Conference Program
Download the conference program book here (PDF format, 4MB; updated 19 October)
All events take place in the Enling Art Center (Building 505) of the School of Music, Soochow University, Dushu Lake Campus, unless otherwise noted (see the map in the "Travel" area of this website).
Friday, 18 October
9:30-10:00: Opening Ceremony (Lecture Hall)
Words of Greeting from Lei WU, Executive Dean, School of Music, Soochow University; and Daniel CHUA, President, IMS
10:00-12:00:
Individual Paper Session 1. Issues and Perspectives of Keyboard Music (Lecture Hall; Nozomi SATO, chair)
- Yuet Ka HUI (London), “From Haydn’s 'Thinking-Fantasy-Machine' to the Keyboard Sonata Hob. XVI:46: Empfindsamkeit and Fantasia Reconsidered”
- Akiko WASHINO (Fukuoka), “Elucidating the Modern and Romantic Aspects of Josef Hofmann’s Pianism Through Performance Analysis”
- Rayoung SO (Jeonju), “The Aesthetics of the ‘Grotesque’ in Schumann’s Kreisleriana, op. 16”
- Shiori IMAZEKI (Tokyo), “Concert Life and Musical Education in England: The Piano Student Repertories of the Concerts at the Royal Academy of Music, 1823–1859”
Individual Paper Session 2. The Reception of Western Music in Twentieth-Century China (Room G107; Jian YANG, chair)
- Jia DENG (Suzhou), “Debussy’s ‘Service’ to Modern Chinese Music: Nationalist Sentiment and Stylistic Appropriation
- Jiamin SUN (Suzhou), “Mozart Reception in China and the Revival of Confucianism”
Individual Paper Session 3. Music and/as Political Commentary (Room 108; Tobias JANZ, chair)
- Satoru TAKAKU (Tokyo), “Hsu Tsang-Houei’s Other ‘Le Journal de la musique á Paris’: His Friendship with Japanese Poet Rumiko Koura and Their Collaborative Song ‘En revenant de la mer, hier,’ op.5-2”
- Naomi TAZAKI (Kyoto), “Shaping the Memory of the German Occupation in France? The Case of D. Milhaud’s Château du feu, Commissioned for the Tenth Anniversary of the Concentration Camps’ Liberation”
- Xiao-Lin YE (Suzhou), “Political Soundscapes and Tragic Expression in the Symphonic Music of Zhu Jianer”
12:00-13:30: Lunch
13:30-14:30: Keynote Lecture 1 (Lecture Hall)
Yun NAN (Beijing Normal University): "The Impact of Music Learning on Speech Sound Processing and Its Underlying Neural Mechanisms"
(Kyung Myun LEE, chair)
14:30-15:00: Coffee Break
15:00-17:00:
Individual Paper Session 4. Representation in Opera (Lecture Hall; Aya ITO, chair)
- Nathan SEINEN (Hong Kong), “Verdi’s Voices, Wagner’s Orchestra, and Grand Opéra Production Values: International Models of Heroism in the Opera Aesthetics of Stalin’s Cultural Revolution”
- Liuqing GAO (Shanghai), "Mozart's Voice: The Interaction of Personas in Don Giovanni"
- Suzanne SCHERR (Xinzheng), “Tempo in Puccini’s Soprano-Baritone Duets”
- Hee Seng KYE (Seoul), “Rehabilitating Gemma, or Hearing the Voices of an Empty Womb in Donizetti’s Gemma di Vergy”
Individual Paper Session 5. Theory, Documents, and Performance Practice (Room G107; Jeffrey LEVENBERG, chair)
- Kaho INOUE (Southampton), “Semibreves in Thirteenth-Century Mensural Theory”
- Federico ZAVANELLI (Southampton), “Thirteenth-Century Polyphony in the Angevin Kingdoms of Sicily and Naples”
- Jian YANG (Shanghai), “Viennnese Waltz Music in East Asia: An Empirical Study of the Performance Styles of The Blue Danube Waltz”
Panel 1. Cold War and Global Music History: Nationalism, Ideologies, and Knowledge Production (Room G108; Motomi TSUGAMI, chair)
- Diau-Long SHEN (Tainan), “From the Thawing of Cold War Historiography to a Global Horizon: Hsu Tsang-Houei’s Histories in Taiwan”
- Natsuko JIMBO (Tokyo), “International Music Competitions and Japan: From a Barometer of ‘Progress’ to the Establishment of Musical Identity?”
