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Day 1 - 21st June, Monday








Kelvin Lee (Chair, SMA Formal Theory Study Group)
Kenneth Forkert-Smith (President, Society for Music Analysis)

Julian Horton (Head of Department, Department of Music, Durham University)

Session 1: Fin-de-Siècle Vienna  
Chair: Chris Tarrant (Newcastle University)
​Sebastian Wedler (Oxford University)
Impulsive Sonata Agitations: Anton Webern's Piano Quintet (1907)
Rafael Echevarria (University of Sydney)
The Deformational Titan: Mahler 1/IV and History within the New Formenlehre
Sam Reenan (Miami University)
Generic Hybridity in Gustav Mahler's Late Symphonies 

Kelvin Lee (University of Leuven) 
Hexatonic Tension and Breakthrough Function in Fin-de-Siècle Viennese Symphonic First-Movement Form

Session 2: Bruckner 

Chair: Kelvin Lee (University of Leuven)
Sunbin Kim (Durham University)
Bruckner’s ‘Gesangsperiode‘ and its Temporal Implications
Gabriel l. Venegas-Carro (Universidad de Costa Rica)
Analyzing Bruckner through Manuscript Sources: Form in the Second Symphony’s Adagio, 1872-1873
Ruixue Hu (Durham University)
A Recollective Closure: The Coda of Majestoso of Bruckner’s Sixth Symphony

Session 3: Classical Form

Chair: Markus Neuwirth (Anton Bruckner Privatuniversität)
Beate Kutschke (University of 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
Rebecca Long (University of Louisville)
Reinforcing Weak Expositional Midpoints Using Extra-Formal Insertions 

Carl Burdick (University of Cincinnati College - Conservatory of Music)
The Sonata-Fugue Hybrid in Haydn’s Early Symphonies

Session 4: Sentence and Period 

Chair: Sunbin Kim (Durham University)
Yosef Goldenberg (Jerusalem Academy of Music and Dance)
Continuous Question-Answer Pairs Extended: Beyond Common-Practice Tonal Music
Samuel Lord Kalcheim (The University of Oregon School of Music and Dance)
The Sentence as Large Scale Form in Wagner’s Later Operas: A Preliminary Study
Alberto Martin Entrialgo (University of Southampton)

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

Poster Session 
Room 1

Chair: Bryan A. Whitelaw (Queen's University Belfast)
Yonatan Bar-Yoshafat (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

Sarah Moynihan (Oxford University)

Living' Tonal Processes in Sibelius’s Seven Songs, Op. 17
David Heetderks (University of North Texas)
Text Setting a Breakout: Scansion, Rhyme, and Vowel Repetition in 1960s Choruses

Room 2
Chair: Oliver Chandler (University of Oxford)
Lucia Pasini (Université Paris 3 - Sorbonne Nouvelle)
Musical choice and poetic expression: the negotiation of meaning in Debussy’s Clair de lune
Rachel Gain (University of North Texas)
Post-Sonata Space Resolutions in Hindemith’s Sonatas for Flute, Clarinet, and Trombone
Cibele Palopoli (Universidade Católica de Santos)
Form in Brazilian Choro: Symmetries and Deformations

Conference Timetable

Click on the presenter's name to view the abstract and the biography
Click here to be redirected to the Conference Meeting Links Page
Day 1

Day 2 - 22nd June, Tuesday


Session 5: Liszt Connections
Chair: Anne Hyland (University of Manchester)
David Larkin (University of Sydney)
An unfortunate extinction: revisiting Hans von Bülow’s Nirwana
Bryan A. Whitelaw (Queen's University Belfast)
The Devil in the Details: Form, Allusion and Transmutation
Craig Duke (Indiana University)

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





Keynote 1 

Steven Vande Moortele (University of Toronto)
Type 2 Trouble: Apparent (and Real!) Reversed Recapitulations in Nineteenth-Century Sonata Forms
Chair: Kenneth Forkert-Smith (University of Liverpool)

Session 6: History of Formenlehre

Chair: Hazel Rowland (University of Tübingen)
Matthew Arndt (University of Iowa)
Was ist Satz?
John Koslovsky (Conservatory of Amsterdam)
Structure, Prolongation, and Form: A historical-critical (re-)appraisal

Session 7: Miniatures and Dances

Chair: Alberto Martín Entrialgo (University of Southampton)
Matthew Riley (University of Birmingham)
The Viennese Waltz and Post-Classical Syntax
Hiu-Wah Au (Appalachian State University)

Implication of Juxtaposition on the Structural and Expressive Construction of Two Nocturnes by Frédéric Chopin
Dan Deutsch (The Hebrew University of Jerusalem)
Mendelssohn’s Lieder ohne Worte: Sonaticizing the Piano Miniature

Session 8: Beethoven and the Romantic Generation
Chair: Laura Erel (Durham University)
Julian Horton (Durham University)
Form and Chromaticism in Beethoven’s Seventh Symphony
Caitlin Martinkus (Virginia Tech)

Form Functional Displacement in Schubert’s Sonata Forms
Matthew Poon (University of Toronto)

Formal Fusion in Robert Schumann’s Sonata Forms

Day 2

Day 3 - 23rd June, Wednesday






Session 9: Post-1900 Form
Chair: Giselle Lee (Durham University)
Oliver Chandler (Oxford University)
Structural Dissonance Re-Imagined: The Finale of Elgar’s Violin Sonata, Op. 82
Gretta Sayers (Brandon University)

Form in Post-Tonal Music: An Approach for Corpus Studies Using Debussy’s Piano Préludes
Dickie Lee (University of Georgia)
Trauma, Anxiety, Belatedness, and Sonata Structure in Rochberg's Second Symphony

Keynote 2 

Janet Schmalfeldt (Tufts University)
"Nineteenth-Century" Subdominants
Chair: Julian Horton (Durham University)


Formenlehre and Canonicity
Chair: Julian Horton (Durham University)
Participants: Janet Schmalfeldt (Tufts University), Peter Smith (University of Notre Dame), Benedict Taylor (University of Edinburgh), Steven Vande Moortele (University of Toronto)
ECR Representatives: Laura Erel (Durham University), Kelvin Lee (University of Leuven), Hazel Rowland (University of Tübingen)

Session 10: Rethinking ‘Secondary Parameters’

Chair: Yvonne Teo (Durham University)
Stefan Keym (University of Leipzig)
Dramaturgies of Dynamics in Sonata Form
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

Closing Remarks
The coffee break room will remain open until 19:30

Day 3
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