Music Theory Online
A Journal of Criticism, Commentary, Research, and Scholarship
Music Theory OnlineA Journal of Criticism, Commentary, Research, and Scholarship |
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Volume 7, Number 2, April 2001
Copyright © 2001 Society for Music Theory
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Calls for Papers |
New Web Site and Call for Papers: Open Semiotics Resource Center
I am pleased to announce the creation of a music semiotics subsite at the Open Semiotics Resource Center. To find it, go to www.semioticon.com, and follow the link to The Semiotic Frontline. The intention of the site is to provide a mediated yet open-ended forum for the discussion of current issues in semiotic research. Each topic area (music is one of several, with plans to add more in the near future) has been seeded with a position paper, to which extended responses are invited. It is hoped that this can be the beginning of a fruitful exchange, intermediate in nature between a discussion group and an online journal.
The music portion of the site is edited by myself. If you are working in musical semiotics, or are interested in the field, please consider visiting the site, reading the position paper, and submitting a response. Also, please feel free to email me with any questions you may have.
Call for Papers: Sights and Sounds
INDIANA STATE UNIVERSITY
Department of Music
Topics relating to music linked with other media
The Indiana State University Department of Music invites the submission of abstracts for the 35th annual Contemporary Music Festival, to be held October 31-November 2, 2001. Principal guests of the 35th Festival include noted film composer Richard Einhorn and The Louisville Orchestra. Presentations in a variety of formats are sought in order to engage an audience of invited guests, music students, music faculty, and the general public on the subject of music as it is composed, arranged, and adapted for use with other artistic media.
All presentations should be limited to 20 minutes. Abstracts should be written so that they can be printed or typed on one 8.5 X 11-inch page. If sending by regular mail or fax, please send two copies; at the bottom of the first should appear the author's name, audio-visual equipment requirements for the presentation, institutional affiliation or city of residence, and full return address, including e-mail address and fax number where possible. The second copy should be anonymous. If sending by e-mail, please send as an attachment. For presentations involving more than one person, the organizer should submit an abstract long enough to summarize the basic theme and ideas of the entire presentation and the contributions expected from each of the participants.
Anonymous copies of each abstract will be reproduced for the committee, whose initial reading and rating of the proposals will be made on the basis of the anonymous abstracts.
Over the last thirty-four years, the festival has featured numerous nationally and internationally known performers, conductors, and composers. Fifteen composers now have received the Pulitzer Prize for music. An annual competition for orchestral compositions, part of the festival since its inception, has provided many young composers with the invaluable experience of hearing their works rehearsed and performed by a professional orchestra. For information about the most recent Contemporary Music Festival at Indiana State University, please consult the Festival web site at http://www.indstate.edu/music/cmf.html.
All abstracts are due by April 1, 2001 and should be sent to:
Contemporary Music Festival
c/o Dr. Randall Mitchell
Department of Music
Indiana State University
Terre Haute, IN 47809
Questions can be e-mailed to mimithel@isugw.indstate.edu
Our fax number is (812) 237-3009
Call for Papers: 20 Years of Madonna
CALL FOR PAPERS (February 2001)
20 YEARS OF MADONNA: NEW APPROACHES TO MADONNA'S CULTURAL
TRANSFORMATIONS
In the six years since the publication of The Madonna Connection, Madonna, perhaps one of the most consistently transgressive and self-transforming artists of the late 20th century and early 21st century, has presented a set of strikingly new challenges to cultural analysis.
The release of Evita in 1996 was at once the culmination of her recurrent interest in Hispanism and the beginning of an unexpected transformation into exemplary matriarch. The arrival of her two children, her second marriage and the release of two critically acclaimed and best-selling albums have renewed media interest in Madonna. This new attention seems to have been attracted in no small part by the latest persona which seems, on the surface at least, to signal a dislocation with past personae. This putative dislocation generates a new set of resources such as media interviews and public statements worthy of academic study.
New developments in Gender, Queer and Ethnic studies also shed new light on her entire oeuvre. Consequently, there is a fresh need to (re)address configurations of race, gender and sex(uality) in Madonna's work to date. In view of this, we are seeking contributions to a volume that will be covering the following themes:
Madonna and:
Hispanism
Hinduism
Judaism (kabbalah)
Japanese culture (the Geisha look)
Black culture
All-American culture (Hollywood, Country and Western, Cowboy look)
European culture (Cockney, Germanic)
Motherhood
Marriage
Gay and Lesbian culture
Queer culture
The Internet (fan sites and discussion boards/web domain/webcasts)
The class system in the UK and the US (Fashion magazines/hunting/London's East End)
Girl acts (Spice Girls/Britney)
We are hoping to publish this volume with a major publishers, to tie in with the twentieth anniversary of Madonna's first single release in 2003. We hope that it will be possible to present work in progress at the 2002 UK IASPM (International Association for the Study of Popular Music) Conference which will be held at the University of Newcastle upon Tyne (United Kingdom). Please send 500-word abstracts by 22nd June 2001 to Freya.jarman@newcastle.ac.uk and Santiago.fouz@durham.ac.uk
Snail address:
Madonna Project
Department of Music
The University
Newcastle upon Tyne
NE1 7RU
United Kingdom
More details on our website:
http://www.ncl.ac.uk/music/madonna.htm
Call for Papers: The 3rd Symposium on Systems Research in the Arts
"Music, Environmental Design, and the Choreography of Space" to be held in conjunction with the 13th International Conference on Systems Research, Informatics, and Cybernetics
Papers are invited for the 3rd Symposium on Systems Research in the Arts, to be held in conjunction with the 13th International Conference on Systems Research, Informatics, and Cybernetics, July 30-August 4 in Baden-Baden, Germany. The study of systems within the scope of traditional arts-related theory, or the application of general systems methodologies to the analysis of music, architecture, interior design, dance, theatre, and the visual arts are areas of particular interest.
