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Session schedules

Presentation schedule and titles for the ICMS 16: Mu­sic as a Mean­ing­ful Art congress 2 to 6 June 2026

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Sessions 1.–28. are indicated by their number, followed by the abbreviation for the hall. 

Legend for hall abbreviations:

  • CH = Concert Hall
  • SH = Small Hall
  • CMH = Chamber Music Hall
  • R-510 = room 510, 5th floor

Sessions A

13:00 – 13:30

  • 1 Dániel Nagy: The entanglement of meaning and meaninglessness in music: Vladimir Karbusický’s theory of mimesis versus musical irony  (1. CH)
  • 5* Izabela Jutrzenka-Trzebiatowska: The tragic waltz: On the way to discovering hidden meaning in Waltz in E-flat minor by Stanisław Moniuszko (9, SH)

13:30 – 14:00

  • 2 Ben Curry: Millikan’s post-Peircean sign system and music semiotics (1. CH) 
  • 6 Janne Kivistö: The military topics of Sibelius and the Finnish narratives of history at the turn of the 20th century 
    (9. SH) 
  • 9 Valentín Benavides: Paisajes del placer y de la culpa (2003) by José María Sánchez-Verdú: A sonic palimpsest between Poliphilo and Mahler (16. CMH) 
  • 12 Kinga Krzymowska-Szacoń: When the signs become unmoored: Folklore in semantic strategies of selected 20th-century Polish émigré composers (23. R-510

14:00 – 14:30

  • 3 Matthias Vogel & Oliver Schütze: What music maps to: Teleosemantics and the role of re-enactment in musical practices (1. CH )
  • 7 David Heinsen: The pasodoble topic and Cubist aesthetics in Rosa García Ascot’s Preludio (1938) (9. SH)
  • 10 Małgorzata Grajter: The topical world of João Domingos Bomtempo’s Piano Sonatas: Concordance and sequence (16. CMH)
  • 13 Joanna Szymańska: The myth of America and mythicization in Ch. E. Ives’ Holidays Symphony (23. R-510 )

14:30 – 15:00

  • 4 Karl Joosep Pihel: Schema and diagram in music: From Kant through Peirce to Deleuze (1. CH 
  • 8 Carlos Villar-Taboada: From Epinicio (1979) to Églogas (1982): Pastoral meanings in Rodolfo Halffter’s late ”naked music” (9. SH)
  • 11 Agnieszka Kuczyńska: ”Music: The Beginning of All Things”: Intersemiotic translation in the work of Zbigniew Makowski (16. CMH )
  • 14 Anna Granat-Janki: Semiotics in the study of cultural identity of Polish émigré composer Alexander Tansman (23. R-510 )

Sessions B

09:00-09:30

  • 18 Frangel López Ceseña: A passacaglia for an angel (10. SH)
  • 22 Uri Golomb: From intellectual abstraction to continuous narrative: On three approaches to the presentation and performance of Bach’s Die Kunst der Fuge (17. CMH)

09:30-10:00

  • 15 Galateia Daskalaki: Existential potentials in late Brahms: Interfaces and convergences between existential semiotics, autoethnography, and performance (2. CH )
  • 19 Marie Antunes Serra: ”Figures” of the sacred in Arvo Pärt’s and John Tavener’s vocal music (10. SH)
  • 23 Lóránt Péteri: Mahler’s First Symphony and István Szabó’s Father: A case of musico-cinematic intertextuality 17. CMH 
  • 26 Magdalena Chmiel: Recontextualizing the Hardanger fiddle: Local tradition, national identity, and global media (24. R-510)

10:00-10:30

  • 16 Grisell Macdonel: Improvisation in Romantic virtuosity as Moi and Soi, power and temporality in the case of the Italian double bass virtuoso performer-composer Giovanni Bottesini (1821–1889) (2. CH)
  • 20 Laine Gruver: Dual topical signification in Game of Thrones Leitmotifs (10. SH)
  • 24 Helder Gonçalves: Music as mediating structures of meaning in Sandro Aguilar’s cinema of narrative opacity: Marco Franco’s score for First Person Plural (17. CMH)
  • 27 Peter Salvucci: Towards a Greimassian semantic hierarchy of musical signification: A comparative study in European tonal and Ottoman makam music (24. R-510)

