177 Thomas Christensen. 209 Kyung Myun Lee. 231 Janet Bourne. 239 Tilman Seebass. Fragile Texts, Hidden Theory

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1 2013 by the Korean Institute for Musicology All rights reserved. Autumn AUTUMN 2011, Vol. 2011, 3, No. Vol. 2, , No. 2 Table of CONTENTS 177 Thomas Christensen 209 Kyung Myun Lee 231 Janet Bourne 239 Tilman Seebass 251 Fragile Texts, Hidden Theory What Do Neurophysiological Studies on Musical Intervals Tell Us about Sensory Consonance? Fourth International Conference of Students of Systematic Musicology (SysMus11): A Conference Report The Foundation of the Regional Association for East Asia of the International Musicological Society Notes on Contributors JANET BOURNE 별쇄본.indd 오후 12:00:33

2 2013 by the Korean Institute for Musicology All rights reserved. Autumn 2011, Vol. 3, No. 2, AUTUMN 2011, Vol. 3, No. 2 EDITOR Youn Kim University of Hong Kong, HK EDITORIAL BOARD Giorgio Biancorosso Philip V. Bohlman Ian Cross Robert O. Gjerdingen Hermann Gottschewski Christian Kaden Hee Sook Oh Jean-Jacques Nattiez Uwe Seifert ADVISORY BOARD University of Hong Kong, HK (Review Editor) University of Chicago, USA University of Cambridge, UK Northwestern University, USA University of Tokyo, Japan Humboldt Universität zu Berlin, Germany Seoul National University, Korea Université de Montréal, Canada University of Cologne, Germany Mayumi Adachi Hokkaido University, Japan Kofi Agawu Princeton University, USA Wolfgang Auhagen Martin-Luther-Universität Halle-Wittenberg, Germany Karol Berger Stanford University, USA Georgina Born University of Oxford, UK Leslie Bunt University of the West of England, UK Thomas Christensen University of Chicago, USA Daniel K. L. Chua University of Hong Kong, HK Nicholas Cook University of Cambridge, UK Joseph Dubiel Columbia University, USA Helga De la Motte-Haber Technische Universität Berlin, Germany Ichiro Fujinaga McGill University, Canada Lydia Goehr Columbia University, USA Penelope Gouk University of Manchester, UK Shuhei Hosokawa International Research Center for Japanese Studies, Japan Marcello Sorce Keller Monash University Melbourne, Australia Kyungil Kim ajou University, Korea Lars-Christian Koch Ethnological Museum Berlin, Germany Frederick Lau University of Hawai i at Mānoa, USA Jerrold Levinson University of Maryland, USA Laurenz Lütteken Universität Zürich, Switzerland Susan McClary University of California, Los Angeles, USA Gary McPherson University of Melbourne, Australia Bruno Nettl University of Illinois, USA (Emeritus) Richard Parncutt University of Graz, Austria Jann Pasler University of California, San Diego, USA Ronald Radano University of Wisconsin-Madison, USA Alexander Rehding Harvard University, USA John Rink University of Cambridge, UK Giselher Schubert Hindemith-Institut, Frankfurt/M., Germany John Sloboda Keele University, UK (Emeritus) Catherine Stevens University of Western Sydney, Australia Eero Tarasti University of Helsinki, Finland Richard Taruskin University of California, Berkeley, USA Yosihiko Tokumaru Ochanomizu University, Japan (Emeritus) Suk Won Yi Seoul National University, Korea JANET BOURNE 별쇄본.indd 오후 12:00:33