Abstracts of approximately 200 words should be submitted by March 31, 2001 for evaluation (please note that we have extended the deadline one week). All proposals will be judged based on scholarly quality, originality, and potential for further discourse. Abstracts should be submitted electronically in Microsoft Word format to Jim Rhodes, Shorter College, USA (jrhodes@shorter.edu) or Jane Lily, University of Georgia, USA (lilyj@arches.uga.edu). For more complete contact information and details, please visit the Arts Symposium home page at http://www.shorter.edu/jrhodes/bb2001/symp2001.htm.
Call for Papers: Pacific Northwest Graduate Music Students Conference
Twelfth Annual Pacific Northwest Graduate Music Students Conference
12-13 October 2001 University of Victoria Victoria, BC
This annual conference is hosted alternately by the University of Washington, the University of Victoria, and the University of British Columbia. Graduate students from across the U.S. and Canada are invited to submit proposals for presentations on any music-related topic (including musicology, music theory, ethnomusicology, performance practice, music education, etc.). Proposals for lecture recitals and works-in-progress are welcome. Presentations will be limited to 20 minutes, followed by a brief discussion period.
Submission deadline for proposals is 1 July 2001, with notification of acceptance no later than 7 September 2001. Both written and e-mail abstracts (of approximately 250 words) are acceptable. Proposals and/or requests for further information may be directed to Steven Cannon, Coordinator, at either of the following addresses:
Pacific Northwest Music Graduate Students Conference
c/o Steven Cannon
School of Music
University of Victoria
PO Box 1700 STN CSC
Victoria BC V8W 2Y2
Canada
E-mail: musicconference2001@yahoo.ca
Call for Proposals: Symposium on Music Instruction Technology
THE THIRD NATIONAL SYMPOSIUM ON MUSIC INSTRUCTION TECHNOLOGY
THEME: PRACTICE AND RESEARCH
DATE: July 13-14 (Friday-Saturday), 2001
LOCATION: Auburn University Hotel Conference Center, Auburn, Alabama
WEB: http://www.auburn.edu/musiceducation/NSMIT
Sponsored by the Music Education Program, Auburn University, Kim Walls, Coordinator and Center for Music Research, Florida State University, Jack Taylor, Director.
Co-sponsored by The Music Educators National Conference (MENC).
Conference Chair: Kimberly Walls, Auburn University.
The National Symposium on Music Instruction Technology will provide opportunities for music educators and music education researchers to share knowledge and experiences concerning technology enhanced music instruction. Its purposes are to accelerate the exchange of ideas among practitioners and researchers, to encourage appropriate uses of music technology in PreK-12 learning environments, and to disseminate findings of investigations into learning with music technology.
To facilitate the exchange, the following types of presentation proposals are solicited:
(1) presentations, demonstrations, and hands-on workshops of PreK-12 music teaching utilizing technology,
(2) presentations and/or demonstrations of research findings concerning technology in music instruction,
(3) presentations combining 1 and 2 (above) pairing practitioners with researchers, and
(4) performances of technology ensembles, student electronic compositions, or student-produced multimedia.
Proposals are welcomed from both PreK-12 teachers and college faculty experienced in music technology.
Lengths of presentations will range from 30 minutes for lectures to 45 minutes for performances to 90 minutes for hands-on workshop sessions. Descriptions of all presentations and concerts will be published in a book of proceedings. Researchers may choose to submit complete articles for the new Journal of Technology in Music Learning (JTML), a peer-reviewed journal associated with the conference. Contact Kimberly Walls, JTML Editor, for additional information (kim.walls@auburn.edu).
One- to two-page presentation proposals should be sent to the Conference Chair, postmarked no later than May 1, 2001. Proposals for performances should include a cassette tape or compact disc. Proposals must include a list of equipment to be provided by the presenter, a list of equipment the conference would supply, and an indication of the type and desired length of presentation. Presenters are encouraged to bring their own laptop computers, where possible. A Mac and PC compatible SVGA projector will be available. Proposals should be e-mailed (preferred), faxed, or mailed to:
Dr. Kimberly C. Walls, Conference Chair
National Symposium on Music Instruction Technology
Dept. of Curriculum and Teaching
5040 Haley Center
Auburn University
Auburn, AL 36489
kim.walls@auburn.edu
334-844-6892
Attendees and presenters may pre-register for the conference by completing the attached registration form and sending it with a check or money order in US funds to the Conference Registrar (see address below) no later than July 1, 2001. The pre-registration fee is $60, $20 for students. Checks should be endorsed to Auburn University. You will receive acknowledgement of your registration.
Auburn University Hotel Conference Center lodging may be reserved at a reduced conference rate until July 1, 2001 by telephoning the hotel at 1-800-2AUBURN
Auburn University is located about two hour's drive from either Atlanta or Birmingham.
For information about graduate credit, continuing education credit and professional development credit contact the Conference Chair, Kimberly Walls.
Print the registration form (below), and then mail it along with the fees to Dr. Kimberly Walls, Conference Chair (see address above).
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REGISTRATION FORM
The 2001 National Symposium on Music Instruction Technology
Theme: Practice and Research
Name:
Title:
Organization:
Address:
Address:
City/State/Zip:
Daytime Phone:
Circle appropriate conference fees, below:
Pre-Registration $60, $20 for students
(Before 7/11/2001; includes proceedings and Friday dinner)
On-Site Registration $70
(includes dinner and proceedings)
On-Site Student Registration $30
(includes dinner and proceedings)
Additional Guest $20 __________________________________
(includes Friday dinner) guest's name
Extra copy of proceedings $15
Enclosed is my total registration payment of $____________
__ By personal check)
__ By money order
Make checks money orders payable to Auburn University
Integral, the journal of music theory published by graduate students in the Department of Music Theory at the Eastman School of Music, accepts submissions throughout the year. We seek articles on a broad range of musical topics, including theory, analysis, and criticism.
Authors are invited to three copies of typescripts, double-spaced throughout on 8 1/2" x 11" paper. Endnotes, musical examples, and figures (accompanied by captions) should be on separate pages. Contributors should consult The Chicago Manual of Style regarding style and format. Securing permission to reproduce copyrighted material is the author's responsibility. Authors' names should appear in the cover letter only.
