Presenters

Alberto Martín Entrialgo

University of Southampton

Albéniz and the sentence principle as “the peak of organic-dramatic beauty”

Beate Kutschke

Universität Salzburg

Do musical forms migrate? – Aspects of the popularization and distribution of the small rounded two/three-part form in Europe of the 18th century

Caitlin Martinkus

Virginia Tech

Form Functional Displacement in Schubert’s Sonata Forms

Cibele Palopoli

Universidade de São Paulo, Brazil (Ph.D. in Musicology)
Universidade Católica de Santos, Brazil (Faculty Member)

Form in Brazilian Choro: Symmetries and Deformations

Dan Deutsch

Hebrew University of Jerusalem

Mendelssohn’s Lieder ohne Worte: Sonaticizing the Piano Miniature

David Larkin

University of Sydney

An unfortunate extinction: revisiting Hans von Bülow’s Nirwana

Gabriel Ignacio Venegas-Carro

Universidad de Costa Rica

Analyzing Bruckner through Manuscript Sources: Form in the Second Symphony’s Adagio, 1872-1873

Hiu-Wah Au

Appalachian State University

Implication of juxtaposition on the structural and expressive construction of
two nocturnes by Frédéric Chopin

John Hails

Edinburgh Napier University

Fighting polarity: Pitch-based analysis of Feldman’s late style in Bass Clarinet and Percussion and Three Voices

Julian Horton

Durham University

Form and Chromaticism in Beethoven’s Seventh Symphony

Ana Llorens

Instituto Complutense de Ciencias Musicales

Ambiguous and unfixed structure(s): Form through articulation in the finale from Brahms’s Cello Sonata in E minor

Bryan A. Whitelaw

School of Arts, English and Languages
Queen’s University Belfast

The Devil in the Details: Form, Allusion and Transmutation

Carl Burdick

University of Cincinnati

The Sonata-Fugue Hybrid in Haydn’s Early Symphonies

Craig Duke

Indiana University (IU) Jacobs School of Music

Lyric Forms as “Performed” Speech in Das Rheingold and Die Walküre

David Heetderks

University of North Texas College of Music

Text Setting a Breakout: Scansion, Rhyme, and Vowel Repetition in 1960s Choruses

Dickie Lee

University of Georgia

Trauma, Anxiety, Belatedness, and Sonata Structure in Rochberg’s Second Symphony

Gretta Sayers

Brandon University

Form in Post-Tonal Music: An Approach for Corpus Studies
Using Debussy’s Piano Préludes

John Bowcock

St Anne’s College, University of Oxford

The C0 strategy: From Haydn’s First to Beethoven’s Ninth

John Koslovsky

Conservatorium van Amsterdam / Utrecht University

Structure, Prolongation, and Form: A historical-critical (re-)appraisal

Kelvin H. F. Lee

University of Leuven

Hexatonic Tension and Breakthrough Function
in Fin-de-Siècle Viennese Symphonic First-Movement Form