3 2013 by the Korean Institute for Musicology All rights reserved. Autumn 2011, Vol. 3, No. 2, Fourth International Conference of Students of Systematic Musicology (SysMus11): A Conference Report JANET BOURNE NORTHWESTERN UNIVERSITY Who Stole Systematic Musicology? Leman (2008) describes a lecture he presented at the University of Cologne in 2003 entitled Who Stole Systematic Musicology? If other disciplines such as psychology and neuroscience are expanding music research (bringing music into the laboratory), what makes systematic musicology necessary to modern research? In his conclusion, Leman argues that the core of systematic musicology is not stolen, yet he pleads for the discipline to play the role as moderator at the crossroad of the music research (113). What is systematic musicology? The term systematic musicology first originated in Guido Adler s (1885) article The Scope, Method, and Aim of Musicology, where he divided musicology into a historical and a systematic branch. Ethnomusicology was originally considered part of systematic musicology, but established itself as a separate subdiscipline of musicology by the middle of the twentieth century (Parncutt 2007). What was formed was the tripartite idea of musicology commonly seen in central Europe today: ethnomusicology, historical musicology, and systematic musicology. If historical musicology involves the history of music (through engaging with a specific genre, time period, and so forth) while ethnomusicology is the comparative study of music in different cultures, is the JANET BOURNE 별쇄본.indd 오후 12:00:33

4 BOURNE implication that systematic musicology is the study of everything else connected to music? The term systematic musicology is common in continental Europe, mainly in the German language (Systematische Musikwissenschaft), but less common in English-speaking and non- European countries (Leman 2008). This disconnect between systematic musicologists around the globe contributes to different understandings of the term systematic musicology amongst scholars. Though systematic musicology appears to lack a clear definition, scholars have begun to sketch guidelines in order to clarify why systematic musicology is important and necessary today. First of all, Parncutt (2007, 3) regards systematic musicology as a subdiscipline of musicology concerned with music in general: what is music, what is it for, and why do we engage with it? (italics in the original). Honing (2006, 2), in trying to answer what is music, regarded systematic musicology as noting a shift from music as art to music as a process in which the performer, the listener, and music as sound play a central role. Since systematic musicology involves both the natural sciences and the humanities, Parncutt separates systematic musicology into two subdivisions: scientific musicology and cultural musicology. Scientific musicology promotes the scientific method, methodologies based on data-oriented empirical research. The method of cultural musicology is primarily intuitive and with a philosophical basis. The aim for systematic musicologists, whether cultural or scientific, is to understand how and why people engage with music the way they do. The second important aspect of systematic musicology is its interdisciplinary (or perhaps the better word is transdisciplinary ) nature. Systematic musicology has promoted an integrated multidisciplinary approach since the late nineteenth century, involving disciplines such as psychology, acoustics, neuroscience, sociology, computer science, cognitive science, and more (Leman 2008). According to Leman (2008, 92), one major characteristic which makes systematic musicology necessary for modern music research is its ability to transcend the proper discipline in response to the driving forces of the musical topic... combined with the attitude of putting music and people at the center of the focus, regardless of whatever scientific method, approach, or discipline, is used. 232 Musica Humana JANET BOURNE 별쇄본.indd 오후 12:00:33

5 SysMus11: A Conference Report Fourth International Conference of Students of Systematic Musicology (SysMus11) Following the first three SysMus conferences, which respectively took place in Graz, Austria (2008), Ghent, Belgium (2009), and Cambridge, UK (2010), the fourth International Conference of Students of Systematic Musicology (SysMus11) was hosted by the Institute of Musicology, University of Cologne, in Cologne, Germany, from October 5 7, Under the supervision of Prof. Uwe Seifert (University of Cologne), the director for the conference s organizing team was Julia Wewers (University of Cologne). The organizing team also included Dr. Lüder Schmidt, Andreas Gernemann-Paulsen, Son-Hwa Chang, Rie Asano, Pia Driever, Harm Hendrick Esser, Sandra Jarosch, Laura Klinkhammer, Fritz Schinzel, Anja Steinke, and Timo Varelmann. Systematic musicology promotes interdisciplinary research, ranging from the natural sciences to the humanities, and the SysMus11 program reflected this interdisciplinary nature. Fifteen double-blind peerreviewed papers were divided into five oral presentation sessions: Multi- Modal Music Perception and Cognition; Musical Similarity; Musical Communication and Interpretation; Music and Neuroscience; and Sound Art, Performance, and Culture. The poster session displayed a diverse range of topics with eight posters. In his introduction to the conference, Prof. Seifert discussed fundamental questions of music research such as What is/does music? and Why/how does music move humans? The SysMus11 participants, overall representing four different continents and numerous disciplines, presented an assortment of interesting insights and raised further questions regarding these fundamental issues in music. This exchange of ideas and lively discussion would not have been possible without the kind support of the following institutions: The International Cooperative in Systematic Musicology and Comparative Musicology (ICSCM); epos Music (electronic publishing Osnabrück); The Quality Management of the Philosophical Faculty (University of Cologne); The Student Council of the Institute of Musicology (University of Cologne); and the members of the SysMus Council. Vol. 3, No JANET BOURNE 별쇄본.indd 오후 12:00:33