Once an article is accepted, authors should provide text both in typescript and on computer disk; computer disk files for examples (.EPS and/or .TIF at 600 dpi for graphics, Notewriter, Finale, or Sibelius format for notation) are highly encouraged. Integral retains copyright of published articles.
Additional information about the journal can be found at http://theory.esm.rochester.edu/integral.
Please direct articles, inquiries, and correspondence to: Editors, Integral, Eastman School of Music, 26 Gibbs Street, Rochester, New York, 14604.
We look forward to your submissions. Thank you for your time and consideration.
Philip Chang (philc@theory.esm.rochester.edu)
Panayotis Mavromatis (pm@theory.esm.rochester.edu)
Co-editors, Integral
Eastman School of Music
Rochester, NY
ISMIR (International Symposium on Music Information Retrieval) 2001
October 15-17, 2001 @ Indiana University Bloomington
http://ismir2001.indiana.edu/
Join us for ISMIR 2001 - an intensive and lively forum on the rapidly emerging realm of Music Information Retrieval (Music IR)! ISMIR 2001 builds upon the very successful ISMIR 2000 meeting held last year in Plymouth, Massachusetts. Explore with your colleagues the exciting potential Music IR has for a wide variety of applications in the educational and academic domains as well as in the area of entertainment. ISMIR offers the only information exchange to focus exclusively on Music IR, enabling scholars to move more quickly toward viable solutions to many challenges.
Call for participation submissions deadline is May 14, 2001 (details
below).
Sincerely, The ISMIR Organizing Committee
J. Stephen Downie, University of Illinois at Urbana-Champaign (ISMIR Chair)
David Bainbridge, University of Waikato, New Zealand (Program Chair)
Gerry Bernbom, Indiana University
Donald Byrd, University of Massachusetts - Amherst
Tim Crawford, Kings College, London
Michael Fingerhut, IRCAM - Centre Pompidou, Paris
PAPERS
To submit your paper, two steps are required:
The Web form and template are provided at: http://ismir2001.indiana.edu/
POSTER SESSIONS
To submit your poster, two steps are required:
The Web form and template are provided at:
http://ismir2001.indiana.edu/
ISMIR 2001 THEMES Topics to be covered may include, but are not limited to, the following:
Music in this context is not restricted to a particular genre (monophonic, polyphonic, non-Western, microtonal, polyrhythmic, etc.) nor to a particular encoding or representation (sheet music, MIDI, recorded vocal and/or electroacoustic music, etc.).
KEYNOTE ADDRESS
David Cope is a composer, music theorist, and professor of music at the University of California, Santa Cruz. Cope has been interested for many years in what might be described as simulating specific musical styles by computer: he is the creator of software that implements, books that describe, and CDs that demonstrate (with Bach, Mozart, Prokofieff and other composers) his unique and remarkably successful approach. More recently, he has been working on a program that analyzes music for allusions to other music.
Other invited speakers - to be announced.
IMPORTANT DATES
May 14, 2001 -- Deadline for Paper/Poster Submissions
June 29, 2001 -- Authors Notified of Committee Decision
August 6, 2001 -- Final Paper Submission
September 29, 2001 -- Registration Deadline
ISMIR 2001 LOCATION AND ACCOMMODATIONS
ISMIR will be held on the beautiful campus of Indiana University Bloomington (http://www.iub.edu/). You'll feel right at home in the casual, academic atmosphere during the most brilliantly colorful time of the fall season. The Indiana Memorial Union, (http://www.imu.indiana.edu/) the centerpiece of the campus, is the location for most ISMIR activities as well as the hotel.
The ISMIR Web pages will be updated regularly to include an online registration form and program content and schedule. The registration fee for ISMIR will be $150.
Call for Papers: University of Western Ontario Graduate Student Symposium in Music
University of Western Ontario Graduate Student Symposium in Music 2001
CALL FOR PAPERS
The program committee for the Second Annual Graduate Student Symposium in Music at the University of Western Ontario, London, Ontario, Canada is pleased to invite submissions from graduate students of proposals for our Graduate Student Symposium to be held during the first weekend in June, 2001 (Saturday and Sunday, June 2nd and 3rd). For a description of last year's symposium, visit <http://www.music.uwo.ca/graduate/grad-whats_new.html>; to see abstracts of papers read, visit <http://www.music.uwo.ca/graduate/grad-symposium_june_2000.html>.
The committee is seeking submissions in all areas of music scholarship, including: ethnomusicology, music education, musicology, music psychology, and music theory. Abstracts of an interdisciplinary nature are also encouraged. Those wishing to read a paper should submit six copies of an abstract (maximum 500 words, excluding illustrations). In addition, we are pleased to invite submissions of proposals for lecture-recitals and mini-recitals, which will take place in the faculty's Von Kuster Hall. Those wishing to present a lecture-recital should send six copies of an abstract (300-500 words) and three copies of a cassette tape or CD with excerpts from the proposed program. Those wishing to present a mini-recital should send six copies of a program (with timings) and three copies of a cassette tape or CD with excerpts from the proposed program. Lecture-recitals and mini-recitals must be limited to forty minutes. Please indicate clearly whether your proposal is for a lecture-recital or for a mini-recital. Those wishing to have their tapes or CDs returned should include a stamped, self-addressed envelope.
Send proposals and abstracts to:
Attention: Robert Wouda
Graduate Student Symposium in Music 2001
Faculty of Music, University of Western Ontario
Talbot College Room 210
London, Ontario
CANADA
N6A 3K3
Submissions and inquiries may also be sent through email to: rwouda@julian.uwo.ca
Please have the subject line read: Graduate Student Symposium.
The author's name should appear only on the cover letter, along with the title of the paper, a return address (include an email address if possible), and a telephone number. The deadline for the receipt of proposals is Monday, April 9, 2001. All submissions received before and up to the deadline will be acknowledged.