- Min-Erh WANG (Oxford), “Decolonizing Knowledge: A Case Study of the Global Reception History of Pablo Casals in the 1970s and 1980s”
Saturday, 19 October
10:00-18:00: Poster Presentations (Basement Lobby)
- Xinkun CHEN (Nanjing), "On the Role of Aesthetics in Musical Hermeneutics"
- Wan-Hsin CHENG (Beijing), "The Affirmation of Life: Music and Nietzsche's Ethics"
- Jiangxia LIU (Changchun), "Chinese Traditional Music Teaching and Cultural Identity: A Survey of Junior High Schools in Jilin Province"
- Xiu-lei REN (Yunnan), "In the Heart of Yunnan, in the Roots of the People: Remarks on Guan Zhuang, Contemporary Yunnan Composer"
10:00-12:00:
Individual Paper Session 6. Transnationalism and Transculturality (Lecture Hall; Meebae LEE, chair)
- David Francis URROWS (Hong Kong), “‘Hopes Deferred’: Albert Faurot in Fujian, 1936-50”
- Jeffrey LEVENBERG (Hong Kong), “Text-Painting China: Musical Representation and Reproduction in Athanasius Kircher’s China Illustrata”
- Xin LIU (Nanjing), “Music on the Grand Tour”
Individual Paper Session 7. Music Theory and Analysis in Historical and Global Context (Room G107; Diau-Long SHEN, chair)
- Nathan John MARTIN (Ann Arbor), “Towards a Global History of Music Theory”
- Hiroko NISHIDA (Fukuoka), “Analytic Possibilities in Neo-Riemannian Theory and Japanese Popular Music”
- Aya ITO (Kagoshima), “A Comparative and Syntactic Analysis of Max Reger’s Leise Lieder After Richard Strauss”
- Xiaonuo LI (Shanghai), “The Dialectical Elements in Chinese Contemporary Music Composition and Performance: A Visualization Analysis of the Chinese Keyboard Work Lan Huahua as Case Study”
Individual Paper Session 8. Local Folk Music and Heritage (Room G108; Wan HUANG, chair)
- Cong JIANG (Beijing), “The Familiarity of Local Folk Songs and Cultural Identity”
- Fang WANG (Yunnan), “The Bayin Seated Singing Tradition of the Buyi Ethnic Group in Guizhou Province”
- Olivia Evelin SUNDARI (Tangerang) and Henry Susanto PRANOTO (Tangerang), “The Roles of Music Within the Baduy Community in Indonesia”
- Ow Wei CHOW (Serdang), “The ‘Penang Miaohui’ of the Chinese Community in Modern-day Malaysia”
Panel 2. From Eyes to Hands: Strategies and Mechanisms in Music Performance (Room G109; Suk Won YI, chair)
- Moo Kyoung SONG (Seoul), “Exploring Expert Pianists’ Discourse of Sight-reading Techniques”
- Yeoeun LIM (Seoul), “The Interrelation Among Musical, Physiological, and Behavioral Domains of Music Sight-Reading in Professional Pianists”
- Sumin YOON (Seoul), “The Neurophysiological Mechanism of Different Types of Music Performance and Performer”
- Youn KIM (Hong Kong), “Music in the Hands: The Convergence of Performance Theory and Music Psychology in History”
12:00-13:30: Lunch
13:30-15:30:
Individual Paper Session 9. Analyzing Contemporary Music (Lecture Hall; John ROBISON, chair)
- Tomoko YASUKAWA (Tokyo), “Mitsukuri Shukichi’s Japanese Harmony and Its French Inspiration”
- Xiaolong LIU (Beijing), “Prophecy of Tragedy: Jiang Wenye’s Self-drowned in Miluo River and Its Context”
- Yandi YANG (Shanghai), “Five Strategies and Their Achievements: A Critical Survey of Chinese Contemporary Piano Music in the Last Forty Years”
Individual Paper Session 10. Symphony, Tonality, and Coda (Room G107; Daniel Yi-Cheng WU, chair)
- Yuxi LIU (Shanghai), “Virtual Agency in Sibelius’s Symphony No.7 in C major, Op. 105”
- Yue SUN (Shanghai), “The Structural Dynamic, Emotional Gesture, and Typical Meaning of Tonality: A Case Study of Beethoven's Choral Fantasy”
