Key Note Speakers


Mirjana Veselinović-Hofman
Full Time Professor – Retired, University of Arts, Faculty of Music, Belgrade
A View at One Point on a “Narcissistic” Musicological “Merry-Go-Round”


Mirjana Veselinović-Hofman, PhD, a full-time professor in the Department
of Musicology at the Faculty of Music in Belgrade, retired in 2016. Between
2003 and 2005, was affiliated to the Music Department at the University of
Pretoria, South Africa. She is Editor-in-Chief of the bilingual New Sound Jour-
nal of Music, a member of the editorial board of the Matica rpska Journal for
Stage Art and Music, a member of the editorial board for compiling the Serbian
Encyclopedia, and the chair holder of scientific projects at the Department of
Musicology of the Faculty of Music. Head of the department. Her scientific
activity has focused on the areas of contemporary music, with special empha-
sis on the field of Serbian and European avant-garde and postmodern music,
as well as on the issues of contemporary musicology. She has published scien-
tific studies, along with five books and two mini-monographs. Some of her
works have been published abroad (e.g. the book Fragmente zur musikalischen
Postmoderne, Frankfurt am Main: Peter Lang, 2003).


Richard Taruskin
Professor Emeritus, University of California, Berkley, Department of Music
Everybody’s Gotta Be Someplace


Richard Taruskin, PhD, graduated from Columbia University with the M.A.
thesis Vladimir Vasilievich Stasov: Functionary in Art (1968). He studied at the
Moscow State Conservatory (1972) and continued his Russian studies, receiv-
ing a Ph.D. in 1975. He published thereafter articles and books on Russian
music, including Opera and Drama in Russia as Preached and Practiced in the
1860s (1981; 1993); Mussorgsky: Eight Essays and an Epilogue (1992); Stravin-
sky and the Russan Tradition: A Biography of Works through Mavra (1996); and
Defining Russia Musically: Historical and Hermeneutical Essays (1997). He de-
veloped parallel studies in the history of Western music and wrote a master-
work in six volumes, The Oxford History of Western Music (2004), in which he
focused on the history of musical culture rather than on the selected classic
repertoire as the traditional German concept taught. In his other activity as
performer he was a choral conductor (director of the Columbia University
Collegium Musicum and Cappella Nova) as well as viola da gamba soloist. He
also recorded and edited numerous compositions of early and Renais-
sance music and wrote critical essays collected in his book Text and Act: Essays
on Music and Performance (1995). His teaching career developed first at Co-
lumbia University (from 1973 to 1987), then at the University of California,
Berkeley, where he was appointed professor of music in 1997. Taruskin was a
constant contributor to the New York Times, New Republic, Opus, Atlantic
Monthly, and Opera News. His phenomenal erudition, consistent historical
thinking, and writer’s gift made him unrivaled in the musicology of our time.
He was awarded the Greenberg Prize (1978); the Alfred Einstein Award (1980),
the Dent Medal (1987), the Kinkeldey Prize (1997), and the Kyoto Prize (2017).
He was a member of the American Philosophical Society.


Jean-Marc Chouvel
Université Paris-Sorbonne, IReMus – Institute de recherche en musicologie
Autonomy Of Musicology
When I began exploring musicological theory, I was astonished by the
lack of consistency of a notion as simple as form in the field of music
sciences. The word itself was merely a metaphor indicating that music
could rely on geometry to insure its grounding. It was not absolutely
satisfying, specially in the context of modern music, where form and
structure where common vocabulary and commutable notions. There
was also another problem with the meaning of structure as a time com-
ponent.
Such simple questions as led me to completely revisit the methodology
of musical analysis. I was perhaps at that time the most interdisciplinary
scholar that ever existed, tracking possible answers from old philosophy
to modern mathematics, from phenomenology to psycho-analysis, from
linguistics to experimental psychology And there was some ideas indeed
in all those fields, but none of them could insure an overall comprehen-
sion of what I was interested in: the musical phenomena.
More than twenty years after the modelization of this phenomena as an
in-time procedure showing the relative role of form and structure in the
cognitive process associated with full understanding of time-phenom-
ena, I would like to take some distance with this proposition. My pur-
pose is not to criticize it, has I never append to have any doubt on its
pertinence using it with students for so many years. Moreover I would
like to try to understand what it tells us about music, and especially
music of our time, but also about ourselves, about our relation to music
and therefore, from the point of view of a mere problem of musicological
theory and analytical methodology, what it tells back to philosophy,
mathematics, phenomenology, psycho-analysis, linguistics, or experi-
mental psychology


Jean-Marc Chouvel is a professor at the University of Paris-Sorbonne and a
researcher at the Institute for Research in Musicology (UMR 8223). He is the
author of several essays (Sketch for a Musical Thought; Musical Analysis, Semi-
ology and Cognition of Temporal Forms) published by L’Harmattan, as well as
collective works (Space: Music/Philosophy with Makis Solomos, Observation,
Analysis, Model: can we talk about art with the tools of science? With Fabien
Levy, Aesthetics and Cognition with Xavier Hascher, Gilles Deleuze: The thought
music with Pascale Criton). He participated in the founding of the journal Fil-
igrane and the online journal Musimediane. Jean-Marc Chouvel is also a com-
poser.