Music Theory Online

The Online Journal of the Society for Music Theory


Volume 6, Number 4, October, 2000
Copyright © 2000 Society for Music Theory

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General Announcement: National Endowment for the Humanities Competition for Summer Stipends

Deadline: October 1, 2000 for awards during the summer of 2001

The National Endowment for the Humanities announces the competition for Summer Stipends awards. These awards support two consecutive months of full-time work on projects that will make a significant contribution to the humanities. In most cases, faculty members of colleges and universities in the United States must be nominated by their institutions for the Summer Stipends competition, and each of these institutions may nominate two applicants. Prospective applicants who will require nomination should acquaint themselves with their institution's nomination procedures well before the October 1 deadline. Individuals employed in nonteaching capacities in colleges and universities and independent scholars not affiliated with colleges and universities do not require nomination and may apply directly to the program. Adjunct faculty and academic applicants with appointments terminating by the summer of 2001 may also apply without nomination.

TENURE: Tenure must cover two full and uninterrupted months and will normally be held between May 1, 2001 and September 30, 2001. STIPEND: $4,000

INQUIRIES: 202/606-8200 or e-mail:

PURPOSE AND SCOPE: The Summer Stipends program provides opportunities for individuals to pursue advanced work in disciplines of the humanities during the summer. Projects proposed for support may contribute to scholarly knowledge or to the general public's understanding of the humanities, and they may address broad topics or consist of research and study in a single field.

ELIGIBILITY: Applicants need not have advanced degrees, but neither candidates for degrees nor persons seeking support for work toward a degree are eligible to apply for Summer Stipends. Persons who have held a major fellowship or research grant or its equivalent during the 1998-99 academic year or during subsequent academic years are ineligible for Summer Stipends. (A "major fellowship or research grant" is a postdoctoral award that provides support for a continuous period of time equal to at least one term of the academic year; that enables the recipient to pursue scholarly research, personal study, professional development, or writing; that provides a stipend of at least $10,000; and that comes from sources other than the recipient's employing institution. Sabbaticals and grants from a person's own institution are not considered major fellowships.) Beginning in 2001, Summer Stipends recipients may hold other small research grants for the same project during the tenure of their awards, but they must devote full time to their Summer Stipends research for the two months of their grant tenure.

SELECTION PROCEDURES: Reviewers consider the significance of the proposed project to the humanities, the quality of the applicant's work, the conception and description of the project, and the likelihood that the work will be accomplished.

For further information and application materials, persons interested in these programs can use the telephone number and e-mail address provided above, or they can write to: NEH Summer Stipends, Room 318, National Endowment for the Humanities, 1100 Pennsylvania Ave., N.W., Washington, D.C. 20506. All applications must be postmarked on or before October 2 (this year, October 1 is a Sunday). Please note that the NEH does not accept applications submitted by FAX or e-mail.

Information on NEH programs is also available at

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Call for Scores: Kansas City Regional Chess Council "Battle of the Minds" Composition Contest

April 26-29, 2001

The Kansas City Regional Chess Council announces a music composition contest in association with "Battle of the Minds," the United States Chess Federation Supernationals II, in 2001. Any student through age 18 may enter. Compositions should in some way reflect the theme, "Battle of the Minds," chess, or a chess-related theme. Each must be an original, unpublished work composed by the person submitting it. Contestants can enter compositions in one or more categories of the following three:

1. a fanfare for brass or other instruments, of about one minute in length; 2. a composition for the opening ceremony, scored for a small to medium sized band or orchestral ensemble, of three to five minutes in length; 3. a work for the closing ceremony, scored for similar ensemble as in category 2, and of a finale, victorious, or celebratory nature, three to five minutes in length.

Contestants should submit three copies of the score, maximum size 8 1/2" by 11", bound with front and back covers; and three copies of a tape of the work being performed. Do not send original manuscripts or the only copy of a score. Winning composers will be asked to submit a set of parts to enable performance of the work at the "Battle of the Minds" (if live performance is feasible). Submission of a work grants the KCRCC permission to have the work performed at the chess tournament, if it is chosen as a winner. The entry fee per composition is $15. Make checks payable to "Kansas City Regional Chess Council." Submissions are to be postmarked by Dec. 15, 2000. Send scores, tapes, and entry fee to:

"Battle of the Minds" Composition Contest
c/o Dr. Diane Fukunaga
Rising Star Elementary School
8600 Candlelight Lane
Shawnee Mission, Kansas 66215

If return of submitted materials is desired, securely attach to the back cover of one score a large-enough envelope with sufficient postage on it for return mailing and, inside, a stick-on self-addressed mailing label. Scores not returned become property of KCRCC. Although every care will be taken to protect materials, the KCRCC assumes no liability for loss or damage to materials.