- Chenyi XU (Shanghai), “A Brief Analysis of the Characteristics of the Coda in Beethoven's Piano Sonatas”
- Federico FAVALI, "The Brahmsian Heritage: Echoes of the Tradition and a Glance Into the Future"
Individual Paper Session 11. Technology and Media (Room G108; Mary DILLON, chair)
- Xinhui LIANG (Suzhou), “Crosscurrents of Popular Music and Traditional Chinese Culture as Social Critique in Virtual Pop”
- Diandian ZENG (Beijing) and Chunlin XIE (Beijing), “Music and Body Movement, Time and Group Memory: A Study of the Music of Chinese Radio Calisthenics”
- Xian HE (Chengdu), “Femmes Fatales as Empowered Women in Lady Gaga’s Music Video 'Telephone'”
Panel 3. The Novella and Dramatization of Pingtan after the Founding of the People’s Republic of China: From Official Cultural Policy to the Influence of Amateur Actors (Room G109; Yen-Ling Annie LIU, chair)
- Wen-Ting YAN (Suzhou), “The Dramatization and Musical Evolution of Pingtan after the Foundation of the New China”
- Xiaohai LIU (Shanghai), “Elimination of the Old Mode and Foundation of the New Mode: The Creation and Performance of Mid-length Pingtan after the Foundation of the Country”
- Heng JI (Shanghai), “Suzhou Pingtan in Modern Times and Its Interaction with Audiences: A Case Study of Amateur Performer Activity of Pingtan in the 1950s to 1980s”
15:30-16:00: Coffee Break
16:00-18:00:
Panel 4. Contemporary Musicology in Shanghai (Lecture Hall; Chien-Chang YANG, chair)
panelists:
- Hongduo CHEN (Shanghai)
- Ding HONG (Shanghai)
- Wan HUANG (Shanghai)
- Jian YANG (Shanghai)
- Yandi YANG (Shanghai)
Individual Paper Session 12. Historical Studies: Sources and Performance Practice (Room G107; Hee Seng KYE, chair)
- Haruka KIMURA (Nishinomiya), “On the Structural Characteristics of the Hurdy-gurdy: An Analysis of Charles Bâton’s Six Sonatas for the Hurdy-gurdy"
- Kiko MATSUHASHI (Tokyo), “On the Integration of the Catholic Mass into the Lutheran Liturgy: The Performance of the Mass in Leipzig in the Late Eighteenth Century”
- Xiaoli ZHENG (Tokyo), “Western Music Activities in Beijing During the Japanese Occupation: Concerts, Repertoires, and Cultural Policy”
Individual Paper Session 13. Global Documents (Room G108; Xiaolong LIU, chair)
- Erika Janeth CARDONA González (Shanghai), “Notes on Decolonial Postures in Latin American Musicology of Recent Decades”
- Motomi TSUGAMI (Kobe), “Nagai Ikuko’s ‘Movement for Singing in Japanese’ (1925-1941) in Colonial Korea and Taiwan”
- Yu-Han HUANG (Taipei), “Exploring Oceans, Expressing Emotions: A Case Study of the Relationships Between Music and Emotions”
Individual Paper Session 14. Music Psychology (Room G109; Cong JIANG, chair)
- Hao DING (Nanjing), “Musical Gesture: Another Way to Music Interpretation”
- Yun-Hsien PENG (Taipei), “Combined Flow in the Situation of Sight Reading by String Ensembles”
- Ivan Yifan ZOU (Hong Kong), “The Processing of Garden-path Ambiguity in Music: A Neural Study”
- Michiru KODERA (Tokyo), “Music Psychology and Music Theory: A Reexamination of The Psychology of Music (1982) as a Locus in the Formative Stages of Interdisciplinary Development”
19:00-21:00: Conference Dinner, M-One Restaurant, Worldhotel Grand Dushulake 299 Qiyue Street
Sunday, 20 October
10:00-12:00:
Individual Paper Session 15. Twentieth-Century Music: Craft and Aesthetics (Lecture Hall; Yandi YANG, chair)
- Le-Tian YANG (Suzhou), “Tan Dun’s ‘Organic Music’: Mediating Between Experimentalism, Transnationalism, and the Rhetoric of National Style”
