Guidelines

The twentieth century witnessed radical transformations in Western compositional practice, most notably with the emergence of atonality and, subsequently, dodecaphony—developments that profoundly challenged inherited tonal paradigms. Nevertheless, tonality did not disappear entirely. While many influential composers embraced atonality, others continued to operate within tonal frameworks, albeit often with considerable innovation. Some dispensed with traditional voice-leading conventions and functional harmony, yet retained or reimagined tonal references through novel materials and structural strategies. Jazz, moreover, played a pivotal role in this evolution, not merely as an influence but as an agent of tonal renewal, introducing complex harmonic and modal procedures that redefined tonal practice.

In response to these shifting idioms, conventional analytical tools proved increasingly inadequate. As a result, theorists such as Boulez, Forte, Leibowitz, and Nattiez advanced new methodologies to address the formal and structural demands of modernist repertoires. Among these, Forte’s pitch-class set theory has been particularly influential, offering rigorous, formalised procedures for revealing underlying structures in atonal works. Applied beyond its original domain to composers such as Ravel, Stravinsky, Bartók, Falla, Lopes-Graça, and Ginastera, it can disclose significant structural insights. However, its abstract, ahistorical framework often renders tonal relationships opaque, potentially obscuring salient compositional features. Conversely, traditional functional analysis remains largely ineffective when confronted with the post-tonal languages that defined much of the twentieth century’s musical innovation.

This conference aims to:

Advance knowledge of existing analytical theories concerning tonality and pitch-centricity in 20th-21st century music;

Develop new theoretical approaches for these repertoires;

Examine jazz's role in renovating tonal practise;

Explore the productive limits of pitch-class analysis in tonal contexts;

Ponder further methodological perspectives within the study of 20th- and 21st-century music.

We invite proposals for 20 minute papers (followed by 10 minutes of discussion) on all aspects of modern musical analysis, including:

The Analysis of Pitch-Centric Music: Schools, Methods and Debates

Pitch-Centricity and the Semantics of Tonality

Pitch-Centric Composition: Techniques and Innovations

Jazz: Reinventing Tonality

Beyond the Modes: Chromatic Extensions of Modal Practice

Eastern European Analytical Schools

Pitch-Centricity and Musical Form

Minimalism Tonality

Twelve-Tone Tonality

We welcome submissions from both academic and non-academic professionals, with particular interest in contributions from composers and performers engaged with:

Theory of composition;

20th/21st-century musical analysis;

Music theory and its practical applications,

Submission Guidelines:

Abstracts: Max 300 words (in English, Spanish, or Portuguese)

Deadline: 5 January 2026

Notification of acceptance: 1 February 2026

Registration fee: 80€

Free for Universidade do Minho students. Discounted rates available for other students – please contact us at the email below for more information.

Conference format: Hybrid (held in April 23-24 2026)

Publication Opportunity:
Selected papers will be considered for inclusion in a peer-reviewed edited volume.

Organising Committee: César Viana, Ângelo Martingo, Vítor Matos, Svetlana Poliakova

Scientific Committee: Ângelo Martingo, Svetlana Poliakova

Keynote Speakers: Marina Frolova-Walker (Cambridge University), Christopher Bochmann (Évora University-Emmeritus)

Guest Speakers: Jelena Novak (CESEM), David del Puerto (Escuela Reina Sofía)

For more information, please contact: conferencepitchcentricity@proton.me