The scores and tapes should have on them only the title of the composition and the category of work in which the work is submitted. No name of composer or other identifying information should be on the scores or tapes. However, each entry should have a sealed envelope securely attached to the inside of the front cover of one of the three score copies; the envelope should contain a paper with the following information on it:

1. Category in which the work is entered
2. Title of composition
3. Instrumentation
4. Name of composer
5. Address of composer teacher (if applicable)
6. Phone number of composer
7. Age of composer
8. Grade of composer
9. School composer attends
10. Name of composition

Judges will be three to five music professionals chosen by the Kansas City Regional Chess Council. All decisions by the judges will be final. Judges have the option of not awarding any or all prizes if they deem the works entered in a category to be of insufficient quality.

First prize in each category will be $300 plus a performance of the winning work at Supernationals II (taped or live, as feasible). Second prize in each category will be $150. Third prize in each category will be $75. All prize winners and their compositions will be mentioned in the commemorative booklet about the tournament.

If, in the future, a winning score is published, it is to contain the statement, "Winner, (first/ second/ third) prize, Composition Contest for the United States Chess Federation Supernationals II, 'Battle of the Minds,' Kansas City, Missouri, April 26-29, 2001."

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Call for Papers and Scores: SCI Region VI/Kansas Symposium of New Music Festival

HOST: University of Kansas

DATE: March 30-31, 2001

DESCRIPTION: SCI Region VI jointly with the Kansas Symposium of New Music announces "MUSIC MIDST US" (New Music from the middle U.S.). This festival, March 30-31, 2001, at the University of Kansas in Lawrence, invites submissions of compositions and proposals of paper presentations.

Available for performance of compositions are any orchestral instruments (including voice, saxophone, guitar, harpsichord, and organ) from solo to large chamber ensembles, and various choral groups and bands. Special interests include carillon (must be able to be arranged for a four and a half octave range of Great G to c4, no Great A-flat), saxophone quartet, brass quartet/quintet, jazz ensemble/combo, prerecorded works to be choreographed for dance, and staging of chamber operas (one-acts, excerpts, single movements, etc.). Electroacoustic music is possible. Composers whom can provide their own performers are also welcome.

Topics for paper presentations (either musicological, theoretical, etc.) should be relevant to music written since 1970, (3-5 pages, double-spaced).

Send up to three scores (copies only) and, if available, recordings (dance works must be prerecorded), and/or paper proposals (include abstract of 250 words or less) with bio, program notes, contact info, e-mail, and SASE (for return of materials) by September 15, 2000 receipt.

Please indicate SCI Region affiliation with your submission. Participants must be or become an SCI member by the time of conference and be in residence for the entire event (preference is given to Region VI members).

Prof. Michael Timpson, "Music Midst US"
SCI Region VI/Kansas Symposium of New Music
The University of Kansas, School of Fine Arts
Department of Music and Dance, 408 Murphy Hall
Lawrence, KS 66045





CONTACT: Michael Timpson
E-mail: tel: (785)749-3851

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Call for Scores: International Alliance for Women in Music

General call for scores world-wide for the International Alliance for Women in Music (IAWM) concert at the National Museum of Women in the Arts (NMWA) in Washington, D.C., June 10, 2001 at 3:00 pm.

Deadline: Scores must be received by December 15, 2000.

Composers whose works are chosen for performance are expected to attend the IAWM Benefit Concert in Washington, D.C., on June 10, 2001.

Instrumentation: flute/piccolo (one player), oboe/English horn (one player), clarinet/bass clarinet (one player), bassoon, French horn, alto saxophone, tenor saxophone, trumpet, trombone, percussion (one player) and piano. Composers are requested to submit scores that use a combination of at least THREE and at most EIGHT of the listed instrumentation.

Submissions are welcome from members of the IAWM. Composers who are not presently IAWM members may apply by becoming members and including a check for membership along with their submission ($25.00 for students, $30.00 for seniors and $45.00 for other individuals).