- You-Kyung CHO (Tokyo), “B.A. Zimmermann’s Collage in His Late Style : ‘Klangkomposition’ as Social and Cultural Representation”
- Hara RUI (Kyoto), “An Analysis of Toru Takemitsu’s Rain Tree Sketch Focusing on its Symmetrical Construction”
Individual Paper Session 16. Cosmopolitanism and Contemporary Chinese Music (Room G107; Hui YU, chair)
- Mary DILLON (Yunnan), “China’s Global Sound? Exploring the Effects of Globalization on Kunming’s Music Scene”
- Phoebe Minzhuo ZHOU (Hong Kong), “‘Sonic Infrastructures and Participation in China's Independent Music Scene”
- Yu YE (Austin), “Musical Identities Between Cosmopolitanism and Nationalism: Making Tango Music in Contemporary China”
Individual Paper Session 17. Intertextuality and Metaphor in Postwar Music (Room G108; Satoru TAKAKU, chair)
- Rachel WILSON-COTA (Tempe), “Watership Down: Imagining Angela Morley's Compositional Work as an Anthropomorphic 'Self-in-progress’”
- John ROBISON (Tampa), “Kim Eunhye in the Twenty-First Century: Arirang, Animals, and Signs of the Zodiac”
- ChiaWei LIN (Taipei), “The ‘Native’ Hoklo Taiwanese Responses to Historical Authorities: A Case Study of Chen Mao-Shuen and His Music”
Panel 5. Germany and China: Mutual Musical Imaginaries in the Early Twentieth Century (Room G109; John GABRIEL, chair)
- Lufan XU (Shanghai), “Ferruccio Busoni’s Turandot and the ‘Outdated’ Exoticism”
- John GABRIEL (Hong Kong), “China as Political Allegory in the Music Theater of Weimar-Republic Germany”
12:00-13:30: Lunch
13:30-14:30: Keynote Lecture 2 (Lecture Hall)
James CURRIE (The University in Buffalo): "The End of American Musicology"
(ChiaWei LIN, chair)
14:30-15:00: Coffee Break
15:00-17:00:
Individual Paper Session 18: Music Historiography (Lecture HALL; Nathan SEINEN, chair)
- Zhuoxin YANG (Nanjing), “Classical Plots and Romantic Innovations: Exploring Brahms's View of Creativity from the Perspective of the Chamber Works op. 25 and 26”
- Masaya OGAWA (Tokyo), “Rethinking Carl Dahlhaus’s Grundlagen der Musikgeschichte: The Narrative-Ladenness of Music-Historical Facts and the Linguistic Turn in Musicology”
- Naoki HAYASHI (Tokyo), “A Reappraisal of the Review of Gabriel Fauré’s Requiem by Camille Benoît”
- ShengHua SUN (Nanchang), “The Historical Debate Over Absolute Music and Program Music”
Individual Paper Session 19. Education and Community (Room G107; Ding HONG, chair)
- Colleen Christina SCHMUCKAL (Tokyo), “Japanese and Zuni Sunrise Songs: Approaching Issues of Innovation and Diffusion Through Beginner Music for Shamisen”
Panel 6. Decentering Musical Modernity: Perspectives on East Asian and European Music History (Room G108; Chien-Chang YANG, chair)
- Yu-Jun CHOI (Gwangju), “Modernity as Postcolonial Encounter in Korean Music”
- Fumitaka YAMAUCHI (Taipei), “Contemplating East Asian Music History in Regional and Global Contexts: On Modernity, Nationalism, and Colonialism”
- Tobias JANZ (Bonn), “Multiple Musical Modernities? Dahlhaus, Eisenstadt, and the Case of Japan”
- Chien-Chang YANG (Taipei), “Synchronizing Twentieth-Century Music History: A Transnational Reflection”
17:00-18:00: Closing Ceremony, including a presentation by Kyoungpook University, Daegu, Korea, host of the Sixth Biennial Meeting of IMSEA, 2021 (Lecture Hall)
Download the conference program book here (PDF format, 4MB; updated 19 October)
All events take place in the Enling Art Center (Building 505) of the School of Music, Soochow University, Dushu Lake Campus, unless otherwise noted (see the map in the "Travel" area of this website).