Call for Papers: First Conference of the German Society for Music Theory
First Conference of the German Society for Music Theory
MUSIC THEORY BETWEEN THE HISTORICAL AND THE SYSTEMATIC
12-14 October 2001, Dresden
The first Conference of the German Society for Music Theory (Gesellschaft für Musiktheorie) will take place in the 'Carl Maria von Weber' Hochschule für Musik in Dresden. The conference theme, 'Music Theory Between the Historical and the Systematic', will be divided into four main thematic sections and a round-table discussion. In addition, it will be possible to present contributions on current research and on the teaching of music theory in a 'free papers' section. Proposals for papers are invited in relation to the following themes:
Papers should be of 20 minutes duration. The conference language is German. Abstracts (maximum 500 words) should be sent on disk or by e-mail (Word 6.0 or later) by 31 May 2001 to: Prof. Ludwig Holtmeier (Conference director), Clauertstrasse 78, 14163 Berlin. Tel: +49-30-80907227, Fax: +49-30-80907228, e-mail: LHoltmeier@aol.com
Conference Announcements |
Conference Announcement: Texas Society for Music Theory and the South Central Society for Music Theory
We am pleased to announce a website for the 2001 Annual Meetings of the Texas Society for Music Theory and the South Central Society for Music Theory. The societies will meet jointly at the University of Houston, February 23-24, 2001. Our keynote speaker is Walter Everett (University of Michigan).
The conference schedule, hotel and travel information, and a registration form can be accessed at http://www.uh.edu/music/tsmt2001.htm.
Feminist Theory and Music 6: Confluence and Divide
The conference FEMINIST THEORY AND MUSIC 6: CONFLUENCE AND DIVIDE will take place Thursday, July 5, 2001, through Sunday, July 8, 2001, at Boise State University in Boise, Idaho, in conjunction with the Eleventh Meeting of Gender Research in Music Education-International. Theoretical worlds, like the confluence of rivers and divides in the land, are altered by forces impinging on them and the multiple combinations by which they may be experienced and conceived. The Program Committee of FT&M6 invites proposals for 20-minute presentations on any aspect of musical studies related to feminism, women's studies, gay/lesbian studies, or gender studies. Also welcome are proposals for music performances related to the same areas. Proposals should be about 200 words in length, and must be received by March 26, 2001. Proposals may be submitted as email messages to FT&M6@boisestate.edu. Though email submission is preferable, a hard copy of the proposal may be sent to:
Elizabeth Gould
Chair, Program Committee, FT&M6
Department of Music
Boise State University
1910 University Dr.
Boise, ID 83725
Proposals submitted by FAX will not be considered.
Program Committee:
Wayne Bowman
Philip Brett
Elizabeth Gould
Ellen Koskoff
Marion Leonard
Carol Matthews
Pirkko Moisala
Ivan Raykoff
Rhian Samuel
The FT&M6 Call for Proposals is currently posted at http://music.boisestate.edu/FTM6
Seminar Announcement: Mannes Institute for Advanced Studies in Music Theory
MANNES INSTITUTE FOR ADVANCED STUDIES IN MUSIC THEORY
INSTITUTE IN HISTORICAL MUSIC THEORY, JUNE 9-12
Detailed descriptions of the workshops featured at the Mannes Summer Institute in Historical Music Theory from June 9-12, 2001 are indicated below and will be posted shortly on the Mannes Institute web site under construction. Applicants select two of the six workshops. Workshops meet approximately 3 hours a day throughout the conference and are supplemented by panel discussions and individual presentations by each faculty member to the plenary group. Comprehensive reading lists will be announced and materials disseminated in advance to insure preparation and collective participation.
The Mannes Institute provides professional music theorists, musicologists, and composers a unique opportunity for scholarly interaction at a high level of discourse. The workshops are open discussion groups in which faculty members serve as facilitators and coordinators for dialogue, participation, and debate among qualified peers--many of whom themselves have substantial background in these or other areas--rather than as conventional lecturers or conference speakers.
The formal application process via the Institute's web site will commence in early March. Qualified persons with minimum ABD status are invited to send a preliminary email to Wayne Alpern, Director, Mannes Institute for Advanced Studies in Music Theory, at <MannesInstitute@aol.com> expressing their interest in the summer program and preference for the following workshops:
WORKSHOP 1: GENRES OF HISTORICAL MUSIC THEORY
Instructor: Thomas Christensen
How is it possible to write any coherent history of music theory given how its subject matter has shifted so dramatically over time? Topics of m usical pedagogy and analysis that we today take for granted as integral to music theory were not always so considered. Conversely, many of the traditional components that made up the quadrivial science of musica theorica are now considered peripheral subjects lying precariously close to occult and esoteric thought, or more benignly, perhaps, as part of some mathematical or acoustical sub-discipline. Nor are these contrasting allegiances mutually exclusive at any given historical period. Widely diverging conceptions of music theory can often be found jostling with one another in the same historical culture, within the oeuvre of the same writer, and occasionally even in the same publication, thus making the historicization of music theory an extraordinarily challenging task.
In this seminar, we will consider some of the problems in attempting to define historically a topic as diffusive and recalcitrant as music theory. By attempting to sort out "genres" or "paradigms" of theoretical writing, it might be possible to make sense of this diversity, while still salvaging music theory as an intelligible and coherent topic of historical study. Seminar participants will read and analyze selected excerpts from primary theoretical sources (including consideration of the readings assigned in the other seminars offered by the Institute), in order to construct a more nuanced taxonomy of theoretical genres. Likewise, a few contrasting examples of secondary literature will be read with the aim of understanding how one might go about historicizing the variety of theoretical genres we have considered.
WORKSHOP 2: THE THEORY OF DUALISM
Instructor: Ian Bent
Dualism was one of the 19th century's major contributions to music theory. Its basic postulate--the equality of major and minor mode--seemed just plain common sense. And yet it had a shelf-life of less than 80 years. How did the theory originate? What are its core ideas? How competently does it account for the harmonic language of the later 19th century? Why was it no t embraced by the theoretical world of musical modernism? Did it fail, and if so why?