10:30-11:00

  • 17 Panu Heimonen: Towards a normative definition of the Mozartian concerto form: An existential semiotic reconstruction of the concepts of space and semantic change (2. CH)
  • 21 Olga Sánchez-Kisielewska: Style as telos? Interactions between topics and form in two expositions by Boccherini (10. SH)
  • 25 Ewa Czachorowska-Zygor: Beethoven and his Symphony No. 5 in C minor in Andrzej Wajda’s The Conductor: On the meanings and hidden relations in the film’s imagery and music (17. CMH)
  • 28 Rahilya Geybullayeva • From local epic to global signification: The Azerbaijani dastan ”Aşıq Qərib” in the context of authorship and cross-cultural adaptation (24. R-510)

Sessions C

18:00-18:30

  • 29 Violetta Kostka: Cognitive science and meaning of music (3. CH)
  • 33 Ludovic Teysseire: Modality as process: Sémiogenèse and the emergence of pitch coherence (11. SH)
  • 36* Paola Livorsi & Jin Hyun Kim: From linguistic to musical meaning: A performative transformation of Arendt’s philosophical fragments (18. CMH)
  • 38 Jūratė Landsbergytė: Limitless soundscapes: New lines of intermediality in Lithuanian music (25. R-510)

18:30-19:00

  • 30 Piotr Podlipiniak & Mihailo Antović: The evolutionary foundations of cognitive mechanisms underlying the multilevel grounding model of musical meaning (3. CH)
  • 34 Manuel Salas: Meaning and relation: Micropolyphony and the emergent ontology of sound masses (11. SH)
  • 36* Paola Livorsi & Jin Hyun Kim: From linguistic to musical meaning: A performative transformation of Arendt’s philosophical fragments (18. CMH)
  • 39 Leonardo Mezzalira: Ecological meanings in new music: Hypotheses about a new semiotic-musical framework (25. R-510)

19:00-19:30

  • 31 Christian Vassilev: Beyond virtuality: Musical identification and the limits of persona-theory (3. CH)
  • 35 Gianluca Dai Prà: Extending tonal functions: Is it possible to have functional meanings outside tonality? (11. SH )
  • 37 Małgorzata Gamrat: Music, ideas and meaning: Music in literature as a meaningful art and a communicative tool (18. CMH)
  • 40 Oleksandra Nenko & Alejandro Montes de Oca • Making sense of sonic engagements with the city (25. R-510) 

19:30-20:00

  • 32 Jin Hyun Kim: Beyond language: Understanding the musical form of enactment through a participatory mode of re-enactment (3. CH)

Sessions D

09:00-09:30

  • 44 Martin Čurda: A theory of rhetorical functions for Eighteenth-Century instrumental music: Rethinking Caplin’s formal functions in rhetorical terms (12. SH)
  • 50 Rūta Brūzgienė: The musicality of M. K. Čiurlionis’s Pictorial Sonatas and literary “Žodžio kūryba” [The Creation of the Word] (19. R-510 )

09:30-10:00

  • 41 Jeremy Wong: Collaborative improvisation as musical sense-making: Enacting music-theoretical understanding (4. CH)
  • 45 Giulia Roveta: Comic rhetoric and theatrical references in Benedetto Marcello’s Sonatas 
    Matteo Catalano: Retrospective Musical Syntax: On How Later Events Shape Earlier Meaning (12. SH)
  • 47 Christina Tsigka: Musical representations as a means for musical understanding by violin students at a Greek music school: A pilot semiotic and educational research (5. CMH)
  • 51 Elisa Bracher, Rodrigo Felicissimo & Mário Videira: Poems, photographs, paintings, and graphics as matrices for musical themes on South American landscapes: The aesthetics of beauty towards musical semiotics (19. R-510)

10:00-10:30

  • 42 Matteo Catalano: Retrospective musical syntax: On how later events shape earlier meaning (4. CH) 
  • 46 Ilona Kovács: The narrative of exoticism in Alexander Glazunov’s Raymonda: Musical meaning, stereotype, and cultural signification (12. SH)
  • 48* László Stachó: Rethinking meaning and attention in musical performance (5. CMH) 
  • 52 Gerard Guerra López: Crumbling time, building space: Transcending disciplinary boundaries in musical signification (19. R-510)