Friday, 18 October
9:30-10:00: Opening Ceremony (Lecture Hall)
Words of Greeting from Lei WU, Executive Dean, School of Music, Soochow University; and Daniel CHUA, President, IMS
10:00-12:00:
Individual Paper Session 1. Issues and Perspectives of Keyboard Music (Lecture Hall; Nozomi SATO, chair)
- Yuet Ka HUI (London), “From Haydn’s 'Thinking-Fantasy-Machine' to the Keyboard Sonata Hob. XVI:46: Empfindsamkeit and Fantasia Reconsidered”
- Akiko WASHINO (Fukuoka), “Elucidating the Modern and Romantic Aspects of Josef Hofmann’s Pianism Through Performance Analysis”
- Rayoung SO (Jeonju), “The Aesthetics of the ‘Grotesque’ in Schumann’s Kreisleriana, op. 16”
- Shiori IMAZEKI (Tokyo), “Concert Life and Musical Education in England: The Piano Student Repertories of the Concerts at the Royal Academy of Music, 1823–1859”
Individual Paper Session 2. The Reception of Western Music in Twentieth-Century China (Room G107; Jian YANG, chair)
- Jia DENG (Suzhou), “Debussy’s ‘Service’ to Modern Chinese Music: Nationalist Sentiment and Stylistic Appropriation
- Jiamin SUN (Suzhou), “Mozart Reception in China and the Revival of Confucianism”
Individual Paper Session 3. Music and/as Political Commentary (Room 108; Tobias JANZ, chair)
- Satoru TAKAKU (Tokyo), “Hsu Tsang-Houei’s Other ‘Le Journal de la musique á Paris’: His Friendship with Japanese Poet Rumiko Koura and Their Collaborative Song ‘En revenant de la mer, hier,’ op.5-2”
- Naomi TAZAKI (Kyoto), “Shaping the Memory of the German Occupation in France? The Case of D. Milhaud’s Château du feu, Commissioned for the Tenth Anniversary of the Concentration Camps’ Liberation”
- Xiao-Lin YE (Suzhou), “Political Soundscapes and Tragic Expression in the Symphonic Music of Zhu Jianer”
12:00-13:30: Lunch
13:30-14:30: Keynote Lecture 1 (Lecture Hall)
Yun NAN (Beijing Normal University): "The Impact of Music Learning on Speech Sound Processing and Its Underlying Neural Mechanisms"
(Kyung Myun LEE, chair)
14:30-15:00: Coffee Break
15:00-17:00:
Individual Paper Session 4. Representation in Opera (Lecture Hall; Aya ITO, chair)
- Nathan SEINEN (Hong Kong), “Verdi’s Voices, Wagner’s Orchestra, and Grand Opéra Production Values: International Models of Heroism in the Opera Aesthetics of Stalin’s Cultural Revolution”
- Liuqing GAO (Shanghai), "Mozart's Voice: The Interaction of Personas in Don Giovanni"
- Suzanne SCHERR (Xinzheng), “Tempo in Puccini’s Soprano-Baritone Duets”
- Hee Seng KYE (Seoul), “Rehabilitating Gemma, or Hearing the Voices of an Empty Womb in Donizetti’s Gemma di Vergy”
Individual Paper Session 5. Theory, Documents, and Performance Practice (Room G107; Jeffrey LEVENBERG, chair)
- Kaho INOUE (Southampton), “Semibreves in Thirteenth-Century Mensural Theory”
- Federico ZAVANELLI (Southampton), “Thirteenth-Century Polyphony in the Angevin Kingdoms of Sicily and Naples”
- Jian YANG (Shanghai), “Viennnese Waltz Music in East Asia: An Empirical Study of the Performance Styles of The Blue Danube Waltz”
Panel 1. Cold War and Global Music History: Nationalism, Ideologies, and Knowledge Production (Room G108; Motomi TSUGAMI, chair)
- Diau-Long SHEN (Tainan), “From the Thawing of Cold War Historiography to a Global Horizon: Hsu Tsang-Houei’s Histories in Taiwan”
- Natsuko JIMBO (Tokyo), “International Music Competitions and Japan: From a Barometer of ‘Progress’ to the Establishment of Musical Identity?”
