N International Seminar Event - April 28-30, 2021 Harmony and Music Analysis
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International
2ND EDITION
Seminar Event
April 28–30, 2021
LIVE EDITION
Harmony and
VIRTUAL
Music Analysis
Supported and hosted by
Liszt Ferenc Academy of Music in BudapestInternational
2ND EDITION
Seminar Event
April 28–30, 2021
LIVE EDITION
Harmony and
VIRTUAL
Music Analysis
Supported and hosted by
Liszt Ferenc Academy of Music in BudapestCreated and chaired by Salvatore Gioveni, Following the success of the first edition, Strengthened by its exclusive topics and
the HarMA Seminar Event project’s first it has undoubtedly become an essential the HarMA european e-survey, Salvatore
edition and “world premiere” has been held meeting for HMEI’s music theory faculties. Gioveni created the strategic partnerships
at the Conservatoire royal de Bruxelles on Always seeking perfection, the HarMA project HarMA+, supported and co-financed
April 25 – 27, 2018. The second edition takes Seminar seeks to foster the international by the KA 203 Erasmus+ Programme leaded
place at the Liszt Ferenc Academy of Music collaboration and to give a single-place by the Conservatoire royal de Bruxelles.
in Budapest on April 28– 30, 2021. The meeting dedicated to these faculties. Surrounded by HMEI’s partners (Gdansk,
Seminar hosts more than 100 participants Leipzig, Tallinn, Budapest and AEC),
from different Higher Music Education Helping them to share their pedagogical the project will develop several intellectual
Institutions around the world. Due to the experiences and learning methods, outputs in Music Theory released in a
COVID-crisis, the programme has been the second edition will focus world premier digital platform: European
adapted with live sessions and new topics on promoting and increasing the bibliography, European repository
related to the digital teaching practices. internationalization, attractiveness, courses, multilingual glossary and a
equal access and modernization of European course management system.
This Seminar will be organized around the Music Theory courses in HMEI’s.
16 topic-specific talks, 3 training The HarMA Seminar is supported by the
sessions and 1 special interest- By bringing together the faculties, Liszt Ferenc Academy of Music in Budapest,
group related to the innovative the HarMA Seminar will continue to the Erasmus+ Program, the Belgian
teaching practices, new technologies, implement the Europeanization strategy branch of the AEF-Europe, the Fédération
digitalization and European projects. of the mobility projects and highlight Wallonie-Bruxelles de Belgique et de
the music theory courses often neglected Wallonie-Bruxelles International (WBI),
by the HMEI’s. This allows to develop and the Conservatoire royal de Bruxelles.
modernize the curricula and especially the
development of new strategic partnerships
within our exchange programs.DAY 01
09 : 30
10 : 30
Boglárka
Commitee of the 2nd HarMA Seminar
Salvatore TERRAY
HUNGARY
GIOVENI FERENC LISZT ACADEMY OF MUSIC IN BUDAPEST
BELGIUM Associate professor of Ear Training and Music Theory
CONSERVATOIRE ROYAL DE BRUXELLES
Founder and president of the HarMA Seminar Event Date, place of birth : 08.11.1977, Baja
Music Theory faculty Studies : Liszt Ferenc Academy of Music
International relations coordinator In 2018, he has been selected by the – Singing Music teacher, Conductor, Music
International Teaching Programme Theory (Katalin Komlós), 1996 – 2001.
Salvatore Gioveni studied at the Conservatoire ASEM‑DUO in the Tokyo College of Music. Liszt Ferenc Academy of Music, Doctoral School
royal de Bruxelles, ARTS2 and at the Koninklijk As IRC, he fostered the internationalization music theory programme (Zoltán Jeney,
Conservatorium Brussel. He’s graduated in process of the Conservatory by growing the Katalin Komlós), 2002 – 2005.
Organ, Harmony, Musical Analysis, Counterpoint mobility’s flows and creating international Awarded DLA 2006 (dissertation : Development
and Fugue. He published a Précis d’harmonie projects as HarMA Seminar Event and and characteristics of the late Verdi style in Otello)
tonale, Delatour, Paris, 2017. His career as a mobilities projects KA 107 Erasmus+ Program. DAAD postdoctoral scholarship, Hochschule
concert musician has allowed him to perform He created the strategic partnerships project für Musik Würzburg (Zsolt Gárdonyi), 2008.
in various international festivals of Baroque KA 203 HarMA+ supported by the Erasmus+ Habilitation (The Madrigals of Cipriano de Rore),
and organ music both as a soloist and as a Programme. Principal organist of the great Liszt Ferenc Academy of Music, 2020.
basso continuo player. Since 2008, his teaching Schyven organs (1884) at the Royal Parish Publications : Gárdonyi-Nordhoff, Összhang
career has involved primarily the Conservatoire of Saint-Jacques-sur-Coudenberg. Until 2009, és tonalitás, Ed. Rózsavölgyi és Társa, 2012.
royal de Bruxelles as a full-time faculty in Music he remains an active liturgical organist in Harmony and tonality (translation : Boglárka
Theory and since 2015 he’s also International the Madeleine Church in Brussels and plays Terray) 2012.
relations coordinator. renaissance cornetto. Pitch Sets in the 20th Century Music
(Music Academy Budapest 2018).Commitee of the 2nd HarMA Seminar
at the Presses Universitaires de Rennes, She began her career at the Educational
for the Revue belge de Musicologie, and the Revue Department of the Belgian Royal Opera then
musicale OICRM. Margaux Sladden teaches moved, for seven years, to a scientific activity
at the Royal Conservatory of Brussels as a researcher in Musicology at the Brussel’s
(History of Music, auditions commentées, university. She then started teaching.
graduation work) and in academies of music She joined the prestigious library of the
(History of Music and Analysis). Conservatoire royal de Bruxelles, in 2008,
Margaux as its head librarian. She also teaches the Music
Encyclopedia and became a methodological
SLADDEN coordinator for the “Tepap” (graduation work
BELGIUM for students) as well.