6 BOURNE The Keynote Speakers Professor Seifert said in his introductory address that the four keynote speakers were divided nicely between the natural sciences (Prof. Ricarda Schubotz and Prof. W. Tecumseh Fitch) and the humanities (Dr. Jin Hyun Kim and Prof. Anthony Moore). The first keynote speaker was Prof. Ricarda Schubotz from the Westfälische Wilhelms-Universität, Münster, and the Max Planck Institute for Neurological Research, Cologne, Germany. Schubotz s paper was entitled Neurocognition of Prediction. 1 The focus of Schubotz s paper was on motor cognition; specifically, how event prediction exploits the motor system. Schubotz described a number of experiments performed in her laboratory that looked at what humans can predict (such as spatial position, object, and duration). For Schubotz, music (like language) is an action. The motor system simulates the listening experience of a piece of music when a musician is listening to a recording of his or her playing, relying on memory traces of unique motor repertoire. The activation of this musician/listener s motor system feeds back into the processing of other systems activated during performance. A non-musician listening to the same music activates fragments of the vocal and articulatory system which feed back into the auditory perceptual processing, creating certain rhythmic and pitch expectations in the auditory domain only. In summary, Schubotz s presentation focused on the connection between prediction and the motor system. Prof. W. Tecumseh Fitch (the second keynote speaker) from the Department of Cognitive Biology at the University of Vienna, Austria, presented a paper entitled, The Evolution of Language, Speech, and Music. In studying the biology and evolution of music, Fitch described two approaches: the multi-component approach (cognitive) and the broad comparative approach (biological). The comparative approach looks at the similarities and evolutionary relatedness among many groups of organisms (or phylogenetic levels). Fitch explored three important (and separable) components found in humans and other animals: song (a learned, complexly-patterned audio signal), instrumental music (manually generated sonic signals), and dance (physical 234 Musica Humana JANET BOURNE 별쇄본.indd 오후 12:00:33

7 SysMus11: A Conference Report movement registered to acoustic signal). For empirical evidence, Fitch discussed how computational models could be used to test hypotheses. He closed by discussing possible futures for the biological study of music in cognition-related genes and the development of broad comparative databases. Dr. Jin Hyun Kim from the Free University of Berlin, Germany, served as the third keynote speaker, and the first humanities keynote, with a paper entitled, Future Perspectives of Music Research: Some Challenging Research Questions and Methods. Addressing the future of music research in fields such as systematic musicology, Kim addressed stimulating questions regarding music and aesthetics. She discussed the issue of interactivity the influence of media on how people have emotions and appreciate music. The fourth and final keynote paper was Histories of Sound presented by Prof. Anthony Moore from the Department of Art and Media Sciences at the Academy of Arts (KHM) Cologne in Cologne, Germany. Moore identified himself as a composer and a media artist before proceeding with his brief history. He weaved together a collection of stories regarding the history of sound and voice, from discussing the background of Chinese acoustics to the history of the gramophone. Near the end of his presentation, he stated, there is no final layer of granite, reminding everyone to not ever think that they may have found the source to complex questions. The Student Activities For three days, the students presented professional, high-level academic papers. In addition to giving their presentations, the students were also able to have their papers published in the conference proceedings. 2 The second day of the conference included an afternoon debating workshop run by the Tilbury House, a British-style debating society at the University of Cologne. The workshop began with members of the Tilbury House explaining the rules and procedures for a debate. Following the lesson, the students debated against each other while the Tilbury House Vol. 3, No JANET BOURNE 별쇄본.indd 오후 12:00:33