The seminar will look first at the responses that Rameau's theory of the corps sonore and the natural-generative basis of harmony inspired in certain theorists, notably Gottfried Weber, Fetis, and Hauptmann. It will then examine selected passages in English translations from relevant works, many made specially for this seminar, in an attempt to penetrate to the heart of the theory.
WORKSHOP 3: TRADITION, RATIONALE, AND PRECEPT IN THREE MEDIEVAL MUSIC
TREATISES
Instructor: Sarah Fuller
This seminar will examine selected music treatises of the middle ages from the perspectives of intellectual principles, pedagogical methods, and reception of theoretical traditions. Each of the three works to be studied--Hucbald's Musica (c. 880), the anonymous Dialogus in musica (c. 1000), and Marchettus of Padua's Lucidarium (c. 1320)--constitutes a key statement for its time. All three deal with essential elements of plainsong theory (musical rudiments and mode), but in ways that reflect specific audiences and cultural conditions.
Seminar discussions will center on how particular ways of thought, intended audience, and received traditions impact upon the writings of these three medieval theorists and, in particular, on their representations of mode.
WORKSHOP 4: CONCEPTS OF MODE, C. 1550: THEORY MEETS PRACTICE MEETS THEORY
MEETS . . .
Instructor: Cristle Collins Judd
The word "mode" represents one of the most richly textured and problematic terms of Renaissance discourse about music. Modern attempts to recover, explain, and, in some cases, extend modal theory have resulted in fractious debate that mirrors the contested nature of the original writings. Several facets of the tradition, history, and reception of the body of writings generally known as "modal theory" contribute to the difficulties:
discussions of mode appear in wide-ranging contexts that reflect antecedents in classical and ecclesiastical traditions as well as a complex, and at times contradictory, network of concepts associated with a conflation of 15th and 16th-century Latin and Italian terms. Equally subject to intense debate is the relationship of musical theory and musical practice, especially in consideration of music of the past. Rarely obvious under any circumstances, the relationship becomes infinitely more problematic when the two activities merge as a single individual occupies the position of composer and theorist.
WORKSHOP 5: HISTORICALLY INFORMED ANALYSIS OF EARLY 18TH-CENTURY MUSIC
Instructor: Joel Lester
All later analyses of early 18th-century music are unavoidably anachronistic in two fundamental ways. First, analysts ask questions that are pertinent to their era, not necessarily to the era of the music's creation. Second, analysts almost invariably apply theoretical tools developed in later eras. What happens if we analyze early 18th-century music with greater historical sensitivity?
This seminar will explore this question from two perspectives: by careful reading of some analyses (published and unpublished) from the period, and by studying the results of applying early eighteenth-century theoretical tools to contemporaneous music. Writings by late 17th-century and early 18th-century theorists (Rameau, Heinichen, Werckmeister, C.P.E. Bach, Malcolm, and others, as well as anonymous documents) and modern commentaries on these issues yield ways of applying concepts to music of Lully, J.S. Bach, Rameau, and others. Discussions in this seminar will evaluate the pertinence of such analyses to answering questions of interest to modern musicians.
WORKSHOP 6: TONOS, HARMONIA, OCTAVE SPECIES, MODULATION, AND COMPOSITION IN
ANCIENT GREEK MUSIC AND MUSIC THEORY
Instructor: Thomas Mathiesen
What were the tonoi in ancient Greek music? Were they a "position of the voice" (topos phones), a "scalar mode" (tropos sustematikos), or a rearrangement of intervals in a characteristic octave? How did they relate to the harmoniai or octave species? How many were there and what was the relationship among them? How could they have had the influence on character (ethos) seemingly attributed to them by Plato and Aristotle? How was modulation effected and what purpose did it serve?
These questions will be addressed through a close reading (in translation) of various Greek treatises, ranging from Aristoxenus through Alypius, concentrating on issues of terminology, context, and theoretical tradition (i.e., Pythagorean, Harmonicist, Aristoxenian, Epicurean, Skeptic, etc.). The evidence of the treatises will then be applied to an analytical study of a number of the most famous pieces of ancient Greek music, including the two Euripidean fragments, the Delphic paean of Limenios, the hymns of Mesomedes, and the Epitaph of Seikilos, in order to answer perhaps the most interesting question: to what extent do the theoretical descriptions accord with the surviving musical examples, and in what ways can they illuminate our understanding of these pieces?
Applications for the Mannes Summer Institute in Historical Music Theory, June 9-12, 2001, are now invited at the web site of the Mannes Institute for Advanced Studies in Music Theory at: http://www.mannes.edu/MannesInstituteThe site furnishes detailed information about the workshops, faculty members, reading lists, policies, and goals of the Institute, plus a fill-in application form which is submitted electronically. The site is updated periodically. Applicants are requested not to submit additional information (such as a CV) by email.
THE DEADLINE FOR APPLICATIONS IS APRIL 24, 2001.
Enrollment is limited to no more than 40 people selected on the basis of scholarly achievement, professional participation, academic distinction, and the ability to actively contribute in a meaningful and significant way to the advanced theoretical and historical study of music and the interactive methodology of the Institute.
Prior knowledge and work in the history of theory are highly desirable but not required, and may be substituted by expertise in other areas of music theory or musicology demonstrating comparable scholarly commitment and professional qualifications. Reading materials not generally available will be disseminated one month in advance. All participants are expected to be fully prepared as a condition of attendance.
Inquires regarding the Institute, web site, and application procedure should be directed to Wayne Alpern, Director of the Mannes Institute for Advanced Studies in Music Theory, by email at MannesInstitute@aol.com, phone or fax at (212) 877-8350, or mail at 150 West 85th Street, New York, NY 10024. The Mannes Institute is part of The Mannes College of Music, Joel Lester, Dean, a division of New School University, Senator Bob Kerrey, President.
Conference Announcement: Midwest Graduate Music Consortium
I am very pleased to announce the program for the fifth annual meeting of the Midwest Graduate Music Consortium (MGMC). The meeting will take place at the University of Chicago on Friday and Saturday, March 30th and 31st. Don Michael Randel, editor of The New Harvard Dictionary of Music and President of the University of Chicago will give the keynote address.
