The conference will take place in the lecture hall of the Reykjav\u00edk Academy, Hafnarstr\u00e6ti 5 (third floor) on 9 and 10 October 2026. There is no conference registration fee. Coffee and snacks will be provided during afternoon breaks.<\/p>\n
Friday 9 October:<\/strong><\/p>\n 11-12:30: Welcome; Musical Modernism in Iceland<\/u><\/strong><\/p>\n \u00c1rni Heimir Ing\u00f3lfsson (Reykjav\u00edk Academy): Modernism in Icelandic Music: Composers, Reception, Influence<\/p>\n Helgi Rafn Ingvarsson (Reykjav\u00edk Academy): Aleatory Techniques in Icelandic Modernist Works<\/p>\n 12:30-14:00: Lunch break<\/strong><\/p>\n 14-15:30: Modernisms Around the Globe<\/u><\/strong><\/p>\n Bj\u00f6rn Heile (University of Glasgow): Think Globally, Musick Locally: Global and Local (Sub-) networks of Serial Composition since WWII<\/p>\n Andrew Shenton (Boston University): Sacred Modernism at the Periphery: Liturgical Experiment and Musical Modernity after 1945<\/p>\n Emily Abrams Ansari (Western University, Canada): Modernist Techniques and 1970s Feminism in Canada: The Music of Ann Southam<\/p>\n 15:30-15:45: Coffee break<\/strong><\/p>\n 15:45-17:50: Analytical Approaches<\/u><\/strong><\/p>\n Nick Poelwijk (New York University): Donald Keats and American Modernism: The Piano Sonata (1971) as a Case Study in Neoclassical Peripherality<\/p>\n Carl Tertio Druml (University of Music and Performing Arts Vienna): Fortspinnung, Gestural Time and a Descent into Madness: Salvatore Sciarrino\u2019s Manipulation of Time in his Quaderno di Strada<\/em> (2003) and his Opera MacBeth<\/em> (2002)<\/p>\n Helga Karen (Sibelius Academy): Music Analysis in Action: The Practical Application of Modernism Music Analysis in Performance-Based Research. A Case Study of Karlheinz Stockhausen\u2019s Klavierst\u00fccke<\/em><\/p>\n Federico Favali (Independent composer\/scholar): Fragment and Crystallization: Poetics of Frost in Inverno in-ver <\/em>by Castiglioni<\/p>\n Saturday 10 October:<\/strong><\/p>\n 10:00-12:00: Cultural Transfer and Reception<\/u><\/strong><\/p>\n Marilyn Nonken (New York University): Cage, Messiaen & the Origins of Spectral Music<\/p>\n D\u00f6rte Schmidt (Universit\u00e4t der K\u00fcnste, Berlin): How Fluxus Came to East Asia. Exile and the Global Transfer of Experimental Avant-Garde after WWII<\/p>\n Floris Meens (Radboud University): No Place for Neutrality. Dutch Musical Infrastructures, (Inter)national Modernism, and the Consequences of War, 1888\u20131960.<\/p>\n Magdalena Marija Mea\u0161i\u0107 (University of Rijeka): From a Soviet Perspective: Insights into the Music Biennale Zagreb and New Music in the Journal Sovetskaya muz\u00efka<\/em><\/p>\n 12:00-13:15: Lunch break<\/u><\/strong><\/p>\n 13:15-14:45: Polish Modernism and the International Scene<\/u><\/strong><\/p>\n Iwona Lindstedt (University of Warsaw): J\u00f3zef Koffler and the ISCM: Music, Networks, and the Circulation of Modernism in Interwar Europe<\/p>\n Beata Boles\u0142awska (Polish Academy of Sciences, Warsaw): Between an International Scene of Modern Music and the Homeland: the Polish Section of the ISCM in the Face of Cold War<\/p>\n Kinga Kiwa\u0142a (Penderecki Academy of Music, Krakow): The Quality of Sound in Polish Music after 1960: Paradigms, Attitudes, Transformations<\/p>\n 14:45-15:00: Coffee break<\/strong><\/p>\n 15:00-16:30: Modernism in the Baltic States<\/u><\/strong><\/p>\n J\u0101nis Kudi\u0146\u0161 (J\u0101zeps V\u012btols Latvian Academy of Music): Moderated Modernism and Missing Avant-Garde: The Distinctive Specificity of Latvian Art Music\u2019s Historical Experience between 1945 and 1980<\/p>\n Rima Povilionien\u0117 (Lithuanian Academy of Music and Theatre): Lithuanian Electronic Music Experiments in the 1960s-70s in-between the Underground and Art-Music Positioning<\/p>\n Brigitta Davidjants (Estonian Academy of Music and Theatre): Negotiating Modernity through Popular Music in Soviet Estonia<\/p>\n