CONSERVATOIRE ROYAL DE BRUXELLES As librarian of one of the world most renowned
Music History and Interpration Class faculty music libraries, she particularly cares about
the valorization and the development of the
Margaux Sladden (Liège, 1987) studied collections. She regularly publishes scientific
musicology at the Université Libre de Bruxelles. articles in the Belgian Review of Musicology
She is currently working on a doctoral thesis Olivia as well as in other publications. She also
to study the presence of philosophy in music participates in various international congresses
discourse in France during the first half of the WAHNON DE OLIVEIRA and is regularly invited to present concerts
20th century, focusing more particularly on BELGIUM or operas.
the figure of Henri Bergson and the question CONSERVATOIRE ROYAL DE BRUXELLES In 2014, along with Castejon Music Editions
of musical time. Her purpose is to identify the Head librarian and the Department of Early Music of the Royal
functions performed by the mobilization of Encyclopedia of Music faculty Conservatory, she launched a collection of
philosophical content in the field of music and scores titled Unpublished pieces from the Royal
to see how the crossing of disciplines can lead Olivia Wahnon de Oliveira has graduated Conservatory of Brussels which offer musical
to a new understanding of the musical work. from the University of Brussels (ULB) and manuscripts preserved in the library. As well
More broadly, her research focuses on music has two master’s degrees in Philosophy, and as works by Anton Fils (2017), Charles‑Joseph
criticism, hermeneutics and the history of music Musicology and History of Arts. She completed van Helmont (2016), Carl Philipp Emanuel
in the 20th century. She has published several her education by obtaining a teaching license Bach (2015), Henri-Jacques de Croes (2015)
articles and book chapters, among others, for secondary education as well as a Cerificat and François‑Joseph Fétis (2014) that have been
d’aptitude à l’enseignement supérieur (Capaes). published in this first publication ! |3Edwin
CLAPUYT
BELGIUM royal de Bruxelles have been leading a lot
CONSERVATOIRE ROYAL DE BRUXELLES of students to learn the basic mechanisms of
Music Analysis faculty composition through the accurate analysis
Computer Aided Music professor of well-known composers. The Prize Mathilde
de la Hault, from the Commission of Patrimony
Edwin Clapuyt was born in 1965. His passion of Conservatoire, awarded his teaching qualities
for music began when he was still young. and his zeal, in June 2002. From January
He studied at the Music Academy of Etterbeek 2004 to January 2008, Edwin Clapuyt was
and at the Music Academy of Brussels. vice‑director of the Conservatoire royal de
He entered the Conservatoire royal de Bruxelles Bruxelles. Meanwhile, since 2002, he has been
in 1983, after his secondary school. He got giving the new course of computer-assisted
various first prizes, among which the First Prize music at the Conservatoire royal de Bruxelles.
of Piano, emphasized by the Prize Galliot and Aesthetically, he was influenced by counterpoint,
the Prize Lemike‑Frison, the First Prize of Fugue repetitive music, postmodernism and new
and the First Prize of Music History. After being consonant music. His goal, in his compositions,
appointed as a teacher in three music academies, is to establish emotion and communication
Edwin Clapuyt was appointed as director with the public. His work is published by
of the Music Academy of Evere, in 1991. Alain Van Kerckhoven, Éditeur.
He fulfilled this function until 2004. Since 1992, www.newconsonantmusic.com
his enthusiastic lectures at the Conservatoire www.clapuyt.beCommitee of the 2nd HarMA Seminar
DAY 02 and improvisatory music. After a long period,
12 : 00
where he taught in many different analytical
systems, his interests have coalesced in the
usage of IT as a teaching tool, and he has, since
Thomas 1996, been working on IT in conjunction with
teaching at the conservatory. He has been
SOLAK a part of a series of FOKU projects, such as
DANEMARK the computer programs HarmonyLab (1998),
ROYAL DANISH ACADEMY OF MUSIC, COPENHAGUE RytmeRepetitør (2000), DKDM-Hørelæresuite
Associate professor, Music Theory (2006), FormIllustrator (2008), and also a
Head of Educational Technology font collection for music analysis, Amadeus
(2000). He has taken part in many national
Thomas Solak teaches music theoretical and international forums for pedagogy and the
subjects, including Music Theory, Form development thereof. In 2019, he published the
and Structure Analysis, Harmonic Analysis, book Functional Harmony—A Guide to Experience-
Arrangement, Orchestration and Popular based Analysis (in Danish).
Music Theory and Arrangement. Thomas Solak began his musical career as a
He is, furthermore, responsible for educational performing musician. He has been employed,
technology and has been a main force in on a project basis, as an orchestral director.
the development of distance learning Across his 15-year career, he has had extensive
at the conservatory. He has been responsible concert experience as a pianist, organist, and
for the development and implementation accompanist in Denmark, Sweden, Germany,
of a series of other new technologies as well. Luxembourg and France. These experiences
Thomas Solak received his education at have given him a solid practical background
Royal Danish Academy of Music from 1987 for the later work he has undertaken in music
to 1993, with main subjects in piano and music theory. Thomas Solak has also been active both
theory, and with side subjects in popular as a composer and as an arranger. |5DAY 1 APRIL 28, 2021
09 : 00 WELCOME AND REGISTRATION FOR ALL PARTICIPANTS ➜ Online from Grand Hall — Liszt Ferenc Academy of Music in Budapest
SESSION 01 Introduction to the HarMA Seminar Event ➜ Online
OPENING ADDRESS ■ Salvatore GIOVENI — Chair
09 : 30 OPENING ADDRESS ■ Dr Andrea VIGH — Rector, Liszt Ferenc Academy of Music in Budapest
■ Dr Milós MOHAY — Head of Theory Department, Liszt Ferenc Academy of Music in Budapest
Program of the 2nd HarMA Seminar
■ Salvatore GIOVENI — President of the HarMA Seminar, IRC, Conservatoire royal de Bruxelles
10 : 00 WELCOME CONCERT ■ Ludwig VAN BEETHOVEN (1770-1827) — Piano Trio in E-flat major, Op. 1, No. 1
OPENING PLENARY SESSION ■ Csenge Dósa, violin ; Hagiwara Riku, cello ; Yui Yamane, piano.
10 : 30 NEW PROJECT HARMA+ (2020-23) ■ Salvatore GIOVENI — President of the HarMA Seminar, IRC, Conservatoire royal de Bruxelles
■ Presentation of the new HarMA+ strategic partnerships Erasmus+ project (KA 203).
11 : 00 COFFEE BREAK AND NETWORKING ➜ @Home
SESSION 02 New curriculum projects ➜ Online
TOPIC SPECIFIC TALK ■ Thomas SOLAK — Chair
11 : 45 TOPIC-SPECIFIC TALK ■ Fabio FERRUCCI — Conservatorio di Musica “Arrigo Boito” di Parma
TOPIC SPECIFIC TALK ■ Old schools and new challenges : Towards a European Ear Training network. The “Sentiamoci a Parma” experience.
12 : 15 TOPIC-SPECIFIC TALK ■ Minna HOLKKOLA & Lotta ILOMÄKI — University of the Arts Helsinki
TOPIC SPECIFIC TALK ■ Learning for future musicianship
TOPIC SPECIFIC TALK ■ Aural Skills and Music Theory teachers’ experiences of the new curriculum at the Sibelius Academy, Finland.
12 : 45 TOPIC-SPECIFIC TALK ■ Evan FEIN – The Juilliard School, USA
WELCOME CONCERT ■ Inner Hearing: A New Sight Singing Approach.
