Proceedings
(ed. by Costas Tsougras, Danae Stefanou and Kostas Chardas)
The whole volume of Abstracts is available here
Individual papers, where submitted by the authors, appear in
alphabetical order (by first author's last name).
A = abstract ; F = full text ; + = additional material (audio files, etc.).
Keynote lecture :
Yannis Andreou Papaioannou: The Conference's
Commemorated Composer |
F |
| Demetre Yannou |
| Art of forgetting - Some mechanisms of resistance to microtonal memory in Russia's 1960s avant-garde |
A |
| Lidia Ader |
| Learning complex piano music : Environmentalist applications |
A : F |
| Pavlos Antoniadis |
| Silence in time continuum as a stochastic process in Iannis Xenakis's instrumental work |
A : F |
| Antonios Antonopoulos |
| Berlin reductionism - An extreme approach to
improvisation developed in the Berlin Echtzeitmusik-Scene |
A : F : + |
| Marta Blazanovic |
| Configurin(g) KaiBorg : Interactivity, ideology, and agency in electro-acoustic improvised music |
A : F |
| David Borgo and Jeff Kaiser |
| Advanced popular music: Defining avant-garde |
A |
| Dahlia Borsche |
| Musical postmodernism in contemporary Poland (1989-2009) |
A |
| Christopher Cary |
| Greek musical modernism (1950s-1970s) and the archetypal perception of Hellenic past |
A |
| Kostas Chardas |
| Yorgos Sicilianos and the musical avant garde in Greece |
A : F |
| Valia (Stavroula) Christopoulou |
| Don't deny my name: The resounding of a Black avantgarde in post-war music history |
A : F : + |
| A. Scott Currie |
| Hungarian variations on Improvisations sur Mallarme: Zoltan Jeney's early reception of Pierre Boulez' music |
A : F |
| Anna Dalos |
| Gerard Grisey: Time and process |
A : F |
| Nicola Davico |
| Hitting culture on the head: Movimiento Musica Mas, intermedia performance and resistance in Buenos Aires, 1969-73 |
A |
| Andrew Raffo Dewar |
| The process of becoming: Roger Redgate's Genoi Hoios Essi |
A : F |
| Stuart Paul Duncan |
| The concept of law and the idea of justice as presented in works of the European avant garde music |
A |
| Yannis Erifillidis |
| Nikolai Roslavets, Yuri Kholopov and the (Post-)Soviet conception of a musical avant-garde |
A |
| Philip Ewell |
| Notation, improvisation, writing: The early music of Roger Redgate |
A : F |
| Dimitris Exarchos |
| John Luther Adams - An avant-garde composer in Alaska |
A : F : + |
| Sabine Feisst |
| The 'imaginary sound museum'. The reinterpretation of
European tradition in the music of Gerardo Gandini |
A : F |
| Pablo Fessel |
| A belated arrival: Gerald Barry and the creation of an Irish musical avant-garde |
A |
| Mark Fitzgerald |
| 'The sky above the port was the colour of television, tuned to a dead channel': Music press discourses on post-punk industrial music and the construction of a dystopian urban space |
A : F |
| Patrick Glen |
| (Un)Popular avant gardes: Underground popular music and the avant garde |
A : F |
| Stephen Graham |
| Captain Beefheart and the monstrous rhythms of the modern musical self |
A |
| Joao Paulo Guimaraes |
| The Avant-garde and the End of Music: A Hegelian Perspective on the Aesthetics of Twentieth-Century Radical Music |
A : F |
| Golan Gur |
| Aesthetic shifts from the avant-garde towards the 'second modernity': The swaddling of a new compositional thinking |
A : F |
| Leontios J. Hadjileontiadis |
| Music perception of avant garde: Musical structure and time |
A : F |
| Justyna Humiecka-Jakubowska |
| Musical form after the avant-garde revolution: A
new approach to composition teaching |
A : F |
| Rafael L. Junchaya |
| Harmonic and formal coherence in Morton
Feldman's late music |
A : F |
| Edward Jurkowski |
| Ancient wisdom in modern music:Yannis
A.Papaioannou's 4 Orphic Hymns as challenge of renewal and revision in
postwar conception for the sound interpretation of the Greek ancient
Orphic sacred hymnology |
A : F |
| Konstantinos D. Kakavelakis |
| The influence of musical avant-garde in the works
of Dimitris Dragatakis of the late '50s and the'60s |
A : F : + |
| Magdalini Kalopana |
| J.G. Thirlwell: Educating the ear |
A : F |
| Ursula-Helen Kassaveti |
| Krassimir Kyurkchiiski's choral arrangements: The avantgarde
approach to Bulgarian choral Obrabotki |
A |
| Kalin Kirilov |
| Collective improvisation and the controversy of
the determined work: An interdisciplinary approach to the correlation of
music and architecture |
A : F |
| Alexandros Kleidonas |
| From "jarring" Jarry to
"pendent" Penderecki: Opera in a state of shock - A presentation of
Krzysztof Penderecki's opera Ubu Rex, after Alfred Jarry's Ubu roi |
A : F |
