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PRODID:-//Memento EPFL//
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SUMMARY:Knet Theory: A Reappraisal
DTSTART:20250526T180000
DTEND:20250526T190000
DTSTAMP:20260511T202852Z
UID:5e7ee980edbd238f011fe050fb47bd4da962f66b839f13e905c1ea5c
CATEGORIES:Conferences - Seminars
DESCRIPTION:Anton Vishio teaches music theory\, musicianship\, and global 
 music analysis as an Associate Professor at the University of Toronto\nFor
 tean pitch class set theory featured two major drawbacks: a limited method
 ology for relating different sets\, and a lack of a rationale for the unfo
 lding of set structure. Klumpenhouwer networks ("Knets") promised innovati
 ons in both areas: the ability to construct networks which would relate se
 ts based on common partial content – two trichords that share an interva
 l\, for instance\, or two tetrachords that share a trichord – and a recu
 rsive\, network-of-network structure\, one that could guide interpretation
  as well as provide a well-defined context motivating large-scale network 
 structure. Unfortunately\, the former innovation seemed to founder on the 
 sheer number of possible Klumpenhouwer interpretations\, the latter on the
  difficulty in connecting the recursive models to musical surfaces in conv
 incing ways.\n\nLost in the mostly critical reception in recent years were
  the numerous advantages Knets had over pitch class sets as bearers of mus
 ical intuition and action\; instead of the “black box” character of so
  many set theoretic analyses\, where the internal relationships of the not
 es in an asserted set remain obscure\, Knets provide a window into set con
 structability and experience\, while suggesting paths of set modulation ov
 er time. \n\nThis talk will be self-contained\; the history and mechanics
  of Knet theory will be covered first before I explore a reevaluation that
  highlights its considerable strengths and potential contributions\, focus
 ing on extended passages from works by Karol Szymanowski\, Maurice Ravel a
 nd other composers at the border of post-tonal practices.\n\nBIOGRAPHY\nAn
 ton Vishio teaches music theory\, musicianship\, and global music analysis
  as an Associate Professor at the University of Toronto. His research foc
 uses on late-twentieth-century music\, exploring the development of a fami
 ly of compositional strategies at different levels of surface organization
 . Other longstanding interests include polyrhythms\, musical properties of
  the sestina permutation\, and the songs of Rabindranath Tagore. A pianist
  and composer as well as music theorist\, he has published or presented wo
 rk on the music of Iannis Xenakis and Jo Kondo\, on music and translation\
 , on 'intercultural' variation in recent music\, and on the compositional 
 pathways developed by Ernst Krenek. He has taught subjects in composition
  as well as tonal and post-tonal theory at McGill\, William Paterson\, New
  York University\, and other institutions in the United States. As pianist
  he has performed for many years\, notably with the percussionist Peter Ja
 rvis\, and with the Neidhöfer-Vishio piano duo\, which won the Kranichste
 iner Musikpreis at the historic Darmstadt festival for new music.\n\n 
LOCATION:BC 410 https://plan.epfl.ch/?room==BC%20410
STATUS:CONFIRMED
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