Send score(s) (copies only; no originals) and a cassette or CD, if possible (computer-generated tape is acceptable). The IAWM selection committee will select works using an anonymous submission process to ensure fairness. Please mark each score and tape or CD with a pseudonym only.

Each submission should contain a "Composer Information Form." You may use the form that is available on the IAWM Web site, copy the one printed in the Fall 1998 IAWM Journal (p. 57), or create your own. Include two copies of the form with your submission, and mark the envelope containing the form with your pseudonym.

The form must include the following information:

  1. Name
  2. Mailing address and phone number
  3. Email address and fax number (if you have them)
  4. Title of work
  5. Approximate duration (entire work)
  6. Movement names
  7. Instrumentation
  8. Program notes (no longer than 70 words)
  9. Short biography (no longer than 70 words)

If you would like your materials to be returned, enclose an envelope with your return address and international postage coupons, or, within the U.S., with sufficient postage. Submissions without SASE (self addressed, stamped envelope) will not be returned. Please send materials to:

Professor Maria A. Niederberger
Department of Music
P.O. Box 70661
East Tennessee State University
Johnson City, TN 37614

For more information, e-mail:

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Call for Volunteer Performers: International Alliance for Women in Music

For the upcoming Annual Benefit Chamber Music Concert on June 10, 2001 at the National Museum of Women in the Arts in Washington, D.C., the IAWM is calling for volunteer performers for the following instruments: flute/piccolo, oboe/English horn, clarinet/bass clarinet, bassoon, French horn, alto saxophone, tenor saxophone, trumpet, trombone, percussion and piano.

Performers must be prepared to commit to the following schedule: o Arrival in Washington, D.C., on Thursday, June 7, 2001 o Rehearsals: Thursday, Friday, Saturday (and perhaps Sunday), June 7 to 10 (rehearsal schedule TBA). o Concert: Sunday, June 10, 2001, 3:00 pm to 5:00 pm

If you are interested, please send the following materials: o A tape or CD of your performance (preferably featuring contemporary music) o A brief biography (no longer than 70 words) o A Curriculum Vitae o IMPORTANT: Include SASE (self addressed, stamped envelope) if you wish the return of your tape or CD. (We are unable to return material without SASE.)

Deadline: Materials must be received by December 15, 2000.

Please send the materials to:
Professor Maria A. Niederberger
2130 David Miller Road
Johnson City, TN 37604

For more information, e-mail:

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Conference Announcement: Festival of Russian Contemporary Music

Dear Colleagues,

I'm very pleased to announce an upcoming Festival of Russian Contemporary Music, to be held Sept. 28-Oct. 1, 2000 at the University of Iowa School of Music in Iowa City. The festival is sponsored by our Center for New Music, and will include lectures, presentations, a panel discussion, and three concerts of music, all of which will be free and open to the public.

The concerts will feature premieres and performances of fifteen newly-written works by living Russian composers, nine of whom will be in residence. The composers featured during this festival represent three generations, and their works encompass at least seven different styles and trends in Russian music. There will also be lectures by prominent Russian composers and musicologists, including Elena Dubinets, Svetlana Savenko, Marina Frolova-Walker, Vladislav Agafonnikov, and Roman Ledeniov.

I have included the complete schedule below. If you would like more details, or have any questions, please see the Center for New Music web site at or contact its director, David Gompper, at


Thursday, September 28
Room 101, Samuel Becker Communications Building

Friday, September 29
Lasansky Gallery, Museum of Art

Saturday, September 30
Room 101, Samuel Becker Communications Building)

Clapp Recital Hall

Vladislav Agafonnikov, "Sioita"
Vladimir Nikolayev, "Ulari Udila"
Olga Rayeva, "Les Vitrages"
Roman Ledeniov, Four Images
Vladimir Tarnopolski, "Kassandra"

Sunday, October 1

Clapp Recital Hall

3:00 pm Concert II, Leonid Karev, organ

Yuri Boutsko, Polyphonic Concerto
Counterpoint No. 4 for organ solo
Counterpoint No. 7 for organ and piano
"Tranquillo molto", a fragment of Ricercare"
Leonid Karev, "G...", a fragment of "Impromptus-Dedicaces"
Roman Ledeniov, "The Quiet Lake"**
Mikhail Kollontay, "Autumn" for organ and violin
Andrey Golovin, "In the Backwoods", from the cantata "Simple Songs"
Aleksander Vustin, "White Music"
Leonid Karev, "Apocryphal Pictures"

