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Max Planck Institute for Empirical Aesthetics
`Beautiful passages´. Formal aspects of listeners’ preferences in pop music
University of Iowa
Was ist Satz?
University of Birmingham
The Viennese Waltz and Post-Classical Syntax
Keble College, University of Oxford
Structural Dissonance Re-Imagined: The Finale of Elgar’s Violin Sonata, Op. 82
Sydney Conservatorium of Music
The Deformational Titan: Mahler 1/IV and History within the New Formenlehre
Durham University
A Recollective Closure:The Coda of Majestoso of Bruckner’s Sixth Symphony
The University of Oregon School of Music and Dance
The Sentence as Large Scale Form in Wagner’s Late Operas: A Preliminary Study
University of Oxford
Impulsive Sonata Agitations: Anton Webern’s Piano Quintet (1907)
Bruckner’s ‘Gesangsperiode‘ and its Temporal Implications
Jerusalem Academy of Music and Dance
Continuous Question-Answer Pairs Extended: Beyond Common-Practice Tonal Music
Université Paris 3 – Sorbonne Nouvelle; Università di Torino
Musical choice and poetic expression: the negotiation of meaning in Debussy’s Clair de lune
University of Toronto
Formal Fusion in Robert Schumann’s Sonata Forms
University of Michigan
Fischer, Ratz, and the Eight-Measure Satz
University of North Texas
Post-Sonata Space Resolutions in Hindemith’s Sonatas for Flute, Clarinet, and Trombone
University of Louisville
Reinforcing Weak Expositional Midpoints Using Extra-Formal Insertions
Miami University
Generic Hybridity in Gustav Mahler's Late Symphonies
Magdalen College, University of Oxford
‘Living’ Tonal Processes in Sibelius’s Seven Songs, Op. 17
Universität LeipzigInstitut für Musikwissenschaft
Dramaturgies of Dynamics in Sonata Form
The Open University of Israel
Dussek, Reicha, Hummel and the “Linear Roundabout”: Retracted Tonal Zones (RTZ) in Late Eighteenth- and Early Nineteenth-Century Three-Key Expositions