMorganDavies"Easy"AutomaticMelodyLineTranscriptions:AComparisonofTwoOpen-SourceSoftwareProgramsAndrewKillickCross-CulturalAnalysisThroughCross-CulturalNotation:TheLabanSolutionRevisited

FMASessionC3:Rhythmand

Timbre

Chair:AggelosPikrakis9:00-9:30 PierreBeauguitte,BryanDugganandJohnD.KelleherRhythminferencefromaudiorecordingsofIrishtraditionalmusic9:30-10:00 LuisJureandMartínRocamoraSubiendolallamada:NegotiatingtempoanddynamicsinUruguayanCandombedrumming10:00-10:30 OlofMisgeldandAndreHolzapfelTowardsthestudyofembodiedmeterinSwedishfolkdance10:30-11:00:BREAK11:00-11:30 MarceloQueiroz,KaterinaPeninta,RobertoBodo,MaximosKaliakatsos-PapakostasandEmiliosCambouropoulosPerceptionofasymmetricrhythmsintraditionalGreekmusic11:30-12:00AsteriosZacharakisandKonstantinosPastiadisTensionperceptioninGreektraditionalfolkmusic:Examiningtheroleoftimbralsemantics


11

ParallelSessionsD:13:30-16:30 D1:Auditorium D2:Hall1 D3:Hall2

13:3014:1515:0015:45

AAWMSessionD1:WorldMusic

inNewArtMusic

Chair:JuanDiegoDiazCostasTsougrasAnalyzingtheEpiroticVocalandInstrumentalMoirologi(Lament)anditsReflectioninTheodoreAntoniou'sLamentsforSoloInstrumentsNikolaosDiminakisAfricanandEuropeanInfluencesinChristianLauba’sSaxophoneCompositions(“NineEtudesforSaxophones”–1stBook)KristiHardmanMovingBeyondCulturalAppropriation:ReconciliationintheFinaleofChristosHatzis'GoingHomeStar(2014)GloriaWongMusicalSynthesisandCollaborationsinCanadianCompositionsusingChineseandWesternInstruments

AAWMSessionD2:Physicalities

Chair:PanayotisMavromatisRosaAbrahamsButWe’reNotinZombieMode:MeterandSelectedAttentioninGreekOrthodoxMovementandMusicFrancescaLawsonandJoshuaSimsParticipationandPresentationinChineseCrossTalk:UsingELANforStudyingResponsestoMusicandSpeechLauraLeanteImagery,MovementandMeaninginNorthIndianMonsoonRagsToruMomiiParsimoniousTe-utsuri:ModelingInstrumentalSpaceinShōPerformance

FMASessionD3:Transcriptionand

Recognition

Chair:AndreHolzapfel13:30-14:00 SvenAhlbäckTheHiddenModes:Acomputer-assistedapproachtotonalityanalysisofSwedishFolkMusic14:00-14:30 GeertMaessenandDarrellConklinTwomethodstocomputemelodiesforthelostchantoftheMozarabicrite14:30-15:00 IslahAli-Maclachlan,CarlSouthall,MaciejTomczakandJasonHockmanPlayerrecognitionfortraditionalIrishfluterecordings15:00-15:30:BREAK BREAK15:30-16:00 EmirDemirel,BarışBozkurtandXavierSerraAutomaticmakamrecognitionusingchromafeatures16:00-16:30 SoniaRodríguez,EmiliaGómezandHelenaCuestaAutomatictranscriptionofflamencoguitarfalsetas


17:00-18:00 FMAKeynoteaddress(Auditorium)EmmanouilBenetos(QueenMaryUniversityofLondon)

Automatictranscriptionofworldmusiccollections

18:00-20:00 Break

20:00-21:00 Concert2(Auditorium)ChoralWorkshopoftheAristotleUniversityofThessaloniki:

YannisConstantinidis's"8AsiaMinorsongs"ByzantineChoiroftheStateConservatoryofThessaloniki:SelectionofByzantinehymns

STRINGLESSfemaleacapellavocalgroup:SelectionoftraditionalBalkansongs

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Day3:Thursday28June

ParallelSessionsE:9:00-12:00 E1:Auditorium E2:Hall1 E3:Hall2

9:009:4510:3011:15

AAWMSessionE1:Africaand

Empiricism

Chair:SylvieLeBominColterHarperPerformingWisdom:GenerativeProcessesintheSeperewaMusicofOseiKorankyeDavidLockeHowtoListentotheResponseDrumPartinAgbadza(Ewe,Ghana/Togo):Form,Accentuation,andReciprocityJuanDiegoDiazMeasuringRhythmicComplexityintheWestAfricanStandardPattern:AnEmpiricalApproachMaisieSumGettingtheGroove:Variation,ExpectationandAffectiveResponsesAcrossCultures

AAWMSessionE2:Markingand

PerceivingSegmentationinEastand

SouthAsianMusic

(SocietyforMusicAnalysis)

Chair:LauraLeanteSimonMillsAnAnalyticalStudyofMusicalSegmentationinSouthKoreanShamanRitualMusicLaraPearsonGesture,Segmentation,andMeaninginSouthIndianRagaPerformanceRichardWiddess,TudorPopescuandMartinRohrmeierAnalysisinRealTime?AnIndianMusicSegmentationStudyRainerPolakDiscussant

FMASession3:Culture,Analogy,

Embodiment,Creativity

Chair:MatijaMarolt9:00-9:30:—9:30-10:00 StellaPaschalidou,MartinClaytonandTuomasEerolaEffort-voicerelationshipsininteractionswithimaginaryobjectsinHindustanivocalmusic10:00-10:30 CostasTsougras,MaximosKaliakatsos-PapakostasandEmiliosCambouropoulosCreativeharmonisationoffolkmelodies10:30-11:00:BREAK11:00-11:30 GeorgeAthanasopoulosImitations-transformations:BirdsofparadiseinperformancefromthecentralprovincesofPapuaNewGuinea11:30-12:00 ChristianBenvenutiAninformationethics-centredapproachtomusicasintangibleheritage


13

ParallelSessionsF:13:30-16:30 F1:Auditorium F2:Hall1 F3:Hall2

13:3014:1515:0015:45

AAWMSessionF1:Cross-

CulturalTheories

Chair:RichardWiddessMartinClaytonInterpersonalEntrainmentinMusicEnsembles:Cross-CulturalPerspectivesLeslieTilleyTheArtofPuttingCreativityinBoxes,orCanWeAnalyzeImprovisationCross-Culturally?CeciliaQuaintrellTestingBoundaries:EmpiricalandHermeneuticSymbiosisintheCross-CulturalStudyofMusicalEndingsLawrenceZbikowskiTheoriesofWorldMusic

AAWMSessionF2:Oceaniaand

SoutheastAsia

Chair:AndyMcGrawTatAmaroAnalysisinContext:ContemporaryLannaRepertoryinthePiphatEnsemblesofModernSocietyinPhayao,ThailandGeoffroyColsonChantingRhythms:ExploringtheTahitianPeheLorenzoChiarofonteDoKoGyiKyaw:MusicStructures,InteractionProcesses,andPerformanceContextofaBurmesenat-chinJayRahnCyclicalStructuresinCentralJavaneseSkeletalMelodies

FMASessionF3:Similarity,

RepetitionandSegmentation

Chair:MaximosKaliakatsos-Papakostas13:30-14:00 MatevžPesek,MancaŽerovnik,AlešLeonardisandMatijaMaroltModelingsongsimilaritywithunsupervisedlearning14:00-14:30 GeertMaessenandPeterVanKranenburgAnon-melodiccharacteristictocomparethemusicofmedievalchanttraditions14:30-15:00 ChrisWalshawVisualisingmelodicsimilaritiesinfolkmusic15:00-15:30:BREAK BREAK15:30-16:00 IrisYupingRen,HendrikVincentKoops,DimitriousBountouridis,AnjaVolk,WouterSwierstraandRemcoVeltkampFeatureanalysisofrepeatedpatternsinDutchfolksongsusingPrincipalComponentAnalysis16:00-16:30 MatijaMaroltGoingdeepwithsegmentationoffieldrecordings


17:00-18:00 AAWMKeynoteAddress2(Auditorium)JohnRoeder(UniversityofBritishColumbia)

TimelyNegotiations:FormativeInteractionsinCyclicDuets

18:00-20:00 Break

20:00-21:00 Concert3(Auditorium)AthenaKatsanevaki:MoiroloiTrilogybyDimitrisBakas

BAHARí/FlamencoArabe:Flamencomusicwithkanun,flute,guitarandvocals

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Day4:Friday29June

PlenarySession(G):9:00-12:00(Auditorium)9:00-12:00

PlenarySession:TranscriptionandRecentTheoriesofMusicStructureChair:MichaelTenzer(UniversityofBritishColumbia)

EmmanouilBenetos(QueenMaryUniversityofLondon)BarışBozkurt(UniversitatPompeuFabra,Barcelona)PanayotisMavromatis(NewYorkUniversity)TaraBrowner(UniversityofCalifornia,LosAngeles)KalinKirilov(TowsonUniversity)SylvieLeBomin(Muséumnationald'Histoirenaturelle)


ParallelSessionsH,I:13:30-16:30 H1,I1:Auditorium H2,I2:Hall1 H3:Hall2

13:3014:1515:0015:45

AAWMSessionH1:Historically

InformedApproachesto

MediterraneanMusic

Chair:NathanHesselinkMariaAlexandruAnalyticalMethodsandApproachestoByzantineMusic:RetrospectivesandPerspectivesSokratisSinopoulosTheBigBangTheoryofMusic:AToolTowardstheUnderstandingofModalityinEasternMediterraneanMusicCultures

AAWMSessionH2:DanceMusic

Chair:ÁineHeneghanJanePiperClendinningWhat’sinaTune?ConstructionofCapeBretonFiddleTunesJudithE.OlsonInterdependentRolesofDancersandMusiciansinStructuringTransylvanianVillageMusic

AAWMSessionH3:Rhythmic

Strategies

Chair:ChloëAlaghband-ZadehIljungKimUnderstandingTemporalStructureofGagokPerformance:AStudyofPeriodicityinUjoChosudaeyeopSaeidKordmafiĪqā‘:aCanontoRespectorBreak?TheDichotomybetweenRhythmMakingStrategiesinCompositionandImprovisationinClassicalMusicoftheArabMashriqLuisJureImprovisationTechniquesoftheRepiqueDruminUruguayanCandombeDrummingTiffanyNicelySpecificallyGenericAccompaniments:ClumpVectorsinGuineanMalinkeDanceDrumming

AAWMSessionI1:Workshop

(15:00-16:30)

DanielGoldbergAnIntroductiontotheMetricAdaptabilityofSoutheastEuropeanFolkDances

AAWMSessionI2:AmericanFolk

andBlues

Chair:MaisieSumNancyMurphy“Old,WeirdAmerica”:MetricFlexibilityinHarrySmith’sAnthologyofAmericanFolkMusicGrantSawatzkyDynamicGroupingComplexesinJohnLeeHooker’sBlues:ACaseStudyinMetricParticularity

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ABSTRACTS

Tuesday,June26,9:00–12:00,ParallelSessionsAAAWMSessionA1:Non-isochrony(Tuesday,9:00-12:00,Auditorium)Chair:LawrenceShuster(SUNYPurchase)

TheElasticityofMeterandTemporalityinPerformingIranianClassicalMusicNasimAhmadian(UniversityofAlberta)

This paper studies the elasticity of meter and temporality as a prominent aspect of Iraniantraditionalmusic. Often referred to as “non-metronomic” by localmusicians, rhythmic-metricinstabilityandshiftingtemporalframesexistnotonly intheradīfrepertoireof Iranianclassicalmusic,butalsointheeverydaypracticeofvariousgūsheh-ha—shortpiecesofradīf—with“free”and“stretchable”metricstructure.Whilesounding‘unmeasurable’tosomenon-nativelisteners,this feature is expected as a regular element of variety in aesthetics of Iranian musicperformance. By analyzing the rhythmic structureof radīf as a sourceofmusical creation andlocal aspectsofperformative interpretationofmusical time, I suggest the correlationof threefactorswhichdefinetheelasticityoftimeinIranianmusicperformance:1)lingualcharacteristicsand the integration of classical music with Persian poetry and its ‘quantitative’ structure; 2)‘fixed’, ‘free’, and ‘stretchable’ characteristics of the diverse metric frames of gūsheh-ha andtheirenactmentasstructuralelementsofcompositionandimprovisation;and3)characteristicsof the performer’s interpretation of emotion through time and rhythmic fluidity. This studyexplores the theoryandhumanpracticeof rhythmic-metric frameworkswithina localmusicalcontext.

Makampedia:Unveiling theLocallyRhythmicalandMetriccharacterofFreeRhythmTaksimImprovisationswiththeUseofMusicalAnalysisMichailCholevasandJulianoAbramovay(Codarts,UniversityfortheArts,Rotterdam)

ThisstudyexaminestherhythmicandmetricaspectsofphraseorganizationintheclassicalformofOttomantaksimperformances.Taksim,inthecontextofOttomanmusic,ismainlyusedeitherasaprologue,anepilogueofacomposedpieceorasabridgebetweentwocompositionswhicharecomposedonthesameorondifferentmakams(modes).Currently, taksimphenomenon istaught,discussedandanalyzedbymusicianswithafocusonconceptsofmelodicdevelopmentand melodic gravity. Terms such as melodic attraction, direction and hierarchy are used tocharacterize melodic development and realize it in traditional and academic educationalenvironments.Thisformofperformancetakesplacewithouttheexistenceorsuggestionofanyunderlyingpulse fromanother instrumentand is consideredand treated,even today,as time-lessorrhythm-less(lackingpulse)andmeter-lessorfree-metered(lackingmetricorganization).Thus,itisacommonpracticetotranscribeandnotatetaksimperformanceswithoutnotevalue,andthepresenceofrhythmintaksimperformanceshasbeenseldomdiscussed.Recent computational musical analysis investigates the relevance of rhythmical presence intaksim. Our research contributes to this line of inquiry by utilizing manual transcription andanalysis of performances from masters of the genre. It reveals clear rhythmic patterns and

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metricorganization.Wedecodedthesestructuresandmodeledthemsothattheycanbetaughtasimprovisationalstrategiesinintroductoryandadvancedcoursesoftaksimtraining.AlltheanalyzedmaterialiscatalogedandisaccessiblethroughtheMakampediadatabase,whichincludes recorded performances as well as lessons and interviews. This study increasesunderstandingofmusicalphrasingandmelodicflow,bridgesthegapbetweennon-rhythmicandmetric improvisational strategies and provides tools for taksim music education andperformance.

Theory and Performance Practice in South Asia: Have Changing Ideas aboutMeterInfluencedHowRhythmsarePlayed?EshanthaPeiris(UniversityofBritishColumbia)

At variousmoments in the twentieth century,musicologists around theworld have theorizedtraditional rhythmic frameworks in terms of latent isochronous pulses. These theories havesubsequentlyinfluencedthewaysinwhichmusicianshaveconceptualizedrhythms-particularlyrhythms that were previously understood through more flexible frameworks. But have thesechanges in conceptualization effected changes in the way rhythms are performed? UsingpercussionmusicinSouthAsiaasacasestudy,IanalyzehistoricalrecordingsfromIndiaandSriLanka in order to elucidate how changing ideas about meter have been reflected in certainchanging performance practices. I also analyze newer rhythmic techniques that have beenenabledbyaconceptual shift towardsmetricalcounting.Further, Iaddress the fact thatsomerhythmic performance styles have changed while others have not, and I discuss some of theideological factors that have influenced these phenomena. Having drawn attention to thecomplexways inwhich theactof theorizingmusiccan interactwith traditionsofperformancepractice, I concludeby calling for an increased critical awareness regarding theobjectives andimplicationsofouranalyticmethods.

EmpiricalEvidencefortheTheoryofSwing-BasedMeterinMalianDance-DrummingRainerPolak(MaxPlanckInstituteforEmpiricalAesthetics)

ThetalkopenswithatiminganalysisofadrumtriorecordingfromBamako,showingthatdespiteconsiderablerhythmiccomplexities,allensemblepartsexhibitanamazingdegreeoffidelitytoabasicostinatowhosetwodurationsperbeatrelatebyapproximately57:43(≈4:3).Thetalkthensurveysaseriesofrecentaudiocorpusstudiesandperceptualexperimentswhichexaminetheperformanceandperceptionofuneven,“swung”beatsubdivisionsindrumensemblemusicfromMali.Establishedtheoriesassumemetricpulsetorestonthehumantendencytorecognizeandanticipate iso-periodicities in rhythmic patterns. This would suggest that uneven beatsubdivisions represent expressive performance timing deviations from some underlyingisochronousreferenceframework.Bycontrast,theempiricalresearchIwillreviewisinsupportof the ethnography-based alternative hypothesis that certain mathematically complex “swingtiming ratios” constitute metric references structures in Malian performance practices andlistenings, but not so in other music-cultural contexts. Claims on cultural diversity inethnomusicology typicallyconcernstylesandmeaningsofperformancepractices; in this talk, Iwillclaimthatbasicstructuresofperceptioncanvaryacrossculturalgroups,too.

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AAWMSessionA2:Mediterranean(Tuesday,9:00-12:00,Hall1)Chair:DeirdreMorgan(SimonFraserUniversity)

ACaseStudyofEthnographyandComputationalAnalysisasComplementaryToolsforAnalyzingDanceTunesAndre Holzapfel (KTH Royal Institute of Technology and Center for Advanced Studies in Music,IstanbulTechnicalUniversity)

ConductingengineeringresearchwiththegoaltoidentifysimilaritiesbetweendancetunesinthetraditionalrepertoireofCrete,myexperimentspresentedmewithalargersetofanalyticresultsthatwerehard forme to interpret.Among these,a combinationofpitchanalysisandpatternmatchingmethods enabledme to compute frequentmelodic patterns frommusic recordings.Applied to apparently similar dance tunes, the emerging patterns, however, revealed strikingdifferencesbetween two styles.A fewyears later, a larger seriesof interviewswithmusiciansand dancers, aswell as fieldwork in concert events andmusic seminars, have revealed emicinterpretationsoftheinitiallyobserveddifferencesbetweenthepatterns.ThespecificrepertoireoftheCretanPidichtosdancecanbeseenasareflectionoftheformationofcontrastsbetweeneasternandwesternCrete,andbetweenoldandnewstyle.Thesecontrastsareassignedtotheethos of the Cretans in the specific areas and periods, and Cretans see their music asimmediately related to these contrasts. By relating results of ethnography and computationalanalysis,Iintendtogiveanexampleofhowtheconceptsoflocalethosandstyleareillustratedbyspecificpatternsonthesurfaceofthemusicalstructure.

