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PRODID:-//Memento EPFL//
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SUMMARY:DH Seminar: Mates vs. Cavell Redux\; Or\, When Do You Need a (Musi
 cal) Corpus?
DTSTART:20221214T140000
DTEND:20221214T150000
DTSTAMP:20260525T190812Z
UID:47d2b352be9219fcb64931e3ad33228c9fedb2f488bfd1704cbf672e
CATEGORIES:Conferences - Seminars
DESCRIPTION:Prof. Nathan MARTIN\, University of Michigan\nAbstract\nRecent
  debates in music theory around empirical and corpus-based methods (Gjerdi
 ngen 1991\, Neuwirth and Rohrmeier 2016\, London 2022) replay\, perhaps un
 wittingly\, disputes that unfolded some fifty years ago in linguistics and
  the philosophy of language. I illustrate by revisiting an exchange betwee
 n Benson Mates (1964) and Stanley Cavell (1969) over the evidentiary stand
 ards relevant to “ordinary language” philosophy\, and to figures such 
 as Gilbert Ryle and J. L. Austin in particular. This earlier debate proves
  instructive in considering the position of corpus studies in current musi
 c theory. In particular\, I ask: what kinds of music-theoretical claims re
 quire corpus-based support\, whether there are claims that do not require 
 such support\, and if so what kinds of evidence should be adduced in their
  favor. Ultimately\, the question will arise of whether music theory is a 
 single\, unified discipline or a broad tent of possibly interrelated but n
 ot necessarily unanimous inquiries.\n\nSpeaker Bio\nNathan Martin joined t
 he University of Michigan in 2015\, having previously held postdoctoral fe
 llowships and teaching positions at Columbia\, Harvard\, the Katholieke Un
 iversiteit Leuven\, the Hochschule für Musik Freiburg\, and Yale. He rece
 ived his PhD from McGill University’s Schulich School of Music in 2009.\
 n\nMartin’s primary research interests are in the history of music theor
 y and the analysis of musical form. To date\, his published work on the hi
 story of music theory has concentrated on the theoretical writings of Jean
 -Philippe Rameau and their early French reception\, particularly among suc
 h philosophes as Jean-Jacques Rousseau. In general\, Martin approaches the
  history of music theory both as a branch of intellectual history (Geschic
 hte der Musiktheorie) and through more practical engagements with historic
 ally informed analysis\, style-bound improvisation\, and model composition
  (historische Satzlehre). He is interested in bringing both etic and emic 
 perspectives to bear on historical theories—in probing\, on the one hand
 \, the relationships that bind music-theoretical systems to their intellec
 tual\, institutional\, and cultural contexts and\, on the other\, in think
 ing imaginatively both with and through the conceptual resources that they
  offer.
LOCATION:BC 420 https://plan.epfl.ch/?room==BC%20420
STATUS:CONFIRMED
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