El proper congrés EuroMAC 11 es portarà a terme a l'Esmuc els dies 7 a 10 de setembre de 2026.Aquest congrés internacional d'Anàlisi i Teoria musical va tenir la seva primera edició a Colmar l'any 1989 i des del 2017 està apadrinat per la xarxa EuroT&AM que aplega totes les societats de Teoria i Anàlisi d'Europa. Aquesta 11a edició està promoguda i liderada per ATAM i per les altres dues societats de la península ibèrica, SATMUS (Espanya) i SPIM (Portugal), i compta amb la complicitat i la col·laboració de l'Esmuc, a través del departament de Creació i Teoria Musical. Web a l'ESMUC: https://www.esmuc.cat/euromac11-congres-analisi-musical-esmuc Web del congrés: https://euromac11.sciencesconf.org/?lang=es
ATAM is an association created in Catalonia in mid 2016 dedicated to the study, research, generation and dissemination of the theory and analysis of music, springing from an initiative mainly linked to faculty from the Theory and Composition Department of the Escola Superior de Música de Catalunya.
Theory is one of the oldest disciplines in music. In spite of this it is not recognized at academic degree level in this country, as it is in other countries and, at its best, it is included in a limited way as a supporting tool to other disciplines, and not as a field object of investigation and development on its own. We understand music theory as the study and formalization of properties inherent to simple musical structures and their interrelation to form complex multidimensional ones. And analysis as the application of theory to the study and knowledge of musical works, being in fact two disciplines that feed each other. Analysis being both an applied study of theory and also a source of observations leading to new theory, which will formalize that observed by means of analysis.
This concept of analysis evades any approximation to a musical work that pursues to imprint a 'meaning' of narrative, poetic, connotative, referential, autobiographic or programmatic character, which does not springs from their very own structural properties of musical components. Aspects which, from our perspectiva, turn out to be fully irrelevant to musical analysis, in spite of their prioritization and potential interest in other fields of study.
In this same trend of thought, they are exclude all those approximations based on pure description of musical elements, aiming to their recognition, ordering and labeling which, far from explaining and deepening in the complex relations and functioning of musical content within the context of a work, reduce them to the heavy, and yet simplistic, task of identification more closely related to a process of cataloguing than to that of musical analysis. A problem linked to that of terminology, often sterile when it only serves the purpose of exorcizing all deepening in the phenomena, supplanting it with an excess of lexical, denotative and useless categorization.
ATAM aims to promote the study of musical theory and analysis, to revalue and de-relativize both disciplines, restricting some extremely loose and little rigorous appropriations of them, incenting the participation of new associates and music scholars, the dissemination of papers and musical though and their development by means of conferences, symposiums, forums and publications.