13 : 15 LUNCH BREAK ➜ @HomeProgram of the 2nd HarMA Seminar
SESSION 03 Issues occured in Music Theory fields ➜ Online
TOPIC SPECIFIC TALK ■ Margaux SLADDEN — Chair
14 : 45 TOPIC-SPECIFIC TALK ■ Antonio GRANDE — Conservatorio di Musica “ Giuseppe Verdi ”, Como
TOPIC SPECIFIC TALK ■ Layers of sense in music. Ideas for a complex approach to Analysis.
15 : 15 TOPIC-SPECIFIC TALK ■ Olguța Carmen LUPU — National University of Music Bucharest
TOPIC SPECIFIC TALK ■ Strategies for improving musical memory.
15 : 45 TOPIC-SPECIFIC TALK ■ Stefano PROCACCIOLI — Conservatorio statale di Musica “Jacopo Tomadini”, Udine
TOPIC SPECIFIC TALK ■ Classical Music Theory teaching and today’s changing cultural landscape : a challenge ?
16 : 15 END OF DAY 1
|7DAY 2 APRIL 29, 2021
09 : 00 WELCOME AND REGISTRATION FOR ALL PARTICIPANTS ➜ Online from Grand Hall — Liszt Ferenc Academy of Music in Budapest
SESSION 01 ➜ Online
Olivia WAHNON DE OLIVEIRA — Chair
09 : 30 TRAINING SESSION ■ László Norbert NEMES — Director of Kodály Institute
Singing-based Music Theory and Ear Training for conservatory students according to the Kodály concept.
11 : 00 COFFEE BREAK AND NETWORKING ➜ @Home
PARALLEL SESSION 02 Theoretical subjects ➜ 0nline
11 : 30 TOPIC-SPECIFIC TALK A-1 ■ Nikola KOMATOVIĆ — Independent researcher (Member of SDMT and GMTH)
A New Dawn for Franck? All the features of César Franck’s harmonic language.
11 : 30 TOPIC-SPECIFIC TALK A-2 ■ Aare TOOL — Estonian Academy of Music and Theatre
Neo-Riemannian perspectives on late 19th- and early 20th-century music.
12 : 00 TOPIC-SPECIFIC TALK B-1 ■ Máté BALOGH — Franz Liszt Academy of Music, Budapest
Non-classical harmony processes in Schubert’s C-major Quintet (D.956).
12 : 00 TOPIC-SPECIFIC TALK B-2 ■ Iyad MOHAMMAD — Yarmouk university, Irbid
Music Analysis as a description of eventing in time.
12 : 00 TOPIC-SPECIFIC TALK C-1 ■ Thomas SOLAK — Royal Danish Academy of Music, Copenhague
Experience-based analysis – Functional harmony brought back to its origin.
13 : 00 LUNCH BREAK ➜ @HomeProgram of the 2nd HarMA Seminar
SESSION 03 ➜ Online
Olivia WAHNON DE OLIVEIRA — Chair
14 : 30 TRAINING SESSION ■ László STACHÓ — Liszt Academy of Music, Budapest and University of Szeged, Béla Bartók Faculty of Arts
Feeling the musical structure in real time : Innovative methods in the Music Theory classroom.
16 : 00 COFFEE BREAK AND NETWORKING ➜ @Home
SESSION 04 Teaching practices ➜ Sir Georg Solti Chamber Hall
Margaux SLADDEN — Chair
16 : 30 TOPIC-SPECIFIC TALK ■ Simonetta SARGENTI — Conservatorio Guido Cantelli di Novara
Teaching and practice analysis of electroacoustic music. Sound analysis, gesture and communication of emotions.
17 : 30 END OF DAY 2 ➜ Free time
|9DAY 3 APRIL 30, 2021
09 : 00 SPECIAL INTEREST GROUPS ➜ @Home
Participants are invited to share their experiences, methods and innovative teaching practices and projects during this period.
SESSION 01 ➜ Online
Thomas SOLAK — Chair
09 : 30 TRAINING SESSION ■ Alexander STANKOVSKI — Anton Bruckner Privatuniversität, Linz
Avant-Garde and tradition : a contradiction ?
11 : 00 COFFEE BREAK AND NETWORKING ➜ @Home
SESSION 02 Digitalization and Innovative teaching methods ➜ Online
Edwin CLAPUYT — Chair
11 : 30 TOPIC-SPECIFIC TALK ■ Nataša CRNJANSKI — Academy of Arts – University of Novi Sad
How to teach “teaching” ? Challenges of Higher Music Educational System.
12 : 00 TOPIC-SPECIFIC TALK ■ Hans AERTS & Konrad GEORGI — Hochschule für Musik Freiburg
Historically Informed Music Theory and Digital Learning.
12 : 30 TOPIC-SPECIFIC TALK ■ Fabio DE SANCTIS DE BENEDICTIS — Istituto Superiore di Studi Musicali “Pietro Mascagni”, Livorno
OpenMusic as heuristic tool: the case of Fundamental of Composition course in ISSM “Pietro Mascagni” in Livorno.
13 : 00 LUNCH BREAK ➜ @Home
SESSION 03 ➜ Online
14 : 30 CLOSING COMMENTS Salvatore GIOVENI — Chair
Closing comments and debate about the second edition of HarMA.
THE END ➜ Online
15 : 30 END OF THE HarMA SEMINAR ■ ANNOUNCEMENT OF THE NEXT HarMA SEMINAR!DAY 01
11 : 45
Speakers of the 2nd HarMA Seminar
OLD SCHOOLS AND NEW CHALLENGES :
TOWARDS A EUROPEAN Fabio
EAR TRAINING NETWORK, THE
“SENTIAMOCI A PARMA” EXPERIENCE FERRUCCI
Which could be the future evolution of ITALY
Music Theory and Aural Skills teaching ? CONSERVATORIO DI MUSICA ARRIGO BOITO,
Listening has been changing over time : PARMA
what have we done in order to adapt Didactic supervisor and Students’ counsellor
our work to the “new” listeners ? Should Head of theoretical, historical and musicological memoria di Giordano Bruno, a book about
Ear Training be integrated with other subjects Department Ear Training faculty Renaissance mnemonics. Strongly committed
subjects or not ? Is it possible to find a in ear training renewal, he carries out an
balance between a holistic view and a Fabio Ferrucci works at Conservatorio Arrigo intense training and teaching activity in
specialist approach ? Is the fragmentation Boito in Parma (Italy) as referent Ear Training many European institutions. He created
of programs and methodologies all professor, Didactic supervisor, students’ – and organizes every year – “Sentiamoci a
over Europe a real problem ? Or could counselor and head of theoretical, historical Parma”, international ear training workshop
this variety become the real core of ear and musicological departments. He was and forum. In April 2019, he won the
training renewal ? Taking into account awarded in Piano, Choral music and Choir Leonardo da Vinci prize, obtaining one of the
the “Sentiamoci a Parma” workshop and conducting, Didactics, Electroacoustic music two scholarships made available by Italian
networking experience, we’ll try to trace composition, Acoustics and Piano tuning Education and University Minister (MIUR)
an outlook of the current “state of art” and conservatory diplomas. He postgraduated cum to music and fine arts, higher education
define a possible framework for the future laude in Philosophy at Alma Mater — Bologna institutions’ professors for the development
development of Ear Training teaching. University. He is the author of L’Arte della of excellence international research projects. | 11DAY 01
12 : 15
LEARNING, ASSESSMENT,
FUTURE MUSICIANSHIP,
AURAL SKILLS AND MUSIC THEORY
Minna
TEACHERS’ EXPERIENCES
OF THE NEW CURRICULUM HOLKKOLA
AT THE SIBELIUS ACADEMY, FINLAND
FINLAND
The Sibelius Academy (University of the UNIVERSITY OF THE ARTS,
Arts Helsinki) launched a new curriculum HELSINKI – SIBELIUS ACADEMY
in 2018. The aim was to improve the Head of Composition and Music Theory Department
clarity and coherence of the curriculum,
so that each study unit would have a Minna Holkkola, a graduate of Sibelius
clear function in service of the students’ Academy, is currently head of Department
growth into music professionals. In of Composition and Music Theory in Sibelius
this presentation, we discuss teachers’ Academy, University of Arts, in Helsinki.
