Volume 8, Number 2, August 2002
Copyright © 2002 Society for Music Theory



Calls for Papers

Conference Announcements

Journal-Related Announcements

Other Announcements

Calls for Papers

Call for Papers: Anthology on the Music of Brian Ferneyhough

Prospective-Editor seeks analytic essays, monographs, and unpublished articles on the music of Brian Ferneyhough for inclusion in an anthology of writings. Submissions may focus on analysis, influences, impact, or critical/philosphical issues related to Ferneyhough's compositions, research or writings. For more info, please contact via email.

Albin Read Lohr-Jones (Graduate Student)
(718) 391-9216

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Call for Papers: Wien Modern Festival


DATE: 14.-17. Nov 2002


papers on media-theater / music theater discussing interaction of medias, as well as presentations of innovative concepts of media in performing art, its philosophy and analysis. Presentations will take place at the WUK, Vienna, at the NEWOP11 Meeting, Nov. 14-17. 2002 for contemporary music/theater, in colaboration with "Wien Modern Festival".

Papers, concepts ideas etc. to be taken into consideration are to be sent to ZOON Musiktheater c/o Thomas Desy email:

Deadline for selected papers: October 15, 2002




tba after selection


tba after selection


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Call for Papers: Music and Gesture

International Conference


University of East Anglia, Norwich, UK

28-31 August 2003

Call for Papers

Gestures play a central role in our lives. We gesture, make gestures, respond to other gestures, read and interpret gestures. We live in a gestural world. Various types of gesture form vital and integral parts of our musical activities, including physical, cognitive, psychological, expressive, communicative, emotional, sociological, analytical, and pathological gestures. This conference seeks to explore the ways in which gestures function in and in relation to musical practice, whether performance, listening, composition, or other such activities.

Keynote addresses will be given by Nicholas Cook (Southampton, UK), Jane Davidson (Sheffield, UK), Robert Hatten (Indiana, US), David Lidov (Toronto, Canada), Justin London (Ohio, US), Alexandra Pierce (California, US), and John Rink (Royal Holloway, UK).

The Programme Committee invites proposals for papers of 20 minutes’ duration. Papers on the following topics are encouraged, though all proposals will be considered:

Postgraduate students are encouraged to submit proposals. Proposals for poster sessions and roundtables are welcome (roundtable proposals must include topics and participants). Proposals, in the form of an abstract of no more than 300 words, should be sent by post or (preferably) email to Anthony Gritten, School of Music, University of East Anglia, Norwich NR4 7TJ, UK [].

Deadline for receipt of proposals: 31 January 2003

Programme announced: March 2003

Conference Committee: Amanda Bayley (Wolverhampton), Jane Davidson (Sheffield), Elaine Goodman (Hull), Anthony Gritten (UEA), John Rink (Royal Holloway). The final programme and information about booking and accommodation will be available from March 2003 at

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Call for Papers: Second International Conference on Music and Artificial Intelligence



2nd International Conference on Music and Artificial Intelligence


12-14 September 2002, Edinburgh, Scotland

The 2nd International Conference on Music and Artificial Intelligence (ICMAI 2002) will be held on 12-14 September 2002, at Scotland's oldest concert hall, the beautiful 18th century St. Cecilia's Hall, Niddry Street in the Old Town, Edinburgh, Scotland.


The Conference will include paper sessions, posters, round table discussions, concerts and several social events, including a Ceilidh at the Caledonian Brewery. A preliminary programme can be found in:

The papers in the Conference deal with a wide range of aspects of current research, including structural, harmonic and reductional music analysis, pattern representation and discovery in both monophonic and polyphonic music, music perception of melody and rhythm, the relation between music and natural language, similarity and categorisation, music and intonation, musical expression and performance, sound processing, sound classifications, commercial applications, and music on the web, creativity and many others.

Proceedings of Category A papers will be published as part of the Lecture Notes in Computer Science / Artificial Intelligence (LNCS/LNAI) Series by Springer. A list of these papers can be found in:

Proceedings of Category B papers will be published as an electronic research report by the Division of Informatics, University of Edinburgh.

All those interested are invited to register for the Conference at the conference web page:

Early registration is open until the 10th of July. Special rates apply to students.


Antonio Camurri (University of Genoa, Italy): Computational Models of Expressive Gesture

Mira Balaban (Ben-Gurion University, Israel): Structure and interpretation of Music Concepts - Music from a Computational Perspective

Jean-Claude Risset (Laboratoire de Mechanique et d'Acoustique, France): Musical composition and artificial intelligence: some precedents and prospects