- Min-Erh WANG (Oxford), “Decolonizing Knowledge: A Case Study of the Global Reception History of Pablo Casals in the 1970s and 1980s”
Saturday, 19 October
10:00-18:00: Poster Presentations (Basement Lobby)
- Xinkun CHEN (Nanjing), "On the Role of Aesthetics in Musical Hermeneutics"
- Wan-Hsin CHENG (Beijing), "The Affirmation of Life: Music and Nietzsche's Ethics"
- Jiangxia LIU (Changchun), "Chinese Traditional Music Teaching and Cultural Identity: A Survey of Junior High Schools in Jilin Province"
- Xiu-lei REN (Yunnan), "In the Heart of Yunnan, in the Roots of the People: Remarks on Guan Zhuang, Contemporary Yunnan Composer"
10:00-12:00:
Individual Paper Session 6. Transnationalism and Transculturality (Lecture Hall; Meebae LEE, chair)
- David Francis URROWS (Hong Kong), “‘Hopes Deferred’: Albert Faurot in Fujian, 1936-50”
- Jeffrey LEVENBERG (Hong Kong), “Text-Painting China: Musical Representation and Reproduction in Athanasius Kircher’s China Illustrata”
- Xin LIU (Nanjing), “Music on the Grand Tour”
Individual Paper Session 7. Music Theory and Analysis in Historical and Global Context (Room G107; Diau-Long SHEN, chair)
- Nathan John MARTIN (Ann Arbor), “Towards a Global History of Music Theory”
- Hiroko NISHIDA (Fukuoka), “Analytic Possibilities in Neo-Riemannian Theory and Japanese Popular Music”
- Aya ITO (Kagoshima), “A Comparative and Syntactic Analysis of Max Reger’s Leise Lieder After Richard Strauss”
- Xiaonuo LI (Shanghai), “The Dialectical Elements in Chinese Contemporary Music Composition and Performance: A Visualization Analysis of the Chinese Keyboard Work Lan Huahua as Case Study”
Individual Paper Session 8. Local Folk Music and Heritage (Room G108; Wan HUANG, chair)
- Cong JIANG (Beijing), “The Familiarity of Local Folk Songs and Cultural Identity”
- Fang WANG (Yunnan), “The Bayin Seated Singing Tradition of the Buyi Ethnic Group in Guizhou Province”
- Olivia Evelin SUNDARI (Tangerang) and Henry Susanto PRANOTO (Tangerang), “The Roles of Music Within the Baduy Community in Indonesia”
- Ow Wei CHOW (Serdang), “The ‘Penang Miaohui’ of the Chinese Community in Modern-day Malaysia”
Panel 2. From Eyes to Hands: Strategies and Mechanisms in Music Performance (Room G109; Suk Won YI, chair)
- Moo Kyoung SONG (Seoul), “Exploring Expert Pianists’ Discourse of Sight-reading Techniques”
- Yeoeun LIM (Seoul), “The Interrelation Among Musical, Physiological, and Behavioral Domains of Music Sight-Reading in Professional Pianists”
- Sumin YOON (Seoul), “The Neurophysiological Mechanism of Different Types of Music Performance and Performer”
- Youn KIM (Hong Kong), “Music in the Hands: The Convergence of Performance Theory and Music Psychology in History”
12:00-13:30: Lunch
13:30-15:30:
Individual Paper Session 9. Analyzing Contemporary Music (Lecture Hall; John ROBISON, chair)
- Tomoko YASUKAWA (Tokyo), “Mitsukuri Shukichi’s Japanese Harmony and Its French Inspiration”
- Xiaolong LIU (Beijing), “Prophecy of Tragedy: Jiang Wenye’s Self-drowned in Miluo River and Its Context”
- Yandi YANG (Shanghai), “Five Strategies and Their Achievements: A Critical Survey of Chinese Contemporary Piano Music in the Last Forty Years”
Individual Paper Session 10. Symphony, Tonality, and Coda (Room G107; Daniel Yi-Cheng WU, chair)
- Yuxi LIU (Shanghai), “Virtual Agency in Sibelius’s Symphony No.7 in C major, Op. 105”