8:00 pm Concert III, Center for New Music Ensemble

Nikolai Korndorf, "Are You Ready, Brother?"
Albina Stefanou, "Incantation"
Faraj Karayev, "Postludium II"
Irina Dubkova, "The Lug of Days to Come," Poems by Daniel Haberman

"Loitering Hill"
"The Time"
"The Accurate Sky"
"No More"
"I am Dead"
"The Lug of Days to Come"

Sergei Zagny, "Magic Starts"
Dmitri Riabtsev, "Berceuse"

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Conference Announcement and call for proposals: North American Society for the Study of Romanticism

The 2001 meeting of the North American Society for the Study of Romanticism will take place on the University of Washington campus in Seattle, Aug. 16-19, 2001. We invite submissions of papers to be presented at the conference. View the list of Special Sessions at; proposals for these sessions should be sent directly to the organizers. Other proposals for conference papers should be sent directly to the conference organizers at the address below. The deadline for submissions is January 15, 2001. Submissions should be either 500-word proposals or papers not longer than 2500 words. To facilitate handling, we will greatly appreciate it if you send us material by mail rather than electronically.

The conference topic is "Romantic Subjects." This topic is intended to encourage a non-exclusive focus on three areas: subjectivity, ideas and ideologies, and subject positions. If you submit to more than one special session, please inform the organizers. Do not submit simultaneously to the special sessions and to the Seattle organizing committee; session organizers have an earlier decision deadline and have been asked to forward to us any proposals that they cannot use.

Conference Organizers:

Marshall Brown and Gary Handwerk, Department of Comparative Literature, Box 354338, University of Washington, Seattle, WA 98195-4338. Inquiries may also be directed to Richard Will, School of Music,

SEATTLE OPERA RING CYCLE TICKETS!!! We have reserved a block of 50 tickets at $176 for the Seattle Opera production of Wagner's "Ring of the Nibelung," Aug. 13, 14, 16, and 18. All three cycles of the Ring are currently sold out. If you wish to order a ticket in connection with the NASSR meeting, please click on the Wagner's Ring Order Form link above. THESE TICKETS MUST BE ORDERED AND PAID FOR BY NOV. 15.

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Call for Papers: Music Theory Southeast

Submission Deadline for Proposals: DECEMBER 1, 2000 (please note new date)

The 2001 meeting of Music Theory Southeast will be held March 16-17 at Bob Jones University in Greenville, South Carolina. Proposals for papers, special sessions, or panel discussions are solicited on any topic related to music theory. Submissions for papers should include five copies of an anonymous proposal 3-4 pages in length, an anonymous abstract of 250-300 words, and a cover letter providing the title of the proposal, the author's name, address, e-mail address, and phone number. To celebrate the Tenth Anniversary of MTSE, a complete set of Music Theory Spectrum will be awarded to the best student paper at the 2001 meeting. Submissions for special sessions or panel discussions should not be anonymous, but should include proposal, abstract, and a list of participants. All submissions must be postmarked no later than December 1, 2000, and sent to Marianne Wheeldon, MTSE Program Chair, School of Music, Florida State University, Tallahassee, FL 32306-1180.

MTSE visitors are also invited to BJU Opera Association's performance of Tosca on March 17 at 8:00 PM, featuring guest artists Maria Ciccaglione, Charles Austin, and Dallas Bono. For information and tickets, please call (864) 242-5100, ext. 5750.

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Call for Papers: "The Art of David Tudor: Indeterminacy and Performance in Postwar Culture"

May 17-19, 2001, The Getty Research Institute, Los Angeles, California

The Getty Research Institute, repository of the archive of the composer and pianist David Tudor, will hold an international symposium focusing on Tudor's work and its relation to developments in the art, dance, and music of the postwar period. A series of events co-sponsored with the California Institute of the Arts will complement the symposium, including concerts on May 18 and 19 of music composed by Tudor or written for him, and a realization of Tudor's "electroacoustic environment," Rainforest.

The Research Institute invites proposals for thirty-minute presentations on such topics as Tudor's work and working methods, his collaboration with visual artists, composers, and choreographers, and the position of his work within the broader context of the postwar avant-garde.