Acoustical Characteristics and Vocal Timbre Nuances of the Cretan Rizitika SingingIdiomSpirosKalozakisandAnastasiaGeorgaki(UniversityofAthens)

RizitikosingingisalivingculturethatisspreadallovertheislandofCrete,mainlyintheregionsofHania,RethymnonandHeraklion.Thereisanoticeableandastrongdifferentiationbetweensingers from these regions due to the pronunciation of idiomatic diphones (consonantwith afollowing vowel) such as ki, ke, ro, ra, gi which indicate the origin of a singer, changingdramaticallytheacousticalparametersofasongduringtheactofsinging. Inthispresentation,wefirstexplorethegeneralcharacteristicsoftheCretanRizitikosingingstylesungbymen(vocalrange,formanttuning,vibratorateandvibratoextent).Thenweexaminethedifferences,amongvarioussingers,ofvibratorateandextentandhowthesyllablesfall.Tostudythe impact thattheoriginofthesingercangivetotheactofCretansinging,wemakeaquantitativecomparisonofrecordedvoiceswithNikosXylouris.

MusicandMusicNetworksintheAegean:TheExampleofNaxosIslandHarisSarris(UniversityofAthens)andMarianthiKoilia(TechnologicalEducationalInstituteofEpirus)

Inourpaper,wewillproposeananalyticalframeworkforthemusicologicalanalysisofthemusictraditions of the Aegean.On the one hand, following the concept ofmusic networks,wewilloutlinethemusicelementsusedintechnicalandanalyticalterms.Ontheotherhand,usingthediffusionofinnovationtheoryalongsidethenetworks,wewilloutlinetheroleplayedbymusical

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instrumentson thehistoryand the repertoireof theAegean.Consideringmusicelementsandmusical instruments as branches of the same network, we will investigate their particulartechnical and aesthetic characteristics, in close connection with their historical and socialcontext. The node of a network is of great analytical importance since it is a point wherebranchesmeetand interconnectboth locallyandsupra-locally.Defininganode is, inourview,equivalenttotheformulationofaresearchquestion.Hence,aspecificresearchquestionaboutthe music of Naxos can be considered as a node in a network of branches such as theabovementioned. Inourpaper,wewillnotbeconcernedwithamappingofNaxos’music,butratherwiththeunderstandingofthelogicandthemechanismsthroughwhichmusiciscreatedeachtime.

AAWMSessionA3:IndigenousTheoryandPractice(Tuesday,9:00-12:00,Hall2)Chair:CostasTsougras(AristotleUniversityofThessaloniki)

ABriefHistoryofOttoman/TurkishMusicTheoryviaItsMusic-TheoreticalInstrumentsFerhatÇaylıandCenkGüray(HacettepeUniversity)

Thisstudyaddressesthesignificanceofmusic-theoreticalinstrumentsandtheiruseintheorizingand representing functions in the history of Ottoman/Turkish music theory. It scrutinizes thewrittensourcesofOttoman/Turkishmusictheoryfromthe9thto20thcenturiesinordertodrawparallelsbetweentheevolutionofmusictheoryanddifferentpreferencesfor“music-theoreticalinstruments” over the centuries. In the early music theory manuscripts, the interval ratios,pitches and scaleswere describedwith the help of several instruments such as the imaginarymonochord,Ud (a typeof lute),Çeng (a typeofharp),Tanbur (a typeof lutewithavery longneck), andNey (a type of end-blown flute). In different centuries, different instrumentswerechosenasaprimarymusic-theoreticalinstrument.Theshiftingofthesepreferencesdependsonchangesofmusic theoryandpracticeover time. Inaddition, thesocio-cultural changeshaveasignificant impact on the choice of music-theoretical instrument. This study presents a newperspectiveonthehistoryofOttoman/Turkishmusictheoryandshedsnewlightontheissueofitsmusic-theoreticalinstruments.

“Improvisation is Not the Right Word!”: Native Terminology and PerformanceTechniquesofAzerbaijaniMughamCreativityPolinaDessiatnitchenko(UniversityofToronto)

Azerbaijanimughamisamusicaltraditionthatdemandsheightenedcreativityinthemomentofperformance. Findings from three years of fieldwork – comprised of learning how to performmughamonthetarandundertakingathoroughmusicalanalysisofexistingrecordings–revealthat mugham creativity can be classified into particular and distinct categories: variation,idiosyncraticstyle,creationofentirelynewmusicalphrases,andmodulation.Iwillplayexcerptsfromcollectedrecordingsofmughamsegahtodemonstratehowthedifferenttypesofcreativityareactualized inperformance. Inaddition, Idiscusshowthesecategoriesare identifiedwithasophisticated and rich native vocabulary. Through this analysis of musical structures andassociated terminology, I suggest how ethnomusicologists can approach musical creativity,avoiding the biased legacy of “improvisation” studies in Western music scholarship. TheindigenousAzerbaijani terminology formughamcreativityandmusicalexamplesshowobvious

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incongruitiesbetweenmughamcreativityand“improvisation”,as ithasbeendefinedbymusicresearchers in the West and by scholars from Russia who have been researching mugham.Spontaneous creativity is so intrinsic to mugham that it is not taught, nor is it defined as aseparatephenomenon;mughamasexperienceandasprocessiscreativity.Asingulartermsuchas “improvisation” is not relevant inmughambecause there are differentways of structuringmusicandnamingthemaccordingly.

Arion:HarmonizingTheoryandIdeologyinPracticeEleniKallimopoulouandPetrosVouvaris(UniversityofMacedonia,Thessaloniki)

Arion:TheMusicofHellenesasPreserved fromAntiquity to thePresent isa1917collectionofharmonizedGreekmusicofthemonophonictradition.ItsrepertoirerangesfromancientGreekmusic to Byzantine melos and Greek folk music. The collection is prefaced by an extendedintroduction, in which the authors, A. Remandas and P. D. Zacharias, present the theoreticalframework of their harmonizing practice and implicitly the ideological backdrop of theirendeavor. In so doing, they place theirworkwithin an ecology of contemporaneous researchfromdifferentfields,suchasfolklorestudies,musicology,andmusicalcomposition.Acommonthread running through this research is a concernwith substantiating the value of Greek folkmusicasa sourceofartistic inspirationor, in this case, asevidenceof cultural continuity. Theproposed presentation aims at interrogatingArion’s theoretical framework in connectionwiththeways it is implemented in the actual harmonizations. Theultimate goal is to facilitate theunderstandingofthisworkasideologyinpractice,illuminating,atthesametime,thepointsofconvergenceanddivergencefromtheworkoftheauthors’contemporaries.

DeconstructingDipoles:TheTerm‘Minor’inSmyrnaNikosOrdoulidis(TechnologicalEducationalInstituteofEpirus)

Theterm‘minor’appearsinSmyrneandiscographycirca1910.Itwasusedtodescribeamanes(apopularOttomanform)performedbyGiorgosTsanakaswith theSmyrneanestudiantina.Sincethen,theverysamemusicalmatrixhasbeenrecordedat leastanother20times, inSmyrna, inConstantinople,inAthensandinNewYork.Fromhistoricalsourcesitisunderstoodthattheterm‘minor’ is not only active in the Greek-speaking glossary of Smyrna, but utilized more as anentity,ratherthanamusicaltheoryreference.Thepaper is structuredon twocentral axes.On theonehand,all socio-historical componentsshallbeexamined,inordertomapthenetworkfromwhichthetermstemsandthecontextinwhich it functions. On the other hand, transcriptions of certain recordings shall be cited. Thecomparative and analytical methodology used aims to determine the mode detected in themusicalmatrixinquestion.Themethodisextendedtopopularmusicalidiomsingeneral,mainlythose that thrived in historically influential cosmopolitan centres. These centres arecharacterized by a dialogical reciprocity among the ethno-cultural groups of which they arecomposed,withGreek-speakingmusiciansplayingadeterminingroleinthisecumene.

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Tuesday,June26,13:30–16:30,ParallelSessionsB

AAWMSessionB1:DrummingSensibilitiesandForm

(Tuesday,13:30-16:30,Auditorium)Chair:MichaelTenzer(UniversityofBritishColumbia)

BalineseSoloDrummingandtheWesternDrumsetAdamKing(UniversityofSydney)

Kendang bebarongan is a form of improvised Balinese solo drumming which has recentlyexperiencedasurgeinpopularityduetotheemergenceoffestivalstylecompetitions.Thishasresulted in thedevelopmentof thedrumming tonew levelsof complexityandvirtuosity.Asalong-standingstudentandperformeroftheBalinesekendangandtheWesterndrumset,Idrawon practitioner knowledge from two contrasting musical traditions as a way of identifyingorganizational principleswithin kendangbebarongandrummingandhow theseprinciplesmaybe applied to the drumset to create an alternative rhythmic vocabulary. The first half of thepresentation will feature an analysis of selected kendang bebarongan rhythms. This analysisemploysageometricapproach, throughtheuseofpolygonnotationsystems.Additionally, theconcept of rhythm/sticking cells has been incorporated as a process to understanding therelationship between hand patterning and resultant rhythms. The second half will offer ademonstration of theways inwhich kendang bebarongan rhythms have been adapted to thedrumset. The presentation aims to offer an analytical method for categorizing kendangbebaronganrhythmsandamodelfortheapplicationofthesematerialstothedrumsetforthedevelopment of an alternative rhythmic vocabulary through direct engagement with a worldmusictradition.

Cello-DrumminginIndonesianKeroncongAndyMcGraw(UniversityofRichmond)

Keroncong,thestring-bandmusicofIndonesia,evolvedfromtheintroductionofWesternstringinstrumentstothearchipelagobeginningintheearlysixteenthcentury.Although Yampolsky has provided analyses of the harmonic structures of theasli,stambul,andkeroncong langgamsubgenres, detailed analyses of the intricatelanggamJawastyleare rare. This paper redresses the lacunae. Langgam Jawa is deeply inspired byCentral Javanese gamelan. It is performed in two modes, also calledslendroandpelog,andincorporatesthetempo(irama)shiftscharacteristicofJavanesegamelan.Thehighukulele(cak)is often associated with the gamelan’ssiter,the mid ukulele (cuk) with the colotomicinstruments,and the cello (selo) is analogous to thekendangdrum. In the hands of anexperienced performer of langgam Jawa, the selo can sound almost indistinguishable from akendang. Despite this similarity, I never encountered a selo player who could actually playkendang.Theprincipalquestion Iexplore inthispaper is:Howis itseloplayershaveabsorbedthesophisticatedfeelandtimbresofkendangperformancepracticewithoutdirectexperience?Ipresent the firstdetailed transcriptionsandanalysesof seloperformancesand compare themwithcommonkendangplayingtechniquesandpatterns.Kendangandseloperformancepracticeconverge in ways that appear difficult to account for by casual osmosis, as if the complexpatterns were simply “in the air,” as one selo player proposed. Whereas particular macro-

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rhythmicpatternsaresometimessharedbetweenseloandkendang,itismoreoftenthehighlysubtle forms of micro-rhythm at particular structural points that link the two practices,suggestingauniquelyCentral Javanese time-feel: adeep Javanese“groove” transcending styleandinstrument.Achallengeofthispaper istoaccountforthiscongruencewithoutfalling intoessentialistnotionsofJavanesemusicality.

ChallengesinComputationalModellingandGenerationofCarnaticPercussionMusicCarlos Guedes (New York University), Konstantinos Trochidis (New York University) and AkshayAnantapadmanabhan(independentmusician,India)

In this work, we present a data-driven approach for automatically generating South Indianrhythmicpatterns.ThemethodusesadatasetofCarnaticpercussioncompositionsperformedinaditala.Tomodeltherhythmicstructureandthegenerationofthetalas,weuseasetofruleswhich are based on different partitions. Each partition consists of combinations of strokesequences that form the duration of the talas. This modeling strategy has been validated intermsofthegrammarofthismusicidiombydirectdiscussionwithCarnaticmusicexperts.Twoapproachesforgroupingadjacentstrokesintorhythmicpatternswereused.Thefirstisbasedonthesegmentationofstrokestakingintoconsiderationthedistancebetweeneachstrokeanditsadjacentstrokes.Thesecondoneisbasedonawell-formedgroupingdictionaryofpre-recordedphrase variations. The grouped sequences of strokes from both approaches are analyzed andclustered by similarity. The results from these analyses are discussed and used to develop anapplication(CAMEL)thatcanemulateCarnatic-stylepercussivesequencesbycreatingrhythmicgrooves. The creation of these tools can be used in music education as a means of activelyenculturinglaypeopleintothismusicalstyle.

Cross-CulturalResonanceintheCadentialHemiolaNathanHesselink(UniversityofBritishColumbia)

When perusing the world of music from a global perspective, it is not difficult to find cross-cultural similarities inwhat in theWestwemight define as scale,mode, harmony, ormeter.Whilerecognitionand identificationofsuchaffinitiesonthe levelofwhatJohnBlackingwouldhavereferredtoasthe“surfacestructure” is important in itsownright, inthispaper Iexplorethepossibilityofadeeper,cultural-performativeresonancebetweentwoverydifferentculturesin the process known in the West as the cadential hemiola (here understood as alternatinggroupingsoftwosandthreesoccurringatformal,cadentialjuncturesrealizedinWesternbarsof12/8 and 6/4). What is significant is that two contrasting genres and traditions — Anglo-Americanindie/alternativerockandSouthKoreanfolkdrumming—bothchoosesuchaprocessatsectionandpieceendings,drawingthelistener’sattentiontosuchformalmarkersthroughthetemporarydisplacementofwherethebeatisormightbefelt.Iwillsuggestthatsuchrhythmic-formalplaythattoyswithlistenerexpectationsetupbyentrainmentandbeatgroupingsuggestsa cognitive base to such cross-cultural resonance in musical composition and performancepractice.

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AAWMSessionB2:MusicandMassMedia(Tuesday,13:30-16:30,Hall1)Chair:NancyMurphy(UniversityofHouston)

TheInfluenceofTimbreonEmotionPerceptionAnjniAminandRichardAshley(NorthwesternUniversity)

The perception of emotion in music depends on various factors including but not limited totempo,mode, and timbre. This studyaims toestablish ifWestern listeners recognizeemotionconveyedinIndianmelodiesutilizingIndiantimbresthroughrelianceonfamiliarpsychophysicalcues. This phenomenon was investigated both independent of and in interaction with othermusical parameters, namely melody, tempo and mode. Participants provided ratings for twotasksusinga9-pointLikertscale:inthefirsttask,twoBollywoodmelodiesexhibitingcontrastingintended affect were utilized. Each was presented in two contrasting timbres (sarod andbansuri),tempos(MM=96and132),andmodes(majorandminor).Thesecondtaskutilizedsixsamplesidenticalinpitchandduration,andparticipantsratedtheindividuallypresentedsoundsusing the same scale as the previous task. For the first task, an ANOVA yielded significantdifferences (p<.05) in timbre, tempo,andmode.For thesecond task,anANOVAagainyieldedsignificant differences (p<.05) between timbres. This study demonstrates themusical featuresappearingtocarryemotionalweightastimbre,tempo,andmode.Thisinvestigationprovidesaninitial framework for the relationship between psychophysical features and emotion inmusic,integratingcross-culturalconsiderations.

BuildingBridges:TwoCaseStudiesofMusicinFilmDimitrisTasoudisandPetrosVouvaris(UniversityofMacedonia,Thessaloniki)

Theunfoldingofastoryinfilmsdependsmostlyonwhattheeyesseeandnotwhattheearshear(Boltz, 2004: 1194). Themeaning, however, can be shaped, altered, even planned in advancethroughmusic.Thepaperwilladdressthefunctionofmusic intwosequencesofthefollowingfilms: ‘Leaps and Bounds’ (Dir. Petter Næss, 2007) and ‘Crossing the Bridge: The Sound ofIstanbul’ (Dir.FatihAkin,2005). Inthecaseof theformer, theopeningtitlesarescoredwithavocal, modal introduction by Nizamettin Ariç, a contemporary Kurdish singer. Then, the ECMartistPetterNilsMolvaer takesover,withablendofhis idiomaticScandinavianambienceandstringswithpercussion, In the caseof ‘Crossing theBridge: The Soundof Istanbul’,which is amusicdocumentaryaboutrockandhip-hopmusicinIstanbul,SezenAksu(aTurkishpopsinger)performs with Alexander Hacke’s guitar and a Fender Rhodes as accompaniment. Later on,musicians perform on a boat crossing the Bosphorus; the delayed electric saz’maqammeetsHacke’s shoegazing bass. Conceptual Metaphor Theory (Crossing The Bridge metaphor) andConceptualBlendingTheoryfromthedomainofcognitivelinguisticsareoftenappliedtomusic(Antovic,2011)andparticularly filmmusic (Vouvaris&Tasoudis,2018). Inbothfilms,differentmusicalidiomsco-existandblendwitheachother,producingafusedone;thiscreativedialoguebetweenmusic and narrative can promotemeaning construction. As the focus of this paper,meaningconstructionisseenthroughthelensoftheaforementionedtheories.

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"GreeceGoesModern"orSearchingfortheRoots?OntheUseofGreekFolksongbytheGreekPop/RockSceneKostasChardas(AristotleUniversityofThessaloniki)

ThewayinwhichGreekfolksongenteredGreekartmusichasbeenvariouslystudied.Thisisnotthe case, however,with Greek pop/rockmusic. The present paper offers an analytical/criticalapproach to how Greek folksong interacted with pop/rock mannerisms in two albums ofdifferent epochs, which both have folksong as their core source of inspiration: 'Greece GoesModern',byMimisPlessasandtheOrbitersof1967,and'Riza'[root],bytheVillagersofIoanninaCity of 2014. With reference to formal structure (of specific pieces and of each album as awhole), pitch and rhythmic features, texture and instrumentation, analysis reveals twoapproachestothetraditionalmaterial,bothimaginativeandcreative,butessentiallydifferentintheiraestheticandculturalmeans,goalsandcontexts.ThefirstalbumaestheticizesfolksongbyassertingaplaceforGreekmelodies(perceivedonlythroughtheirdanceelement,sincethereisnosinging)withinthewesternflourishing,atthatperiod,cosmopolitanrockculture.Thesecondalbumessentiallyoffersanexperientialamalgamationof traditionaland rockelementsandanartistic proposal for a modern life based on traditional values. Both approaches are alsodiscussedintermsofthechanges,intime,ofperceptionsoffolksongbyGreekculture.

QuantitativeEvaluationofMusicCopyrightInfringementPatrick Savage (Keio University), Charles Cronin (University of Southern California), DanielMüllensiefen(Goldsmiths,UniversityofLondon)andQuentinAtkinson(UniversityofAuckland)

Unfounded music copyright lawsuits inhibit musical creativity and waste millions of taxpayerdollars every year.One reason is that evaluatingmusical similarity requires specialized experttestimony by musicologists, who tend to use subjective, idiosyncratic, and time-consumingmethods.Ouraimwastodevelopandtestobjectivemethodsinordertosupplementsubjectivemusicological analyses.Weadaptedautomatic sequence alignment algorithms frommoleculargenetics todevelopa "percentmelodic identity" (PMI)method thatwas initiallydeveloped tomeasuretheculturalevolutionoffolkmusicfromdifferentcultures.Thismethodautomaticallyquantifiesthepercentageofidenticalpitchclassessharedbetweentwomelodicsequences.WeappliedthePMImethodtoacorpusof20pairsofmelodiesthathadbeenthesubjectof legaldecisionsandthathadpreviouslybeenanalyzedusingautomaticmethods.WefoundthatPMIsbelow50%usually result indecisionsofno infringement (11/13cases),whilePMIsabove50%usually result in decisions of infringement (5/7 cases). Importantly, each of the four outlyingcases could be explained by contextual factors not related to melodic similarity (e.g., lyrics,access).Ourresultsprovidepromiseforimprovingmusiccopyrightevaluationbycombiningbothobjectiveandsubjectivecomponents.