| Georgia Kondyli and Athena Stourna |
| Constructivism in the works of Iannis Xenakis as a
new link between avant-garde art and music |
A : F |
| Kinga Krzymowska |
| Kostas Nikitas: A
missing puzzle piece from 20th century Greek music |
A : F |
| Athanasia D. Kyriakidou and Anna Papagiannaki |
| Staging who we are: Reflections on myth, intertextuality
and construction of identity in Gabriela Ortiz' electroacoustic opera
'Unicamente la Verdad' |
A |
| Cesar Leal |
| The meta-language in Francis Dhomont's Novars. |
A |
| Theodoros Lotis |
| Poland: Delayed reception of avant-garde |
A |
| Bogumila Mika |
| Indonesian experimentalisms, the question of
Western influence, and the cartography of aesthetic authority |
A : F |
| Christopher J. Miller |
| The cybernetic music of Roland Kayn |
A |
| Thomas W. Patteson |
| The second Russian avant-garde: Cultural and
religious afterimages |
A |
| Anna Pelekanou |
| Musical avant-garde in Peru since 1950 |
A : F |
| Clara Petrozzi |
| Temporal disruption and formal coherence in John Zorn's
Cat O' Nine Tails |
A |
| William Price |
| "Chi ama e ardito" ("He who loves is daring") - Poetics of
affect in Salvatore Sciarrino's opera Luci mie traditrici |
A |
| Lydia Rilling |
| New paths in Argentine contemporary music:
Aparecida (1986) by Carlos Mastropietro |
A : F : + |
| Edgardo J. Rodriguez |
| Xenakis' 1975 return to Greece: Politics, aesthetics and
ideology in the reception of his work |
A |
| Katy Romanou |
| Aspects of neoclassicism within post-war Greek
musical avant-garde: The violin concertos by Dimitri Dragatakis (1969),
Yannis A. Papaioannou (1971) and Yorgos Sicilianos (1987) |
A : F |
| Giorgos Sakallieros |
| Furniture music for airports: Erik Satie and
Brian Eno reflect on the music that best suits everyday life |
A : F |
| Lola San Martin Arbide |
| The Russian avant-garde of 1950s and 1960s:
Aesthetics and technical problems |
A : F |
| Svetlana Savenko |
| Musical displacement and musicology's construction
of the post-war avant-garde |
A |
| Florian Scheding |
| Avant garde and postmodern elements in Jani
Christou's music for ancient dramas and comedy (1963-1969) |
A : F |
| Anastasia Siopsi |
| Musical experimentalism as the avant-garde: a
Burgerian approach |
A : F |
| Tanja Tiekso |
| Elements of international avant-gardism, European
post-modernism and Greek-Byzantine individuality in "Three Idiomela" and
"Five Cavafy Poems" by Arghyris Kounadis |
A : F |
| Costas Tsougras |
| Art music like a new sound
sensuousness |
A : F : + |
| Elisaveta Valchinova-Chendova |
| Symmetries in post-war operas based on
psychoanalytical texts - Penderecki's Devils of Loudun and Ligeti's Le Grand
Macabre |
A : F |
| Iossif Valette |
| Towards the transgression of the Arts: John Cage's
influence on performance art after 1945 |
A |
| Alexandra Vinzenz |
| Avant-garde from the south: Nietzschean themes
in twentieth-century Greek culture |
A |
| Panos Vlagopoulos |
| The semantics of Michalis Adamis' music and the
claim for abstraction |
A : F |
| Petros Vouvaris |
| Fencing music: Did John Oswald's Plunderphonic signal a
new paradigm for commercial music in the digital age? |
A |
| Mark Walters |
| A Chinese revolutionary opera in America: Aesthetic
and political avant-garde |
A |
| Pao-Hsiang Wang |
| After avant-gardes: thoughts on the nature of
improvisation and its place in contemporary music |
A : F |
| Jerry Wigens |
| Sound Object analysis |
A : F |
| Mandy-Suzanne Wong |
| Avant-garde and experimental music through the
dissolution of the melodic-rhythmic-harmonic unity of the theme and the
liberation of the musical components |
A : F |
| George Zervos |
| The avant-garde context in Laibach works |
A : F : + |
| Julijana Zhabeva-Papazova |
| PANEL DISCUSSION 1 : Transformational spaces and the avant-garde |
A |
| Rob Schultz, Lawrence Shuster |
| Contour vector space |
A |
| Rob Schultz |
| Parsimonious voice-leading spaces for tetrachordal,
pentachordal and hexachordal K-net graph configurations |
A |
| Lawrence Shuster |
| PANEL DISCUSSION 2 : Re-contextualising experimental and
improvised music: Creating contexts for musical
freedom - antinomies and contradictions |
A |
| Panagiotis Kanellopoulos, Alexis Porfiriadis and Danae Stefanou |
| Experimental music in music education: Promises and conflicts |
A : F |
| Panagiotis A. Kanellopoulos |
| From work to workshop: Extending the social
basis of compositional and performance
processes towards collectivity |
A : F |
| Alexis Porfiriadis |
| Unguarded spaces: Collective free improvisation
and the locus of innovation |
A |
| Danae Stefanou |