Program:
Friday, March 30
1:40-3:10: Session 1, Opera Studies
1) Arman Raphael Schwartz (University of Chicago), "Regressions of Listening: the Vocal Object and Listening Subject, from Barthes to Berio"
2) Julie McQuinn (Northwestern University) "Resisting the Pull of Destiny: 'Genderization' on Trial in Debussy's Pelleas et Melisande"
3) Cathy Cole (University of Chicago), "Colonizing Natural Society: The Uneasy Peace of Rameau's 'Les Sauvages'"
3:30-5:00: Keynote Address, Professor of Music and President of the University Don Michael Randel, "Where did musicology go in the 20th century and where might it get to in the 21st"
7:30: Concert
Mouthpiece by Erin Gee (University of Iowa)
Chin Music by Matthew D. Harder (Northwestern University)
Spawn by Paul A. Oehlers (University of Illinois, Champagne-Urbana)
Effusion by Scott Gendel (University of Wisconsin, Madison)
Canticum by David M. Gordon (University of Chicago)
Toccata by Gregory J. Hutter (Northwestern University)
Saturday, March 31
9:15-10:45: Session 2, The Theorist's Toolbox
1) Scott Baker (Florida State University), "A Heterogeneous Analysis of the Eighth Piano Sonata, Op. 66 of Alexander Scriabin"
2) Albin Read Jones (University of Iowa), "Elaboration of Hexachordal Structures and Networks in Elliott Carter's 90+ for Solo Piano"
3) Donald G. Traut (Eastman School of Music), "The Displacement Operation in Schenkerian Theory"
11:00-12:30: Session 3, Music and Identity
1) Chun-bin Chen (University of Chicago), "From Chen Da to Chen Ming-chang: fabricating authenticity in Taiwanese folk/popular music"
2) Morgan Luker (University of Wisconsin, Madison), "'Deconstructing Havana': Bill Laswell's Imaginary Cuba and the Critical Revision of Authenticity"
3) Kimberly Marshall Bohannon (Northwestern University), "'We are Muslims' and 'Torah Tots': The Role of Children's Cassettes in Constructing a Hyphenated Identity"
2:30-3:30: Session 4, Meter, Rhythm and Performance
1) Paul Steinbeck (University of Chicago), "Fred Anderson on December 4th"
2) Daniel G. Barolsky (University of Chicago), "Score and Performance as Musical Collaboration"
3:45-4:45: Session 5, Music and Society
1) Marc E. Johnson (CUNY Graduate Center), "Ein Heldenrequiem?: Richard Strauss's Metamorphosen and the Death of the German Cultural Hero"
2) Jeffers Engelhardt (University of Chicago) "The (Re)turn to Religious Tradition: Pilgrimage and Process in Music Since 1975"
Directions and further information about the conference are available at our website, at http://humanities.uchicago.edu/orgs/mgmc.
Conference Announcement: Music Theory Midwest
Here is the schedule for Music Theory Midwest's 2001 Conference, which will be held at the College-Conservatory of Music, University of Cincinnati, 20-21 April 2001 - Cincinnati, OH in conjunction with the Society for Ethnomusicology-Midwest. Further information on the conference, including abstracts of the MTMW papers, can be had at this URL: http://www.wmich.edu/mus-theo/mtmw/mtmw01/
Friday, April 20
8:00-5:00 Registration, Coffee
Issues in Opera, 9:00-10:30
Session chair: Rebecca Leydon, Oberlin College Conservatory
10:30-10:45: BREAK
Tonality as a Unifying Force, 10:45-12:15
Session chair: Marianne Kielian-Gilbert, Indiana University
Instruments and Border Crossings, 10:45-12:15
12:15-1:45: LUNCH
Temporal Issues in 20th Century American Music, 1:45-3:45
Session chair: Michael Buchler, University of Iowa
"Just As I Am": Religious Identities, 2:15-3:45
3:45-4:00 BREAK
Metric and Rhythmic Topics, 4:00-5:00
Session chair: Nancy Rogers, Lawrence University Conservatory of Music
Crossing Over: Folk Music and the Concert Hall, 4:00-5:30
5:30-6:30 Reception
8:00 Concert
Saturday, April 21
8:00-5:00 Registration, Coffee
New Theories for 20th Century Music, 9:00-10:30
Session chair: Candace Brower, Northwestern University
Ethnomusicology: Processes of Perception, Transmission, and Transcription, 9:00-10:30
10:30-10:45: BREAK
Asian Music and Serialism, 10:45-11:45
Session chair: Lee Blasius, University of Wisconsin--Madison
From Database to Play List: Musical Technologies, 10:45-11:45
11:45-1:15: LUNCH
Form and Structure in Tonal Music, 1:15-3:15
Session chair: Joseph Lubben, Oberlin College Conservatory
"Born in the USA": Regionalism, National Identity, and the Musical Text, 1:15-3:15
3:15-3:30: BREAK
3:30-4:00: MTMW Business Meeting
4:00-5:00: Keynote address by Kofi Agawu
5:30-7:30: Dinner at Faculty club
8:00 Concert
Lawrence Zbikowski, chair, program committee, MTMW 2001
University of Chicago
larry@midway.uchicago.edu
Conference Announcement: Music Theory Society of New York State
The annual meeting of the Music Theory Society of New York State is coming up on April 21-22 at Binghamton University, Binghamton, New York. Pre-register before April 6 and save $5.00. Check out the MTSNYS site at http://www.ithaca.edu/music/mtsnys/ for details.
You can save $31.00 per night off the regular room rate at the Holiday Inn next to the campus: call (607) 729-6371 by Tuesday, March 20 and ask for the special NYS Music Department rate of $68.00. Otherwise, the rate is $99.95. The Courtyard by Marriott, also nearby, is holding rooms at $74.00 until this Friday, March 23. Telephone (607) 644-1000 or FAX (607) 644-1022, and request the BU Harpur College rate.