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AAWMSessionB3:MelodyandScales(Tuesday,13:30-16:30,Hall2)Chair:PanayotisMavromatis(NewYorkUniversity)

ANewApproachtotheAnalysisofMelodicMovementsinCollectivePieces:MelodicContoursofGūsheh-hainIranianDastgāhiMusicMohammadR.Azadehfar(UniversityofArts,Tehran)

Typically studiesof Iranianmusic,particularlyof issues related to itsmelodicaspects,areverymuch occupied by the discussion ofmodal systems of dastgāh-ha and the arrangements andfunctions of notes and their alteration within tetrachords and pentachords. The acculturatedlistener of Iranian music, however, pays little or no attention to microtones and theircomplicated arrangements. The approach developed in this project helps to examine thequalitative phenomenon of melodic movement. There are threemain factors in studying themelodic shape of gūsheh-ha, namely direction, interval and duration. In this method, variousmelodicmovementsandcontoursofpiecesarecodifiedforthepurposeofcomparativeanalysis.All the possible movements of melodies are categorized in 10 possible shapes. Using thismethod, I studied all main gūsheh-ha of seven dastgāh-ha and five āvāz-ha from the radīfincluding106pieces, and I categorized themelodic shapeof each inoneof the10 types. Foreach gūsheh two types of melodic movements were recognized, structural and momentary.Studyingmelodicstructureofgūsheh-hainthisprojectrevealedthenatureofmelodicformationinIranianclassicalmusic.

MaqāmandBeyond:AUnifiedTheoryinJulienJalâlEd-DineWeiss’sLastCompositionStefanPohlit(IstanbulTechnicalUniversity)

My presentation explores the last, most ambitious composition of the Swiss-Alsatian qānūnvirtuosoJulienJalâlEd-DineWeiss(1953-2015).“Spiritual Journey” isasuiteofroughlytwentyminutesandhassofarbeenperformedatthreeinternationalfestivals,eachtimebythefamousAl-KindiensemblewhichWeissoncefoundedinAleppo.Thefinalscorewascompletedwithmyassistance. During the 1980’s, having studied in Turkey and various Arab countries, WeissbroughtthelocaltraditionofAleppototheworldstage.Asanoutspokencriticofcontemporaryperformancepractice,hewouldlaterdeviseanoveltuningsysteminjustintonationwithwhichheconstructedseveralqānūnprototypeswithextendedpitch supply.Hisaimwas tocorrectlyrepresentandpreservethecharacteristicsofvariousregionaltraditionsinthecontextofmaqāmmusic. In viewof this tuning system, I askhow the score’s scale content, an amalgamationofdifferenttuningcustoms,isintegratedintoahomogeneousformconcept.Followingmyanalysisof foreground/middle-ground relationships, I show that the deep structure of Weiss’sexperiment exhibits his empirical, transnational approach, by focusing on universal formprinciples,suchassymmetry,toneratios,andlargerhythmiccycles.Iconcludethathisapproachis sustained by the permutation of small periodic cells with which he reinvents the Ottomanconceptofseyir[melodicoutline]bymeansofageneraltheoryofarithmeticproportions.

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ExploringaThree-LevelCompositionintheMusicalSystemofanOralTraditionAthenaKatsanevaki(AristotleUniversityofThessaloniki)

The mountains of Pindus occupy the central part of continental Greece. The musical systemfoundthereplaysafundamentalroleinthedevelopmentofthemusicaldialectsthatprevailonthetwoslopes.Fieldworkintheareacombinedwiththereflexiveengagementoftheresearcherwithmusicalpractice, reveals that this system isbasedonpentatonic scalesofdifferent types(anhemitonicorhemitonicormixed)intermsofmelodyanditisorganizedinmelodicformulasthatmusically describe theword-accent. Nonetheless below these formulas there are hiddenmeters that, instead of being accentual or rhythmic, bear strong similarities to “additive”rhythms (Hood 1982). Though these two composition levels are the most important, thequestionishowtheycoincideinthecourseofthemusicalcomposition.

Bhatkhande,Schenker,Humboldt:AnEternalRagamalaSomangshuMukherji(UniversityofMichigan)

A"rāgamālā"isliterallya"garland"or"braid"ofrāgas.Butitisalsoametaphorforthedeeper,metaphysicalconnectionsbetweenrāgamusic,creativity,andtheartsinIndia.Inthissense,anytheoryofmusicalityinIndiaisessentiallyarāgamālātheory–butnoneisperhapsasimportantasthatproposedbyVishnuNarayanBhatkhande,withwhoseideasthispaperwillpresentacloserengagement. Iwill argue,however, thatBhatkhande’s contribution to Indianmusic theory liesespecially in the broader statement hemakes about cognition and creativity in Indianmusic,whichalsoconnectshisworktotheWesternmusicandlinguistictheoriesofhiscontemporariesHeinrich Schenker and Wilhelm von Humboldt respectively –an intellectual ‘golden braid’ ofsorts. In particular, I will contend that Bhatkhande, Schenker, and Humboldt were interestedprimarilyinexplainingtheinternal,psychologicalaspectsofthemusicalorlinguisticexperience,butonlyintermsoftheirgenerativegrammaticalstructure.So,thispaper’stitleisintentional–just as Douglas Hofstadter did in his famous text–, this paper proposes a novel paradigm forstudyinghumancognitionaswell,byconnectingtheideasofthreeuniquethinkers,butinawaythatrelatesspecificallytohumanmusicality.

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Tuesday,June26,17:00–18:00,AAWMKeynoteaddress1(Auditorium)

TranslatingModesMartinStokes(King’sCollege,London)

The literatureon themaqam traditionhas tended todealwithmodalpracticesandmeaningswithin cultural contexts or within specific written transmission systems. Powers, writing on‘international Segah’ some time ago, initiated an inquiry into broader regional patterns ofdistribution and transmission. But the question of howmaqam-s travel, and why, or what itmightmeantodescribeamaqamformationmovingfromonecontexttoanother,andaskwhatkindsofprocessoftranslationorrelocationareinvolved,hasnotbeenmuchdiscussed.Thecaseof nihavent/nahawand is rich, and complex, and laden from an early pointwith properties oftranslationandhybridity.ThistalkwilllookataspaceframedbymodalpracticesinIstanbul,atoneend,andCairoattheother,overthelastthreecenturies.Thebroaderaimistodevelopaconceptionofmaqamopentodifferentkindsofinquiriesaboutmeaningandaffect.Ijoinothersinaskingwhatmightitmeantolistenthroughtears,melancholy,intenseaffect,orwithregardto weeping, or affectively engaged listeners and performers (for a recent study relating tomaqam,seeGill2017).Whatmightthismeanformusicanalysis,though?

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Wednesday,June27,9:00–12:00,ParallelSessionsCAAWMSessionC1:RegionsofEurope(Wednesday,9:00-12:00,Auditorium)Chair:MartinStokes(King’sCollege,London)

TransformationsinBertsolarisSingingStyleinOiartzunthroughoutthe20thCenturyItziarNavarro(GeorgAugustUniversity,Göttingen)

BertsolaritzaistheartofsingingimprovisedversesinBasque.Singingstyle(kantaera)isvitaltothismusicalpractice.Thewayabertsolari(improviser)singsabertso,thatis,howthebertsolariapproaches the melody in improvisation and how this connects to words, determines itscommunicativesuccess.However,academicliteraturehasnotyetaddressedtransformationsinkantaera in relation to social and historical changes, such as secularisation, industrialisation,formalisation and institutionalisation of the bertso, the use of microphones in venues, thepresenceofbertsolaritza in themedia, and thegrowing importanceofnational bertso singingchampionships.Inthispaper,Iaskhowthesechangeshaveaffectedbertsolaris’aestheticsandmusicalpractice.To explore this question, Iwill define kantaera, outlining the parameters that form it, namelyintonation, accentuation, articulation, ornamentation, tempo, rhythm, dynamics and timbre. Iwillanalysesoundrecordingsofsixbertsolaris,fromthesamevillagebutbelongingtodifferentgenerations,attendingtotheoutlinedparameters.Lastly,Iwilloutlinetherelationshipbetweenmusicalpractice,andsocialandhistoricalaspectstounderstandtransformations inBertsolaris’singingstyle.

BasqueTxalaparta:Meter,RhythmandPerformanceArgibelEubaUgarte(UniversityoftheBasqueCountry)

This paper outlines an analytical approach to txalaparta, a struck idiophone from the BasqueCountry consisting of severalwoodenplankswhich are performed collectively (usually by twopeople) following interlockingpatterns.Originally a rhythmicpractice linked to rural tasks andcelebrations, txalapartawas re-invented and adopted by a new generation of Basque culturalactivists in the 1960s, becoming an idiosyncratic musical instrument and a powerful culturalsymbol.DespiteundergoingaclearprocessofWesternizationinthelastdecades(useoftunedplanks, fixed pulse, clear subdivision, rhythmic regularization), improvised txalapartaperformance obstinately resists rigid categorization, remaining a liminal phenomenon, both inculturalandformalterms.Drawingonseveralresearchtechniques(performance,ethnographicfieldwork,phonographicstudy,notationandgraphicrepresentationofrhythm), Ianalyzesomeof the most salient formal and performative features of txalaparta, such as the differentinteractinglogicsbetweenperformers,metricmalleabilityandambiguity,strategiesforrhythmicconstruction, and the importance of bodily movement as a metric reference in itself. Thisanalysisprovidestoolsforabetterunderstandingoftxalaparta,identifyingpotentiallybeneficialperformativeskillsformusicianship.

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ArchaicFusion:AnAnalysisofNorwegianMunnharpeStyleandRepertoireDeirdreMorgan(SimonFraserUniversity)

FiddlesdominatetheworldofNorwegianfolkmusic,butthemunnharpe(jew'sharp)belongstoa group of instruments that are prized as being uniquely Norwegian. The eldrefolkemusikkinstrumente(olderfolkmusicinstruments)aregroundedintheharmonicseriesandthejustscale,andtheirinabilitytomodulateeitherexcludesthemfromplayingtherepertoireofthemorepopularfiddlesandaccordions,orrequiressignificantmodificationstothetunes.Themunnharpeisfurthermarginalizedbyitsbiphonicdroneandmelodytexture,andasaresult,itsplayers have developed an idiomatic playing technique and repertoire that capitalizes on itsidiosyncrasies.Inthispaper,Ishowhowthemunnharpe'shallmarksoundisatrifectacombiningtheglottalclosingtechniquerelatedtotheseljefløyte,themelodicaccentsandornamentationpatternsrelatedtothehardingfele(Hardangerfiddle),andthefootstompingrhythmsrelatedtofolkdance choreography (Setesdal gangar).Drawingonethnographic fieldwork, I demonstratehowmunnharpeplayersdisplaytheirmasteryofthetraditionbyincorporatingallthreeoftheseelementsinperformance.

Transformation of Tone Systems of Yodeling in the Muotatal Valley, CentralSwitzerland:AMulti-generationalLongitudinalStudyYannickWey(LucerneUniversityofAppliedSciencesandArts)

ThisstudyexaminesthetransformationoftonalsystemsofyodellingintheCentralSwitzerlandvillage ofMuotathal, which has drawn the attention of ethnomusicologists for harboring andconservingauniquestyleofyodelcalledJüüzli.Thelongitudinalstudycomparesthreesamplesoffieldrecordings,collectedbySichardt(sample1,1936),Zemp(sample2,1977/78)andduringthiscurrentresearch(sample3,2016/17).Pitchdataisretrievedforthethreesamples,eachofwhichconsistingof8–10yodelingpiecestotaling>600singleintervalspersample.Consequently,the distribution of pitch is analyzed both in terms of neighboring intervals (modality) and inrelationtoatonic(tonality)toinduceatonesystem.Thethreesamplesarecomparedinordertoexplicate transformations the tone systems underwent over roughly 40 years.The key findings demonstrate that the organization of the tonal system ismodal (horizontal)rather than tonal (vertical). While characteristic neutral intervals (seconds, thirds, sixths,sevenths) prevail in sample 1, they are replaced by ‘natural’ and equal-tempered intervals insamples2and3.Thefindingssupportthehypothesisthatinstitutionalizationofmusicpedagogyandfour-partchoirsingingtriggeredthedemiseoftraditionaltonalaestheticsinalpinevalleys.

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AAWM Session C2: Current Research by Members of the British Forum for

Ethnomusicology:PapersonAesthetics,Timbre,andTranscription

(Wednesday,9:00-12:00,Hall1)Chair:LeslieTilley(MassachusettsInstituteofTechnology)

TheSocialAestheticinNorthIndianClassicalMusicChloëAlaghband-Zadeh(LoughboroughUniversity)

In2015,ChristianaOlceseandMikeSavageidentifiedan“emerging‘aestheticturn’”insociology,describingacurrent interdisciplinarymovetodevelopwhathasbeencalled“socialaesthetics”(e.g. Born, Lewis and Straw 2017). In contrastwith traditional aesthetics,where the aestheticdomain is construed as removed from everyday socialities, work in this new area has drawnattention to the interpenetration of social and aesthetic registers. For scholars of music, thisresearch issues a powerful call to consider the sociality of the seemingly abstract aestheticprinciplesthatshapeperformances;however,thisworkhasyettoexploretheutilityofmusicalanalysisasawayofexaminingtheseprinciples.Inthispaper,IuseNorthIndianclassicalmusicasa case study to considerwhatmusic analysis can reveal about social aesthetics. To showhowsociality and aesthetics are intertwined, I put analysis into dialogue with ethnography:specifically,IanalysethismusicinlightofaseriesofinterviewsandlisteningsessionsIheldwithexpert listeners in India.Basedon this, Idemonstrate thesocialgroundingofkeyprinciplesofimprovisation in this tradition.Moreover, I argue that listeners’ aestheticexperiencemediatesbetween small-scale details of musical sound and large-scale social processes, including thereproductionofgenderandclass incontemporary India. Indoingso, I locatemusicanalysisascentraltothesociologicaltoolkitforunderstandingmusic.

Timbral Consonance andMusical "Flavor": SpectralDensity, Timbre Spaces, and theCultivationofListenersintheWorldofJiangnanSizhuRuardAbsaroka(SOASUniversityofLondon)

A subtle ‘timbre deafness’ remains in the pitch-centric bias of much music analysis. Thisdisregard is all the more unfortunate because timbre, although a ‘slippery concept and aslipperypercept’(Fales2002),isadimensionofmusicalexperiencethatcanbeveryrevealingofthe interplay of acoustic signal and perceived musical reality, acoustic world and perceivedworld. In the Chinese genre of jiangnan sizhu timbre has an aesthetic primacy thatmilitatesagainst the ‘timbral amnesia’ present in someothermusical contexts. Impreciseexecutionofexpected timbraleffect seriously impairs the ‘flavour’of themusicanda collectivevariantofTedLevin’s‘timbrallistening’isaskillthatisfundamentaltobelongingtothegenre’s‘epistemiccommunity’ (Harrison 2012). Timbre, operating at the level of pre-attentive perception, issometimescreditedwithmuchoftheaffectivepowerofmusic.Inascenethatexplicitlyvaluestimbralsubtlety,consonance,anddensity,howdoesafocusontimbreinducechangeinmodesofperceptionandof listening,evendisruptionofperceptualequilibrium?Whattechniquesoftimbre manipulation are responsible? The harmonious textural blending of the aestheticallyideal performance points to a collusion between audience, performers and instruments. Itaffordsvoluntarilysusceptiblelistenersanexperienceofmoreholistic‘environmental’listening,a thrilling suspension of source-orientation. Such considerations find some articulation in theoperativemodels (Baily 1988) of ‘folk’music analysis of practitioners themselves: a complex

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self-styled analytic armoury or ‘metapragmatic repertoire’ (Stokes 2003). The paper aims tocontribute to general analytical conceptions of timbre and also addresses possibilities fortimbralnotation.

"Easy" Automatic Melody Line Transcriptions: A Comparison of Two Open-SourceSoftwareProgramsMorganDavies(SOASUniversityofLondon)

Music researchers havebeenusing line transcriptions as ameansof analysing thenuancesofmelodic performance since the late 1920s. Recent developments in software technology haveallowed for increasingly detailed and accurate automatic representations of melody linetranscriptionsonpitch/timegraphs.However,theprocessesinvolvedcanbebothcomplexandtime-intensive.Thispaperlooksatalternativewaysofgenerating“easy”automaticmelodylinetranscriptionsbycomparingthefunctionalityoftwoopen-sourcesoftwareapplicationsthathaverecentlybeendevelopedbyateamofprogrammersbasedatQueenMaryUniversityinLondon.ThecomparisondrawsuponanalysisofrecordingstakenfromrecentfieldworkconductedintwoseparatesiteswithinSouthAsia.Inadditiontoprovidingapracticaloverviewofthesoftwareinquestion, thispaperalso reflectsmorebroadlyuponsomeof theways inwhich thesemelodylinetranscriptionscanbeusedbothtoaugmentandtoenrichourethnographicunderstandingofthemusical traditions in question,with the goal of producingmore holistic forms of analysis.Whilst theexamplesdiscussedpresent theirownunique issues for thiskindof representation,nonetheless it is hoped that the resultant insightswill also have relevance for the analysis ofothermusicalforms.

Cross-CulturalAnalysisThroughCross-CulturalNotation:TheLabanSolutionRevisitedAndrewKillick(UniversityofSheffield)

Thecurrentresurgenceofinterestincross-culturalandcomparativemusicanalysisdoesnotyetappear to have produced a fundamental rethinking of whatMantle Hood,writing as early as1971,called“thechronicproblem,transcriptionofnon-Westernmusic,andthechronicsolution,‘doctored’Westernnotation.”Yetwhenappliedtomuchnon-Westernmusic,asiswellknown,Westernnotationnotonly fails to representwhat is present in themusic (such asmicrotonalpitch-bending); it forces the transcriber to represent things that arenotin themusic (such asproportionalrhythmicvaluesandpitchintervalsbasedontwelveequaldivisionsoftheoctave).Hood’s proposed “Laban Solution,” the pursuit of a new symbolic notationdesigned from thebeginningtorepresentanykindofmusicalsound,remainslargelyunexplored.Thispaperarguesforthebenefitsofsuchasystemintheformulationandcommunicationofcross-culturalmusicanalyses,andofferssomepracticalsuggestionsforthedesignofanotationthatwouldrepresent(only)thosefeatureswhicharepresentinthemusicandrelevanttotheanalysis.Tothatend,itunveilsanewresource fordeveloping suchanotation,anonline“manual” towhichusersareinvitedtocontributesuggestionsandapplications.

