(Download complete programme with abstracts as PDF)

Friday, 9 March

Clara Lichtenstein Recital Hall (Room C-209)

16:30   Opening Remarks

16:35   Lecture Recital   Session Chair: Mimi Haddon

            Elinor Frey, McGill University

            “We’re All (Baroque) Cellists Now: Baroque and Modern Italian Solo Cello Music in Direct Dialogue”

17:30   Wine & Cheese Reception


Saturday, 10 March

Clara Lichtenstein Recital Hall (Room C-209)

9:00     Between the Lines: Opera's Not-So-Incidental Music   Session Chair: Jacob Sagrans

            Virginia Acuña, University of Toronto

            “Death to Cupid!”: Philosophical and Religious Views on Love in the Zarzuela Salir el amor del mundo (c. 1692)

            Nicholas Chong, Columbia University

            “Music for the Last Supper: The Dramatic Significance of Mozart’s Musical Quotations in the Tafelmusik of Don Giovanni


10:15   20th Century (Extra) Musical Analysis   Session Chair: Andy Costello

            Joel Rust, Harvard University

            Deux voix nues face au temps”: Structure and Meaning in Gérard Grisey’s L’icône paradoxale

            Ian Seiss, University of Western Ontario

            “Resisting Analysis: A Study of Analytical Techniques for Electronic Music”

11:15   Break for Lunch

13:00   Keynote Presentation   Session Chair: Professor Steven Huebner

            Professor Emily Dolan, University of Pennsylvania

            “Instrumental Riots”

14:15   Dean’s Essay Prize for excellence in McGill graduate writing

            Awarded by Professor Eleanor Stubley, Director of Graduate Studies in Music



14:45   Musicians' Praxis: Political and Analytical Perspectives   Session Chair: Audrey-Kristel Barbeau

            Maria Noriega, University of Toronto

            Musikalische Misogynie or Musikalische Sensibilität?: The Politics of ‘Talent’ in Central European Orchestras”

Dustin Mallory, Rutgers University

“Motives, Rhythms, and Metrical Dissonances: The Brush Artistry of Sid Catlett”


16:00   Lecture Recital   Session Chair: Laura Risk

            Michael Dias, University of Victoria

            “Completing the Creative Act: Jacques Hétu’s ‘Finished Prelude’”

19:00   Symposium Dinner

            Restaurant OM, 4382 Blvd St. Laurent


Sunday 11 March

Room C-201

9:00     Perspectives on Performing "Jewishness" on the World Music Scene   Session Chair: Dana Gorzelany-Mostak

            Jessica Roda, Sorbonne & Université de Montréal

            Sacralize a Temporal Space through Performance: the Example of a Festival in Spain”

            Mike Anklewicz, York University

            “Performing "Tradition" in the International Klezmer Scene”

            Kathleen Wiens, University of California

            “Independence and Dialogue in a Localized Jewish Music Scene”


10:45   Suave Harmonists: Alternative Approaches to 18th and 19th Century Harmonic Analysis   Session Chair: Caitlin Martinkus

            Evan Campbell, McGill University

            “Richard Strauss's Wedge Modulation”

            Benjamin Downs, SUNY Stony Brook

            “Sensible Pleasure, Rational Perfection: Leonhard Euler’s Theory of Music and the German Rationalist Tradition”


12:00   Anti-Heros: the Limitations of Musico Dramatis Personae   Session Chair: Cedar Wingate

            Chris Culp, University of Buffalo

            “The ‘Somewhere’ Not Sung: The ‘I Want’ Song as Critical Utopia Performance”

            Anna Knecht, New York University

            Beckmesser redeemed: Die Meistersinger in Mahler’s Seventh Symphony”