13 September 2014
| Presenter | Title | ||
| 0930-1100 | Tonal Frontiers | ||
| Arthur Kaptainis | Avoiding the A-word: Schoenberg’s Entrückung and the tonal perspective of 1908 | ||
| Carlos de Lemos Almada | “At the frontiers of tonality”: Tradition and innovation in Schoenberg’s First Chamber Symphony Op.9 | ||
| Jun Zubillaga-Pow | Schoenberg and the Semiticate: The Cyclical Nature of the Chamber Symphonies | ||
| 1100-1130 | Tea/Coffee | ||
| 1130-1300 | Religiosity Redux | ||
| Aoife Sadlier | Arnold Schoenberg’s Quest for a Jewish Identity: Between Fantasy, Illusion and Reality | ||
| Martin Brady | Schoenberg, Film, and the Prohibition of Images: From Die Glückliche Hand to the Genesis Prelude | ||
| Magnar Breivik | Backlights on Schoenberg’s Lichtspielszene | ||
| 1300-1400 | Lunch | ||
| 1400-1500 | Schoenberg as Pedagogue | ||
| Fusako Hamao | On the Origin of Schoenberg’s Metronome Markings | ||
| Gordon Root | The Two-Measure Phrase in Schoenberg’s Pedagogy | ||
| Arnulf Mattes | Dialect or Dialectics? Rudolf Kolisch’s Recordings and the (De-)Construction of a Modernist Idiom | ||
| 1500-1530 | Tea/Coffee | ||
| 1530-1730 | Performance Practices | ||
| Mattias Wurz | 1914: ‘Pierrot’ and His War – Arnold Schönberg’s melodrama Pierrot lunaire and the image of war | ||
| Hugh Collins Rice /Pina Napolitano | Performing Form – Schoenberg’s Klavierstück Op33b: a Dialogue between Performance and Analysis | ||
| Stelios Chatziiosifidis | A Balancing Act in Schoenberg’s Violin Concerto Op. 36: The Crystallisation of the Idea in Four Notes | ||
| 1730-1830 | Keynote I | ||
| Joseph Auner | Schoenberg as Sound Student | ||
| 1830-1930 | David Knotts, TBC | Song Recital | |
14 September 2014
| Presenter | Title | ||
| 0930-1100 | Schoenberg’s Composers | ||
| Danielle Hood | The Uncanny Topic in the Fünf Orchesterstücke Op. 16: A ‘Key’ to Schoenberg’s Unconscious | ||
| Alexander Carpenter(invited speaker) | Schoenberg as Strauss: Waltzes, Waltz Arrangements and Nostalgia | ||
| Severine Neff(invited speaker) | How Not to Hear The Rite of Spring?: Schoenberg’s Theories, Leibowitz’s Recording | ||
| 1100-1130 | Tea/Coffee | ||
| 1130-1300 | Keynote II | ||
| Ethan Haimo | Schoenberg’s Early Correspondence | ||
| Sabine Feisst | What Schoenberg’s Correspondence Tells Us: His Epistolary Friendships with Adolph Weiss, Nicolas Slonimsky, and Dika Newlin | ||
| 1300-1400 | Lunch | ||
| 1400-1530 | Interpersonal Relations | ||
| Raymond Coffer | Gerstl, Schönberg (and Mathilde): A Brief Reassessment of Their Relationship and its Impact on Op. 10 (1908) | ||
| Beatrix Obal | „Aber Verleger und Autoren können auf Dauer nicht Freunde sein.“ Arnold Schoenberg and his Publishers | ||
| Walter Kreyszig | Schoenberg’s Teaching of Coherence and Its Effect on the Comprehensibility of his “Method of Composition with Twelve Tones” | ||
| 1530-1600 | Tea/Coffee | ||
| 1600-1730 | Performative Imageries | ||
| Vanessa Hawes | Performative and Structural Affordance in Das Buch der Hängenden Gärten | ||
| Avior Byron(invited speaker) | Schoenberg’s Writings on Performance | ||
| Steven J. Cahn(invited speaker) | Imaging the Performance of Schoenberg’s Compositions | ||
| 1730-1830 | Roundtable | ||
| The Path to Schoenberg Studies | |||
Advertisements
