Journées d'analyse Musicale 2019

The French Music Analysis Conferences (Journées d’Analyse Musicale – JAM) are annual academic meetings organised with the support of the French Society for Music Analysis (SFAM). They aim to provide an overview of current research into theoretical and applied music analysis and to bring SFAM members and supporters together around a common theme. 
Organized in association with the Conservatoire à Rayonnement Régional de Paris, the seventh edition of the JAM this year is being held to mark the anniversary of the first European Music Analysis Conference, organized by SFAM in the city of Colmar (Alsace) in October 1989. This distinguished meeting provided an opportunity to hear papers on the diversity of analytical practices, to examine converging or diverging epistemological approaches, and to evaluate a wide range of analytical outcomes, as illustrated by the conference proceedings published in 1991 in the 16th edition of the Analyse musicale journal. For the most part, the talks held in the autumn of 1989 revealed, either implicitly or more explicitly, a noticeable evolution in the approach to music analysis that sought to move away from a hermeneutic and intuitive discourse towards more academic rigour, empowerment and formalization in educational and research institutions. The diversity of discussions on music revealed the very specificity of the concept of analytical discourse, despite the various expansions of its metalanguage and its modes of symbolization. 
The aim of the JAM 2019 will be to draw on the lessons learned from the Colmar conference and to evaluate, thirty years later, the continuity and transformation of that legacy in terms of methods, concepts, tools and repertoires, as well as the analyst’s place and the final goals of analysis. This will include an assessment of the approaches and methods of music analysis in light of current analytical and theoretical practices and on the basis of various musical repertoires including both Western art music and traditional and popular music. This task will be carried out on the basis of concise analytical proposals involving the explicit application of an analytical approach. 
In addition to specialists and practitioners in music analysis and theory, the JAM 2019 are aimed at a wide audience of musicians, teachers, university students as well as younger students. For this purpose, practical orientation activities – in the form of workshops, round tables, masterclasses and concert analyses – will be organised in addition to traditional papers, which will also seek to make analytical and theoretical knowledge accessible to specialists and non-specialists alike.
Special attention will be given to research that is part of applied analysis, i.e. analysis whose purpose is closely linked to musical activities such as listening, playing, composing, learning, transmitting, etc. In particular, talks may be presented in the form of workshops in the same vein as those successfully organized as part of the JAM 2018 in Aix-en-Provence, based on the in-situ performance of a work placed at the centre of a discussion between instrumentalists, teachers and analysts, or on any other subject linking analytical research and musical practice.
The conference activities (papers, workshops, round tables, etc.) will in particular – but not exclusively – address the following themes, from a theoretical, epistemological or historical perspective, or in the context of case studies:
– tonal and post-tonal analysis;
– Schenkerian and post-Schenkerian analysis;
– Riemannian and neo-Riemannian analysis;
– paradigmatic analysis;
– rhetorical analysis;
– cognitive analysis;
– computational analysis;
– the analysis of the sound dimension of music;
– the analysis of improvised music;
– the analysis of creative processes in music;
– the analysis of musical practices;
– digital methods and tools for music analysis, etc.
The proposals for papers, lasting 30 minutes followed by 10 minutes of discussion, in French or English, should contain the following information:
– the title of the paper;
– the name and forename of the speaker. In the case of a proposal with several authors,
please indicate the name of the author who will correspond with the organisers;
– the status and institutional affiliation;
– an abstract of the paper of maximum 2,500 characters, including spaces, which should
clearly specify the relevance of the paper to the theme of the conference, the research
context and the methodology used;
– a short bibliography of up to 5 titles.
Proposals for round tables, workshops, masterclasses and concert analyses, in French or English, should contain the following information:
– the title and description of the proposed activity;
– the names and forenames of the persons involved in the activity, specifying the name of the person in charge who will be responsible for correspondence with the organisers;
– the status and institutional affiliation;
– an abstract of the activity of maximum 2,500 characters, including spaces, which should
clearly specify the relevance of the activity to the theme of the conference, its target audience, the expected duration and, if necessary, the material needed to carry it out.
All proposals will be evaluated by the JAM 2019 Scientific Committee. They should be sent in DOC or DOCX format to the following address:
– Deadline for receipt of proposals: 15 June 2019;
– Notification to authors and persons in charge of activities: 1 September 2019;
– Sending of final abstracts and a short biographical profile: 15 September 2019;
– JAM 2019 in Paris: 29 and 30 November 2019, with an evening concert on 28 November.
Registration fee (speakers and listeners): 30 euros for the two days. Participation in the JAM 2019 is free for SFAM members (annual fee of 20 euros), as well as for students and staff of partner institutions.
Participation in the JAM2019 is subject to prior registration to be sent to or via an on-line form.
Reimbursement of expenses is possible for SFAM members. Claims for expenses should be sent before 5 September 2019 to:

Organising Committee: Jean-Michel Bardez (Conservatoire Hector-Berlioz – Paris), Hélène Cao (CRR de Paris), Marie Delcambre-Monpoël (Université de Rouen, CRR de Lille), Étienne Kippelen (CRR d’Aix-en-Provence, CRR de Paris), Marie-Noëlle Masson (Université Rennes 2)

Scientific Committee: Claude Abromont (CNSMDP), Moreno Andreatta (IRCAM, Université de Strasbourg), Jean-Michel Bardez (Conservatoire Hector-Berlioz – Paris), Jean-Pierre Bartoli (Sorbonne Université), Muriel Boulan (Sorbonne Université), Sylvain Caron (Université de Montréal), Marie Delcambre-Monpoël (Université de Rouen, CRR de Lille), Xavier Delette (CRR de Paris), Christophe Guillotel-Nothmann (CNRS), Xavier Hascher (Université de Strasbourg), Nathalie Hérold (Université de Strasbourg), Benjamin Lassauzet (Université Clermont-Auvergne), Marie-Noëlle Masson (Université Rennes 2), Nicolas Meeùs (Sorbonne Université)
Partner institutions: SFAM (Société Française d’Analyse Musicale), Conservatoire à Rayonnement Régional de Paris
SFAM website:

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