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FMASessionC3:RhythmandTimbre(Wednesday,9:00-12:00,Hall2)Chair:AggelosPikrakis(UniversityofPiraeus)RhythminferencefromaudiorecordingsofIrishtraditionalmusicPierreBeauguitte,BryanDugganandJohnD.Kelleher(DublinInstituteofTechnology)

A new method is proposed to infer rhythmic information from audio recordings of Irishtraditional tunes. Themethod relies on the repetitive nature of thismusical genre. Low-levelspectral featuresandautocorrelationareused toobtaina low-dimensional representation,onwhichlogisticregressionmodelsaretrained.Twoexperimentsareconductedtopredictrhythmicinformation at different levels of precision. The method is tested on a collection of sessionrecordings,andhighaccuracyscoresarereported.

Subiendolallamada: Negotiating tempo and dynamics in Uruguayan CandombedrummingLuisJureandMartínRocamora(UniversidaddelaRepública)

The leader–follower relationship among performers is an important aspect in the studies ofinterpersonalentrainment inthecontextofmusicalperformance,speciallywhenanalysingtherole of leadership in instances of changing tempo and/or dynamics. This research focuses onUruguayanCandombe,arichdrummingtraditiondeeplyrootedintheAfro–Atlanticculture.Thepurpose of this paper is to analyse the mechanisms by which Candombe drummers maycoordinateandsynchronizechangesintempoanddynamicsduringtheperformance,specificallyattheprocesscalled“subirlallamada”.Ofspecialinterestistheanalysisofthecuesgivenbythedrummerthatleadstherestofthegroupintheprocess.TakingoneparticularrecordingbythreeexpertCandombedrummersascasestudy,severalcomputationaltoolswereappliedtoextractfeaturesrelevanttotheanalysisfromtheaudioandvideosignals.

TowardsthestudyofembodiedmeterinSwedishfolkdanceOlofMisgeldandAndreHolzapfel(KTHRoyalInstituteofTechnology)

The interrelation of playing and dancing is central for understanding performance practice inSwedish folk music, as it plays an important role for the metric and rhythmic qualities ofspelmansmusik, and playing for dancing is considered a key competence formusicians in thistradition. As part of a research project into performance practice, sound, video and motioncapture(MoCap)datawererecordedfromliveperformancesofthreemusiciansandtwodancersindifferentcombinations.Inaddition,dancingtotworecordingsbyaninfluentialmusicianandtoliveandpre-recordedbeatclappingwasrecorded.This paper incorporatesmeasurements and visualizations of performancedata in combinationwith performer participation and interviews. As a starting point for our project, we focus onmetric qualities in a historical recording, and on the dancemovement patterns to a Swedishpolskastylewithasymmetricalbeatpatterns.Forthispaper-asapreliminaryinvestigationintothematerial - the recordingsofonedancerdancing toan isochronous clappedbeat, and toarecordingbyaninfluentialplayerhavebeenusedforcomparisonofacentralmovementpatternindancing.The findings show thatasymmetricbeatpatterns contained in the recording causewider variation among the movement patterns when compared to the patterns observed to

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isochronousclapping.Considering theperformers reactions towardsusingMoCapasa tool forviewing and discussing their performances, we propose further investigations by combiningscientific, ethnomusicological and artistic researchmethods into the research of performancepracticeinfolkmusic.

PerceptionofasymmetricrhythmsintraditionalGreekmusicMarcelo Queiroz, KaterinaPeninta, Roberto Bodo,Maximos Kaliakatsos-Papakostas and EmiliosCambouropoulos(UniversityofSãoPauloandAristotleUniversityofThessaloniki)

ThispaperexploresaspectsofrhythmicperceptionwithinthecontextoftraditionalGreekmusic,morespecificallyDemotikasongs,whichdisplayarichvarietyofasymmetricrhythmicpatterns,i.e. patterns comprising beats of different durations. A listening experiment with volunteeruniversitymusicstudentswasconducted,inordertoinvestigatebasicquestionsregardingtimingaccuracy and meter structure as perceived by subjects. This study suggests that identifyingaccuratelyrhythmicmeterpat-ternsintraditionalGreekmusicisnotaneasytask,evenamongGreekmusic students,althoughstatistically significantdifferencesmaybeobserveddependingon cultural background. Statistical analysis also reveals correlations between elementsassociatedwiththedifficultyofthetask,suchasthedegreeofagreementbetweenparticipants,theresponsetimesandthenumberoftimeseachexcerptwasheard,andmusicalaspectssuchastempo,meterstructuresandsymmetry/asymmetryofrhythms.

Tension perception in Greek traditional folk music: Examining the role of timbralsemanticsAsteriosZacharakis, KonstantinosPastiadis and Athena Katsanevaki (Aristotle University ofThessaloniki)

This paper presents an empirical experiment aiming to investigate the potential influence oftimbralsemanticsontensionin-ductioninGreektraditionalfolkmusic.Tothisend,agroupofseventeen listeners rated theevolutionofauditory luminance, textureandmass togetherwiththe felt tensionover sixteenmusical excerpts in real-time.Correlationand regressionanalysesbetweenthesefourqualityprofilesforeachparticularstimulusshowedthatallthreeexaminedtimbralqualitieshad instancesofverystrongassociationwithtension.Althoughauditorymassfeatured the greatest number of such instances, no safe conclusion can be reached based oncurrentfindingsregardingthemostinfluentialtimbralsemanticdimensionfortensioninduction.Instead,itseemsthatacombinationofconditions(i.e.,musicalparameters)caneithermaximiseorminimisetheinfluenceofeachtimbraldimension.

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Wednesday,June27,13:30–16:30,ParallelSessionsDAAWMSessionD1:WorldMusicinNewArtMusic

(Wednesday,13:30-16:30,Auditorium)Chair:JuanDiegoDiaz(UniversityofCaliforniaDavis)

AnalyzingtheEpiroticVocalandInstrumentalMoirologi(Lament)anditsReflectioninTheodoreAntoniou'sLamentsforSoloInstrumentsCostasTsougras(AristotleUniversityofThessaloniki)

TheGreekMoirologi, the song for the dead, has an impressively long tradition, going back toancientGreece.Poeticallyandmusicallyitreliestoagreatextendonimprovisationoncommonpatterns, while it can also take the form of an instrumental virtuosic improvisation. As aprofound element in the fabric of neohellenic life and ethos, it is frequently an inspirationalsource for contemporary composers of the art-music genre. TheodoreAntoniou (b. 1935) hascomposed a series of solo pieces entitled "Lament for...", dedicated to the memory of closefriendsor colleagueswhohadunexpectedlyor tragicallypassedaway, all of thembasedonaphrase from a moirologi from Epirus. The present paper attempts a presentation of the keymusical features of the epirotic moirologi through the transcription and analysis of selectedexcerpts,and theanalysesof threeofAntoniou's solopieces, theLaments forMichelle (1988,flute),forManos(1995,clarinet)andforJohn(2003,horn).Theanalysesfocusonhowthemodalpitchstructurestemming fromthemoirologiprovides thepitchmaterialof thepieces throughtransformation, transposition, fragmentation and liquidation, as well as on the creation ofmusicalformthroughtheflowofmusicalgestures,climaxesanddramaticclosures.

AfricanandEuropeanInfluencesinChristianLauba’sSaxophoneCompositions(“NineEtudesforSaxophones”–1stBook)NikolaosDiminakis(AristotleUniversityofThessaloniki)

ChristianLaubaisaneclecticFrenchcomposerandpianistborninSfax(Tunisia)in1952.The1stBook of his “Nine Etudes for Saxophones” encompasses four compositions (Balafon, Savane,Sanza and Jungle), which will serve here as analytical case studies. All four pieces exhibit anumberofgeneralattributes thataregenerally consideredAfrican (e.g., instrumental timbres,melodicstructures,rhythmicpatterns,polyphonictextures,mechanicalrepetition,useofnoise,improvisationalproperties,etc.).Aswell, theiroriginal titlesclearlydesignatetherelationwithAfrica by naming archetypical African instruments (balafon and sanza) andecosystems/soundscapes (savanna and jungle). These African qualities, though, are filteredthrough the composer’s Europeanmusical sensibilities (suchas conceptsof French saxophonesoundandavant-gardecompositionalandsound-productiontechniques).Thisconstantsynergyof diversemusical features is presented through the concert-etude genre, thus combining thesoloistic (concert) and pedagogic (study) approaches. This paper aims to demonstrate howAfricanandEuropeaninfluencesmixtogetherinLauba’scompositionalstylethroughanalysisofmacro-andmicrostructurallevelsofeachcomposition.

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MovingBeyondCulturalAppropriation:ReconciliationintheFinaleofChristosHatzis'GoingHomeStar(2014)KristiHardman(CityUniversityofNewYork)

Reconciliation with Indigenous peoples has recently become a priority for the Canadiangovernment and many Canadian citizens. In 2013, The Royal Winnipeg Ballet commissionedGreek-Canadian composer Christos Hatzis, who worked in collaboration with CanadianIndigenousmusiciansTanyaTagaq,SteveWood,and theNorthernCreeSingers, tocomposeaballet that tells the story of residential schools in Canada, the survivors of the violenceperpetratedthere,andthepathtowardreconciliationbetweenIndigenousandnon-IndigenousCanadians. Thispaperpresentsananalyticnarrativeofhow reconciliation is expressed in thefinaleofGoingHomeStarandexploreswhereitsitsonthespectrumofculturalappropriation.Whatishopedforintheprocessofreconciliationisnotareturntopastfriendlyrelations(sincetheynevertrulyexisted),butamovetowardanewrelationshipthatisbasedonmutualrespectandunderstanding.The finaleofGoingHomeStarembodies thisdefinitionof reconciliation intwoways:1)throughincorporationofIndigenousmusic,notasaformofexoticism,butasafullyequalpartnertotheWesternartmusiccomposedbyHatzis;and2)throughtheuseofmusicalpalindromes,whichsimultaneouslyevokeasenseofreturnandofjourneytoanewplace.

Musical Synthesis and Collaborations in Canadian Compositions using Chinese andWesternInstrumentsGloriaWong(VancouverSymphonyOrchestraSchoolofMusic)

Therealmofinterculturalcontemporarycompositionpresentsmanychallengestotheacademic.Both the ethnographic study of themilieuwithinwhich thismusic is created, performed andreceived, and the study of the works themselves and their cultural significance reveal a highdegree of individualism. This diversity often offers a challenge in making comparisons andgeneralizationsthatcontributemeaningfullytothedescriptionofsocialandcreativeprocessesatwork.ThispaperfocusesonaveryspecificbodyofCanadianinterculturalcompositionsusingChinese andWestern instruments. Guided by consultation with composers and performers, Ianalyzeanumberofworksusingvariedanalyticalapproaches.Thepurpose is toexaminehowspecific culturally bounded ideas coming from Chinese, Western or other cultural influencesaffect the generative process of composition and the nature of composer-performercollaborationsintheprocessofperformancepreparation.Myresearchilluminatesadiversityofapproachesto interculturalcompositionandmusicalsynthesisofmaterials fromvariedorigins.Yet within this diversity, there are common compositional considerations evident within theworks examined. The long-term collaboration between a close-knit community of musiciansestablishes a community cohesiveness to the production and reception of these works thatcontinuetogarnerpublicinterestandsupport.

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AAWMSessionD2:Physicalities(Wednesday,13:30-16:30,Hall1)Chair:MartinClayton(DurhamUniversity)

But We’re Not in Zombie Mode: Meter and Selected Attention in Greek OrthodoxMovementandMusicRosaAbrahams(UrsinusCollege)

“I don’t place myself in zombie mode,” said Greek Orthodox priest Father “Theodoros” indiscussinghowhesimultaneouslypaysattentionanddoesnotpayattentiontothemusicaroundhimwhen conducting a service. In this paper, I exploreways inwhich clergy understand andperform the chanted liturgies of the Greek Orthodox church and resultant instances ofphysical/sonic selective attention.GreekOrthodox chantmaybeunderstood as semi-metered(music allowing for varying levels of entrainment tometer on the part of the listener and/orperformer).Whenconsideredalongsidetheritualmovementsofthepriestandconcurrentsonicritual events, an asynchronous relationship is unveiled. Through interviews and serviceobservationsofGreekOrthodoxpriestspracticingintheChicagoarea,Iexplorecomplexmetricalmomentsoccurringbetweenworshippingbodiesandthesonicenvironment,aswellasbetweendistinctmetricalstreamsoccurringsolelywithinthesonicenvironment.Iexaminethreeofthesemoments,employingtheconceptsofproceduralmemoryandselectiveattention,bothofwhichwere also referenced inmy clergy interviews.All three analyses are informedbyethnographyandembodiedanalysis,andaimtocontributetounderstandingsofmeterinembodiedworshipandGreekOrthodoxchant.

Participation and Presentation in Chinese Cross Talk: Using ELAN for StudyingResponsestoMusicandSpeechFrancescaLawsonandJoshuaSims(BrighamYoungUniversity)

Using ELAN, a video programming software, Ian Cross has conducted experiments thatdemonstrate how speech can actually become musical in conversations between same-sexfriends at theCentre forMusic and Science at theUniversity of Cambridge (2016), suggestingthat speech and music are two biologically related parts of the same communicative toolkit.Cross believes that researchers should focus on participatory music making, rather thanpresentational performances, when trying to argue for the biological utility of music. WhileCross’s emphasis on the participatorymakes sense in the context of conversational dialogue-cum-music,we suggest that the differences between participatory and presentationalmusicalperformancesarenotsoeasilydrawn.Wearguethatpresentationalperformancesmaybehighlyparticipatory,andparticipatoryfeaturesofperformancemayalsobeshowcasedaspresentationstoaudiences.Using the sameELAN software,wehighlight the symbiotic relationshipbetweenlanguageandmusicandbetweenpresentationalandparticipatoryaspectsofperformance inanorthern Chinese genre known as xiangsheng, a comic dialogue that is part of the “speaking-singing” or shuochang tradition in north China, whose very name confirms the kind ofinteractivitybetweenspeechandmusicthatCrossetal.discussintheirresearch.

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Imagery,MovementandMeaninginNorthIndianMonsoonRagsLauraLeante(DurhamUniversity)

In this paper I discuss imagery and feelings associated by contemporary Hindustanimusicianswith rags performed in theMonsoon, and how the analysis of the verbal articulation of theexperienceoftheserepertoirescanprovideinsightsintomusicalembodiment.Monsoonragsareassociated with a specific season (with strong emotional and figurative connotations) andpresent the musicologist with a much more fixed stock of shared imagery than others: thechallengeistounderstandhowsuchprescribedimagesandemotionsarearticulatedinrelationtospecificmusicalfeatures,andhowtheiranalysiscancontributetoabetterunderstandingofprocesses of signification inHimdustanimusic.My approach draws on ethnographic enquiriescarriedoutamongNorthIndianclassicalmusicperformersandconnoisseurs,whichareanalysedwithin their wider cultural context and through musicological and semiological analysis: inparticular,here,Iofferafirst,originalreflectiononhowmusicalelementsfeaturinginMonsoonrags can be understood as sonic and/or kinetic anaphones. This study complements andadvancesextantresearchintogestureandmeaninginIndianmusicperformance,bypresentingnewanalysisofanestablishedcorpusof imagesandbyprovidinganuancedunderstandingoftherelationshipbetweenembodimentandimageryinmusic.

ParsimoniousTe-utsuri:ModelingInstrumentalSpaceinShōPerformanceToruMomii(ColumbiaUniversity)

This paper incorporates the physical gestures of performing the shō into an analysis of itsaitake—five- to six-note pitch clusters used in tōgaku—to explore the relationship betweenperformancepracticeandtheoriesofmodality.Idemonstratethattheidiosyncraticarrangementofthepipesontheshōiscloselyrelatedtothepitchstructureandtonalfunctionoftheaitake.Myanalysis synthesizes twoapproaches. First, I adoptDavid Lewin’s transformational attitude(1987) toanalyze theprocessesofmotion in te-utsuri—thestandardized fingeringchanges forshifting between aitake. Second, I treat the aitake as sonic byproducts of a performer’sinstrumental gestures—rather than as static harmonic entities—to examine how each of theaitakearerelatedtooneanotherkinesthetically,andwhethertheserelationshipscorrelatewiththepitchstructuresoftheaitake.Relatednessbetweenaitakeisdeterminedbytheparsimonyofte-utsuri.Byanalyzingthepitchstructureofaitakethroughthelensofte-utsuri,Idemonstratethat the most parsimonious movements can be enacted between aitake built on thefundamentaltonesoffiveofthesixtōgakumodes:Ichikotsu-chō,Hyōjō,Taishiki-chō,Ōshiki-chōandBanshiki-chō. These findings reveal a striking correlationbetween gestural parsimony andtonalfunctioninshōperformance.

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FMASessionD3:TranscriptionandRecognition(Wednesday,13:30-16:30,Hall2)Chair:AndreHolzapfel(KTHRoyalInstituteofTechnology)

TheHiddenModes:Acomputer-assistedapproachtotonalityanalysisofSwedishFolkMusicSvenAhlbäck(KungligaMusikhögskolan,Stockholm)

In this paper, tonality in a general sense is targeted within the style and repertoire of olderSwedish folk music. Since the beginning of the 19th century, intonation practice and specifictraitsof tonality inSwedish folkmusichasbeen recognizedby scholarsaswell asperformers.However, there are only a couple of more extensive studies on the subject. Fundamentalproblems regarding such studies include for example the influence of transcription detail indifferentsourcematerial.In the present study, a computer-assisted approach has been employed in order to study ifrecordedsourcematerialandnotationsfromfolkmusiccollectionscanbeusedinconnection,tofindindicationsofgeneraltonalitytraitswithinadiversesourcematerial,includingmanuscripts,transcriptions and field recordings. The findings indicate that this approach points to thepossibilityof revealingculturallysignificant tonality traits fromadiversesourcematerial,usingan extended set of features of melody structure, beyond themost common note frequency,durationandintervalmeasures.Inparticular,thepresentstudyrevealsstructuralindicationsoftonalityindifferentsub-stylesofolderSwedishfolkmusic.

TwomethodstocomputemelodiesforthelostchantoftheMozarabicriteGeertMaessen(GregorianaAmsterdam)andDarrellConklin(UniversityoftheBasqueCountry)

Several medieval chant traditions are preserved in precursors of modern music notation.Virtually all chants of the Mozarabic rite are only preserved in the earliest of these: pitch-unreadable neumatic notation. Melodic intervals are not available. This paper sketches twocomputational methods to producemelodies based on a comparison of transcriptions of theearlynotationwithpitch-readablepreservedtraditionsencodedinadataset.

