Programme

We are proud to announce that Prof. Mark Reybrouck, Prof. Ellen Dissanayake, and Prof. Sławomira Żerańska-Kominek will be CIM 2018 keynote speakers. Below you can find the programme of the conference.

Mark Reybrouck

Mark Reybrouck  studied physical education, physical therapy and musicology at the KU Leuven – University of Leuven, Belgium (1970-1978). In 1980, he was awarded by the Royal Flemish Academy of Belgium for Sciences and Arts. In his doctoral research, he examined the relation between music and semiotics with a major focus on musical pragmatics. In 1996, he was appointed professor at the department of musicology of the University of Leuven where he teaches music education and music psychology. He published a lot of papers in internationally reviewed scientific journals and books and authored several books and edited volumes about listening strategies and cognitive strategies for dealing with music and musical semiotics. He figured in many scientific conferences inside and outside of Europe, both as contributor and as a conference organizer.

His major research interests are interdisciplinary with an attempt to bring together insights from the fields of psychology, biology, semiotics and music. His actual research concerns listening strategies and musical sense-making with a major focus on musical semantics and biosemiotics as applied to music. At a theoretical level, he is involved in foundational work about music cognition and perception, especially the biological roots of musical epistemology and the embodied and enactive approach to dealing with music. Besides this theoretical work, he is conducting also empirical research on representational and metarepresentational strategies in music-listening tasks.

Ellen Dissanayake

Ellen Dissanayake is a scholar, lecturer, and author of four books, What Is Art For? (1988), Homo Aestheticus (1992, translated into Chinese and Korean), Art and Intimacy (2000), and Early Rock Art of the American West (2018). By synthesizing knowledge from a wide range of specialized fields (including evolutionary biology, cognitive and developmental psychology, cultural and physical anthropology, neuroscience, and the history, theory, and practice of the various arts), her work offers a unique perspective regarding the biological necessity of the arts to humans as individuals and as a species. She has presented nearly 150 talks to international audiences in a wide variety of fields—including music education and music therapy—and many of her hundred-plus scholarly and general articles have specifically focused on music as an evolved human behavior. (See her page on academia.com and www.ellendissanayake.com)  She resides in Seattle where she is an Affiliate Professor in the School of Music. Her ideas have been deeply influenced by periods of residence in non-Western countries, including Sri Lanka (for over fifteen years), India, Nigeria, and Papua New Guinea. In the latter country, she taught at the National Arts School.  In recent years, she has held Distinguished Visitor appointments at the Institute of Advanced Studies, University of Western Australia, Perth; the University of Alberta, Edmonton (Canada); and The School of Fine Arts at Ball State University, Muncie, Indiana.  She has received grants or fellowships at The Institute for Advanced Studies in the Humanities, University of Edinburgh, Scotland; a Fulbright Lecturing/Research Award as Senior Scholar in Sri Lanka; and a Harry Frank Guggenheim Foundation grant to use the libraries at Oxford University.  She lives in Seattle where she is Affiliate Professor in the School of Music at the University of Washington.

Sławomira Żerańska-Kominek

Sławomira Żerańska-Kominek obtained her PhD in musicology from the University of Warsaw (1976), before assuming a teaching position there. She received Independent Researcher Degree in ethnomusicology in 1986, and full professor degree in 1992. She has served as the head of the Institute of Musicology (and as the head of the Systematic Musicology Department (University of Warsaw). She has conducted field work (1989–1999) in Central Asia (Uzbekistan, Turkmenistan) and in Poland (1985;2000). Her interests include theory of analysis of traditional music; mythology and religion in relation to music, music iconography and theory of oral culture. Her current research explores music analysis of European art song. Her publications include books and articles on Arab theory of music, Central Asian music (Uzbek, Turkmen), and theoretical issues in ethnomusicology. Among her major publications are: Symbols of time and space in Central Asian music. Kraków: PWM, 1987; “The Classification of Repertoire in Turkmen Traditional Music”. Journal of the Society for Asian Music 1991, vol. XXI-2; Music in Culture. Introduction to Ethnomusicology. Warszawa: WUW, 1995); (with Arnold Lebeuf) Crazy Harman. The concept of music and musician in the Türkmen Epic Tale, Harman Däli. Dialog: Warsaw 1998; The Orpheus myth. Inspirations and reinterpretations in European artistic tradition. Słowo/Obraz/Terytoria: Gdańsk 2003. /in Polish/ Music in the garden – garden in music Słowo/Obraz/Terytoria: Gdańsk 2010. Musical children of Venus and other essays in anthropology of music. DiG: Warsaw 2014 /in Polish/; (ed.) Nationality vs Universality. Musical Historiography in Central and Eastern Europe. Cambridge Scholars Publishing. Cambridge 2016; Music in the Ottoman Costume Album from the Collection of Stanisław II August Poniatowski, Poland’s Last King. Music in Art XLI/1-2 (2016), pp. 11-26.