10:30-11:00

  • 43 Marta Goluch: Emotions and musical meanings through the lens of cognitive theories: The case of The Eyes of That Little One (lyrics by A. Osiecka, music by Z. Konieczny) (4. CH) 
  • 57 Zsuzsanna Könyves-Tóth: Péter Eötvös’s transformation of the Leitmotiv tradition in his operatic practice (13. SH)
  • 49 Juha Ojala & Ulla Pohjannoro: Metaphors in feedback speech of music teachers (5. CMH)
  • 53 Angelika Chȩć: Music in the service of court ceremonial: Gottfried Heinrich Stölzel’s Serenata “Seid willkommen, schöne Stunden” as an example of symbolic communication (19. R-510)

Sessions E

13:30-14:00

  • 58 Mikko Metsälampi: Listening to Wagner at high speed: A glimpse into deeper structures and their associative meanings in Wagnerian Gesamtkunstwerk (13. SH)
  • 66 Sam Reenan: Coleridge-Taylor’s classicized spiritual uptake (20. R-510)

14:00-14:30

  • 54*  Eveliina Sumelius-Lindblom & Matti Huttunen: Music meets the limits of language: Showing as a method of music research (6. CH)
  • 59 Adrian Alvarez Gálvez: Between war and desolation: Musical sign-metaphors of violence and its internalization in Siempre es de noche ahora (2022) (13. SH)
  • 62 Kara Koskinen: Victory Day music as a messenger of Russian patriotism (26. CMH)
  • 67 Jeremy Grall: Structural versus rhetorical musical borrowing in ”My Reverie” and ”The Lamp is Low” (20. R-510)

14:30-15:00

  • 54*  Eveliina Sumelius-Lindblom & Matti Huttunen: Music meets the limits of language: Showing as a method of music research (6. CH)
  • 60 Harai Golomb: Signifying the contrast between yes and no through music: How Mozart overcame a semiotic challenge and how Gardiner interpreted it (13. SH)
  • 63 Kalliopi Stigka: The phenomenon Mikis Theodorakis’ music- poetry-politics: When the ”Voice of Greece” becomes a ”Diachronic Ecumenical Hymn to Life” (26. CMH)
  • 68 Diana Cardoş: The myth of Oedipus in Enescu’s First Piano Sonata (20. R-510) 

15:00-15:30

  • 55 Susanne Kogler: Exploring musical signs and meaning: Understanding new music with works by Clemens Gadenstätter (6. CH)
  • 61 Paulius Prasauskas: Voice in opera: Negotiating embodiment and representation in musical meaning (13. SH)
  • 64 Alfonso Meave: Corridos tumbados: A Mexican musical genre circumscribed by excesses, activism, and government ban (26. CMH)
  • 69 Oana Andreica:  Archaic layers under a modern veil: Mihai Moldovan’s compositional legacy (20. R-510) 

15:30-16:00

  • 56 Sylvain Brétéché: Prosodic intricacies: Musicalness, vocalness, gesturalness (6. CH)
  • 74 Małgorzata Janicka-Słysz: Searching for (new) meanings: On Krzysztof Penderecki’s St. Luke Passion (1966) – six decades after the work’s creation (14. SH)
  • 65 Andrzej Gładysz: Can a hymn be a history lesson? Reflections based on the Polish example (26. CMH)
  • 70 Rimantas Astrauskas: Communicative functions of music instruments and sound tools traced in archaelogical materials found in Lithuanian territory and early historical writings (20. R-510)

Sessions F

9:00-9:30

  • 75 Uri Golomb: “The composer and pianist know better”: Musical autonomy and text-music interaction in the Lieder of Stella Lerner (14. SH)
  • 79* Robert Fleitz: Never Look Bach!: Musical hybridity as a tool to approaching the legacy of Glenn Gould in works by Jasna Veličković and James Layton (21. CMH)
  • 83* Paulo C. Chagas: Spectral semiotics revisited: Meaning, modulation, and the ontology of sound in the age of AI (27. R-510)