PlayerrecognitionfortraditionalIrishfluterecordingsIslahAli-Maclachlan,CarlSouthall,MaciejTomczakand JasonHockman (DMTLab,BirminghamCityUniversity)

Irish traditional music (ITM) is a form of folk music that developed alongside dancing overhundredsofyearstobecomeanintegralpartofIrishculture.Thewoodenfluteiswidelyplayedin this tradition and mastery in performance is judged by personal stylistic interpretation.Automaticplayerrecognitional-lowsformusicologicalanalysisinanenvironmentwhereplayersareindividuatedbasedontheirinterpretationofacommonsetofmelodies.Thispaperpresentstwoplayerrecognitionmethodsbasedonconvolutionalneuralnetworks(CNN).Weimplementtwoevaluationcontextsforbothmethods,usinganew ITM-Flute-Style6datasetalongsideourexisting ITM-Flute-79 dataset. The results demonstrate that in both simplified and realisticscenarios, the proposed system is capable of high performance in recognising individualmusiciansplayingmelodieswithindividualstylistictraitsthatareidiomaticofthegenre.

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AutomaticmakamrecognitionusingchromafeaturesEmirDemirel,BarışBozkurtandXavierSerra(MusicTechnologyGroup,UniversitatPompeuFabra)

This work focuses on the automatic makam recognition task for TurkishMakamMusic usingchromafeatures.Chromafeaturesarewidelyusedformusicidentificationandtonalrecognitiontasks such as key estimation or chord recognition.Most of priorwork onmakam recognitionlargelyrelyonuseofpitchdistributions.Duetothe imperfectionofautomaticpitchextractionfornon-monophonicaudio,useofchromafeaturesisanalternativethathasbeenshowedtobeeffective inaprevious studyandwe follow the sameapproach.Ourworkdoesnotproposeanewarchitecturebutratherconsidersparameteroptimizationofchromabasedrecognitionformakams. Inour testsweuseanopen-contentdatasetandperformcomparisonswithpreviousstudies.Asaresultofparameteroptimizationabetterperformanceisachieved.Allresourcesaresharedforensuringreproducibilityofthepresentedresults.

AutomatictranscriptionofflamencoguitarfalsetasSonia Rodríguez, Emilia Gómez andHelena Cuesta (Music TechnologyGroup,Universitat PompeuFabra)

Thisworkdealswiththeautomatictranscriptionandcharacterizationofflamencoguitar,withafocusonshortmelodic interludesimprovisedbetweensungverses.Thesearecalledfalsetas intheflamencoargotandareverychallengingformanualandautomatictranscriptionduetotheirfastandhighlyornamentednature.However,theyareakeyresourceforguitarplayerstoprac-tice.We adapted a state of the art singing transcription algorithm to process an audio signalcontaining one or several guitar falsetas and extract their symbolic representation. Thealgorithms first perform a segmentation to locate the guitar fragments and then a symbolictranscription of these segments into symbolic representation. In order to evaluate it, wecollected the first (to our knowledge) annotated falseta datasets. Our results confirm thedifficulty of the task, and a detailed study of two transcriptions revealed that combining thealgorithm with specific musical knowledge about the scale used by the song, improves theperformanceofthesystem.Ourapproachfollowstheprinciplesofresearchre-producibility,andthe system is integrated in a computer-assisted paradigm, where the user complements theautomaticannotationwithaprioryknowledgetogenerateafinaltranscription.

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Wednesday,June27,17:00–18:00,FMAKeynoteaddress(Auditorium)

AutomatictranscriptionofworldmusiccollectionsEmmanouilBenetos(QueenMaryUniversityofLondon)

Automaticmusic transcription refers to theprocessofconvertingamusic recording intosomeform of human- or machine-readable music notation. It is considered to be a fundamentalproblem in the fieldofmusic information retrieval,with several potential uses in the fieldsofdigitalmusicologyandethnomusicology.However,itstillremainsanopenproblem,especiallyinthe context of polyphonic and heterophonicmusic. Another challenge facing automaticmusictranscriptionmethodsandmusicinformaticsmethodsingeneralistheso-called“Westernbias”:mostsuchcomputationalmethodsarenotdirectlyapplicabletomusicstylesoutsidethepurviewofWestern/EurogeneticMusic.InthistalkIwillfirstpresentthestate-of-theartonautomaticmusictranscription,withafocusonworld,traditionalandfolkmusic.Iwillillustrateitwithourownresearchonautomaticmusictranscriptionforspecificmusicstyles,includingTurkishmakammusicandCretandancetunes.Iwilldescribethechallengesregardingmodelling,evaluationandadoptionofsuchtools,andonongoingeffortstowardspitchandtuninganalysisonalargecorpusofaudiorecordingsfromtheBritishLibrary'sWorld&TraditionalMusiccollections. Inthefinalpartof thetalk Iwilloutlinefuture directions in the intersection between computational ethnomusicology and musicinformationretrieval,andonwaysofcarryingoutmutuallybeneficialresearchbetweenthetwocommunities.

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Thursday,June28,9:00–12:00,ParallelSessionsE

AAWMSessionE1:AfricaandEmpiricism(Thursday,9:00-12:00,Auditorium)Chair:SylvieLeBomin(Muséumnationald'Histoirenaturelle)

PerformingWisdom:GenerativeProcessesintheSeperewaMusicofOseiKorankyeColterHarper(UniversityofPittsburgh)

ThispaperexploresthemusicofOseiKorankye,theprimaryadvocateandvirtuosicperformeroftheseperewa(Akanharplute).Unlikeitsnorthernrelativessuchasthekoraandhunter’sharp,whichstillenjoywidespreaduseintheSahel,theseperewahaslargelyfallenoutofuseinAkansociety.MadeupoftheTwiwordsse(speak),pere(touch),andwa(connotingsomethingsmall),the instrument’sname is translatedbyKorankyeas “when this small instrument is touched, itspeaks.”Thistranslationimpliesthatthemusicisstructuredasaconversationbetweensungandinstrumentalmelodies.ExpandingonJ.H.KwabenaNketia’s1994article“GenerativeProcessesinSeperewaMusic,”thispaperfocusesonthetitlesongfromKorankye’scommercialrecordingSeperewaofGhana:EmmereNhyinaNseproducedforAkwaabaRecordsin2016.Collaboratingwith Korankye on the recording provided an intimate look at how he conceptualizes songstructuresand improvisation inrelationshiptoWestAfricanbellpatterns,anaspectpreviouslyunexploredinNketia’sarticle.

How to Listen to the Response Drum Part in Agbadza (Ewe, Ghana/Togo): Form,Accentuation,andReciprocityDavidLocke(TuftsUniversity)

ThedrummingmusicofAgbadza,atypeofperformanceartoftheEwe-speakingpeopleofWestAfrica (Ghana/Togo), centers on the interplay of lead and response drums. Timbral/rhythmicpatterns from the response drum partmove in their own temporal linewhile simultaneouslycontributing to the thick ensemble texture ofAgbadza. This paperwill examine thedesignofmusical formandthepatterningofaccentuation inresponsedrumthemes. Reciprocitywillbehighlightedasawayoflisteningtotheresponsedrumpart;thatis,themutualimpactbetweentheresponsedrumpartandothercomponentsofanAgbadzaperformance(dance,timeparts,lead drum part, song). Information for the analysis comes from a recorded performance oftwenty-fiveAgbadzasongsbyGideonFoliAlorwoyieandtheAfrikaniaCulturalTroupeofAnlo-Afiadenyigba,Ghana.

MeasuringRhythmic Complexity in theWestAfrican StandardPattern:An EmpiricalApproachJuanDiegoDiaz(UniversityofCalifornia,Davis)

Theso-calledWestAfricanstandardpattern<2212221>isaubiquitousrhythmthatservesasatemporalreferencefordozensofgenresacrosstheBlackAtlantic.Butthispatternalsoappearsinrotatedversions—i.e.withotheronsetsofthepatternperceivedasthereferencepoint.Thisoccurs in specific traditional genres (e.g. Nigerian Yoruba drumming <2212212>) and in

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experimentalAfro-diasporicmusics(e.g.“DasArabias,”[OrkestraRumpilezz,2016]<1222122>).Infact,somemusiciansdeliberatelyaimtoincreaserhythmiccomplexitybyusingvarioustypesofrotationsofthepattern(Diaz2017).Howdomusiciansandaudienceswhoarefamiliarwiththe standard pattern in its version <2212221> reactwhen the point of reference is shifted intime? This paper engages this question froman empirical standpointwith three psychologicalexperiments on rhythm realized in Ghana. The experiments measure perceived, metric, andperformance complexity of the standard pattern in its 12 possible rotations and in threecontexts: the rhythm alone, and in conjunction with a 12/8 and a 3/2 pulse. The results arecomparedtoanalysisofrhythmiccomplexitybasedonsyncopationandmetricstrength(Agawu2003,Diaz2017).Thepaperargues that that familiaritywith the“base”rotation<2212221> iscrucialtostudyingrhythmiccomplexityofotherrotationsofthepattern.

GettingtheGroove:Variation,ExpectationandAffectiveResponsesAcrossCulturesMaisieSum(UniversityofWaterloo)

In his landmark study, Emotion and Meaning in Music, Leonard Meyer wrote: "emotionalresponsetomusicdoestakeplace,[buttheevidence]tellsusalmostnothingaboutthenatureofthe response or about the causal connection between themusical stimulus and the affectiveresponseitevokesinlisteners"(1956:6).Morethanhalfacenturylater,technologicaladvanceshave enabled researchers to directly measure neural, physiological, and chemical responseswhenlisteningtomusic(e.g.,Becker2004;Hallametal.2008;JuslinandSloboda2010).Studiesin music and emotion suggest that listening to self-selected or preferred music potentiatesstrong affective responses. The current study investigates the affective responses evoked inlisteners unfamiliar with music used in therapeutic practices worldwide, in particular Gnawamusic, and changes to their physiological responses upon repeated exposure--that is, as themusicbecomesmorefamiliar.Ipositthattheincreasingfamiliaritywithinitiallyunfamiliarmusicleadstoaheightenedaffectiveresponsewhenthemusicpossesseskeytemporalfeatures(suchas polyrhythms and regular periodicity) and repetition is nuanced (with variations), andconversely, a reduced affective response when repetition is exact (with no variations). Inparticular, I suggest that temporal features and nuanced repetition can create moments ofexpectation and surprise that potentiate affective responses strong enough to inducetherapeuticbenefits,despitehavingnounderstandingofthemusicalcontextandmeaning.Thenullhypothesis (H0) suggests that the increasing familiaritywith initiallyunfamiliarmusicdoesnot change the affective response evoked in listeners who do not understand the musicalcontextandmeaning.Inordertotestthenullhypothesis,threesetsofmusicalstimuliareused--the original live recording which includes vocals, the instrumental portion of the same liverecording (with the usual varied repetition of motives), a manipulation of the instrumentalportion of the same live recording in which musical motives are exactly repeated withoutvariations. During the listening experiment, physiological data is measured in real time as anindicator of affective responses. The study hopes to demonstrate the significance of variedrepetition in therapeuticmusicpracticesworldwideandtobetterunderstandtheirappealandpotentialimpactacrosscultures.Moregenerally,itcontributestothegrowingstudiesconcernedwithlistenerresponsetounfamiliarmusicandtocross-culturalstudiesinthisarea.

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AAWMSession E2:Marking andPerceiving Segmentation in East and SouthAsian

Music(sponsoredbytheSocietyforMusicAnalysis)(Thursday,9:00-12:00,Hall1)Chair:LauraLeante(DurhamUniversity)

AnAnalyticalStudyofMusicalSegmentationinSouthKoreanShamanRitualMusicSimonMills(DurhamUniversity)

In the East Coast region of South Korea, the rituals performed by hereditary shaman troupesguiding the community through a long series of propitiatory and therapeutic actions andperforming a great many narrative myths, sung prayers, dances, and non-religious popularfavourites. Music is performed almost continuously, involing an extensive array of structureswithdiversetempiandpatterning.Whilepreviousstudiesofthistraditionhavefocusedonthemost commonly-played rhythmic cycles to elucidate typical musical characteristics, this studyextendstheframetoconsideralsotheritualists’moreseldom-playedrepertoire–specificallytoexposethefullrangeoftheirapproachestomusicalsegmentation.Thecurrentstudyidentifiesand probes three contrasting approaches to segmentation: 1) Certain cycle-based musicalstructures are markedly and unambiguously segmented in nature, with all parties working inunisontodivideupthecycle’sdurationintowell-definedsub-sections.Insuchcases,anylistenerwouldbeinagreementregardingtheboundariesofsegmentation.2)Inmostothercycle-basedstructures,thedrummeremployshisimprovisatoryskillstodivideupthecycle'sdurationintoasuccessionofphrasesegments.Typically,hevariesthephrases’lengthsanddetailsinsuccessivecycle renditions –a key strategy for ‘bamboozling’ the listeners’minds and evoking a senseofdivinepresence,andalsoformusicallyrepresentingthecatharticbenefitsofbreakingfreefromconstraints. 3) In certain rare episodes, a few shamanmusicians play together at impressivelyrapidtempo,eachstringingtogethersmallerpatternsofdifferinglengthstocreatemusicthatisboth polymetric and heterometric – occurring entirely outside of the confines of cycle. Thisapproachisreservedforcriticalmomentswhenaspirit’stiestothisworldaretobesevered.Toexplorethesethreedistinctapproachestomusicalsegmentation,thispaperpresentsaseriesofdetailedmusicalanalyses.Itconsidershoweachapproachrelatestoritualobjectives,andarguesthatswitchingbetweenthemconstitutesanespeciallypowerfulmeans forensuringa richandfulfillingexperience.

Gesture,Segmentation,andMeaninginSouthIndianRagaPerformanceLaraPearson(MaxPlanckInstituteforEmpiricalAesthetics)

Vocalists from North and South Indian art music traditions typically produce elaborate handgestureswhilesinging.Thesegesturesarespontaneousanduncodified,althoughsimilaritiescanbeseenbetweenthegesturesofdifferentperformers.InthispaperIexplorethewaysinwhichvocalists’ gestures act to segment and punctuate the flow of melody in the South Indian,Karnatakstyle:an inquirythat ispartofawiderexaminationofstructureandmeaning inragaperformance. In particular, I look at relationships between gestural strokes and melodicsegments,examiningthewayinwhichgesturesindexsmallerchunkswithinphrases,andaskingwhat such gesturing can tell us about how performers conceptualise small-scale melodicstructure.Audiovisual recordingsofvocalperformanceswereanalysedtodiscernwhetherandhow co-singing gestures coincidewithmusical segments at various structural levels, includingsvaras(notes),coarticulatedchunks(svarasfusedthroughornaments),andvocalarticulation.Itwasfoundthatwhilegesturalstrokesareoftenalignedwiththemusicalfeaturesexamined,they

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alsooccurintheabsenceofsuchfeatures.Theresultsarediscussedwithreferencetotheideathatbothgesturesandmusicalsegmentscanrefertophysicalactions,andthatthiscontributestomeaninginmusicalexperience.

AnalysisinRealTime?AnIndianMusicSegmentationStudyRichardWiddess (SOASUniversity of London), Tudor Popescu (Technical University, Dresden) andMartinRohrmeier(ÉcolePolytechniqueFédéraledeLausanne)

Thedegreetowhichevenunfamiliarmusicappearsto“makesense”to listeners indicatesthatlistenersarecognitivelyabletoperceiveinherentstructuralfeaturesofmusic,atleastimplicitly.Oneaspecttowhichtheymaybesensitiveissegmentation,andanumberofstudiesbasedonWestern music (summarised in Mungan et al. 2017) suggest that both musically trained anduntrainedlistenersrelymainlyonsurfacefeatures,suchasdurationalseparation,asmarkersofsegmentboundaries. So far therehavebeen fewsegmentationstudiesbasedonnon-Westernmusic,buttheseindicatethatWesternlisteners,bothmusiciansandnon-musicians,havesomeawareness of segment boundaries in unfamiliar Arabic and Turkishmusic, although less thanmusicians of the culture concerned (Ayari & McAdams, 2003; Lartillot & Ayari, 2009, 2011;Munganetal.2017).ThepresentstudygrowsoutofastudyofimplicitlearninginIndianmusicbyWestern subjects inwhichparticipantswere set a segmentation taskwhile listening to thetraining material (recorded sitār ālāp). The results of this task show significant convergencebetween the subjects’ perceptions and expert segmentation, and significant recognition of agrouping hierarchy. The questionswill be considered how far subjectsmay be aware of deepstructuralfeatures,andhowfartheperformerarticulatesdeepstructurethroughsurfacecues.

RainerPolak(MaxPlanckInstituteforEmpiricalAesthetics),discussant

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FMASessionE3:Culture,Analogy,Embodiment,Creativity

(Thursday,9:30-12:00,Hall2)Chair:MatijaMarolt(UniversityofLjubljana)

Effort-voice relationships in interactions with imaginary objects in Hindustani vocalmusicStellaPaschalidou(TEIofCrete,Greece),MartinClaytonandTuomasEerola(DurhamUniversity,UK)

In Hindustani (dhrupad) vocal improvisation singers often engage with melodic ideas bymanipulating intangible, imaginary objects with their hands while singing, such as throughstretching, pulling and pushing. Such engagements (‘MIIO’ for Manual Interactions withImaginary Objects) suggest that some patterns of change in the acoustic features relate torudimentary interactionsandthe levelsofeffort that therespectiveobjectsmayaffordduetotheir physical properties. Through this work we seek to gain a deeper understanding ofperformancepracticeinthedhrupadmusictraditioninthespecificcaseswherethesingerseemstointeractwithimaginaryobjects,byexaminingwhethereffortandgesturetypesappearinanarbitraryfashionalongwiththevoiceoriftheyarerelatedtothesoundinaconsistentway.Theresultssuggestthatagoodpartofthevarianceinbothphysicaleffortandgesturetypecanbeexplainedthroughasmallsetofaudioandmotionfeatures.

CreativeharmonisationoffolkmelodiesCostasTsougras,MaximosKaliakatsos-PapakostasandEmiliosCambouropoulos (AristotleUniversityofThessaloniki)

Since the 19th century,many composers attempted to blend local nationalmusical elements(such as traditional rhythms, modal thematic materials) with aspects of established westernmusicalidioms(suchasclassicaltonality,post-tonalharmony,atonality);thisway,novelmusicalstyles were created that have a characteristic local flavor. This paper focuses on issues ofcreativity involved in the interaction between traditional folk melodies and diverse harmonicidioms.Traditionalmelodiesoftenembodycharacteristicsoutsidethe‘standard’westernmajor-minor framework, posing a challenge for a composer that wants to reconcile partiallyincompatible music systems. Can a creative computer system assist such a task? This studyemploysasystemthatharmonisesfolkmelodies indiverseharmonicstylesandpresentssomeresults regarding its usage. This system is a rather rare instance of the application of creativetechnologiesinthedomainoftraditionalmusic.

Imitations-transformations: Birds of paradise in performance from the centralprovincesofPapuaNewGuineaGeorgeAthanasopoulos(AristotleUniversityofThessaloniki)

The aimof this paper is to present a samplingof ritual “bird-song”performances fromPapuaNew Guinea, and to compare them to the actual birdsongs and courtship displays (whereapplicable)fromwhichtheyyieldtheirinspiration.This exploratory research analysis of songs and dances imitating local bird fauna runs parallelwithsonicinformationrecordedinnature,carriedoutthroughsonogramandfrequencyanalysisof song performances and through audio data captured during fieldwork in Goroka and Mt.