experiences of implementing the new She has worked in Sibelius Academy in
curriculum in ‘structural awareness’, a unit various positions since 2000. She has a Outside the world of the academy,
that involves aural skills, music analysis wide teaching experience in the fields of Holkkola takes a keen interest in anything to
and harmony for bachelor students. aural skills, music theory, and academic do with voice and music, the state of the world,
Central themes of the presentation are writing, as well as vocal coaching. Her and various sports including badminton,
formative assessment, peer learning, and research interests include contemporary yoga, athletics and outdoors swimming,
working in authentic musical contexts. music, voice, opera, and music theater. also in winter.Speakers of the 2nd HarMA Seminar
DAY 01
12 : 15
Lotta
ILOMÄKI
FINLAND
UNIVERSITY OF THE ARTS,
HELSINKI – SIBELIUS ACADEMY
Lecturer, Faculty of Composition and Music Theory
Lotta Ilomäki works as a senior lecturer in
Aural Skills and Music pedagogy in the Sibelius The research interests of Lotta Ilomäki include
Academy (University of the Arts Helsinki, the learning conceptions behind aural skills
Finland). She has obtained a doctorate degree education, instrumentalists’ specific needs
of music in Music Theory and a diploma in for musicianship and music theory studies,
Piano performance at the Sibelius Academy. action research and teacher education. In
She studied at the Kodály Institute in Hungary. the recent curriculum reform at the Sibelius
She has also taught at the Helsinki University, Academy, she coordinated the stud modules
in music schools for young people, and worked of Aural and Structural Awareness for
as a visiting teacher in the Estonian Academy performing students, as well the pedagogy
of Music and Theatre. She has conducted of Aural and Structural Awareness of music.
international workshops and guest lectures She also participates in teacher collaboration
in England, Norway and the United States. and pedagogical development projects. | 13DAY 01
12 : 45
Evan
FEIN
UNITED STATES OF AMERICA
FACULTY, THE JUILLIARD SCHOOL
Instructor of Ear Training and Composition
Evening and Pre-College Divisions
INNER HEARING: American composer Evan Fein was born in
A NEW SIGHT SINGING APPROACH Cleveland, Ohio and currently resides in New
York city, where he serves on the faculty of
In this presentation, Dr Fein will The Juilliard School Pre-College and Evening Society, and additionally serves as Trustee for
introduce his new sight singing Divisions. His music has been performed by Artistic Initiatives for the Oratorio Society of
method book Inner Hearing organizations including Musica Sacra, Opéra New York, as well as Composer-in-Residence
published in 2020 by Theodore de Poche, The Albany Symphony, Marble City for Opéra de Poche. Fein holds a doctorate
Presser, and discuss how it relates Opera, Five Boroughs Music Festival, and The of Musical Arts and a master of Music from
to the diverse pedagogical New York Choreographic Institute. He was The Juilliard School and a Bachelor of Music
needs of American conservatory awarded a Palmer Dixon Prize for Outstanding from the Cleveland Institute of Music. In
students, and in particular its Composition, he is the recipient of honors addition, he pursued auxiliary studies at
connection to the teaching from the ASCAP Foundation, Boston Metro the Freie Universität Berlin (FUBiS) and at
traditions of The Juilliard School. Opera, and the American Scandinavian l’École normale de musique de Paris (EAMA).Speakers of the 2nd HarMA Seminar
LAYERS OF SENSE IN MUSIC DAY 01
14 : 45
IDEAS FOR A COMPLEX APPROACH
TO ANALYSIS
The talk aims to consider a musical work Antonio
as a complex phenomenon that shows a
plurality of layers of coherence according to GRANDE
different analytical perspectives. In terms
of method, it is possible to draw interesting ITALY
cues from the philosopher of science CONSERVATORIO “GIUSEPPE VERDI”, COMO
W. Wimsatt who, starting from different Theory of Harmony and Analysis professor (Ed. Aracne, Rome, 2011), and Lezioni sulla
forms of decomposition of a system Forma Sonata. Teoria e Analisi (Universitalia,
(one for each analytical view), considers Antonio Grande studied Composition Roma, 2015), as well as papers about
descriptively simple versus complex with Franco Donatoni and Musical Analysis analytical subjects on journals as Analisi
cases and their mutual interactions. with Marco De Natale. Since 2012, he (Ricordi), Spectrum (Curci), Ratm (Lim),
Then, I suggest some analytical paths has been a member of the scientific Quaderni dell’Istituto Liszt, (De Musica–UniMI).
in terms of complexity, grasping in the committee of GATM (Group for music
piece the conflict among different logics analysis and theory) and copyeditor of the He is currently working on the transition
(tonal organizations, dynamic curve, journal Rivista di Analisi e Teoria Musicale. from the traditional syntax to the new
narrative forms, embodiment, etc.). Currently, he is head editor of the Ratm. forms of tonal organization between
This increases its dramatic quality and 19th-and early 20th-century music.
