Newsletter No. 31 (January 2009) (PDF) - Society for Music Analysis

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manipulation of musical parameters; so, forexample, William Henderson saidsensuousness was composed of rhythm,melody and harmony, while Henry Jamesdescribed tone-colour as music's mostsensuous component. The one speaker whoseemed to reinforce Hawkins' point was IanBiddle (Newcastle), who argued thatsensuousness was a cultural idea, and,therefore, that any attempt to analyse itautomatically relied on culturally-definedframes of reference.The need to find additional, new ways ofanalysing sensation in music was expressedby many speakers: Carlo Nardi (Università diTrento) looked at mimesis in electronic musicto help explain the proliferation of live visualsin electronic performances; and JustinWilliams (Nottingham) described how he useda more frequency-based, rather than the moretraditional pitch-based, analysis forunderstanding the nature of sub-bass in hiphopcar culture: frequency being particularlyimportant for explaining how dynamiccompression can add to fullness of sound, forexample.Sub-bass turned out to be a mini-theme of theday, as the keynote speaker, Steve Goodman(East London), also talked about this topicextensively, though his interest was, moregenerally, in 'unsound': the thresholdsbetween hearing and touch, as in infrasound;between sound and silence, with ultrasound;and the untapped potential of the audiblefrequency range.Of course, all the outside stimuli weexperience have a sensuous nature. However,as Julian Henriques (Goldsmiths) argued,music's sensuous side is much more importantfor it than for language: indeed it is at the heartof its ability to move us. While languagestructures the world in terms of opposed,diacritical (or digital) ideas, music usescontinuous (or analogue) variation to allow usto think through sound. He also argued thatthis sensuous meaning could not be separatedfrom syntactic structure: that sensuousnessand analysis are not binaries, but, rather, havean intimate relationship. This idea seemedneatly to sum up the viewpoint of manyspeakers in this fascinating study day.Simon JonesSMA events 200924–25 April 2009Bach‟s PassionsSMA Spring Study Day(Glasgow University)Contact: John ButtEmail: j.butt@music.gla.ac.uk1–2 May 2009SMA TAGS Day for Postgraduates(Durham University)Contact: Jo BuckleyEmail: jo.buckley@durham.ac.uk13–15 July 2009SMA, IMR and Wiley-Blackwell SummerSchool in Analysis(Durham University)Contact: Michael SpitzerEmail: michael.spitzer@durham.ac.uk31 August–3 September 2009SMA Conference on Music and Emotion(Durham University)Contact: Jo BuckleyEmail: jo.buckley@durham.ac.ukAutumn 2009 (date to be confirmed)Performance CriticismSMA Autumn Study Day(Middlesex University)Contact: Anthony GrittenEmail: A.Gritten@mdx.ac.ukSMA newsletter 14
society for music analysismasters’ bursaries 2009–2010The Society for Music Analysis will award upto four bursaries of £1,500 (full-time students)or £1000 (part-time students) per annum forone to two years to those commencing UKMasters‟ degrees, on the following conditions:1. Applicants in 2009 must be registered orhold the offer of a place for an MA, MMusor similar degree in music analysis ortheory and analysis, or in a programmethat contains a significant music-analyticalemphasis. The initial bursary will cover theperiod from October 2009 to September2010.2. Applicants must be essentially self-fundingand not in receipt of any substantial grant,bursary, prize, studentship or similarfinancial support. Where despite somesuch funding a genuine need can beshown, the application will be consideredon equal terms with other applications.Bursary holders are required to inform thePresident of the Society of any significantchanges of funding basis.3. Where relevant, bursaries awarded for2009–2010 will be renewed for 2010–2011subject to a satisfactory report on workfrom the holder‟s institution. It will be theholder‟s responsibility to commission thatreport and to have it sent to the Presidentof the Society during August 2010. If a2009–2010 bursary holder goes on to readfor a higher degree in 2010–2011, thebursary will be renewed unless the studentsecures full funding for the latter year.4. Successful applicants will be required tobecome student members of the SMA ifnot already enrolled. They may be invitedto assist the Society from time to time, andwill be encouraged to stand for election asa student representative on theCommittee, but this will not be aconsideration in respect of receipt andrenewal of any bursary.Applications should be made by Friday 21August 2009. The application should be in theform of a curriculum vitae; a brief descriptionof the degree course and the student‟sobjectives in pursuing it; a statement of theapplicant‟s financial circumstances based onan account of income and expenditure; andthe applicant‟s contact details and any specialinformation that might be relevant.Please also ensure that an academicreference in support of the applicationreaches Dr Michael Spitzer (SMAPresident) at the address below by thedeadline of Friday 21 August 2009.Two copies of completed applications shouldbe sent by post to Michael Spitzer,Department of Music, University of Durham,Palace Green, Durham, DH1 3RL.Applications sent by email will not beconsidered.Applications will be reviewed by MichaelSpitzer and by Alan Street, editor of thejournal Music Analysis. Successful applicantswill be notified by mid September 2009.Reasons will not be given for decisions.Successful applicants are required to submit a500-word report at the end of each year ofstudy that is supported by an SMA Bursary.The report should include a summary of themain analytical components or modules of thecourse and how your studies have contributedto the next stage of your career.SMA newsletter 15
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Page 17 and 18: S M ACall for PapersBach’s Passio
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Newsletter No. 31 (January 2009) (PDF) - Society for Music Analysis

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