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Hagen.Thoughtheshortsamplesizedoesnotpermitbroaderassumptionsthroughobservation,it is possible to yield interesting results regarding this organizeddisplay of social behaviour inritualsong/danceperformanceinPapuaNewGuinea.Ithastobestressedhowever,that,itwasonly through interviews and bibliographic research that the actual causes of such behavioursweredetermined.Theresultsofthisstudyforcesustoreconsiderthenatureof“birdimitation”dancesnotasmeremimicryofnature,butacollectivegroupactivityasaformofsocialinteraction.

Aninformationethics-centredapproachtomusicasintangibleheritageChristianBenvenuti(UniversidadeFederaldoRioGrandedoSul)

This paper discusses ethical principles in the preservation of our increasingly digital musicalcultural heritage, particularly in the context of the impact of information and communicationtechnologies. UNESCO’s Information for All Programme has recently drawn attention to thedigitisation of intangible cultural heritage as a primary safeguardingmeasure. This paper willfocusontheunfoldingethicalissuesconcerningdigitisationpolicies,suchasthelikelyexcessivereliance on information and communication technologies, the ethics of the decision-makingpowers regarding the selectionofwhatmusical heritage isworth keeping, the vulnerability ofdigitaldepositories,andfutureethics-orientedpaths.

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Thursday,June2813:30–16:30ParallelSessionsF

SessionF1:Cross-CulturalTheories(Thursday,13:30-16:30,Auditorium)Chair:RichardWiddess(SOASUniversityofLondon)

InterpersonalEntrainmentinMusicEnsembles:Cross-CulturalPerspectivesMartinClayton(DurhamUniversity)

Interpersonal entrainment is a key process in the organisation and coordination of musicensembles,andonethatmayinvolveanumberofprocesses,undervariousdegreesofconsciouscontrol. In many cases this depends on sensorimotor synchronisation effected by individualparticipants on the basis of perceived event timing asynchronies. Coordination also usuallyinvolvesappropriatealignmentofmetricalcyclesandphrasehierarchies,whileinmanykindsofmusicstructuraltransitionsandtempochangeshavetobemanaged,withorwithoutreferenceto notation. Much remains to be discovered, however, about the dynamics of temporalcoordination in actual musical performances, including whether these dynamics may varybetween cultures. Towhat extent are these processes universal human abilities, and towhatextentdotheydependonchoicesthatmaybeculture-orgenre-specific?Thispaperoutlinesanew model of entrainment in musical ensembles, taking into account both sensorimotorsynchronisationandhigher-levelcoordinationrequiringsharedknowledge.Basedonanalysisofmultipleexamples fromdifferentgeographical regions,wediscusshowthesephenomenamayvarybetweenculturesorgenres,andoutlinesomeofthefactorsthatpredictthisvariation.Themain contributions of this paper will be to (a) propose a model of ensemble coordinationintegratingdifferenttimescales(frombeatsubdivisionsuptosectionsandwholepieces)andthemodalities (primarily auditory and visual-kinaesthetic) through which this is achieved, and (b)briefly outline someof theways that coordinationmay vary cross-culturally, and someof thefactorsthatpredictthisvariability.

The Art of Putting Creativity in Boxes, or Can We Analyze Improvisation Cross-Culturally?LeslieTilley(MassachusettsInstituteofTechnology)

Humans improvise. It isan impulsethatcrossesstyles,genres,andcontinents,usedtovaryingdegreesinalmosteverymusicculture.Yetmanyimportantscholarlyworksanalyzingimprovisedandimprovisingmusics,fromHindustaniragtojazz,BaroquepreludesandcadenzastoBalinesearja drumming, focus on single traditions. While the depth that such studies provide isinvaluable, improvisation’s near ubiquity suggests rich (and relatively untapped) potential forcross-cultural analysis. The lack of terminological coherence in diverse studies across musicdisciplines,however,makesintertextualreferenceamongthemthatmuchmorechallenging.Thegoalofthispaper,then,istopresentaframeworkforthinkinganalyticallyaboutimprovisationacross cultures and practices. Such an undertaking requires terminology and categories ofimprovisational techniques broad enough to be cross-culturally appropriate yet adaptableenough to embrace the specificities of individual genres and practices. Through comparativeanalysesofaHindustanialapandanexcerptofBalinesearjadrumming, Iexplorethe inherentflexibilityof improvisatorytechniquesfoundacrosscontrastingtraditions.Shiftingbetweenthe

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specific and thebroadlyapplicable, this studyprovidesa springboard foranalyzing improvisedformsinamoreunifiedway,thuscultivatingaspaceforcomparativeandcross-culturalresearch.

TestingBoundaries:EmpiricalandHermeneuticSymbiosisintheCross-CulturalStudyofMusicalEndingsCeciliaQuaintrell(UniversityofBristol)

Large-scaleethnomusicological comparisonhas faltered severely since the late1960s,percheduncomfortably and seemingly irreconcilablybetween themethodsof scientific empiricismandhermeneuticinterpretationbasedonfieldwork(Schneider2006).Recentyearshaveproducedasprinking of landmark studies (e.g. Tenzer and Roeder 2011; Savage et al. 2012), but thepotential of comparative approaches to understand important questions of musical practice,ideasand concepts, and to challengequestioningbasedon ingrained thinking, remains largelyuntapped.HereIshowhowthestudyofmusicalendingsinacross-culturalrangeofontologiescanilluminate(notobfuscate)thephenomenaofdiversityandchange.DrawingonabroadrangeofexamplesthatincludesSámiandBahrainimusiccultures,andfocusingoncreativemetaphorsand interactive metaphoricity (Ricoeur 1981), this paper considers the value of a structuredheuristic approach to the comparative study of multiple musical communities. Combining in-depthqualitativeandquantitativeanalysiswiththeinsightsfromamodestyetmaximallydiversebroadculturalsampleoffersextraordinarilyrevealingperspectivesonmusicalactivitywhichhaveimplicationsformethodologiesinbothglobalandlocalstudy,whilstallowingustodemonstrateaspectsofmusicalendingthatarenotreadilyidentifiableanyotherway.

TheoriesofWorldMusicLawrenceZbikowski(UniversityofChicago)

Ina2017essayKofiAgawutookclearandcarefulaimattheideaofethnotheories,arguingthatthe notion is at best ill-defined and at worst a patronizing gesture made by WesternmusicologiststowardthemusicalpracticesofsubalternOthers.AlthoughAgawu’sargumentsarecompelling, what is less clear is the status of “theory” within his account. On the one hand,Agawu recognizes that the theories developed for Western music are every bit as culturallyconstrained as those that might be developed for the musical practices of non-Westernpopulations.On the other hand, Agawu sets the bar forwhat counts as a theory rather high:althoughheisfarfromexplicitonthispoint,itappearsthatforthinkingaboutmusictocountasa theory ithas tobe fullyarticulated, internallyconsistent,andcomprehensive. In thispaper Iofferanalternativenotionoftheoryinformedbyrecentresearchincognitivescience,accordingtowhichtheoriesareseenasrelativelycompactknowledgestructuresthatguidereasoningandinference. The advantages of this approach are two. First, the knowledge that what guidesmusicalpracticebecomeslinkedwithabroadrangeofimplicityetsystematicknowledgeofthesort that has been proven to be key to human development. Second, embodied knowledge,whichhasbeenshowntobeofcentralimportancetomusicalunderstanding,canbemoreeasilyaccommodated. This perspective makes it possible to do away with the distinction between“ethnotheory” and “theory” that so troubled Agawu, and provides a framework forcharacterizing the conceptual, material, and embodied resources through which musiciansorganizetheirunderstandingofmusicalpractice.Myexampleswillbedrawnfromrecentwork

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ontheoriesofAfricanmusic,andfromresearchonrelationshipsbetweenmusicandgestureinSouthAsianmusic.

AAWMSessionF2:OceaniaandSoutheastAsia(Thursday,13:30-16:30,Hall1)Chair:AndyMcGraw(UniversityofRichmond)

Analysis in Context: Contemporary Lanna Repertory in the Piphat Ensembles ofModernSocietyinPhayao,ThailandTatAmaro(DurhamUniversity)

Thedynamicsofmusical change in Thailand’sPhayaoprovince reverberatewith thenotionof‘progressive traditionalism’: most musicians strive to keep their traditions alive throughinnovation.Theneedtoadapttonewsocialandmusicalpreferenceshasseenpiphatensemblesin the Lanna region in thenorthof the country incorporateWesternmusical instruments andmodern repertory at an ever increasing rate. The refashioning of traditional Lanna repertorytowardscontemporarystylesdeserves this ‘progressive’ labelas theadaptation itselfbecomesthe very foundation of creativity in live performance in Phayao. This paper explores howmusicians balance older traditional elementswith newer innovationswithin the piphat scene,throughmusical analysis of three pieces, namely,Mon Chiang San,Mon Lampang and PrasatWai, recorded by the researcher at live performance events, specifically at funerals and spiritpossessionparties. Iwill examinehow thisbalanceofendogenousandexogenouselements isachievedintheareasofformalstructureandharmony,andinthepreservinganddevelopingoftraditionalinstrumentaltechniques.

ChantingRhythms:ExploringtheTahitianPeheGeoffroyColson(independentscholar,France)

In this paper, I investigate a fundamental component of the polyrhythms accompanyingtraditionalTahitiandances,whichTahitiansrefertoaspehe,orrhythmicsequencesperformedinthepercussionensemble.Theaimistoexplorethesyntaxgoverningthecompositionoftheserhythmicpatterns,andtoidentifytheirqualitativelyrelevantproperties.Tothisend,Ianalyzeanensemble of base versions of thirty-four pehe, as the culture bearers teach them. TheparadigmaticanalysisdrawsonArom’s structuralist approach tomusical systems,andextendsthemethodproposedbyVidaChenowethforanalyzingmelodytotheTahitianrhythmicrealm.After identifying the basic rhythmic cells and investigating their interrelations , I explain howthese elements participate in the rhythmicmacrostructures. Subsequently, the study exploresthepoieticprocessesandtheprocessualdimensionatwork.Theresearchbringsoutelementsgoverning timbre, form, temporality, multidimensionality, and significance within the studiedpeherepertoire,andcharacterizestheircombinatorialandsequentialnature.Inhighlightingtheresonanceofthesecharacteristics inothermusicalcontextssuchasstrummingtechniquesandtraditional singing, this study opens the path for further research within the performedrepertoire,andforcomparisonwithotherdrummingrepertoireintheareaandbeyond.

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DoKoGyiKyaw:MusicStructures,InteractionProcesses,andPerformanceContextofaBurmesenat-chinLorenzoChiarofonte(SOASUniversityofLondon)

KoGyiKyawisoneofthemostpopularnatsofthePantheonoftheThirty-Seven,thelocalspiritsBurmese people worship in order to obtain health, wealth, and success. A womaniser and adrunkard,thispowerfulspirit isconsideredthePrinceofnatpweceremonies inCentralBurma(Myanmar). During a ceremony, the hsaing waing music ensemble invites and welcomes thePrince by playingwith evenmore dynamism than usual; the ritual participants indulge in theconsumptionofalcoholandcigarettes,experiencingpossessionsupportedbytheintensesoundofspiritsongs.BasedonaperformanceoftheKyiLinBoMingalaHsaingensemblefromYangon,this paper presents a performance analysis of the popular nat-chin (spirit song) “Do Ko GyiKyaw”.Supportedbyvideoandaudioexamples,theanalysisfindsthatthesongisconstructedbyalternating twomusical phases – one, preparatory, outlining the identity of the spirit throughvocals and melody; a second, resolutive, supporting the possessed dancers with intensedrumming. This paper argues that spirit possession is facilitated by the interaction betweensingers, players and dancers: following the song’s bipartite structure, hsaing waing musiciansrespond to the presence of possessed human participants operating shifts in dynamics andintensity,thustriggering,supporting,andcontrollingthespiritpossession.

CyclicalStructuresinCentralJavaneseSkeletalMelodiesJayRahn(YorkUniversity)

InformedbygeneralobservationsofcyclicalstructureinIndonesianmusic,assurveyedbyDavidGoldsworthy (2005), and by detailed technical accounts of 'beat' (ketegan), 'measure' (gatra),'phrase'(kenongan),and'section'(gongan)inCentralJavaneseinstrumentalmusic,asdiscussedbyRahayuSupanggah(2006),theinitial(mérong)sectionsof131péloggendhingsthatspanfour16-beat phrases, as compiled by Barry Drummond, are analyzed with a view to determiningwhether,andifsohow,theirskeletalmelodies(balungans)arerelatedtothecyclicalpatterningofthecolotomicinstruments.Chieffindingsincludethefollowing:a) the melodies' rhythms comprise an integer-valor pulse that is interrupted by 'rests' andsupplementedbyoff-beatonsets in amanner that varies coherently throughout themérongs'spansof4,16and64beats;b) among themanyways inwhich rests aredistributed, certain kindsof 'commetric,' 'dotted,'and'syncopated'rhythmpredominate;c) the longest continual repetitions of both rests andpitch onsets tend to occur at analogoustimes in immediately successive16-beat spans and tend to conclude at the kenong strokes atendsofthesespans.

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FMASessionF3:Similarity,RepetitionandSegmentation

(Thursday,13:30-16:30,Hall2)Chair:MaximosKaliakatsos-Papakostas(AristotleUniversityofThessaloniki)ModelingsongsimilaritywithunsupervisedlearningMatevžPesek,MancaŽerovnik,AlešLeonardisandMatijaMarolt(UniversityofLjubljana)

TheSymCHM,whichwasdevelopedforthepatterndiscovery,wasappliedtothemusicsimilaritytask.Itwasusedasafeatureextractor,unsupervisedlylearningrepeatedpatternsonpitch-timerepresentation, eliminating any additional high-level information. The output was used in theretrieval,wherethemodelachieved74.4%classificationaccuracyontheDutchfolkdataset.Bytheunsupervisedaspectofmodel’strainingandtheabilitytoperformsimilarityusingonlythemostbasicsongrepresentation,wefindtheresultssufficient to furtherexploretheuseof themodelondatasetswithalownumberofadditionalfeaturesandbasicmusicrepresentations.

Anon-melodiccharacteristictocomparethemusicofmedievalchanttraditionsGeertMaessen(GregorianaAmsterdam)andPeterVanKranenburg(UtrechtUniversity)

Since a large number of medieval chants has been preserved in pitch-unreadable neumaticnotation,weneednon-pitchfeaturestoclassifythemaccordingtotheirorigin.Weshowthatthenumberofnotespersyllable isagoodcharacteristic. Itappears tobepossible tomakeclaimsaboutrelationsofchantmelodieswithinandbetweendifferenttraditionswithoutreferencetotheir pitch content using n-gram modelling and t-SNE dimension reduction. This resultcomplements previous work in which we have shown that chants of medieval traditionspreservedinpitch-readablenotationcanbeclassifiedwithveryhighaccuracyusingthesequenceofpitches.

VisualisingmelodicsimilaritiesinfolkmusicChrisWalshaw(UniversityofGreenwich,London)

Theaimof this talk is todiscussa techniqueforvisuallyexploringmelodicrelationshipswithintraditional tune collections encoded in abc notation, a widely used text-based musicrepresentation system particularly popular for folk and traditional music. There areapproximately½millionmelodiesencoded inabcon thewebandabcnotation.comprovidesasearchableindexoftheentirecorpuswithtoolstoview,downloadandlistentothescores.ThistalkstemsfromrelatedworkknownasTuneGraphwhichusesamelodicsimilaritymeasureto derive a proximity graph representing relationships between tunes in the abc corpus, andwhichallowsusersofabcnotation.comtoexploremelodicsimilarity.AsitstandsTuneGraphonlygives a localised view of themelodic relationships: this paper aims to look at exploring thoserelationshipsataglobal(corpus-based)levelviaaprototypevisualisationtool.Currentlythetoolisnotinteractive:inthistalktheaimistoconsideraproof-of-conceptapproachtoexplorewherethereisausefulvisualisationpossible;futureworkwilllookatuserinteractivitywiththetool.

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Featureanalysisofrepeatedpatterns inDutchfolksongsusingPrincipalComponentAnalysisIrisYupingRen, Hendrik VincentKoops, DimitriousBountouridis, Anja Volk,WouterSwierstraandRemcoVeltkamp(UtrechtUniversity)

Localstructures,namelycharacteristicmotifs,orprominent,nonliterallyrepeatedpatterns,playan important role in folkmusic. This paper uses Principal ComponentAnalysis (PCA) to betterunderstandcharacteristicsofmusicalpatternsandtofurtherusethis informationfordesigningandevaluatingfuturepatterndiscoveryalgorithms.Weshowwhatfeaturescansummerisethedatavarianceinmusicalpatternsandproposeusingfeatureselectionandextractionmethodstoimprovepatterndiscoveryalgorithms.UsingPCA,weshowtheprominentfeaturesofMTC-ANNpatterns. The pitch related and rhythmic features contribute together to the first PCAcomponent; the second and third component consists mainly of pitch-related features andrhythmic features respectively. According to what PCA shows, in designing and evaluatingpatterndiscoveryalgorithms,weshouldtakemetricstructuresintoconsiderationaswellastherepetitionsandpitchrelatedfeaturesinthepatterns.

GoingdeepwithsegmentationoffieldrecordingsMatijaMarolt(UniversityofLjubljana)

Inthepaper,weexploretheperformanceofdeepresidualconvolutionalnetworksforlabellingethnomusicological field recordings. Field recordings are integral documents of folk musicperformances captured in the field, and typically contain performances, intertwined withinterviews and commentaries. As these are live recordings, captured in non-ideal conditions,theyusuallycontainsignificantbackgroundnoise.Labellingoffieldrecordingsisatypicalstepinsegmentationoftheserecordings,whereshortsoundexcerptsareclassifiedintooneofasetofpredefinedclasses.Inthepaper,weexploreclassificationintofourclasses:speech,solosinging,choir singing (more than one voice) and instrumental performances.We describe the datasetgatheredforthetaskandthelabellingtoolsdevelopedforgatheringthereferenceannotations.Wecomparedifferent inputrepresentationsandconvolutionalnetworkarchitecturesbasedonresidualmodules for labelling short audio segments and compare them to themore standardfeature based approaches, where an improvement in classification accuracy of over 5% wasobtained.