Proposals, not to exceed two double-spaced pages and accompanied by a brief curriculum vitae listing relevant research and publications, should be sent by December 1, 2000 to:

Dr. Nancy Perloff
Getty Research Institute
1200 Getty Center Drive, Suite 1100
Los Angeles, CA 90049-1688
Fax: (310) 440-7779

For further information on the GRI's archival collections, please visit our Web site,, and click on Research Library. Online finding aids are available for the archive of David Tudor and for related collections on Experiments in Art and Technology, Mary Caroline Richards, Jean Brown Fluxus, Carolee Schneemann, and Dick Higgins.

General Announcement: Advanced Placement Music Theory Program Call for Readers

The Advanced Placement Music Theory program is looking for a few good readers!

Each year thousands of high school students take the Advanced Placement examination in Music Theory. The examination includes questions in sight singing, melodic dictation, harmonic dictation, figured bass and composition. These questions are scored during early June of each year in a reading held at the College of New Jersey near Princeton, NJ. The reading is an experience that mixes hard work, professional development, fine (and frequent!) dining, excursions to New York or Philadelphia, and lots of fun. Those chosen to read are flown in from all over the U.S. and receive an honorarium for their services.

Those of us who have had the pleasure to participate in the program have found the experience to be very rewarding. Readers often relate that their teaching is improved by the many fine ideas people share during our time together. Others enjoy discussing their scholarship in an informal setting.

If you currently teach first year Music Theory and are interested in applying to become a reader, please visit the College Board web site at

To learn more about the AP program in Music Theory visit

Call for Scores: Royal Musical Association Research Students' Conference

University of Exeter
13-16 December 2000

Short compositions are invited for possible workshop rehearsal by Gemini, the Department's Ensemble-in-Association. Pieces should be of around 4-5 minutes duration; the combination of instruments available will be: Violin 'Cello and Piano.

In view of the later release of this information, please note that the closing date for compositional submissions is now Wednesday, 15 November 2000. The date for all other submissions will be as originally circulated (Friday, 27 October 2000).

Please would all intending delegates also note that booking forms and travel information will be available via the Department's website address at: some time in the week beginning 25 September (an additional link is also in operation through the RMA's own site at:

Please address all correspondence (marking your envelope 'RMA Conference' in the case of postal enquiries) to:

Alan Street
Department of Music
University of Exeter
Streatham Drive
Exeter EX4 4PD UK

Tel: +44-(0)1392-263810 (Sec) 263819 (D/L) 263815 (Fax) e-mail:

Call for Papers: Seventh International Congress On Musical Signification

For the thematic session, "Musical Ekphrasis" to be organized by Siglind Bruhn as part of the SEVENTH INTERNATIONAL CONGRESS ON MUSICAL SIGNIFICATION (ICMS7) which will take place June 7-10, 2001 at Imatra, Finland under the title, "MUSIC AND THE ARTS."

The term "ekphrasis" is used by literary scholars for, most generously put, poems responding to works of visual art. (A more precise definition is James Heffernan's "the verbal representation of visual representation," Museum of Words, 1993; see also the writings of Leo Spitzer 1955, Jean Hagstum 1958, Murray Krieger 1967, 1992, Hans Lund 1992 [1982], Claus Clüver 1989, 1997, Grant Scott 1991, 1995, Tom Mitchell 1992, 1994, Yacobi 1995, 1998, and others).

Yet not only poets may respond to a work of visual art with a creative act in their own medium, transposing the style and structure, the message and metaphors from the visual to the verbal. Composers, too, have explored this interartistic mode of transfer, claiming that a certain composition was a specific response to a painting or a sculpture, an etching or an altar panel, and that they have undertaken to transform the essence of this art work's features and message into their own medium, the musical language. Just like poets, composers may respond in many different ways to a visual representation: they may transpose aspects of both the structure and the content and/or expand on its meaning, they may supplement, respond with associations, problematize, or playfully engage some of the suggestive elements of the image.

These processes suggest questions such as the following: How does the knowledge of such a "transformation" from one medium into the other inform, guide, or alter our understanding of the musical work? And conversely, can such a musical work contribute to a deeper (or new) understanding of the art work that provided the stimulus?

This thematic sesssion is open to papers addressing particular case studies, particular aspects of re-presentation, questions of (cross-disciplinary and intra-disciplinary) methodology, as well as studies aiming to situate the phenomenon of "musical ekphrasis" within the aesthetics discourse.