9:30-10:00

  • 71* Myra Pranajaya: Unwind and rewind: Exploring Poulenc’s solo piano works (7. CH)
  • 76 Gustavo Caum & Diósnio Machado Neto: Gesture as temporal morphology in José Maurício’s Missa Pastoril: Toward an operational phenomenological criterion (14. SH)
  • 80 Kostas Chardas: Creating a hybrid performance space: The emergence of ”artistic popular song” by Mikis Theodorakis and Manos Hadjidakis in the Greece of the 1950s and 1960s (21. CMH)
  • 84 Marcin Strzelecki: Created versus generated music: A meaningful difference (27. R-510)

10:00-10:30

  • 72 Elena Rovenko:  From musical sign to phenomenological meaning: Expression and perceptual synthesis in Vincent d’Indy’s musical thought  (7. CH)
  • 77 Michał Jędrzejski: Pseudo-choral: The musical meaning of the stylebased on 17th- and 18th-Century Bernardine sources from the archives in Święta Anna and Kraków (Poland) (14. SH)
  • 81 Jean-Marie Jacono: Musical hybridity in French Orientalist music of the 19th Century: from existential semiotics to the comprehensive analysis (21. CMH)
  • 85 Desy Macis: Posthumous music as a meaningful (fan)art: A semiotic rethinking of AI vocal enunciation and artistic legacy (27. R-510)

10:30-11:00

  • 73 Lina Navickaitė:  Collective memories and cultural meanings in piano repertoires (7. CH)
  • 78 Josephine Papst: Schönberg’s unfulfilled claim to express the divine musically: Seraphita and Die Jakobsleiter (14. SH)
  • 82 Yusuke Nakahara: Confrontation between the urban and rural spheres: Béla Bartók’s Second Piano Concerto (1930–1931) and its allusion to Stravinsky’s The Firebird (21. CMH)
  • 86 Lorenzo Incardona & Giuseppe Laricchia • “I’ve got blisters on my fingers!” Indexicality, authenticity, truthfulness, and the semiotics of micro-resistance in the AI age (27. R-510)

Sessions G

14:00-14:30

  • 87* Lucy Abrams-Husso & Helga Karen: Ontology of creation: Perspectives of new music specialists on interpreting a classic post-tonal work (8. CH)
  • 90 Kristina Kõrver: Flower motif and possible worlds in Arvo Pärt’s Für Alina (15. SH)
  • 94 Monika Karwaszewska & Mateusz Kawa: Boléro: The meaning ‘in’ and ‘of’ music (22. CMH)
  • 98 Heloísa de A. Duarte Valente: “Feelings, Nothing more than feelings…”: The ”glass sound” and the construction of a cosmopolitan imaginary in Brazil (1970–1980) (28. R-510)

14:30-15:00

  • 87* Lucy Abrams-Husso & Helga Karen: Ontology of creation: Perspectives of new music specialists on interpreting a classic post-tonal work  (8. CH)
  • 91 Maarja Tyler: Negotiating abstraction: Arvo Pärt’s avant-garde works in the context of Socialist Realism, 1963–1964 (15. SH)
  • 95 Borja Juan-Morera, Icíar Nadal-García & Belén López-Casanova: Beyond accessibility: Signed polyphony and the reconfiguration of musical meaning (22. CMH)
  • 99 Kalev Tiits:  Listening to algorithms as cultural codes in digitally produced music using Hofstadter’s trichotomy of digital messages (28. R-510)

15:00-15:30

  • 88 Julian Hellaby: Chaminade and the interpretative tower (8. CH)
  • 92 Ernests Circenis: Musical meaning-making and dissolving discursivity: A case study of Morton Feldman’s ”Palais de Mari” (15. SH)
  • 96 Gabriele Marino: Zemiotics? Frank Zappa’s project/object as object-semiotics (22. CMH)

15:30-16:00

  • 89 Sebastian Silén: Beyond authorial intent: How contextual awareness may expand musical significance (8. CH)
  • 93* Ivana Petković Lozo: Ornamentation and suspended teleology in Morton Feldman’s late works (15. SH)
  • 97 Brian Inglis: Semiotic and hermeneutic approaches to Sandi Thom’s ”I Wish I Was A Punk Rocker (With Flowers In My Hair)” (22. CMH)