outlines variable states of emotional He has published Il moto e la quiete. Dinamica
tension. It is also argued that this delle strutture musicali in età tonale, a broad Nowadays, he teaches Music Analysis at
approach may be similar to that of theoretical investigation into the way in the Conservatory of Music Giuseppe Verdi
performers. Analytical insights are taken which musical thought has been organized in Como (Italy) and postgraduate courses
from Beethoven, Chopin, Liszt, Brahms. in the Tonal Age from a temporal perspective at the University of Calabria (Italy). | 15DAY 01
15 : 15
STRATEGIES FOR IMPROVING
MUSICAL MEMORY Olguța Carmen
Musical memory plays a crucial role in the LUPU
construction and development of thinking
with sounds. For good memory, one of the ROMANIA
most important abilities is grouping. But NATIONAL UNIVERSITY OF MUSIC BUCHAREST
this capacity is limited to a number of units, Professor of Music Theory
and different researchers have revealed the Dean of the Faculty of Composition,
existence of certain boundaries ranging Musicology and Music Pedagogy
from 4 to 7. Only that a unit could mean dedicated to prominent figures of Romanian
a single sound, cell, pattern, sentence, Olguţa Lupu studied piano, then graduated music (Paul Constantinescu, Constantin
section, etc. The condition – to perceive the in Composition with Tiberiu Olah. She is a Silvestri, Tiberiu Olah, Ștefan Niculescu,
constituent elements as a logical whole. member of the Union of Romanian Composers Anatol Vieru, Aurel Stroe, Pascal Bentoiu, Liviu
This presentation will propose different and Musicologists, and doctor in Musicology. Glodeanu, Corneliu Dan Georgescu, Dan Dediu,
strategies to help students evolve from Her favorite topic is the music of the 20th etc.). In 2016 and 2018, she was distinguished
primary grouping – which means comparing century, with a focus on Romanian composers. with the prize of the Union of Romanian
and analyzing successive sounds – to learned Her papers were included in different national Composers and Musicologists, and of Muzica
grouping – which involves intricate and and international conferences and symposia, review, respectively. Presently, she teaches
distant relationships. These suggestions she participated in radio broadcasts and Music Theory, Score Reading, and is the dean
are based on the idea of a common published over 40 studies. She wrote books of the Faculty of Composition, Musicology
pattern, which facilitates the process of in the field of musicology and music theory and Music Education at the National University
analysis and recognition of internal logic. and coordinated, as an editor, several volumes of Music Bucharest.Speakers of the 2nd HarMA Seminar
DAY 01
15 : 45
INNOVATED TEACHING PRACTICES
ISSUES OCCURRED
IN MUSIC THEORY FIELDS Stefano by the radio of England (BBC), Finland,
France, Italy (RAI3), Poland, etc. He has
Music lives in ourselves as an aesthetic PROCACCIOLI written articles on music for publications
narration based on our sensations / including Analisi and Spectrum (journals
emotions. It is therefore comprehensible ITALY of the Società Italiana di Analisi Musicale)
that the sensations generated by an “old” CONSERVATORIO STATALE DI MUSICA and Contemporary Music Review (Taylor &
composition today are not exactly the same “JACOPO TOMADINI”, UDINE Francis). He is also active in promoting
as the original ones, but what happens Professor of Music Analysis and Harmony an active relationship between the public
if these differences go beyond a certain and contemporary music : as a co‑founder
threshold ? What happens to the original Stefano Procaccioli is an Italian composer, of the Taukayensemble and the festival
aesthetic narration ? Is it possible to he initially studied Composition (Daniele Risuonanze–incontri di nuove musiche, he
conserve at least a part of it ? If we want Zanettovich) and Organ (Tarcisio Todero) promoted the world and the Italian premiere
to preserve the musical works as we do at the Conservatorio Statale di Musica of more than 350 compositions. From 1989 to
with the figurative arts ones, can we ignore Jacopo Tomadini, in Udine. He then studied 2017, he has taught as a professor of Musical
this problem and continue to rely on the composition with Giacomo Manzoni at the Analysis and Harmony at the Conservatorio
dynamics that has produced in the history Scuola di Musica di Fiesole. His honors include di Musica Giuseppe Tartini, in Trieste. In the
of music the continuous substitution of the first prizes in national and international same conservatorio, after being a member of
genres and of the styles ? In other words, competitions. His music has been performed the Academic Council, he has been deputy
is it possible to create a real museum of throughout Europe and elsewhere in director and member of the management
music ? In which relationship may the music festivals as the Warsaw Autumn festival board. Currently he is professor of Harmony
theory studies stand in relationship with the International Biennale of Contemporary and Music Analysis at the Conservatorio
this problem ? Music in Helsinki… He has been broadcast di Musica Jacopo Tomadini di Udine. | 17DAY 02
09 : 30
SINGING-BASED MUSIC THEORY
AND EAR TRAINING a choral conductor. Since September 2014,
FOR CONSERVATORY STUDENTS he has been artistic director of the New Liszt
ACCORDING TO THE KODÁLY CONCEPT László Norbert Ferenc Chamber Choir, the artist-in-residence
choral ensemble of the Liszt Academy.
This session will give participants the NEMES In 2018, he founded the National Youth Choir
opportunity to gain an insight into singing- of Hungary. For twelve years he worked as the
based musical training developed at the HUNGARY associate conductor of the Hungarian Radio
Liszt Academy as inspired by Kodály’s KODÁLY INSTITUTE Children’s Choir. László Nemes has conducted,
conceptual ideas about the training for Director of Kodály Institute taught, held workshops, master classes and
professional musicians and defined by the seminars all across Europe, in Australia,
following four points : László Norbert Nemes – doctor habilitus –, Brazil, Canada, the People’s Republic of
(1) Well-trained musical hearing ; (2) well- is currently professor at the Liszt Ferenc China, Indonesia, Japan, the Korean Republic,
trained intelligence ; (3) a well-trained Academy of Music in Budapest and director of Malaysia, The Philippines, Republic of China/
hand and ; (4) a well-trained heart. The the International Kodály Institute of the Liszt Taiwan, Singapore and the United States of
workshop will aim towards showing Academy. His main areas of expertise are the America several times. He is guest professor
various ways how students can be inspired theory and the practice of the Kodály Concept, at the Central Conservatory of Music in Beijing,
to actively participate in the learning Musicianship Training according to the Kodály China. In recognition of his artistic activities
process through performance and active Concept, Choral Conducting and Choral Music he received the Bartók-Pásztory Award in
listening, that eventually leads them education. His most recent publications 2005. In March 2017, he was decorated with
to the understanding reception of the include a chapter on choral music education the Golden Cross of the Hungarian Cross of
musical repertory placed into the focus according to the Kodály concept in the Oxford Merit. He is vice-president of the International
of the music lesson. Repertory studied Handbook of Choral Pedagogy published by Kodály Society, patron of music education at
will include Liszt’s Dante sonata from the Oxford University Press in 2017. Besides National Youth Choir of Scotland, and honorary
second volume of his Années de pèlerinage. teaching, he maintains an active career as member of the British Kodály Academy.Speakers of the 2nd HarMA Seminar
DAY 02
11 : 30
ALL THE FEATURES
OF CÉSAR FRANCK’S
HARMONIC LANGUAGE
This training session will introduce
the attendants to all the aspects of Nikola
César Franck’s (1822 – 1890) harmonic
language and their manifestations KOMATOVIĆ
across various genres of his work.