The presentation of each paper must not exceed 30 minutes. The languages of the congress are English, French, and German. The proceedings will be published as an anthology in the international series, _Acta Semiotica Fennica_.

Abstracts (of 300-500 words) should reach me by December 1, 2000
(email please: ), along with
- biographical information,
- postal address, e-mail address, and institutional affiliation.

I will gladly answer enquiries at any time. So if you have doubts whether or not a topic you have in mind may fit, feel free to mail me.

As the organizer of this special session, I will compile abstracts + info and, together with the general proposal, submit the entire package to the ICMS7 Programm Committee early next year. I expect that you will then receive individual information regarding travel and accommodation. For registration and other details, see the information contained in the general conference announcement, which I attach below, as well as on the ICMS webpage,

Excerpt from the general conference announcement for ICMS7:

Musical Signification is an international research project made up of more than 200 members world-wide. Thus far the Musical Signification Project has organized symposia in Imatra, Helsinki, Edinburgh, Paris, Bologna, and Aix en Provence. Its administrational center is located at the Department of Musicology, University of Helsinki.

The congresses are intended for all scholars working in the field of musical semiotics, with semiotics understood in the broadest sense of the term. In addition to members of the Musical Signification Project, the congress is open to all other scholars who wish to attend and/or to present a paper on the main theme or on a related topic.

Chair of the Congress: Prof. Eero Tarasti
Honorary Board of the Congress: Profs. Daniel Charles, Marta Grabucz, Robert S. Hatten, Leonard B. Meyer, Costin Miereanu, Raymond Monelle, Jean-Jacques Nattiez, Charles Rosen, Gino Stefani and Bernard Vecchione

Organizing Committee: Drina Hocevar, Jean-Marie Jacono, Kai Lassfolk, Joseph-François Kremer, Luiz Fernando de Lima, Richard Littlefield, Dario Martinelli, Alfonso Padilla, Erkki Pekkilä, Maija Rossi, Anne Sivuoja-Gunaratnam, Eila Tarasti, Osmo Vartiainen, Irma Vierimaa, Susanna Välimäki

In addition to paper sessions and study groups, ICMS7 will feature events that include the following:
--a recital by acclaimed pianist, Charles Rosen,
--a concert of new Finnish music,
--a program of music performed by participants in the congress.

The congress will be held at the Imatran Valtionhotelli (State Hotel of Imatra) and the Imatra Cultural Center.

Further Information
Questions about the content of the congress may be directed to Osmo Vartiainen ( or to Susanna Välimäki ( As it becomes available, information about the congress will also be posted on the official website of the International Semiotics Institute (

For information about lodging, transportation, and other matters in Imatra, please contact the secretary of the International Semiotics Institute (ISI), Maija Rossi:

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Call for Papers: International Musicological Society

The International Musicological Society will hold its 17th international Congress at the Monsignor Sencie Institute of the Catholic University in Leuven, Belgium, from 1 to 7 August 2002. The Congress will offer symposia on eight broad themes, as explained in detail on the IMS website and on flyers available on request from the Secretary General of the IMS (fax 41-1-923-1027, e-mail

1. Hearing - Performing - Writing
2. The Dynamics of Change in Music
3. Who Owns Music?
4. Musica Belgica
5. Musical Migrations
6. Form and Invention
7. Instruments of Music: From Archeology to New Technologies
8. Sources

Each symposium will include multiple sessions, papers, and poster presentations on subtopics that will be determined by the proposals received. The program committee hereby calls for proposals addressing the themes of the symposia, although topics outside of the eight themes will also be considered. Proposals (in Spanish, Italian, German, French, or English) should be submitted by 3 April 2001, following the guidelines below. The committee particularly invites contributions from younger scholars and from scholars outside of western Europe and North America. Participants need not be members of the IMS, but all are expected to register for the conference.

All proposals must include the title of the proposal, the symposium theme to which it belongs, and the name and address of the session organizer or author, indicating whether the proposal is an "IMS Session," "IMS Paper" or "IMS Poster Presentation." Proposals may be submitted via electronic mail (as a letter, not an attachment), by regular mail or by fax (in a readable typeface on single sides of paper in A4 or 8.5 x 11-inch format with at least 3 cm. margins). Only one submission per author will be considered, and all proposals will be treated confidentially.