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Thursday,June28,17:00–18:00,AAWMKeynoteAddress2(Auditorium)

TimelyNegotiations:FormativeInteractionsinCyclicDuetsJohnRoeder(UniversityofBritishColumbia)

Susanne Fürniss’s (2006) magisterial surveyof Aka polyphony analyzes a remarkable duet inwhicheachsingerdrawsmaterialfromaregularlyrepeatingcyclebutsubstitutespitchesonthefly to complement herpartner’s likewise varying repetitions. This texture of twoindependentlycycling but interacting voices,although well-suited to the Aka’s conceptionofmusical structure, is not unique to them; indeed, examples frommany traditionalcultureshavebeenrecorded.Insomeinstances,themusiciansmaybeheardcoordinatingtheirvariationstoforgelarge-scalemusicalformoutofwhatwouldotherwisebeuniformrepetition.Thispaperanalyzes three items that illustrate the potential of such equal-voice cyclic duets to supportformative interactionsof timbre, timingandgrouping thatarenotpossible inmonophonyandnotsoeffectiveinotherpolyphonictextures.InafunerallamentationfromtheSolomonIslands,thesingers’overlappinggroupseffacecycleboundaries,whiletheirtimbralvariationssetupandrealize large-scale formal articulations. In a flirtatious song of the EcuadorianAmazon, as thesingers repeat irregularly timed cycles at different tempos, they adjust the timing of theirrespectivebeats tocreatephasesofgreateror lesser synchrony,hocket,andchanging leader-followerrelationships.And inacommunaldanceofFrenchGuyana,one instrumentadjusts itstiming to accommodate the addition and deletion of events by the other, creating anunpredictable,dramaticallychargedprocessthattheygraduallydirecttowardsastableregulargroove. Like the Aka duet, these compositions transform what might be a rote, mechanicalprocedure into a lively vehicle for distinctive formal and expressive effects, and they provokesomereflectionaboutthenatureandpossibilitiesofmeterandgrouping.

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Friday,June29,9:00–12:00,PlenarySessionG(Auditorium):TranscriptionandRecentTheoriesofMusicStructure

Chair:MichaelTenzer(UniversityofBritishColumbia)

EmmanouilBenetos(QueenMaryUniversityofLondon),BarışBozkurt(UniversitatPompeuFabra,Barcelona)PanayotisMavromatis(NewYorkUniversity),TaraBrowner(UniversityofCalifornia,LosAngeles),KalinKirilov(TowsonUniversity)SylvieLeBomin(Muséumnationald'Histoirenaturelle)

AAWMconferencesandpublicationssince2010havenuancedourperspectivesonstructureinmusicaltraditionsoftheworldexposingustoevenmorevarietythanonewouldhaveimaginedtobethere.Allthewhile,aproliferationofmusictheoryandcognitionresearchhasreconceivedmusic-analytical categories relevant toourwork.Beat andmeter arenow increasingly seen inrelationtoacontinuumofmicro-timeddurationsrather thansimplytoapresumed isochrony;andhowwethinkaboutpitchencompassesmorethantonesinascale,oftentakingintoaccountchangingtimbreandfluidpitchcategories.TranscribershavealwaystranscribedinwaysthatsuittheirpurposesandmethodsButnow,formanykindsofmusic,adefaultconceptionofpitchanddurationrelativetoasetofdiscrete,fixedcoordinatesonagrid isopen to re-evaluation.Automatic transcription tools canmeasureandrepresentmusicongridssofinelycalibratedthatquestionsariseofhowprecisetobe,andwhatlevelofmusical significance is attached to theprecision. Ethnographersare challenged to findthestancethatworksbest,negotiatingamonglocalandcosmopolitanperceptionsofstructure,and amid changing cultural configurations and identities. More broadly, we are faced withcalibrating our visual representations of music more carefully than before, but also morecreatively,inmorekindsofvisualformats,evenifstaffnotationisstillcommoncurrency.Inthissessionweconsidertheimplicationofnewconceptsandtechnologiesforthetranscriptionandrepresentationofmusic.

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Friday,June29,13:30–16:30,ParallelSessionsH,I

AAWM Session H1: Historically Informed Approaches to Mediterranean Music

(specialsessionorganizedbytheLocalCommittee)(Friday,13:30-15:00,Auditorium)Chair:NathanHesselink(UniversityofBritishColumbia)

Analytical Methods and Approaches to Byzantine Music: Retrospectives andPerspectivesMariaAlexandru(AristotleUniversityofThessaloniki)

Byzantinechant,oneofthemajorculturalandspiritualheritagesoftheEasternRomanEmpire,whichsurvivedanddevelopeddynamicallyuntiltodayinconnectionwiththeEasternOrthodoxChurchinsoutheasternEurope,AsiaMinorandinmanycountriesacrosstheworld,representsalsoahighlyinterestingdomainformusicanalysis.This paper presentation aims at: 1) giving a historical overview of analytical methods andapproaches encountered from the 10th century until the present time in theoretical treatisesand practical sources of Byzantine chant, 2) exploring the various analytical approaches—descriptive, motivic, modal, syntactic, functional, structural, polyprismatic, generative,interdisciplinary, fractal or interpretative—proposed bymusicologists and theorists during the20thand21stcenturiesandconductedondifferentcorporaofrepertoireandmusicaltextures(syllabic,syllabo-melismatic,moderatelyandhighlymelismatic),and3)hintingatsomebridgeswithreductiveanalyticalmethodologiesdevelopedforWesternmusic,suchastheSchenkerianandGTTMapproaches.Thediscussionandpresentationwill be complementedby the comparativeanalysisof a shortsticherondoxastikon(antiphonprecededbythesmalldoxology)intheplagalofthefourthmode,illustrating the differences between selected analytical methodologies and the benefits ofemployingamulti-facetedanalyticalapproach.

The Big Bang Theory of Music: A Tool Towards the Understanding of Modality inEasternMediterraneanMusicCulturesSokratisSinopoulos(UniversityofMacedonia,Thessaloniki)

Theinterpretationandcomprehensionofmodality ineasternMediterraneanmusicaltraditions(Makam or Echos) has always been a challenging task for tutors, students and professionalmusicians as well. The great number of modes mentioned alongside their complex rules ofmelodicdevelopmentand thevarietyofmusical intervals leads toahard toapproachmusicaluniverse.In thispaper thebasic ideaof theBigBangTheory in the creationof theuniverse isadopted in order to formulate a theory about the creation of modal music. By following itsgradualexpansion frommonotonytoacomplexbutsystematicmelodicorganisationwecouldapproachanddescribe thephenomenonofmodality in its totality,a task thatcanserveasanadditionalpedagogicaltooltowardstheunderstandingofthefundamentalrulesand,eventually,the logical development and simplicity of the universe of the modal systems of easternMediterranean.

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AAWMSessionH2:DanceMusic(Friday,13:30-15:00,Hall1)Chair:ÁineHeneghan(UniversityofMichigan)

What’sinaTune?ConstructionofCapeBretonFiddleTunesJanePiperClendinning(FloridaStateUniversity)

CapeBreton,Nova Scotia, Canada is known for its distinctive fiddling style andGaelic culture,whichhavebecomeemblematic of the Scottishheritageof this island. In this corpus study, Iexaminedapproximately250 fiddle tunes that are the standard repertoireof theCapeBretonFiddlers Association and the Ottawa Cape Breton Session, two leading performance- andteaching-based organizations preserving Cape Breton fiddle culture. These commonly-playedtunesareonesthatfiddlersinthisstyleareexpectedtoknow,includingjigsandreels,marches,slowairs,andstrathspeys.Myanalyticalmethodincludedhands-onexaminationofthetunestobecome familiar with how the intervals and rhythmic figures of these melodies lie on theinstrument, and the finger motion and bowing used to perform them. Questions addressedinclude: what are typical opening and cadential figures? What are the types ofmelodic andrhythmic figures employed in the first and second reprise sections of these binary formcompositions?Dothesefiguresdifferbasedonthetypeoftune(jig,reel),key(D,A,E),ormode(major,minor, Aeolian,Mixolydian)? This pilot study provides groundwork for a larger digitalhumanitiesresearchprojectwithacorpusofseveralthousandCapeBretonfiddletunes.

Interdependent Roles of Dancers andMusicians in Structuring Transylvanian VillageMusicJudithE.Olson(AmericanHungarianFolkloreCentrum)

Transylvanian village socializing consists of dance, music, and song, each often analyzedindependently. However, their relationship within dance cycles is affected by factors beyondthese arts. Villagedancers as a collectivehiremusicians in a service capacity toprovide themwithmusic.Thiseconomicrelationshipisfurtherheightenedbyethnicandclassdifference--mostof themusicians are Roma. Their role is to help the dancers have fun and look good amongthemselves. Content is directed in large part by dancers--musicians know songs and rhythmspreferred in a particular village and what individual dancers like, often from long-yearrelationships.Theprimás(bandleader)mustcreateamusicalstructurewithcontrastingtempoareas and acceleration, changing when the dancers need it, and responding to the dancers’immediate demands. The village dancer’s primacy in structuring the work is underscored bycomparisonwithurbanversions,suchasperformancebymusicianswithoutdancers,anddanceparties organized bymusicians and populated by dancers who do not necessarily know theirproperrole.This discussion analyzes videos of village dances, exploring interactions between dancers andmusicianswhichaffectmusicalstructure.Itcomparesthesewithvideosmadeinothercontextswherethecontrollingpersonisnotthedancer.

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AAWMSessionH3:RhythmicStrategies(Friday,13:30-16:30,Hall2)Chair:ChloëAlaghband-Zadeh(LoughboroughUniversity)

Understanding Temporal Structure of Gagok Performance: A Study of Periodicity inUjoChosudaeyeopIljungKim(UniversityofBritishColumbia)

This paper introduces unique characteristics of Korean gagok, and in particular UjoChosudaeyeop, by analysing its periodicity. Gagok is a traditional genre of vocal musicaccompaniedbyanensembleofinstrumentsdatingbacktothelateGoryeoDynasty(918-1392).It is famous for the difficulty of mastering its performative timing. I analyze the seeminglyarbitrary tempochanges inUjoChosudaeyeop.Harnessing thevisual advantageof theKoreantraditionaljeonggannotationsystemthatisbettersuitedtodisplaytheoverallstructure,Ihavecreateda tempomapwithahybridscoresystem,usingboth jeongganandwesternnotations.The analysis reveals that the planned tempo changes play supportive roles for the singer toperform its intricatemelody. Despite the highly flexible tempo changes within each rhythmicpattern, durations of the 16-beat rhythmic pattern remain surprisingly consistent. To explainsuchtemporalstructureeffectively,Iintroducetheconceptofhanbae,aKoreantermfortempo.Thesefindingsalsosupportaviewofthejeonggannotationalsystemasahighlyintuitivevisualrepresentation of the dualistic temporal structure, which is an inherent characteristic of "UjoChosudaeyeop."

Īqā‘:aCanontoRespectorBreak?TheDichotomybetweenRhythmMakingStrategiesinCompositionandImprovisationinClassicalMusicoftheArabMashriqSaeidKordmafi(SOASUniversityofLondon)

In the musical cultures in the “maqām” music traditions, īqā‘āt or uṣūl (metric cycles) arepersistent ostinatos, embodied in thedesignationof percussion strokes.Metric cycles providemelodywithitsrhythmicschemaincomposition.Theyalsoguideperformersinimprovisationorperformanceofapre-composedpiece.Amongitscounterparts inthemaqāmrealm,theurbanart traditionof theMediterraneanEasternArabregion (mashriq) is theonlymusicalculture inthemodernerathatgivesacrucialroletometricimprovisationwhetherinstrumentalorvocal.Anumber of metric cycles in this tradition are widely employed both for improvisation andcomposition.However,andinterestingly,thefunctionsthattheyfulfilinthesetwoproceduresofmusic making are completely different. While they provide pre-composed pieces with theirmelodicmapping(theinternaldivisionandarticulationofmelody),theartoftheimproviserliesin breaking the rhythmic framework given by themetric cycle and returning to it in the finalcadence. Adopting an analytical approach informed by ethnographic data gathered duringfieldwork in Lebanon in 2016-17, this paper proposes a descriptive theory of how differentlymetric cycles may be treated in the courses of composition and improvisation in the giventradition.Thepaperalsoprovidesacasestudyofhowthedifferentmethodological strands inethnomusicology—music analysis, participant observation and dialogical interaction withinformants—maybeproductivelybroughttogetherinourresearch.

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ImprovisationTechniquesoftheRepiqueDruminUruguayanCandombeDrummingLuisJure(UniversidaddelaRepública,Uruguay)

With its deep African roots, Candombe drumming is one of the most defining features ofUruguayancultureandsymboloftheidentityofcommunitiesofAfricandescentinMontevideo.Itscyclic,clave-basedrhythmresultsfromtheinterplaybetweenthepatternsofitsthreedrums.Thesmall,high-pitchedchicodrumestablishesthepulsebyrepeatingasimpleone-beatpatternthroughoutthewholeperformance,whilethebigger,deep-soundingpianodrumdelineatesthetimelinewithamorevariedandornamentedpattern.Therepique,thedrumwiththegreatestdegreeoffreedom,introducesanelementofsyncopationandcomplexitythroughagreatvarietyof rhythmic figurations. Although it has a primary pattern or "repique básico", the repique isessentiallyanimproviseranditsrepertoireofpatternsisdifficulttoclassify.Thisarticlepresentsmusical transcriptions and analyses of several repique solos from both field and studiorecordings of notable players belonging to the two most important traditional styles. Thepurposeistoassesstheimportanceoftheprimaryrepiquepatternanditsderivedformsintheimprovisation, as well as identify patterns not directly related to the "repique básico".Differencesamongplayersofdifferentgenerationsandneighbourhoodswillalsobetaken intoaccount.

Specifically Generic Accompaniments: Clump Vectors in Guinean Malinke DanceDrummingTiffanyNicely(UniversityatBuffalo)

Guinean Malinke dance drumming incorporates three types of musical parts within apolyrhythmicfabricoffourtotensimultaneouspatterns:abackgroundofmulti-usesupportingaccompaniments, a middleground of melo-rhythmic themes specific to each piece, and aforeground of licks and improvised passages in dialog with the dancers and unique to eachperformance. All parts are contextualized by multiple isochronous and non-isochronoustemporal layers, includinga steady tactusembodied in thedancers’ feet, at leastone layeroftactussubdivisions,andatimeline.Thisanalysisexaminestheways inwhichbackgroundstockaccompanimentsplayedonbells,kenkenis (small stickdrums),anddjembesshapethemusicallandscapebyprovidingacontextofspecificmusical relationships.Myanalysis isbasedontwofundamentalaspectsofthisgenre:thatrhythmicmotiveshavequantifiableshapeanddirectionrelativetothemultipletemporallayersthatcontextualizethem,andthatthismomentumoftensimultaneously inhabits different envelopes relative to different layers, creating musicalcomplexityanddepth.Ifocuson“clumps”:pairsofattacksmovingatthefastestincrementsofthetexture,analyzingeachclumpviaathree-digitvectorreflectingtherelative“to-ness,”“from-ness”and“neutral-ness”ofeachclumprelativetoallcontextlayers.

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AAWM Session I1: Workshop: An Introduction to the Metric Adaptability of

SoutheastEuropeanFolkDances(Friday,15:00-16:30,Auditorium)DanielGoldberg(UniversityofConnecticut)

ThisworkshopintroducesparticipantstoseveralcommonfolkdancesfromsoutheasternEurope.Participants will learn the basic steps for four dances belonging to the class of line dancesreferred to ashoróin Bulgarian,óroin Macedonian, and by similar names in neighboringcountries. The workshop will also demonstrate how a single pattern of dance steps cancorrespondtopiecesofmusicindifferentmeters.Forexample,themusicforlésnotoistypicallynotatedwitha timesignatureof7/8and threeunequalbeats that last for threeeighthnotes,twoeighthnotes, and twoeighthnotes.Právohoróhasessentially the samepatternofdancestepsaslésnoto,butconventionallyitsmusiciswrittenwithatimesignatureof6/8(or2/4withfrequenttriplets)andtwoequalbeats.Bylearningthestepsforlesnotoandpravohoro,aswellasoneotherpairofdances,workshopparticipantswillgainembodiedknowledgeofthisformofmetricadaptability.Nopriordancingexperienceisneededtoparticipateintheworkshop.

AAWMSessionI2:AmericanFolkandBlues(Friday,15:00-16:30,Hall1)Chair:MaisieSum(UniversityofWaterloo)

“Old,WeirdAmerica”:MetricFlexibility inHarrySmith’sAnthologyofAmericanFolkMusicNancyMurphy(UniversityofHouston)

The 1952 release of Harry Smith’s Anthology of American Folk Music is often credited withinfluencing the 1950s and 60s American folk revival. This general influence on mid-centurysongwritinghasbeenestablished,butwecanalsomorespecificallypositionitasaprecedentforthe kinds of metric irregularities found in folk-influenced 1960s singer-songwriter music,particularlyBobDylan’searlysongs.The84tracksonthethree-volumeAnthologyinclude“old”songsfromfolk,blues,old-time,country,Cajun,andgospelgenresthatwereoriginallyreleasedbetween 1927 and 1932. In the 1960s folk scene, versions of songs from theAnthologywereperformed by artists like Bob Dylan, Joan Baez, and Dave van Ronk, who referred to thecollectionasa“bible”forsongwriters.InthisstudyIinvestigatehowmetricirregularitiesfoundin the “Ballads” and “Songs” volumes of the Anthology result from preferences for groupingguitar strumming, changesofharmony,andaccentual-melodic cuesat various levelsofmetrichierarchyandhowtheseirregularitiesareemployedintextexpression.The“weird”meterfoundin Smith’s Anthology situates these early twentieth-century recordings as precedents for thesimilaruseofflexiblemeterinfolk-influencedsongwritingofthelatterhalfofthecentury.

Dynamic Grouping Complexes in John Lee Hooker’s Blues: A Case Study in MetricParticularityGrantSawatzky(UniversityofBritishColumbia)

Somedefinitionsofmusicalmeterpresumetheexistenceofahierarchicanticipatoryscheme,ormetric grid, against which the rhythmic events of the musical surface are interpreted. Hasty(1997)critiquesthefundamentalpremiseofthisviewofmeter,arguinginsteadthattherhythms

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ofagivenpiececreateandexpressthemetricparticularityofagivenpassage.MetrictheoriesofBerry(1976)andBenjamin(1984)anticipatethisaspectofHasty’scritique,definingmeterasaspecialconditionofcertaingroupinginteractions.Ipresentacasestudyinmetricparticularity,or‘meterasgroupingcomplex’usingJohnLeeHooker’sbluesrecordingsfromthemid-twentieth-century as primary examples. Hooker’s music, like most blues, references widely sharedharmonic/phrase-structuralschemas(e.g.12-barblues),stockmotives,andlyricformulas.Stockmaterialsareassociatedwithconventionalmetrictemplates,butabluesmusician’sidiosyncraticcombinationofstockgesturesandschemesoftenbringsaboutrhythmicirregularityatlocalandphrase-structurallevels.Theproposedpaperavoidscastingtheseirregularitiesasobfuscationsofan underlying isochronous metric structure, instead describing dynamic grouping complexesdefinedbythediscretestratainselectexamplesofHooker’sbluesasavitalaspectofthemusicthatpositivelycontributestothecreationoftheuniquetime-senseofagivenpiece.