- Yue SUN (Shanghai), “The Structural Dynamic, Emotional Gesture, and Typical Meaning of Tonality: A Case Study of Beethoven's Choral Fantasy”
- Chenyi XU (Shanghai), “A Brief Analysis of the Characteristics of the Coda in Beethoven's Piano Sonatas”
- Federico FAVALI, "The Brahmsian Heritage: Echoes of the Tradition and a Glance Into the Future"
Individual Paper Session 11. Technology and Media (Room G108; Mary DILLON, chair)
- Xinhui LIANG (Suzhou), “Crosscurrents of Popular Music and Traditional Chinese Culture as Social Critique in Virtual Pop”
- Diandian ZENG (Beijing) and Chunlin XIE (Beijing), “Music and Body Movement, Time and Group Memory: A Study of the Music of Chinese Radio Calisthenics”
- Xian HE (Chengdu), “Femmes Fatales as Empowered Women in Lady Gaga’s Music Video 'Telephone'”
Panel 3. The Novella and Dramatization of Pingtan after the Founding of the People’s Republic of China: From Official Cultural Policy to the Influence of Amateur Actors (Room G109; Yen-Ling Annie LIU, chair)
- Wen-Ting YAN (Suzhou), “The Dramatization and Musical Evolution of Pingtan after the Foundation of the New China”
- Xiaohai LIU (Shanghai), “Elimination of the Old Mode and Foundation of the New Mode: The Creation and Performance of Mid-length Pingtan after the Foundation of the Country”
- Heng JI (Shanghai), “Suzhou Pingtan in Modern Times and Its Interaction with Audiences: A Case Study of Amateur Performer Activity of Pingtan in the 1950s to 1980s”
15:30-16:00: Coffee Break
16:00-18:00:
Panel 4. Contemporary Musicology in Shanghai (Lecture Hall; Chien-Chang YANG, chair)
panelists:
- Hongduo CHEN (Shanghai)
- Ding HONG (Shanghai)
- Wan HUANG (Shanghai)
- Jian YANG (Shanghai)
- Yandi YANG (Shanghai)
Individual Paper Session 12. Historical Studies: Sources and Performance Practice (Room G107; Hee Seng KYE, chair)
- Haruka KIMURA (Nishinomiya), “On the Structural Characteristics of the Hurdy-gurdy: An Analysis of Charles Bâton’s Six Sonatas for the Hurdy-gurdy"
- Kiko MATSUHASHI (Tokyo), “On the Integration of the Catholic Mass into the Lutheran Liturgy: The Performance of the Mass in Leipzig in the Late Eighteenth Century”
- Xiaoli ZHENG (Tokyo), “Western Music Activities in Beijing During the Japanese Occupation: Concerts, Repertoires, and Cultural Policy”
Individual Paper Session 13. Global Documents (Room G108; Xiaolong LIU, chair)
- Erika Janeth CARDONA González (Shanghai), “Notes on Decolonial Postures in Latin American Musicology of Recent Decades”
- Motomi TSUGAMI (Kobe), “Nagai Ikuko’s ‘Movement for Singing in Japanese’ (1925-1941) in Colonial Korea and Taiwan”
- Yu-Han HUANG (Taipei), “Exploring Oceans, Expressing Emotions: A Case Study of the Relationships Between Music and Emotions”
Individual Paper Session 14. Music Psychology (Room G109; Cong JIANG, chair)
- Hao DING (Nanjing), “Musical Gesture: Another Way to Music Interpretation”
- Yun-Hsien PENG (Taipei), “Combined Flow in the Situation of Sight Reading by String Ensembles”
- Ivan Yifan ZOU (Hong Kong), “The Processing of Garden-path Ambiguity in Music: A Neural Study”
- Michiru KODERA (Tokyo), “Music Psychology and Music Theory: A Reexamination of The Psychology of Music (1982) as a Locus in the Formative Stages of Interdisciplinary Development”
19:00-21:00: Conference Dinner, M-One Restaurant, Worldhotel Grand Dushulake 299 Qiyue Street
Sunday, 20 October
10:00-12:00:
Individual Paper Session 15. Twentieth-Century Music: Craft and Aesthetics (Lecture Hall; Yandi YANG, chair)