Proposals for SESSIONS must describe the desired length and format of the session and its importance in fewer than 400 words, provide the name and address of the organizer and a list of committed participants, and include a separate abstract (following the guidelines for individual papers) for each of their contributions. Preference will be given to sessions with an interdisciplinary and international panel of speakers.

Proposals for individual PAPERS must take the form of an abstract that describes the research findings and their significance as fully as possible. Individual papers are limited to 20 minutes and will be followed by time for questions and discussion. Abstracts must not exceed 250 words.

POSTER presentations should be designed to be displayed for at least three hours on three consecutive days, with the project coordinator or a member of the research team in attendance. Authors are responsible for ensuring that the necessary equipment is available. Proposals must include a description of the research project for display, not to exceed 250 words, and provide, separately, a detailed, complete list of the materials for display and of the equipment and facilities needed. The program committee guarantees venues in the main building of the conference, in proximity to session spaces.

All proposals must be submitted by 3 April 2001 to the chair of the program committee:

Prof. Barbara Haggh: IMS 2002
Clarice Smith Performing Arts Center
School of Music
Room 3110-C
University of Maryland
College Park, Maryland 20742
Fax: (1) 301-314-9504

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Conference Announcement: International Musicological Society 2002 Symposia

In view of the increasing range and variety of scholarship on music, the 17th Congress of the International Musicological Society, to be held 1-7 August 2002, in Leuven, Belgium, will present eight symposia on broad themes introduced below. The symposia will replace the single theme and related round-tables that have characterized recent congresses. The program committee has sent out a call for proposals for complete sessions, individual papers, and poster presentations related to the eight themes, from which the symposia will be composed. (For this call, see number of sessions to be held within each symposium is not fixed, nor must the content of a session, paper, or poster presentation reflect the themes only as represented here, which are intended as points of departure.

Symposium 1 Hearing - Performing - Writing

How we create music in our minds (as we hear), in the minds of others (as we perform), or in written or non-written representations of music (notation, chieronomy) are processes addressed by systematic and historical musicology, along with many other disciplines outside musicology that examine communication and cognition. This symposium encourages research into listening as well as hearing, interpretation and performance, and the reading and invention of music writing, as these activities involve repertories, listeners, and executants from a wide range of times and places.

Symposium 2 The Dynamics of Change in Music

Change and continuity are constants in human culture. Discussions and explanations of change may evoke the chronological (style periods, stages in composers' or performers' careers), 'geographical' (influence, acculturation, alienation), philological (syncretism, contamination), teleological (notions of progress or of cause and effect), biological (growth or decay), or hierarchical (the coexistence of different rates of change and strata of change at one time). In recognition of the complexity of our evolving musical world, this symposium solicits contributions addressing the epistemology of change.

Symposium 3 Who Owns Music?

The lives and careers of musicians suppose a reification of musical phenomena as is attested by concepts of authorship, patronage, copyright, and other, still broader aspects of the place of music in the human economy. Here we examine how and for what purpose people and institutions commission, acquire, inherit and discard music, and maintain, control, legislate, or exchange it.

Symposium 4 Musica Belgica

A meeting place of European cultures, the area that is now Belgium has always been a site of musical exchange and creativity. If it seems impossible to define a Belgian musical identity, it is no less true that traditions, privileged moments, and periods of uncertainty have exited. The histories of medieval music theory and of Renaissance polyphony in the region are best known, but the many manuscript and local archival studies now require complementary research situating their histories in a European context and in the broader history of culture. The examination of issues in modern history, such as the history of opera, the historiography of music in the 19th century, and contemporary composition and performance can benefit from a dialogue between musicologists and historians of diverse disciplines and methodological interests.

Symposium 5 Musical Migrations

Music is movement, musicians are rarely sedentary, and musical objects (scores, instruments, repertories) often move with them. These migratory movements cause superficial and radical transformations: the symbolic dimension of the musical event is more fully revealed, while the materiality of musical entities and objects is correspondingly reinforced. Complex values may inform judgements such as "fruitful synthesis," "stylistic corruption," or even "cultural annihilation."

Symposium 6 Form and Invention

"Form and invention" is a binary concept that represents many varieties of opposition and reciprocity. Although it derives from western classical rhetoric, it may profitably illuminate a wide range of music and in turn be enriched by its application. For Renaissance and Baroque music, it signified the choice and elaboration (inventio) of common figures (topoi) and their arrangement (dispositio) in persuasive oratory. Later writers reduced the processes of invention to the working out of a formal idea, while to composers and the public, "invention" came to suggest original creation, 'ex nihilo,' as it were. Such competing meanings of the terms still inform the "neo-classical" repertory of the last century. The symposium invites investigation of the presence of "form and invention" across a multiplicity of repertories and traditions and among a wealth of more recent paradigms for composition, listening, analysis, and improvisation.