SERBIA
Through various genres and phases INDEPENDENT (MEMBER OF SDMT AND GMTH)
of his oeuvre, this creator used a very Researcher
heterogeneous fundus of late-romantic
harmonic means, which represent an Nikola Komatović concluded his PhD at Komatović researches historical theories
ideal cross-section of different aims of the University of Music and Performing (in the first line, historical theories of tonality
his epoch, thus clarifying more closely Arts in Vienna under the mentorship of and harmony in France), development of
the subsequent fate of tonality. doctor of philosophy Gesine Schröder and methodology in Eastern Europe (the former
the co‑mentorship of doctor of philosophy Soviet Union and former Yugoslavia),
We believe that an interactive approach Annegret Huber, in 2018. His thesis focused China, popular music, and certain aspects
to this topic will result in arousing on the harmonic language of César Franck. of modern and postmodern music (heritage
interest in Franck’s harmonic language of Ancient Greek and Byzantine music).
and his oeuvre in general, same as Previously, he finished the Music Theory
we hope that his work will become Bachelor and master studies at the Currently, he prepares his postdoctoral
more prominent within academic University of Arts–Faculty of Music, thesis about the origin and typology
programs – which is not the case at present. in Belgrade (in 2011 and 2012). of the octatonic scale. | 19DAY 02
11 : 30
NEO-RIEMANNIAN PERSPECTIVES special emphasis on the modes of limited
ON LATE 19TH- AND EARLY 20TH- Aare transposition. The works of Oja have enabled
CENTURY MUSIC him to demonstrate the special voice-leading
TOOL properties of these modes, as well as the
Neo-Riemannian Theory methods of “tonal signification” associated
(or Transformational Theory) is a term ESTONIA with them. In 2017, he has also published
for various analytical practices that ESTONIAN ACADEMY OF MUSIC AND THEATRE on Jean Sibelius : Jean Sibelius and the Modes
emerged between 1980 and 1990. In Neo- Lecturer of Music Theory of Limited Transposition in Jean Sibelius’s
Riemannian Analysis, the modes of limited Legacy–Research on his 150th Anniversary,
transposition (including the octatonic and Aare Tool is a lecturer of Music Theory and Daniel Grimley, Tim Howell, Veijo Murtomäki,
hexatonic scales) are used as a model in a researcher at the Estonian Academy of Timo Virtanen (Ed.), Cambridge Scholars
order to demonstrate certain properties Music and Theatre. In 2011, he defended Publishing. Courses he teaches at the EAMT
of major / minor triads and seventh chords his master’s degree and, in 2016, his PhD include Harmony (elementary, intermediate,
(voice-leading efficiency or parsimonious thesis in Musicology at the EAMT, with a and advanced levels), formal analysis
voice-leading). In my presentation, main focus on music theory and analysis. (Sonata and Concerto Forms in the Music of the
some of the possibilities of applying the His research interests include Estonian Nineteenth and Early Twentieth Centuries and
transformational methods in harmony music in the first half of the 20th century History of Estonian Music). He is also active
classes will be demonstrated. Arguably, and transformational methods of harmonic as a music critic, and in the past five years
the transformational concepts associated analysis (neo‑Riemannian). In his PhD has published more than 100 articles in the
with the octatonic and hexatonic scales are thesis, he analyzed a number of works Estonian central cultural weekly Sirp and the
crucial in understanding the intimate link by the Estonian composer Eduard Oja music journal Muusika. Since 2017, he is a
between the late 19th- and the early 20th- (1905 − 1950) in the context of the wider member of the Estonian Young Academy of
century harmonic practices (Béla Bartók). compositional trends of the period, with a Sciences (Eesti Noorte Teaduste Akadeemia).Speakers of the 2nd HarMA Seminar
DAY 02
12 : 00
NON-CLASSICAL HARMONY
PROCESSES IN SCHUBERT’S
C-MAJOR QUINTET (D.956)
Máté
My presentation is intended to be entitled
Non-Classical Harmony Processes in BALOGH
Schubert’s C-Major Quintet (D.956), in which
I would make a draft analysis of the HUNGARY
1. extraordinary chord changes ; FERENC LISZT ACADEMY OF MUSIC IN BUDAPEST Until September 2018, he has been
2. non-typical modulations of the piece. Assistant-professor of Music Theory chief editor of the universal music
Both categories represent usual habits of F. Liszt Academy and at the Kodály Institute publishing Editio Musica Budapest,
Schubert’s late chamber style. However, mainly working on György Kurtág’s works.
I would show some unique examples as Máté Balogh was born in 1990. He is a
well, to demonstrate how unorthodox Hungarian composer and a lecturer at the His pieces have been performed all over
Schubert was, as far as the classical Music Theory Department of the Liszt Academy Europe, in Turkey, China, Taiwan, Japan
Viennese listening reflex is concerned and at the International Kodály Institute. and the United States. He won several
(which gesture finally can be named as the international composer competitions, as he
born of the romantic musical reflex). He finished his studies in Composition at the was awarded with the Junior Prima Prize and
To be clearer, I would show some phrases Liszt Academy under mentorship of Zoltán the Artisjus Prize. He is the composer of Zsófia
from Mozart’s C-Major Quintet K.515, which Jeney. In 2013, he spent a semester in Trieste, Szilágyi’s film One Day which was awarded
can be regarded as an antecedent of the Italy, and studied composition with Fabio the FIPRESCI Prize, in 2018, at the Cannes
Schubert-piece. My method would be Nieder. Then, for one year, he worked under film festival. Currently, he is working on his
mainly lecture-like (examples are shown the mentorship of Péter Eötvös. He received monodrama based on Matsuo Bashō’s texts,
at the piano, with copied score material). his DLA degree at the Liszt Academy. and planned to be premiered in Tokyo in July. | 21DAY 02
12 : 00
MUSIC ANALYSIS AS A DESCRIPTION
OF EVENTING IN TIME
In this analysis of Béla Bartók’s Iyad
Improvisation #3 from op. 20, a formal
syntactic analysis of the piece is MOHAMMAD
juxtaposed to a descriptive and dynamic
phenomenological analysis of its temporal JORDAN
unfolding or eventing of the music, which YARMOUK UNIVERSITY, IRBID
allows us to understand the network of Assistant professor of Music Analysis, Counterpoint,
interwoven, parallel and intersecting Harmony and Composition Mohammad’s compositions feature works
eventings in the overall dynamic of for chamber ensembles, among them
their syntactic, forward / delaying and Iyad Mohammad is a Jordanian composer For Strings – Silent prayers for viola, cello
cyclic motions. The analysis reveals a and an assistant professor of Music Analysis, and piano – ; Tahlila ; Two Lullabies for
ternarity, two simultaneous intersecting Counterpoint, Harmony and Composition at Ensemble ; and a Trio sonata canon, cello
eventings (descending / ascending), the Faculty of Fine Arts, Yarmouk University, and piano. His works were performed by
and a multidimensional set of irregular Jordan. He received his bachelor (with Ensemble united berlin in the festivals
cyclicities of recurring thematic, honors) and master’s degree in Composition Tracing Migrations and Märzmusik. His
intonational and motivic relations at the Belarusian State Academy of Music research focuses on contemporary European
and references. The analysis yields in Minsk. He received his PhD in arts composition with papers on Stravinsky,
a phenomenological description of from the same institution, specializing in Krenek, Shostakovich and Lachenmann.
