movement)? -‐ what is to be gained from viewing popular song's harmonic loops
as passacaglia-‐derived (cf. My Chemical. Romance's Famous last words)?
jeudi 2 mai 2 013 1 6:15:00 heure avancée d’Europe c entrale
Objet: Remind: Call for papers -‐ Can we talk of a passacaglia principle? Date: jeudi 2 mai 2013 10:55:33 heure avancée d’Europe centrale De: À:
GATM Presidente GATM, Susanna Pasticci (RATM)
RATM -‐ Rivista di Analisi e Teoria Musicale Call for papers Can we talk of a passacaglia principle? The recent revival of Formenlehre devoted substantial efforts to the discussion of sonata form(s), often from opposed – and sometimes conflicting – angles. Different theories have been developed concerning what we might call the “sonata principle”. This special issue of Rivista di Analisi e Teoria Musicale is intended to address a similar topic in respect of the passacaglia. We invite the submission of abstracts which will address this issue from any perspective and with respect to any repertory. You may wish to respond to one of the following possibilities: -‐ is it worthwhile distinguishing between passacaglia and chaconne (cf. Couperin’s Chaconne ou Passacaille)? Does a common “principle” (what we have provisionally called “passacaglia principle”) exist in both genres? Which elements can be considered distinctive features? -‐ what is the relationship between the passacaglia principle and variation form? -‐ how pervasive is the combination of passacaglia and lament (cf. Purcell’s When I am laid in earth, Ligeti’s Horn trio)? Is this connection essential to the principle? -‐ is a teleological/narrative process intrinsic to the principle, or is it a later development (cf. Brahms IV, last movement)? -‐ what is to be gained from viewing popular song’s harmonic loops as passacaglia-‐derived (cf. My Chemical Romance’s Famous last words)? -‐ does a relationship exist between the passacaglia principle and the practices of oral tradition? Is it worthwhile connecting this relationship to the question of the origin of the passacaglia principle? Deadline for submission of abstracts is May 31, 2013. If selected, you will be asked to submit your paper by January 2014. Submitted papers will then be subject to the normal refereeing process. Abstracts (in English or Italian, 800-‐1000 words, bibliography excluded) should be sent by attachement (in PDF format) to:
[email protected]
-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐ -‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐-‐ RATM -‐ Rivista di Analisi e Teoria Musicale Direttore: Susanna Pasticci (Università di Cassino e del Lazio Meridionale) Vicedirettore: Antonio Cascelli (National University of Ireland Maynooth) Comitato scientifico: Mario Baroni (Università di Bologna), Rossana Dalmonte (Istituto Liszt, Bologna), William Drabkin (University of Southampton), Massimiliano Locanto (Università di Salerno), Luca Marconi (Conservatorio di Pescara), Allan Moore (University of Surrey), Egidio Pozzi (Università della Calabria), Antonio Rostagno (Università “La Sapienza”, Roma), Friedemann Sallis (University of Calgary), Giorgio Sanguinetti (Università di “Tor Vergata”, Roma). Redazione: Antonio Grande (Conservatorio di Como) Consulenti: Pieter Bergé (Katholieke Universiteit, Leuven), Michele Biasutti (Università di Padova), Deborah Burton (Boston University), William Caplin (McGill University, Montreal), Irène Dèliege (Université de Liège), Robert Gjerdingen (Northwestern University), Michel Imberty (Université de Paris X, Nanterre), Ignazio Macchiarella (Università di Cagliari), Johannes Menke (Hochschule Schola Cantorum Basiliensis), Jean-‐Jacques Nattiez (Université de Montréal), Marcello Piras (Conservatorio dell’Aquila), Jesse Rosenberg (Northwestern University), Guido Salvetti (Conservatorio di Milano), Janet Schmalfeldt (Tufts University, Boston), Michael Spitzer (University of Liverpool), Philippe Vendrix (Université de Liège)
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