Contact Paul Goldstaub at (607) 777-4403 or <pgoldst@binghamton.edu> for more information.
Conference Announcement: New England Conference of Music Theorists
The New England Conference of Music Theorists will hold its sixteenth annual meeting at the Hartt School of Music in West Hartford, Connecticut on April 7-8, 2001. Information about the conference (program, abstracts, directions, hotels, et. al.) can be viewed from the NECMT website: http://www.yale.edu/yalemus/necmt/index.html We hope many of you will be able to join us this year.
Conference Announcement: MusicCog/2001
MusicCog/2001 A Workshop-Symposium in Music Cognition
We are pleased to announce MusicCog/2001 -- a Workshop- Symposium scheduled for Friday May 18 to Sunday May 20, 2001 at the Ohio State University.
MusicCog/2001 entails 15 public lectures and 4 panel discussions on a variety of subjects in the field of music cognition. Guest speakers include Emmanuel Bigand (France), Jamshed Bharucha (USA), Eugenia Costa-Giomi, and Bill Thompson (Canada). As part of the symposium, the distinguished POLAND LECTURE in music theory will be given by Elizabeth West Marvin (USA).
MusicCog/2001 differs from a traditional conference in two important respects. First, many of the presentations are general or review in nature -- so the workshop is an excellent opportunity to gain an overview of the state of the art in music cognition. Second, the workshop emphasizes panel discussions where participants debate and discuss hot-button topics.
Admission to all events is free; no registration is required to attend the three days of lectures and discussions.
For further information regarding scheduled events, ground transportation, accommodation and other issues consult our web site: http://dactyl.som.ohio-state.edu/MusicCog/musicog01.html
A complete workshop schedule may be found at: http://dactyl.som.ohio-state.edu/MusicCog/schedule01.html
Please note: Since no registration fees are being collected, workshop organizers are limited in the assistance they can provide prospective participants.
Music cognition approaches the study of music as a manifestation of human minds/brains. The field involves music theorists, systematic musicologists, psychologists, cognitive scientists, and philosophers interested in comprehending human music-making and musicality.
Journal-Related Announcements |
New Journal Issue: Music Analysis 19/3
Here are the contents of Music Analysis, vol. 19, no. 3 (October 2000).
CRITICAL FORUM
New Journal Issue: Theory and Practice 24
Volume 24 (1999) of Theory and Practice is now available. Those who were members of Music Theory Society of New York State for 1998-99 will have received a copy of the journal by now (or should in a few days). The table of contents for Volume 24 is as follows:
If you wish to obtain a copy or become a member of MTSNYS, please contact:
Timothy A. Johnson
MTSNYS Treasurer
Whalen Center for Music
Ithaca College
Ithaca, NY 14850
Volume 25 (2000) is going to press this spring. It will include articles by Joseph Brumbeloe, Ted Conner, Donald G. Traut, and Stephen Slottow, and a review by Chandler Carter. In the meantime, I would encourage scholars to submit articles (3 copies) for blind review to me at this address:
Mark Anson-Cartwright, Editor
Theory and Practice
201B Emily Lowe Hall
112 Hofstra University
Hempstead, NY 11549
New Journal Issue: Indiana Theory Review 19
Indiana Theory Review is pleased to announce the publication of Volume 19, a double issue devoted to the topic of film music. The table of contents is as follows:To subscribe to ITR or to renew your subscription, an order form is handily available at: http://theory.music.indiana.edu/gta/orderform.htm
Also, please note that special sale prices for our inventory of back issues are still in effect. Volumes 1-17 are now available at the price of $10 per complete volume--roughly a 50% discount from current subscription prices. (Cost for shipping outside the U.S. is $3 per volume.) Additional discounts are available for purchase of large ranges of volumes; please contact us for prices.
For further information, ITR can be reached at gta@indiana.edu.
Online Publication Announcement: Electronic Musicological Review 6
Special issue devoted to the Seventh Brazilian Symposium on Computer Music: "The Musicologies of Digital Musics", edited by Giselle Ferreira (Open University), Eduardo Miranda (Sony CSL-Paris) and Carlos Palombini (Open University), <http://www.cce.ufpr.br/~rem/REMv6/emr-v6.htm>.
Held in conjunction with the annual meeting of the Brazilian Computer Society, to which the Brazilian Group for Computer Music Research is affiliated, the Seventh Brazilian Symposium on Computer Music took place at the Pontifical Catholic University of Paraná from 17 to 20 July 2000 and sought to highlight aesthetic, historical, theoretical, sociological and critical aspects of digital musics. For the sixth issue of the _Electronic Musicological Review_, Giselle Ferreira, Eduardo Miranda and Carlos Palombini have selected eight papers---from Australia, Brazil, France, Ireland, Russia, the US and the UK---they deem representative of what has become known, in computer and electroacoustic music circles, as "the Brazilian Symposium". This issue is available at <http://www.cce.ufpr.br/~rem/REMv6/emr-v6.htm>. Arcela introduces a method for setting up virtual sound installations that use tree-like structures to represent sounds in a three-dimensional space. Bakhmutova, Gusev and Titkova address the problem of differentiating melodies according to "nationality", with the use of a system that represents them in terms of repetitions. Bearing in mind the limitations imposed by the use of instrument-based descriptions of sounds in computer synthesis, Correa, Miranda and Wright propose an alternative taxonomy for sounds produced by granular synthesis. Dovicchi explores a set of new wavelet coefficients that he applies to the analysis of bassoon and French horn sounds, discussing the potential of the method for sound synthesis. Keller outlines a theoretical framework for ecologically-based composition. Lazzarini presents a collection of object-oriented synthesis and processing programming routines, illustrating their use in the development of actual applications. Palombini draws on Barthes to compare electroacoustic music and its associated musicology as Texts. Riddell offers an insider's view of the generation whose culture is data, and of the rise of process as an aesthetics of data. As this "volume" is "goes to press", a proto-history of "the Brazilian group" is appearing in the tenth issue of the Leonardo Music Journal, the "Southern Cones" issue, <http://mitpress.mit.edu/e-journals/Leonardo/lmj/lmj10.html>.
