* paper to be presented via Zoom
| DAY 1: Thursday, 6 June 2024 | ||||||
| Carl Orff Auditorium | Time | Room L 115 | ||||
| Greetings & Housekeeping | 9:15 | — | ||||
| (1) Society: Politics & Education Chair: F. Geiger | 9:30-11:00 | |||||
| Kirill Smolkin | Heidelberg University | From Broadcasting to Streaming: The Political Appropriation of Tchaikovsky’s Swan Lake | ||||
| Anna Kaznacheeva | Charles University Prague | Streaming in an Authoritarian State: Western Pop Music in Putin’s Russia* | ||||
| Break 1 | 11:00-11:30 | Break 1 | ||||
| (2) Music streaming Chair: N. Ruth | 11:30-13:00 | (3) Aesthetics Chair: P. Rudolph | ||||
| Wu Peng | Independent scholar | From “Watching Music” to “Utilizing Music”: Structural Reshaping of Chinese Popular Music Production and Dissemination in the Streaming Age* | Misty Choi | Hong Kong Academy for Performing Arts | The Use of Quotation as Acousmatic Voice in Joe Hisaishi’s Departures: The Gift of the Last Memories* | |
| Alexander Tripp | University of Chicago | Narrative as Musical Taste in Spotify “Wrapped” | Tabea Umbreit | Ludwig-Maximilians-Universität München | Rattling bones in the Danse macabre from Saint-Saëns to Tim Burton | |
| Michael Walsh | University of Canberra | The “music that forms your personalised soundtrack”? Music streaming platforms and the quantification of music listening | Ewan East | York St John University | Using non-sequential compositions to provide individual interpretation | |
| Lunch | 13:00-14:00 | Lunch | ||||
| (4) Fan activity Chair: J. Deaville | 14:00-15:30 | (5) Library music Chair: E. Wennekes | ||||
| Paula Clare Harper | University of Chicago | From Goncharov | Toby Huelin | University of Leeds | Hans Zimmer, Bleeding Fingers, and the Evolution of Library Music* | |
| Stefan Greenfield-Casas | University of Richmond | Beyond Voice and Stream: Fan Constructed Lore in the Age of the 2.5D | Júlia Durand | NOVA University of Lisbon | “For Bridgerton-inspired content”: Library music between streaming and online media* | |
| Joanna Love | University of Richmond | Popular Music, Transmedia Touchpoints, and the NFL Super Bowl | ||||
| Break 2 | 15:30-16:00 | Break 2 | ||||
| Roundtable: Prof. Gerd Baumann (Professor for Film and Media Composition, HMTM) Prof. Dr. Nicolas Ruth (Professor for Digital Communication in the Music and Entertainment Industry, HMTM) Prof. Dr. Emilia Parada Cabaleiro (Junior Professor for Musical Education and Artificial Intelligence, Nuremberg University of Music) Moderation: J. Lee | 16:15-17:45 | |||||
| Welcome address & reception | 17:45-19:00 | |||||
| DAY 2: Friday, 7 June 2024 | ||||||
| Carl Orff Auditorium | Time | Room L 115 | ||||
| (6) Opening titles I Chair: P. Niedermüller | 9:00-10:30 | (7) Music (performances) online Chair: M. Widmann | ||||
| James Deaville | Carleton University | To Skip or not to Skip: Titles Sequences, Theme Songs, and the Streaming Television Experience | Verica Grmuša | Independent scholar | Performers’ Reflections on (Re)Creating Art Song in Online Context* | |
| Antoine Garnier | University of Rouen Normandie | Re-Hear Me Re-Roar (Again). Opening Identity Multiplicity in narration: Ramin Djawadi and Game of Thrones* | Andrea García Torres | University of Alicante | Changing operatic narratives: new perspectives on the multimedia comercial strategies* | |
| Marcel Bouvrie | Utrecht University | Paratextual Integration: Audiovisual Unity and Variety in the Title Sequence of The Walking Dead (2010-2022) | Tianci He | Jinan University, Guangzhou | Returning to Nature, Constructing Intimacy and Body Performance: A study of ASMR soundscape on streaming media* | |
| Break 3 | 10:30-11:00 | Break 3 | ||||
| (8) Sound Chair: R. Rabenalt | 11:00-12:30 | (9) Anime / East Asia Chair: M. Behrendt | ||||