the gestalt work in time as a singular, Contemporary Composition with a thesis He also participated in translating
organic, undissectible and dynamic on aesthetical and philosophical aspects E. Szönyi’s book The Implementation
whole, which is its being as becoming. of the oeuvre of Helmut Lachenmann. of the Kodály Principles into Arabic.Speakers of the 2nd HarMA Seminar
Royal Danish Academy of Music from 1987 to
1993, with main subjects in piano and music
theory, and with side subjects in popular
DAY 02 and improvisatory music. After a long period,
12 : 00
where he taught in many different analytical
systems, his interests have coalesced in the
EXPERIENCE-BASED ANALYSIS usage of IT as a teaching tool, and he has,
— FUNCTIONAL HARMONY since 1996, been working on IT in conjunction
BROUGHT BACK TO ITS ORIGIN Thomas with teaching at the conservatory. He has been
a part of a series of FOKU projects, such as
With a starting point in the various analysis SOLAK the computer programs HarmonyLab (1998),
suggestions presented at the first HarMA RytmeRepetitør (2000), DKDM-Hørelæresuite
seminar in 2018, this talk will cover my DANEMARK (2006), FormIllustrator (2008), and also a
recent work trying to bring the function ROYAL DANISH ACADEMY OF MUSIC, font collection for music analysis, Amadeus
analysis back where it is most effective and COPENHAGUE (2000). He has taken part in many national
distinctive. The function analysis has taken Associate professor, Music Theory and international forums for pedagogy and the
many different forms, and unfortunately in Head of Educational Technology development thereof. In 2019, he published
many European / Scandinavian institutions, the book Functional Harmony—A Guide to
it has been diluted by a kind of degree Thomas Solak teaches music theoretical Experience-based Analysis (in Danish).
analysis, which just uses the formal names subjects, including Music Theory, Form Thomas Solak began his musical career as a
of Riemanns terminology, but leaves out the and Structure Analysis, Harmonic Analysis, performing musician. He has been employed,
core ideas of three exclusively co-existing Arrangement, Orchestration and Popular on a project basis, as an orchestral director.
harmonic functions. Through my recently Music Theory and Arrangement. Across his 15-year career, he has had extensive
published book (in Danish), I have worked He is, furthermore, responsible for educational concert experience as a pianist, organist, and
with the simplicity of the original ideas and technology and has been a main force in accompanist in Denmark, Sweden, Germany,
an auditive approach from an experience- the development of distance learning at the Luxembourg and France. These experiences
based perspective. The ambition of conservatory. He has been responsible for have given him a solid practical background
translating the work into English introduces the development and implementation of a for the later work he has undertaken in music
significant terminological problems that will series of other new technologies as well. theory. Thomas Solak has also been active
be discussed in the final part of the talk. Thomas Solak received his education at both as a composer and as an arranger. | 23FEELING THE MUSICAL STRUCTURE
IN REAL TIME : INNOVATIVE METHODS
IN THE MUSIC THEORY CLASSROOM
DAY 02
14 : 30
An essential aim of music theory pedagogy
is the enhancement of performance-related
skills resulting in heightened expressivity
through a mostly implicit analysis of Stachó’s research in musicology focuses
musical structure by the performance László on Bartók analysis, early twentieth century
student. Performance expressivity builds performing practice (especially the
on a specific set of attentional skills to feel STACHÓ Hungarian Liszt school), in music psychology
musical structure in real time, including on emotional communication in music
(a) the metrical process which unfolds in HUNGARY performance, and in music pedagogy on
real time, eliciting well-definable feelings of KODÁLY INSTITUTE enhancement of attentional skills in music
various temporal lengths and expectations Research fellow, Department of Teacher Training performance. Over the past few years, he
related to length correspondences of Liszt Academy has been involved in a countrywide planning
larger units ; (b) the grouping structure of music education curricula in his native
which unfolds over time, evoking thematic, László Stachó is a musicologist, a psychologist, Hungary, including the National core
rhythmic and length correspondences and a pianist working as a research fellow curriculum and conservatoire curricula.
and expectations ; and (c) the tonal and a senior lecturer at the Franz Liszt As a pianist and chamber musician, he has
process felt through moment-to-moment Academy of Music, in Budapest, at the performed in several European countries and
tonal expectations over the course of Faculty of Music of the University of Szeged the US, and conducts Practice Methodology
performance. In this training session, in Hungary, and as a regular guest lecturer at workshops and chamber music coaching
I intend to try out with participants the Conservatorio de Musica Santa Cecilia, sessions at international masterclasses
novel methods in the music theory in Rome. His academic activity involves the at prestigious conservatoires in several
classroom to enhance the ability to feel teaching of Chamber Music, Music Analysis countries including Great Britain, Germany,
the musical structure in real time which and 20th century performing practice History, Italy, Slovenia, Romania, Turkey, Israel,
have recently been put to the test – with as well as recently introduced subjects in and the US. He was a visiting fellow at
exceptional success – within the frames Hungary, such as the Psychology of Musical the Faculty of Music of the University
of an EU-funded educational project. Performance and Practice Methodology. of Cambridge (in 2014 and 2017).Speakers of the 2nd HarMA Seminar
DAY 02
16 : 30
TEACHING AND PRACTICE ANALYSIS Simonetta
OF 20TH- AND 21ST-CENTURY MUSIC
SARGENTI
The paper is a summary of my recent
experience in analysis courses at the ITALY
Conservatorio Guido Cantelli focused CONSERVATORIO GUIDO CANTELLI, NOVARA
on Analysis of 20th-and 21st-century’s Coordinator of the Departement of Composition,
music and electroacoustic music, and was History of Music and Didactic Professor of Analysis,
addressed to intermediate students and History of Music and Electroacoustic Music Analysis
advanced students. The repertoire was
divided into music with and without a score. Simonetta Sargenti was born in Milano. she obtained a master’s degree in Analysis
Graduated in Violin, Composition and and in Music Theory, in which she’s now
The main questions are which elements can Electronic Music, she’s active as a teaching Analysis of electroacoustic music.
be identified and recognized within this performer, a composer and a teacher. She held masterclasses in Music Analysis in
music only by listening ? Is it possible to As a composer, she’s interested in application different institutions (Universidade Católica
distinguish the main sound events and the of technologies and interactive tools to music Portuguesa, Porto, Kaunas University
composition’s techniques ? What types of composition. She has performed works of of Technology, Lithuania, Conservatorio
discourses are relevant in these works ? 20th and 21st centuries, as a performer. Superior de Música de Málaga).