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CONCERTSPROGRAMME

The joint conference hosts a series of stimulatingmusic performances—one-hour length eveningconcerts—spotlighting themulti-facetedmusic of theBalkans and theΜediterranean. The eventsfeaturetraditionalidioms(Balkanvocalgroup,Byzantinechant,mixedchoir,instrumentalgroup)aswell as experimental ones (woodwinds and beatboxing, fusion ensemble, mixed mediaperformance).The three concerts of the joint conferencewill take place at the Auditorium of the Piraeus BankConferenceCenter,Katouni12-14,Ladadika,Thessaloniki.1stConcert:Tuesday26June,20:00-21:00NikosDiminakis:Beatbox&WindsModal4:Musicfromtheensemble'srecentCD2ndConcert:Wednesday27June,20:00-21:00ChoralWorkshopoftheAristotleUniversityofThessaloniki:Y.Constantinidis's"8AsiaMinorsongs"ByzantineChoiroftheStateConservatoryofThessaloniki:SelectionofByzantinehymnsSTRINGLESSfemaleacapellavocalgroup:SelectionoftraditionalBalkansongs3rdConcert:Thursday28June,20:00-21:00AthenaKatsanevaki:MoiroloiTrilogybyDimitrisBakasBAHARí/FlamencoArabe:Flamencomusicwithkanun,flute,guitarandvocals

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ABOUTTHEPERFORMERS

1stConcert:Tuesday26June,20:00-21:00

NikosDiminakis:Beatbox&Winds

Beatbox is a vocal technique standing for the boxthat produces the beat, meaning briefly theperformer’s mouth and its sounds. This term (i.e.beatbox) initially defined a historically recordedmusical idiom that branched out of the Americanundergroundhip-hopmovementofthe80s.Bynowit has grown to be a worldwide associated anddynamicallyevolvingwayofmusicalexpressionnotonlyinthehip-hopculturebutalsoinothermusicalgenres like drum&bass, dub, dubstep, electro,techno,etc.Beatbox isalso transforming rapidly in

anumbrellatermsinceitmanagestocombineanumberofdiversesoundproductiontechniquesofdifferent ethnic groups in various periods of their cultural identity (i.e.mongolian throat singing,eefing,etc.).Itactsasacontinuallyexpandingdepositoryofmusicalsounds(producedsolelybytheperformer’s mouth) and thus reflects somehow the ongoing ancestral music process ofexperimentingwitheverypotentialenvironmentalsoundinordertoincorporatethemgradually inanartform.Furthermore, the wind instruments in use here are the flute, the baritone saxophone, the pvcdidjeridou, themelodicaand thedouble recorder.There isalsoamouthharppresented,which isoriginally labeled as a lamellophone (plucked idiophone), but in this case is being played as arhythmic drone-making wind instrument due to the respiratory techniques applied in it. Theprogramisbasedonthesuccessivealterationoftheaboveinstrumentalsuggestionsalongwiththebeatboxtechniquesinanumberoforiginalcompositions/tunes.https://www.facebook.com/N.Diminakis

MODAL4

modal4 liesbetweenyesterdayandtoday,post modernism and tradition, the “oldways”andthe“shapeofthingstocome”.modal4 lies between black and white,withoutbeinggraybutmoreasmessengerthrough time reflecting the echoes of aforgottenritual,theneverendingagonyofexpressing the deeper and darkermoments of a human soul. Music hasalways been a way to share and expressour feelings and especially love, pain and

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grief...and that's exactly what modal4 do…they share. They share through their music andperformance adding us to their companionmaking each one part of their sonic ritual. Forgottenmelodies and dusty soundscapes of another era coming forward through a variable prism ofinfluencesandreferences…fromthevastmusicaltraditionoftheeastmediterraneantothelushandreverberantdarkwavesoundsof the80'sand fromthenonconforming free jazzaesthetics to thepostrocksonicspacesofthelastdecades.modal4 is abandof 4 individuals contributing their ownperspective to an ancient and still neverending journey to the deepest human emotions: Evgenios Voulgaris: yayli tanbur, ThanosGountanos:fretlessguitar,DimitrisTasoudis:drums,PavlosSpyropoulos:contrabass.https://www.facebook.com/Modal4

2ndConcert:Wednesday27June,20:00-21:00

ChoralWorkshopoftheAristotleUniversityofThessalonikiConductor:ErifiliDamianou

Choral Workshop (“ChorodiakoErgastiri”) was founded in October2016. It is a youth choir affiliatedwiththe School of Music Studies of theAristotle University of Thessaloniki. Itsmembers are students who havecompletedthecompulsorycourseintheSchool’s Choir and are particularlyinterested in the further study andpresentation of choral music. Therepertoire of the group focuses on a

capella music –Renaissance, classical and contemporary– while special emphasis is given to theworks byGreek composers. The group frequently sings in concerts and formal ceremonies of theAristotle University receiving positive reviews. The "Choral Workshop" is conducted by ErifiliDamianou.IntheirAAWM/FMAconcerttheywillpresentYannisConstantinidis's"EightAsiaMinorsongs",asetof8GreekfolksongsfromAsiaMinor,idiomaticallyharmonizedandarrangedformixedchoirbytheGreekcomposerYannisConstantinidis(Smyrna1903-Athens1984).

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ByzantineChoiroftheStateConservatoryofThessalonikiConductor:PetrosPapaemmanouil

Byzantine Chant is the music of the liturgicalriteof theChristianRomanEmpireof theEastfrom the time of the establishment ofConstantinople (at the site of ancientByzantium) in the early 4th century andpersisting beyond the interruption of theEastern imperial succession by the Ottomanconquest in 1453. The rite is still practised bytensofmillionsof EasternOrthodoxChristianswhosenativelanguage,orliturgicallanguage,isGreek. Ithas remainedthedominant liturgyof

theChristianEastduringthepast1500years.TheByzantinechantcontinuedtoflourishafterthefallofConstantinople,specifically inmonasteriesthroughouttheformerempireandatthepatriarchalseeofConstantinople,andisnow,besidesitsritualfunction,anactivefieldofartisticexpressionandmusicologicalresearch.TheByzantineChoiroftheStateConservatoryofThessaloniki,conductedbyPetrosPapaemmanouil,professorofByzantineChantat theConservatoryandPhDcandidate inByzantinemusicology,willpresentaselectionofByzantinehymnsbasedonliturgicaltexts.

STRINGLESS

STRINGLESSisavocalacapellagroupofsixwomensingers of Bulgarian and Greek origin. The nameSTRINGLESS is a word pun on the English wordmeaning "without strings" and the onomatopoeicwordmeaning "shrews", mythical creatures of theGreek folk tradition. Their first CD recording wasrecently published by OUTLANDISH Productions(2018).Theyare:AlbenaKoutova,DorotheaMichail,Vassiliki Alexiou, Elsa Mouratidou, KaterinaMavrofrydouandStellaYaltzi.The program of their AAWM concert is based on

GreekfolksongsfromEpirus,PontusandMacedonia,aswellasonBulgarianandTurkishfolksongs.All arragnements/harmonizationsarepolyphonic,evenwhen theoriginal song in intrinsicallynon-polyphonic,andtheyaredevisedbythemembersofthegroup.https://www.facebook.com/thestringless

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3rdConcert:Thursday28June,20:00-21:00

AthenaKatsanevaki:MoiroloiTrilogybyDimitrisBakas

MiroloiTrilogy(2012-2013)Composition:DimitrisBakasVocals:AthenaKatsanevakiReleasedonCD(FATA)byMigroRecords,London,2015.

Miroloi is a trilogy for live traditional voice, electrocoustic sounds and field recordings. This four-dimensionalcompositionfunctionsas:a) an archive of traditional songs and performances (ethnological field research done by AthenaKatsanevaki),b)anaestheticcomparisonofoldandnewperformances(livevoice)ofthesametraditionalsongs,c)anattempttobringclosertraditionalandcontemporaryformsofexpressionbymixingtheaboverecordingswith 1) electroacoustic sounds and field recordings that either come from the originalonesor from field recordingsdoneby thecomposer2) contemporaryvoice techniques (extendedtechniques), and 3) classical instruments with contemporary techniques, such as, Prepared Piano(pre-recorded),d)anarchiveof lostsoundsofthepre-industrial life,suchastheLoomthatare long lostfromthecontemporaryconsciousness.

BAHARí/FlamencoArabe

Flamenco is a musical genreoriginating from the southernpartofSpain, Andalusia. There, the existinglocalmusic Andaluz, rich in elementsof Baroque, Basque aswell asArabicandByzantinemusic,wasunitedwiththe gypsy culture giving birth toFlamenco.

BAHARí travel throughthecoexistenceof therhythmsofAfrica, the twelvemeter forms, theveryrichharmonycompingofFlamencomusicwiththecontrastingmodalmonophonicmusicalheritageof themaqam tradition of the Arabworld. The result of thismixture is thewell-known sound ofFlamencoemphasizingitsMiddleEasternelements.BAHARíisanewlyformedtrioanditsmemberscome from very differentmusical backgrounds. From the scope of European classical, Flamenco,Middle Eastern and Jazz training they find themselves in anendless fieldofmusical experiments/possibilities which have just started. Their first appearance was at the “Petit Paris” 2017 musicFestivalinAthensandsincethebeginningof2018theyareworkingontheirfirstCDrecording.

BAHARíwillpresentanumberoftunes,originaland/orrearrangedforflamencoguitar,flute,qanun(kanun), aswell as flamencoandarabic vocals.Bandmembersare: YotaBaron (flamencovocals),AnastassiaZachariadou(qanun,flute,Arabicvocals),PanosKartimpelis(flamencoguitar).

https://www.facebook.com/BahariFlamencoArabe

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DIRECTORYOFAUTHORS

Author Affiliation Country Email Session

AbrahamsRosa UrsinusCollege UnitedStates

[email protected] D2

AbramovayJuliano Codarts,UniversityfortheArts,Rotterdam

Netherlands [email protected] A1

AbsarokaRuard SOASUniversityofLondon UnitedKingdom

[email protected] C2

AhlbäckSven KungligaMusikhögskolan,Stockholm Sweden [email protected] D3AhmadianNasim UniversityofAlberta Canada [email protected] A1Alaghband-ZadehChloë LoughboroughUniversity United


AlexandruMaria AristotleUniversityofThessaloniki Greece [email protected] H1Ali-MaclachlanIslah DMTLab,BirminghamCityUniversity United


AmaroTat DurhamUniversity UnitedKingdom

[email protected] F2

AminAnjni NorthwesternUniversity UnitedStates

[email protected] B2

AnantapadmanabhanAkshay

independentmusician India [email protected] B1

AshleyRichard NorthwesternUniversity UnitedStates


AthanasopoulosGeorge AristotleUniversityofThessaloniki Greece [email protected] E3AtkinsonQuentin UniversityofAuckland Australia [email protected] B2

AzadehfarMohammadR. UniversityofArts,Tehran Iran [email protected] B3BeauguittePierre DublinInstituteofTechnology United


BenetosEmmanouil QueenMaryUniversityofLondon UnitedKingdom

[email protected] FMAKeynote

BenvenutiChristian UniversidadeFederaldoRioGrandedoSul

Brazil [email protected] E3

BodoRoberto UniversityofSãoPaulo Brazil [email protected] C3BountouridisDimitrious UtrechtUniversity Netherlands [email protected] F3BozkurtBarış UniversitatPompeuFabra Spain [email protected] D3,GCambouropoulosEmilios AristotleUniversityofThessaloniki Greece [email protected] C3,E3

ÇaylıFerhat HacettepeUniversity-AnkaraStateConservatory

Turkey [email protected] A3

ChardasKostas AristotleUniversityofThessaloniki Greece [email protected] B2ChiarofonteLorenzo SOASUniversityofLondon Italy [email protected] F2CholevasMichail Codarts,UniversityfortheArts,

RotterdamNetherlands [email protected] A1

ClaytonMartin DurhamUniversity UnitedKingdom

[email protected] E3,F1

ClendinningJanePiper FloridaStateUniversity UnitedStates

[email protected] H2

ColsonGeoffroy independentscholar France [email protected] F2ConklinDarrell UniversityoftheBasqueCountry Spain [email protected] D3CroninCharles UniversityofSouthernCalifornia United


CuestaHelena UniversitatPompeuFabra Spain [email protected] D3DemirelEmir UniversitatPompeuFabra Spain [email protected] D3DessiatnitchenkoPolina UniversityofToronto Canada [email protected] A3DiazJuanDiego UniversityofCalifornia,Davis United

[email protected] E1

DiminakisNikolaos AristotleUniversityofThessaloniki Greece [email protected] D1DugganBryan DublinInstituteofTechnology United

Kingdom

[email protected]

C3

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EerolaTuomas DurhamUniversity UnitedKingdom


GeorgakiAnastasia UniversityofAthens Greece [email protected] A2GoldbergDaniel UniversityofConnecticut United

States I1

GómezEmilia UniversitatPompeuFabra Spain [email protected] D3GuedesCarlos NewYorkUniversity UnitedArab


GürayCenk HacettepeUniversity Turkey [email protected] A3HardmanKristi CityUniversityofNewYork United


HarperColter UniversityofPittsburgh UnitedStates


HesselinkNathan UniversityofBritishColumbia Canada [email protected] B1HockmanJason DMTLab,BirminghamCityUniversity United

[email protected]

D3

HolzapfelAndre KTHRoyalInstituteofTechnology,Stockholm

Sweden [email protected] A2,C3

JureLuis UniversidaddelaRepública Uruguay [email protected] C3,H3Kaliakatsos-PapakostasMaximos

AristotleUniversityofThessaloniki Greece [email protected] C3,E3

KallimopoulouEleni UniversityofMacedonia Greece [email protected] A3KalozakisSpiros MusicDepartment,Universityof

AthensGreece [email protected] A2

KatsanevakiAthena AristotleUniversityofThessaloniki Greece [email protected]

B3

KelleherJohnD. DublinInstituteofTechnology UnitedKingdom

[email protected]

C3

KillickAndrew UniversityofSheffield UnitedKingdom


KimIljung UniversityofBritishColumbia Canada [email protected] H3KingAdam UniversityofSydney Australia [email protected] B1KirilovKalin TowsonUniversity United

[email protected] G

KoiliaMarianthi TEIofEpirus Greece [email protected] A2KoopsHendrikVincent UtrechtUniversity Netherlands [email protected] F3KordmafiSaeid SOASUniversityofLondon United


KranenburgPeterVan UtrechtUniversity Netherlands [email protected] F3LawsonFrancesca BrighamYoungUniversity United


LeBominSylvie Muséumnationald'Histoirenaturelle France [email protected] G

LeanteLaura DurhamUniversity UnitedKingdom


LeonardisAleš UniversityofLjubljana Slovenia [email protected] F3LockeDavid TuftsUniversity United


MaessenGeert GregorianaAmsterdam Netherlands [email protected] D3,F3MaroltMatija UniversityofLjubljana Slovenia [email protected] F3MavromatisPanayotis NewYorkUniversity United

[email protected] G

McGrawAndy UniversityofRichmond UnitedStates


MillsSimon UniversityofDurham UnitedKingdom


MisgeldOlof KTHRoyalInstituteofTechnology Sweden [email protected] C3MomiiToru ColumbiaUniversity United


MorganDeirdre SimonFraserUniversity Canada [email protected] C1MukherjiSomangshu UniversityofMichigan United


MüllensiefenDaniel Goldsmiths,UniversityofLondon UnitedKingdom

[email protected]

B2

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MurphyNancy UniversityofHouston UnitedStates

[email protected] I2

NavarroItziar GeorgAugustUniversität,Göttingen Spain [email protected] C1NicelyTiffany UniversityatBuffalo United


OlsonJudithE. AmericanHungarianFolkloreCentrum UnitedStates


OrdoulidisNikos TEIofEpirus Greece [email protected] A3PaschalidouStella TEIofCrete Greece [email protected] E3PastiadisKonstantinos AristotleUniversityofThessaloniki Greece [email protected]

C3

PearsonLara MaxPlanckInstituteforEmpiricalAesthetics

Germany [email protected] E2

PeirisEshantha UniversityofBritishColumbia Canada [email protected]

A1

PenintaKaterina AristotleUniversityofThessaloniki Greece [email protected] C3PesekMatevž UniversityofLjubljana Slovenia [email protected] F3PohlitStefan IstanbulTechnicalUniversity Turkey [email protected] B3PolakRainer MPIforEmpiricalAesthetics Germany [email protected] A1,E2PopescuTudor TechnicalUniversityDresden Germany [email protected] E2QuaintrellCecilia UniversityofBristol United


QueirozMarcelo UniversityofSãoPaulo Brazil [email protected] C3RahnJay UniversityofYork Canada [email protected] F2

RenYupingIris UtrechtUniversity Netherlands [email protected] F3RocamoraMartín UniversidaddelaRepública Uruguay [email protected] C3RodriguezSonia UniversitatPompeuFabra Spain [email protected] D3RoederJohn UniversityofBritishColumbia Canada [email protected] AAWM

keynoteRohrmeierMartin ÉcolePolytechniqueFédéralede

LausanneSwitzerland [email protected] E2

SarrisHaris SchoolofMusicStudies,UniversityofAthens

Greece [email protected] A2

SavagePatrick KeioUniversitySFC Japan [email protected] B2SawatzkyGrant UniversityofBritishColumbia Canada [email protected] I2SerraXavier UniversitatPompeuFabra Spain [email protected] SimsJoshua BrighamYoungUniversity United

States D2

SinopoulosSokratis UniversityofMacedonia Greece [email protected] H1SouthallCarl DMTLab,BirminghamCityUniversity United

[email protected]

D3

StokesMartin King’sCollegeLondon UnitedKingdom

[email protected] AAWMkeynote

SumMaisie UniversityofWaterloo Canada [email protected] E1SwierstraWouter UtrechtUniversity Netherlands [email protected] F3TasoudisDimitris UniversityofMacedonia Greece [email protected] B2TilleyLeslie MassachusettsInstituteofTechnology United


TomczakMaciez DMTLab,BirminghamCityUniversity UnitedKingdom

[email protected]

D3

TrochidisKonstantinos NewYorkUniversity UnitedArabEmirates


TsougrasCostas AristotleUniversityofThessaloniki Greece [email protected] D1,E3UgarteArgibelEuba UniversityoftheBasqueCountry Spain [email protected] C1VeltkampRemco UtrechtUniversity Netherlands [email protected] F3VolkAnja UtrechtUniversity Netherlands [email protected] F3VouvarisPetros UniversityofMacedonia Greece [email protected] A3,B2WalshawChris UniversityofGreenwich,London United


WeyYannick LucerneUniversityofAppliedSciencesandArts

Switzerland [email protected] C1

WiddessRichard SOASUniversityofLondon UnitedKingdom


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WongGloria VancouverSymphonyOrchestraSchoolofMusic

Canada [email protected] D1

ZacharakisAsterios AristotleUniversityofThessaloniki Greece [email protected] C3ZbikowskiLawrence DepartmentofMusic,

UniversityofChicagoUnitedStates


ŽerovnikManca UniversityofLjubljana Slovenia [email protected] F3

Inassociationwiththe:

AristotleUniversityofThessalonikiUniversityofBritishColumbia

NewYorkUniversitySocietyforMusicAnalysis

BritishForumforEthnomusicology

Photo:Dim

itrisTasou

dis

Fifth Conference on Analytical Approaches to World Music ...fma2018.mus.auth.gr/files/AAWM-FMA 2018...

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Transcript of Fifth Conference on Analytical Approaches to World Music ...fma2018.mus.auth.gr/files/AAWM-FMA 2018...