| Nataliya Kononenko | State Institute for Art Studies, Moscow | Polydiscursive Art work and its sound continuum. The case of A. Sokurov* | Jeff Yunek & Nash Hickam | Kennesaw State University | Music Structuring Animation: The Role of Chopin’s First Ballade in the Series Finale of Your Lie in April | |
| Soumaya Snoussi | Pukyong National University, Busan | Sound Design, Sonic Realism and Subjectivity Through the Soundscapes of Popular War Films | ||||
| Susanne Hardt | Hochschule für Musik Carl Maria von Weber Dresden | Workshop: The influence of listening and viewing habits of film composers on film music (… or the other way round?) | Veronika Keller | Universität Koblenz-Landau | Digitalization and the OST of Korean TV Series | |
| Lunch | 12:30/45-13:30 | Lunch | ||||
| (10) Aesthetics Chair: E. Wennekes | 13:30-15:00 | (11) Opening titles II / Nostalgia Chair: M. Behrendt | ||||
| Jessica Shine | Munster Technological University | Music, lies and artifice: Occult Aesthetics in HBO’s Landscapers (2021)* | ||||
| Peter Adams | University of Cambridge | “I Wish You Could Hear This”: Sonic Absence, Sensory Deprivation, and Subjective Point-of-Audition in Streaming-Era Television | James Ellis | Royal Holloway, University of London | Sonic (Screwdriver) Storytelling: Analysing Musical Gesture and the ‘Nostalgic Potential’ of the Doctor Who Theme in the Streaming Age* | |
| Wouter Capitain | Georg-August-Universität Göttingen | Music and Human Exceptionalism in Disney’s The Jungle Book (1967) and The Little Mermaid (1989) | Conor Power | Maynooth University | “Reminiscence Therapy”: Nostalgia and the Leitmotif in Disney’s Star Wars* | |
| Break 4 | 15:00-15:30 | Break 4 | ||||
| (12) Production & Reception Chair: E. Wennekes | 15:30-17:00 | (13) Identities Chair: P. Niedermüller | ||||
| Harry Burson | University of California, Berkeley | The Ontology of Audio Objects: Dolby Atmos and Streaming Audio’s Immersive Aesthetics* | Jacy Pedersen & Caitlan Truelove | Wichita State University & independent scholar | “A last dance before the feast”: Timbral Alteration and Vampiric Love In Interview With the Vampire (2022-Present) and First Kill (2022)* | |
| Teerath Majumder | Columbia College Chicago | The Spectacle of the Streamed Space: A Private and Separated Spatial Image for the Alienated and Isolated Viewer | Anika Babel | University College Dublin | A case for minimalist melomania: Céline Sciamma’s Portrait of a Lady on Fire (2019)* | |
| Matthew Day Blackmar | UCLA Herb Alpert School of Music | Hip Hop YouTube: Technological Creativity Confronts Algorithmic Bias in Automated Copyright Administration | Allyson Starr | Indiana University, Jacobs School of Music | “The City’s Ours Until the Fall”: Queer-Coded Worldbuilding in Tumblr Albums of the 2010s* | |
| Break 5 | 17:00-17:30 | Break 5 | ||||
| (14) Pre-existing music in series Chair: P. Rudolph | 17:30-19:00 | (15) Historical to current perspectives Chair: J. Deaville | ||||
| Michael Baumgartner | Cleveland State University | The Pop Song in the Age of Video-Streamed Reproduction* | Row against the stream* | |||
| Ben Major | Royal Holloway, University of London | My New Music: Scrubs’ Changing Soundtrack in the Streaming Era | Mattia Merlini | University of Milan | The Streaming Revolution (But Not the One You Think): The Fate of Polystylism in Recorded Video Game Music | |
| Julin Lee | Hochschule für Musik und Theater München | Audiovisual Souvenirs from the Upside Down: Post-Binging Engagement with Pre-Existing Songs in the Soundtrack of Stranger Things | Aare Tool | Estonian Academy of Music and Theatre | The Physiognomy of Streaming: Adorno’s Radio Theory and Digital Media | |
| Break 6 | 19:00-19:30 | Break 6 | ||||
| Lecture Performance: Sonic Storytelling out of Sync: Navigating Latency in Virtual Music Performance (David Cotter, University of Cambridge) Moderation: J. Lee | 19:30-20:15 | |||||
| Conference dinner | 20:30 | |||||