She is a Music Analysis and History of music Actually, she’s teaching at the Conservatorio
The analyzed works have been teacher and she’s active as a researcher in Guido Cantelli di Novara, Italy, and she
chosen within a period starting Music Theory and Music Analysis. Partner coordinates the Department of Composition,
from 1950 to the present day. of GATM (Gruppo Analisi e Teoria Musicale), Music History, and Didactics. | 25DAY 03
09 : 30
AVANT-GARDE AND TRADITION :
A CONTRADICTION ?
According to my background as a composer,
I would like to draw attention towards Alexander
aural analysis of contemporary music.
Unfortunately, music of our time does not STANKOVSKI
play a great role, either in music theory or
in music education, which is in my eyes AUSTRIA Vienna Konzerthausgesellschaft, Christian
a shortcoming of both. I want to show ANTON BRUCKNER PRIVATUNIVERSITÄT, LINZ Muthspiel, Ernesto Molinari and Till Fellner.
that in spite of the quest for new ways Music Theory faculty
of structuring, of sound production, and His works have been performed at
of conceiving the relationship between Alexander Stankovski was born 1968 international festivals such as Wien
perception and expressivity in the music in Munich. He studied composition at the Modern, Wiener Festwochen, Schwetzinger
after 1945, there are strong links to the Vienna Music Academy with Francis Burt, Festspiele, Frankfurt Feste, Musikbiennale
past, even if these links are not always and in Frankfurt with Hans Zender. In addition, Berlin, Schönberg Festival Duisburg, Moscow
apparent on the surface. I will try to grasp he attended courses with Karlheinz Füssl, Autumn Festival or Musica Nova Sofia.
these links with a group of (preferably Ulrich Siegele, Karlheinz Stockhausen,
advanced) students by attentive listening Brian Ferneyhough, Franco Donatoni From 1996 to 2004 Stankovski taught as an
to Helmut Lachenmann’s Dal niente, a and Gérard Grisey. assistant in the Composition class of Michael
piece for solo clarinet from 1970, which Jarrell at the University of Music in Vienna.
is a typical example of his avant-garde He has received commissions from From 1998 to 2018, he was a senior lecturer
concept of musique concrète instrumentale, renowned institutions, ensembles and at the University of Music and Performing
but at the same time displays substantial soloists such as Landestheater Salzburg, Arts in Graz. Since September 2018, he is
characteristics of the musical tradition Klangforum Wien, Alte Oper Frankfurt, the a professor of Music Theory at the Anton
of the 18th and 19th centuries. Austrian Broadcasting Corporation, the Bruckner Private University in Linz.Speakers of the 2nd HarMA Seminar
HOW TO TEACH “TEACHING” ?
CHALLENGES OF HIGHER MUSIC DAY 03
11 : 30
EDUCATIONAL SYSTEM
The growth of media influence, as well as
technical development on everyday life is
obvious. For higher education institutions Nataša
it is very hard to keep up with this technical
progress, so study curricula are quickly CRNJANSKI
becoming outdated. One of the basic tasks
of education today should be to predict SERBIA
the future of children who have started ACADEMY OF ARTS – UNIVERSITY OF NOVI SAD
school this year, and who are likely to Professor of Music Analysis, Music Semiotics and Musical Gesture (2014) and The Glossary
start working in 2035, if not earlier. The and Methodology of teaching theoretical subjects of Music Semiotics (2019). Since 2016, she
existing gap between the outdated study has served as a chief editor of the scientific
curricula (including literature, methods, Nataša Crnjanski was born in 1978. journal Zbornik radova Akademije umetnosti
teacher competencies, equipment…) and She’s PhD in Music Theory from the Academy (Collection of papers of Academy of Arts).
the uncertain future is being bridged of Arts, University of Novi Sad, Serbia. During She works as an assistant professor at the
by the increasing emergence of online her studies, she has won a Special Award for Department for Composition and theoretical
courses (MOOCs). Music education her results from the University of Novi Sad, subjects, and teaches several courses : Music
is not an exception. “How we should as well as a scholarship from the Norwegian Analysis, Methodology of teaching musical
teach teaching music” nowadays is a government. She finished her postgraduate subjects, and Music Semiotics. She is a
burning issue. In this presentation some (2008) and doctoral studies (2014) in Music member of the International Musicological
experiences with teaching practices and Theory with music semiotics as her main Society (IMS), International Association
digitalization projects related to music field of research. Beside articles, which have for Semiotic Studies (IASS) and Serbian
theory and pedagogy will be shared as been published in edited books and journals, Society for Music Theory (SDMT). Nataša
an example of how the above-mentioned she is the author of three books : Music Crnjanski also has extensive experience as
challenges might be overcome. Semiotics through D-S-C-H (2010), Prokofiev a choral assistant, manager and singer. | 27DAY 03
12 : 00
HISTORICALLY INFORMED MUSIC
THEORY AND DIGITAL LEARNING
For the mandatory courses in Music Theory Hans
and Ear Training in the bachelor of music
program, we recently, in our university, AERTS
developed several teaching and learning
materials, including the flashcard set GERMANY
Kartimento and various interactive contents HOCHSCHULE FÜR MUSIK FREIBURG
on the e-learning platform Glarean. These Head of the Music Theory Department
materials will be demonstrated. Moreover,
we will focus on the methodical choice Hans Aerts is professor of Music Theory and
of introducing the organizing principles Ear Training at the Freiburg University of
of tonal music in these courses through Music where he has been head of the Music
historical contextualization, in line with Theory Department since 2012. He studied
findings and experiences of Historically Musicology at the Catholic University of
Informed Music Theory (e.g., basso Leuven in Belgium and at the Technische
continuo as fundament of practical music Universität of Berlin, as well as Music Theory
and composition). This stance opposes a and Ear Training at the Berlin University
didactic approach that takes the axioms of of Arts. From 2000 to 2010, he has taught
19th and 20th-century harmonic theories Music Theory and Ear Training in Berlin. In on music theory in the long 18th century, and
for granted. Consequently, contrapuntal Freiburg, he has been a lecturer for music on the development of teaching / learning
concepts are put in the center, whereas theory at the music university from 2010 to materials. Since 2019, he has been a member
for instance the inversion principle is 2017, and at the Albert Ludwig University of the editorial team of Zeitschrift der
introduced at a relatively late stage. from 2013 to 2017. He is primarily working Gesellschaft für Musiktheorie (ZGMTH).You can also read