 

CIM 2018 PROGRAMME (minor changes still possible)

Here you can download a compact one-page version of the programme for easy printing.

CIM Program – 8th sketch

 Wednesday (the 17th of October)

9.00 – 10.00 Registration

10.00 – 10.15 Opening ceremony

10.15 – 11.30 Plenary lecture: Ellen Dissanayake – Music in Human Nature and Human Nature in Music (chair: P. Podlipniak)

11.30 – 12.00 Coffee break

12.00 – 14.30 Session no. 1 – Musical Semiotics and Narrativeness (chair: M. Karpiński)

12.00 – 12.30 Elizabeth Hellmuth Margulis, Natalie M. Phillips, J. Devin McAuley, Patrick C.M. Wong – What Gives Rise to Narrative Experiences of Music?

12.30 – 13.00 Małgorzata Szyszkowska – Narrative Moment? Musical Performance According to Lawrence Kramer and James Baldwin: A Phenomenological Perspective

13.00 – 13.30 Devin McAuley, Patrick C.M. Wong – What Gives Rise to Narrative Experiences of Music?

13.30 – 14.00 Alejandra Wah – Experience of Meaning through Music

14.00 – 14.30 William Dougherty – Semiosis in Song: A Peircean Model of Meaning

14.30 – 16.00 Lunch

16.00 – 18.00 Session no. 2 – Meaning and Musical Pitch (chair: J. Matyja)

16.00 – 16.30 Richard Parncutt – An Ecological-Evolutionary Approach to Musical Pitch Perception, Attention, and Consciousness

16.30 – 17.00 Noemi De Pasquale, Véronique Boulenger, Alice C. Roy – The Role of Vertical Motion in Pitch Representation. A Case Study of Two French Metaphors Involved in Music Description

17.00 – 17.30 Piotr Podlipniak – The Primordial Meaning of Musical Pitch

17.30 – 18.00 Łukasz Smoluch, Sebastian Wołoszczuk – A=432Hz Tuning. Cultural and Biophysical Approach

18.15 – XX.00 Reception

Thursday (the 18th of October)

9.00 – 10.15 Registration

10.15 – 11.30 Plenary lecture: Sławomira Żerańska-Kominek – Poetic Images of Birds in the Art Song. On Some Aspects of Musical Meaning (chair: Ł. Smoluch)

11.30 – 12.00 Coffee break

12.00 – 14.30 Session no. 3 Cognitive Basis of Musical Meaning (chair: M. Szyszkowska)

12.00 – 12.30 Richard Parncutt – Cave Acoustics, Prenatal Conditioning, and the Origin of Music

12.30 – 13.00 Andrea Schiavio – Explorations and Teleomusicality

13.00 – 13.30 Jerzy Luty – Costs and Benefits of Making Music with the Special Emphasis on Ellen Dissanayake’s Ethological Approach to Art and Ritual

13.30 – 14.00 Jakub Matyja – Interventions and Music Cognition

14.00 – 14.30 Bogumiła Mika – Music as Representation. Between Musicology and Sociology of Music

14.30 – 16.00 Lunch

16.00 – 18.00 Session no. 4 Musical Meaning and Ethnomusicology (chair: Ł. Smoluch)