Symposium 7 Instruments of Music: From Archeology to New Technologies

Musical instruments range from clapping hands to computers running on interactive software, from imaginative fancies to mass-produced souvenirs or pint-sized violins. This symposium seeks new contributions to organology, particularly encouraging explorations of phenomena that cross cultural and stylistic boundaries, such as the need for instruments that extend the abilities of the human musical body, or the accordance of spiritual or secular meanings to instruments of music and the sounds they produce. This forum might also investigate how instruments are valued and interpreted in different cultures, places, times, or functions, and why some instruments fail, but others are adopted and succeed.

Symposium 8 Sources

The study of sources, whether written, oral, or virtual, ensures the link between our generations and the past and its achievements. We continue to develop the presentation of sources in scores, recordings, and edited documents that range in format from print to digitized multimedia. Technology now pretends and aspires to make everything from the past instantly available on screen and through loudspeakers, yet substitutes for primary sources inevitably distort them in some way. This prompts us to examine how all of the tools and media involved in the collection, transmission, and retrieval of musical knowledge (catalogues raisonnes, critical editions, composers' homepages on the World Wide Web, and others) influence our relationship to our sources and to the ways in which we use them.

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Conference Announcement and Call for Papers: Joint Meeting of the South Central Society for Music Theory and the Texas Society for Music Theory

February 23-24, 2001
University of Houston

Keynote speaker, Walter Everett (University of Michigan)

The Texas Society for Music Theory, in conjunction with the South Central Society for Music Theory, will hold its annual meeting this spring in Houston at the University of Houston. Tim Koozin and John Snyder will coordinate local arrangements. Our keynote address, by Walter Everett of the University of Michigan, is entitled "Takin' It to the Streets: Egghead Trainspotting for Everyone"

The Society invites the submission of proposals for scholarly papers, poster sessions and panel discussions on any aspect of music theory, and music of any style, period, or region. Topics may include, but are not limited to: pedagogy, technology, analysis, history of theory, and the relationship between theory and performance.

Please submit SIX COPIES of a detailed proposal of 3 to 5 double-spaced typed pages. Your submission must be accompanied by a separate cover letter including: title of the presentation, your name(s),telephone number, e-mail address, and any technological or equipment requirements. Indicate if you are a student. A selection committee drawn from both societies will review proposals. As individual proposals will be reviewed anonymously, do not include your name on these proposals. Panel discussion proposals, however, must include the names of all participants.

These materials must be mailed (POSTMARK DEADLINE) by December 18, 2000. Please send them to:

Blaise J. Ferrandino
Interim Director, School of Music
P.O. Box 297500
Texas Christian University
Ft. Worth, TX 76129
(note that proposals containing musical examples or figures cannot be sent by e-mail)

Each submitter will be notified of the selection committee’s decision in late January. Those programmed must submit an abstract by February 5 for publication in the Proceedings. Student presenters wishing to be considered for the TSMT Colvin Award or SCSMT student paper award must send two copies of the complete paper to the judging panel by February 9. To be considered, please indicate full-time student status in the cover letter.

The program will be announced in February, with full registration and travel information.

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New Journal Issue and call for articles: Journal of Music Theory Pedagogy, Vol. 13.

The Journal of Music Theory Pedagogy has resumed a regular publication schedule. Vol. 13 was published this past summer, Vol. 12 is due out before the end of the calendar year, and vol. 13 will be published early in 2001.

The editorial staff welcomes articles about any aspect of teaching music theory and/or aural skills. Submissions will be reviewed promptly and authors will receive feedback on their work whether or not it is accepted for publication. Prospective authors are encouraged to consult the Contributor's Guidelines on the JMTP web site Additional information may be obtained from the editor whose name and address are given below.

J. Kent Williams
Editor, Journal of Music Theory Pedagogy
School of Music, UNC-Greensboro
Greensboro, NC 27402-6167
Office: (336) 334-5468 Home: (336) 545-8907

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prepared by
Stanley V. Kleppinger, editorial assistant
Updated 14 November, 2002