Other Announcements |
New Online Resource: SCSMT Discussion Forum
The South Central Society for Music Theory (SCSMT) has created a discussion forum and mailing list for music theorists in the south-central and adjacent regions. It is called SCSMT-L and runs under the LISTSERV protocol familar to smt-list members. We invite all those interested to join. SCSMT-L will convey information about our annual meetings and permit members of the list to participate in program planning. It is also available as an informal sounding board for music theory teachers and scholars in the region. Our goal is to involve everyone in our region and adjacent states involved in music theory pedagogy or research in SCSMT.
To subscribe, send an e-mail message to listserv@listserv.lsu.edu with the line:
subscribe scsmt-l yourname
from the e-mail account where you wish to receive scsmt-l messages; replace "yourname" with your first and last names, in that order. You will receive information about how to use the list within a day or two.
If you know of any colleagues who would benefit from joining SCSMT-L, please pass this message on to them. Our next annual conference will be in Baton Rouge, LA, on the LSU campus, during spring semester of 2002.
SCSMT web page: http://www.music.lsu.edu/~scsmtNew Online Resource: Academic Music
Los Angeles CA, March 5, 2001. In association with Doctor Audio, a leading Internet retailer for Midi & Digital Audio software and computer hardware, a new website called Academic Music has been launched. Academic Music (specializing in MIDI, Audio, Notation, and Instructional Software) is located at http://www.academicmusic.com. Academic Music is a complete, one-stop site for every conceivable kind of academic and learning music software. We provide full and complete versions of MIDI, audio, notation, and instructional software at special academic discount prices. You will find the most popular brands of single versions, lab packs, and site licenses for learning (and religious) institutions, teachers, and students. We have two sections to choose from. The first is academic pricing for professional and educational software titles. The second deals strictly with discounted single versions of the most popular learning software for beginners, intermediate and advanced students. We also have a newsletter in the making, and we welcome you to stop by our website and leave us your address, or simply e-mail news@academicmusic.com and put subscribe in the subject line. If you have any questions regarding Academic, or music education software, please E-mail us at info@academicmusic.com or call us at 818 996-3192.
General Announcement: The Serge Prokofiev Association
Supported by the Serge Prokofiev Foundation and the Serge Prokofiev Archive, an association devoted to this major composer has been created.
The Serge Prokofiev Association
President: Sir Edward Downes
Patron: Valery Gergiev
The Association description page is on
http://www.musicwrite.demon.co.uk/spa.html.
Members will receive a bi-annual journal, Three Oranges, which will cover all aspects of cultural and social life around Prokofiev in the various countries he operated in. (He lived successively in the Ukraine, St Petersburg, the United States, Germany, Paris and finally Moscow from 1936 to his death in 1953).
The journal benefits from special circumstances. The Editor being also Curator of the Serge Prokofiev Archive, much of the Archive's material and expertise will be made widely available to contributors. As a result, a considerable amount of primary sources so far unpublished will appear in Three Oranges on a regular basis. The Archive has a close relationship with the Prokofiev family and so Three Oranges will regularly include recollections and materials from the family. Finally the journal will invite the contribution of Western and Russian specialists in the related fields of social and cultural history, literature, art, cinema and ballet; areas of particular interest in the study of most composers of the first half of the twentieth century. As well as sustaining a lively debate on the significance of Prokofiev's life and work, Three Oranges will be an invaluable general reference document on the first half of the twentieth century.
Academic colleagues are invited to support the work of the Archive and Association by becoming a member and/or recommending that their institution's library subscribe to the journal. The online membership form is on http://www.musicwrite.demon.co.uk/mform.html.
MEMBERSHIP RATES
Life membership
Single: GBP250; Joint: GBP375
Annual membership
· UK: single GBP20; joint GBP30
· Overseas: single GBP25 or US 50; joint GBP35 or US $70
· F/T Students: UK GBP10; Overseas GBP15 or US $30
Libraries and other institutions:
UK GBP35; Overseas GBP45 or US $90
The Serge Prokofiev Archive
Established at Goldsmiths College, University of London, the Archive is supported by The Serge Prokofiev Foundation. It houses a unique and extensive collection of autograph and facsimile papers, correspondence and photos, mostly provided by the Prokofiev Estate. In addition the Archive includes microfilms of music manuscripts, books, scores, memorabilia and audio-visual material. The Archive's prime mission is to provide up-to-date information to scholars as to the nature and location of extant autographs, to make its unique collection available, and to act as an international forum through which institutions and scholars from Russia and the West discuss research relating to Prokofiev and his close associates. Projects undertaken by the Archive include the building up of a comprehensive catalogue of Prokofiev's works; making the Archive's catalogue accessible on-line; and major publications on Prokofiev. Visits to the Archive are by arrangement with the Curator.
For further details on the Archive please contact
No lle Mann
Curator
The Serge Prokofiev Archive
Goldsmiths College, University of London, London SE14 6NW, United Kingdom
Tel: +44(0) 20 7919 7558. Fax: +44(0) 20 7919 7255. E-mail:
n.mann@gold.ac.uk
General Announcement: Spring Update of DDM-Online
The Spring update of DDM-Online is now complete and available for your use at <http://www.music.indiana.edu/ddm>. Since the last update (December 2000), more than fifty new and corrected records have been entered; the entire database now contains 10,811 records.
A few modifications to the online registration form (and the accompanying instructions) have also been made in an effort to clarify the information needed in one or two of the fields that seem have been confusing to some of our users.
As always, DDM-Online relies heavily on all the institutions and individuals who regularly send us new records, corrections, updates, queries, and suggestions. Such communications are always welcome, and we hope you will continue to be in touch with us.
Copyright Statement
[1] Music Theory Online (MTO) as a whole is Copyright (c) 2001, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in (MTO) are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.
[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
prepared by
Stanley V. Kleppinger, editorial assistant
Updated
14 November 2002