8 BOURNE members judged. With this opportunity, students had a chance to put their newly-learned knowledge of debating to use. The SysMus11 conference, as with previous SysMus conferences, provided a platform for students to reunite with old friends and make new ones. In addition to the activities already discussed, students were given a chance to develop friendships and professional relationships over meals at a variety of different restaurants throughout Cologne. Manuela Marin, SysMus co-founder and director for SysMus08 (in Graz, Austria) as well as a presenter, led the closing ceremonies with Julia Wewers. In the closing ceremonies, Marin and Wewers were excited to announce a new SysMus group on the SysMus Conference Series website ( They discussed the following aims of the SysMus Conference Series: to make systematic musicology better known outside the German-speaking world and to strengthen the network of young systematic musicologists and researchers from related fields. SysMus12 has since been held in Montreal, Quebec, Canada in May while SysMus13 took place in Genoa, Italy in mid-september of this year. Overall, SysMus11 was a brilliant platform for international students to gather and share their music research pursuits in an encouraging and warm atmosphere. Even though the approaches and methodologies were all different, each presentation sought to answer fundamental questions in regard to the phenomenon of music. The aim of each contribution was to enhance understanding of music, grounding knowledge in different disciplines, which created an ideal environment for interdisciplinary discussions and responses. For any information on past and future SysMus Conferences, or on the SysMus Conference Series in general, please visit the series official website: Notes 1. Expectation has been considered an important part of the music listening experience, as noted by Meyer (1956) and others. 236 Musica Humana JANET BOURNE 별쇄본.indd 오후 12:00:33

9 SysMus11: A Conference Report 2. The SysMus11 conference proceedings are published in Wewers and Seifert (2012). References Adler, Guido Umfang, Methode und Ziel der Musikwissenschaft. Vierteljahresschrift für Musikwissenschaft 1:5 20. Honing, Henkjan On the Growing Role of Observation, Formalization and Experimental Method in Musicology. Empirical Musicology Review 1 (1): 2 6. Leman, Marc Systematic Musicology at the Crossroads of Music Research. In Systematic and Comparative Musicology: Concepts, Methods, Findings, edited by Albrecht Schneider, Frankfurt am Main: Peter Lang. Meyer, Leonard Emotion and Meaning in Music. Chicago: University of Chicago Press. Parncutt, Richard Systematic Musicology and the History and Future of Western Musical Scholarship. Journal of Interdisciplinary Music Studies 1 (1): Wewers, Julia, and Uwe Seifert, eds Under Construction: Trans- and Interdisciplinary Routes in Music Research. Proceedings of SysMus 11, Cologne Osnabrück: epos-music. Abstract SysMus11, the fourth International Conference of Students of Systematic Musicology, was held at the University of Cologne, Cologne, Germany in October The conference included presentation and publication of twenty-three peer-reviewed papers and posters from mostly PhD or Master s students. The participants, representing four continents and numerous disciplines, raised interesting insights regarding systematic musicology. The four keynote speakers were from both the natural Vol. 3, No JANET BOURNE 별쇄본.indd 오후 12:00:33

10 BOURNE sciences (Prof. Ricarda Schubotz and Prof. W. Tecumseh Fitch) and the humanities (Dr. Jin Hyun Kim and Prof. Anthony Moore). Considering SysMus11 was successful, SysMus12 (Montreal, Quebec, Canada) in May 2012 will surely be just as enlightening. 238 Musica Humana JANET BOURNE 별쇄본.indd 오후 12:00:33

11 SysMus11: A Conference Report Vol. 3, No JANET BOURNE 별쇄본.indd 오후 12:00:33

12 BOURNE COPYRIGHT KOREAN INSTITUTE FOR MUSICOLOGY. The contents of Musica Humana may not be reproduced in whole or part without consent of copyright owner, Korean Institute for Musicology. 240 Musica Humana JANET BOURNE 별쇄본.indd 오후 12:00:33