- Le-Tian YANG (Suzhou), “Tan Dun’s ‘Organic Music’: Mediating Between Experimentalism, Transnationalism, and the Rhetoric of National Style”
- You-Kyung CHO (Tokyo), “B.A. Zimmermann’s Collage in His Late Style : ‘Klangkomposition’ as Social and Cultural Representation”
- Hara RUI (Kyoto), “An Analysis of Toru Takemitsu’s Rain Tree Sketch Focusing on its Symmetrical Construction”
Individual Paper Session 16. Cosmopolitanism and Contemporary Chinese Music (Room G107; Hui YU, chair)
- Mary DILLON (Yunnan), “China’s Global Sound? Exploring the Effects of Globalization on Kunming’s Music Scene”
- Phoebe Minzhuo ZHOU (Hong Kong), “‘Sonic Infrastructures and Participation in China's Independent Music Scene”
- Yu YE (Austin), “Musical Identities Between Cosmopolitanism and Nationalism: Making Tango Music in Contemporary China”
Individual Paper Session 17. Intertextuality and Metaphor in Postwar Music (Room G108; Satoru TAKAKU, chair)
- Rachel WILSON-COTA (Tempe), “Watership Down: Imagining Angela Morley's Compositional Work as an Anthropomorphic 'Self-in-progress’”
- John ROBISON (Tampa), “Kim Eunhye in the Twenty-First Century: Arirang, Animals, and Signs of the Zodiac”
- ChiaWei LIN (Taipei), “The ‘Native’ Hoklo Taiwanese Responses to Historical Authorities: A Case Study of Chen Mao-Shuen and His Music”
Panel 5. Germany and China: Mutual Musical Imaginaries in the Early Twentieth Century (Room G109; John GABRIEL, chair)
- Lufan XU (Shanghai), “Ferruccio Busoni’s Turandot and the ‘Outdated’ Exoticism”
- John GABRIEL (Hong Kong), “China as Political Allegory in the Music Theater of Weimar-Republic Germany”
12:00-13:30: Lunch
13:30-14:30: Keynote Lecture 2 (Lecture Hall)
James CURRIE (The University in Buffalo): "The End of American Musicology"
(ChiaWei LIN, chair)
14:30-15:00: Coffee Break
15:00-17:00:
Individual Paper Session 18: Music Historiography (Lecture HALL; Nathan SEINEN, chair)
- Zhuoxin YANG (Nanjing), “Classical Plots and Romantic Innovations: Exploring Brahms's View of Creativity from the Perspective of the Chamber Works op. 25 and 26”
- Masaya OGAWA (Tokyo), “Rethinking Carl Dahlhaus’s Grundlagen der Musikgeschichte: The Narrative-Ladenness of Music-Historical Facts and the Linguistic Turn in Musicology”
- Naoki HAYASHI (Tokyo), “A Reappraisal of the Review of Gabriel Fauré’s Requiem by Camille Benoît”
- ShengHua SUN (Nanchang), “The Historical Debate Over Absolute Music and Program Music”
Individual Paper Session 19. Education and Community (Room G107; Ding HONG, chair)
- Colleen Christina SCHMUCKAL (Tokyo), “Japanese and Zuni Sunrise Songs: Approaching Issues of Innovation and Diffusion Through Beginner Music for Shamisen”
Panel 6. Decentering Musical Modernity: Perspectives on East Asian and European Music History (Room G108; Chien-Chang YANG, chair)
- Yu-Jun CHOI (Gwangju), “Modernity as Postcolonial Encounter in Korean Music”
- Fumitaka YAMAUCHI (Taipei), “Contemplating East Asian Music History in Regional and Global Contexts: On Modernity, Nationalism, and Colonialism”
- Tobias JANZ (Bonn), “Multiple Musical Modernities? Dahlhaus, Eisenstadt, and the Case of Japan”
- Chien-Chang YANG (Taipei), “Synchronizing Twentieth-Century Music History: A Transnational Reflection”
17:00-18:00: Closing Ceremony, including a presentation by Kyoungpook University, Daegu, Korea, host of the Sixth Biennial Meeting of IMSEA, 2021 (Lecture Hall)