16.00 – 16.30 Ali C. Gedik, Andre Holzapfel – The Meaning of Music in Ethnomusicology and Music Information Retrieval: Obstacles Against Computational Ethnomusicology

16.30 – 17.00 Imina Aliyeva – Azerbaijani Modes and Their Scales

17.00 – 17.30 Lolita Surmanidze – Traditional Music and Meaning

17.30 – 18.00 Hanna Kupś – For whom the bell tolls. Musical instruments as the indicators of social class in the Early Ancient China

18.00 – 19.00 Concert

Friday (the 19th of October)

9.00 – 10.15 Registration

10.15 – 11.30 Plenary lecture: Mark Reybrouck – From Sound to Music: Musical Sense-Making and the “in-time/outside-of-time” Dichotomy (chair: E. Schreiber)

11.30 – 12.00 Coffee break

12.00 – 14.30 Session no. 5 Meaning in Music and Other Arts (chair: A. Chęćka)

12.00 – 12.30 Hetta Potgieter, Corrie Potgieter – An Earth of Good Hope: Music, Land Art and the Environment

12.30 – 13.00 Agnieszka Cieślak – Meaning of Music in Film: a Cognitive Approach

13.00 – 13.30 Francesca Battaglia – Music and Meaning in Sherlock: A Study in Intelligence

13.30 – 14.00 Carolien Van Nerom – Meaningful Minimalism: Narrative Strategies in Operas by Philip Glass

14.00 – 14.30 Jan Bartos, Honorata Stalmierska, Jean-Philippe Échard – Possible Attribution of an Anonymous Violin in the Collection of the Musée de la musique, Paris

14.30 – 16.00 Lunch

15.30 – 16.00 SIM General Meeting

16.00 – 18.30 Session no. 6 Meaning of/in Music from the Psychological Perspective (chair: J. Humięcka-Jakubowska)

16.00 – 16.30 Anna Chęćka – Critique of Pure Music- the Performer’s Perspective

16.30 – 17.00 Jean Beers – Meaning in Music seen through the Eyes of a Composer

17.00 – 17.30 Anna Nogaj – Music of 21st Century Composers in the Opinion of Performers

17.30 – 18.00 Sylwia Makomaska – (Shared) Meaning in the Strategy of Audiomarketing — Theory and Practice

18.00 – 18.30 Irmgard Merkt – The Project Dortmunder Modell: Musik

19.30 – 21.00 Visiting Poznań Croissant Museum

21.00 – XX.00 Jazz Concert (Dragon Club ul. Zamkowa 3)

 

Saturday (the 20th of October)

9.00 – 10.00 Registration

10.00 – 12.00 Session no. 7 Meaning in Music – Case Studies (chair: W. Dougherty)

10.00 – 10.30 Małgorzata Gamrat – Musical and Literary Meanings in Berlioz’s Symphonie Fantastique op. 14a and Lelio op. 14b

10.30 – 11.00 Karina Zybina – Exploring New Meanings in Old Spaces: Mozart’s Great Mass and Requiem Mass in the 20th-century Salzburg

11.00 – 11.30 Marcin Gmys – In illo tempore. Music and myth in the opera ahat ili by Aleksander Nowak and Olga Tokarczuk

11.30 – 12.00 Coffee break

12.00 – 14.00 Session no. 8 Meaning and Music from the Philosophical Perspective (chair: M. Gmys)

12.30 – 13.00 Alfonso Meave, Mijael Gutierrez Lopez – What Kind of Music Theory Do We Teach? Some Philosophical Reflections about the Teaching of Music Theory Foundations

13.00 – 13.30 Wioletta Łubińska-Salej, Rafał Lawendowski – Man’s search for a meaning – functions of music in midlife transition

13.00 – 13.30 Olena Ushchapivska – The Musical Embodiment of the Ideas of the New Religious Devotedness in the Works of the 21st Century Ukrainian Composers (Evidence from “Requiem-quartet” by E. Petrychenko)

13.30 – 14.00 Violetta Kostka – Sonic Analogs for Dynamic Processes as Key to Musical Communication. Theory and Practice

14.00 – 15.00 Lunch

15.00 – 15.15 Closing ceremony