Jens Arnspang (Aalborg University, Denmark)
Mira Balaban (Ben-Gurion University of the Negev, Israel)
Marta Olivetti Belardinelli (University of Rome, Italy)
Rens Bod (University of Amsterdam, Netherlands)
Carola Boehm (University of Glasgow, Scotland)
Amilcar Cardoso (University of Coimbra, Portugal)
Emilios Cambouropoulos (University of Thessaloniki, Greece)
Elaine Chew (University of Sourthern California, USA)
Darrell Conklin (ZymoGenetics, USA)
Ian Cross (University of Cambridge, England)
Roger Dannenberg (Carnegie Mellon University, USA)
Peter Desain (University of Nijmegen, Netherlands)
Anastasia Georgaki (University of Athens, Greece)
Gillian Hayes (University of Edinburgh, Scotland)
Henkjan Honing (University of Nijmegen, Netherlands)
Jukka Louhivuori (University of Jyvaskyla, Finland)
Tod Machover (MIT-Media Lab, USA)
Guerino Mazzola (Universities of Zurich and Vienna, Switzerland and Austria)
Stephen McAdams (IRCAM, France)
Eduardo Miranda (SONY CSL-Paris, France and Brazil)
Peter Nelson (University of Edinburgh, Scotland)
Francois Pachet (SONY CSL-Paris, France)
Stephen Travis Pope (University oF California, Santa Barbara, USA)
Alan Smaill (University of Edinburgh, Scotland)
Mark Steedman (University of Edinburgh, Scotland)
David Temperley (University of Rochester, USA)

Alan Smaill (University of Edinburgh, chair)
Christina Anagnostopoulou (University of Edinburgh, co-chair)
Miguel Ferrand (University of Edinburgh)
Peter Nelson (University of Edinburgh)
Alison Pease (University of Edinburgh)
Mark Steedman (University of Edinburgh)


or email

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Call for Papers: Music Theory Society of New York State and New England Conference of Music Theorists

Music Theory Society of New York State
New England Conference of Music Theorists
Yale University
New Haven, Connecticut
26-27 April 2003


The Program Committee for the first joint meeting of MTSNYS and NECMT invites proposals for papers and presentations on any topic related to music theory. Area of particular interest includes:

* Analysis for Performance

Papers given at national conferences or previously published will not be considered. Any number of proposals may be submitted by an individual, but no more than one will be accepted. Most papers will be placed in 45-minute slots, with about 30 minutes for reading and 15 minutes for possible response or discussion.

Paper submission should include:

1. Six copies of a proposal of at least three but no more than five double-spaced pages of text. Each copy should include the title of the paper and its duration as read aloud, but not the author’s name, because proposals are read blind.

2. An abstract of 200-250 words, suitable for publication.

3. A cover letter listing the title of the paper, special equipment or arrangements required, and the name, address, institutional affiliation, telephone number, and e-mail address of the author.

Proposals should be sent to:
Mary I. Arlin, Joint Program Chair
School of Music
Ithaca College
Ithaca, NY 14850-7240


Members of the 2003 Program Committee are Mary I. Arlin, Chair (Ithaca College); James Baker (Brown University), Joseph Dubiel (Columbia University), Peter Kaminsky (University of Connecticut at Storrs), Philip Rupprecht (Brooklyn College, CNY), and Janet Schmalfeldt (Tufts University)

Dear Colleagues:

I am very pleased to announce that the 2003 meeting of the New England Conference of Music Theorists will be a joint meeting with the Music Theory Society of New York State. The meeting will be held at Yale University, April 26-27, 2003. This will be the first joint meeting between NECMT and MTSNYS and we are all very excited about the opportunities it presents. The Program Committee for this meeting consists of Mary Arlin (Ithaca College), Program Chair; James Baker (Brown University); Joseph Dubiel (Columbia University); Peter Kaminsky (University of Connecticut); Philip Rupprecht (City University of New York); and Janet Schmalfeldt (Tufts University). A copy of the call for papers for our 2003 meeting is enclosed in this mailing. (Please note that deadline is much earlier than usual for NECMT.) I hope you will consider sending in a proposal. Please feel free to circulate this notice among your colleagues and students as well.

There is a new address for the NECMT website. Following discussions at the 2002 business meeting, the Executive Board decided to find a more permanent home for the website, one which would allow us to update and maintain the site’s contents without hindrance. The new address is At next year’s business meeting, we will consider the idea of registering "" as our permanent domain name.

Ed Gollin (Harvard University) has stepped down as Website Development Chair. We are all extremely grateful to Ed for his years of service in this important position. Andrew Davis (University of Massachusetts, Amherst) has agreed to take over Ed’s responsibilities. With this change, the Executive Board decided to change the name of the position to "Website Coordinator."

The terms of office for NECMT President and Treasurer will expire in 2003. As usual, we will hold an election to fill these vacancies in the spring. The Executive Board has appointed a nominating committee to develop a slate of candidates. The members of this committee are Deborah Stein (New England Conservatory), chair; David Cohen (Columbia University); and Christa Kober (University of Massachusetts, Amherst). Please send nominations (self-nominations are welcome) to Deborah Stein, NECMT 2003 Nominating Committee, New England Conservatory, 290 Huntington Avenue, Boston, MA 02115.

Finally, even though this letter comes much earlier than usual, I’d like to remind each of you to renew your membership in NECMT before then end of the year. In addition, it is now possible for members to renew for either one or two years.

I’m looking forward to seeing you in New Haven next April. In the meantime, please accept my best wishes for a safe and happy summer and a productive start to the new academic year.


Gary S. Karpinski, NECMT President

The New England Conference of Music Theorists is an organization serving the music theory community in New England and the surrounding areas. Your academic-year membership fee - professional $20 for one year, $40 for two years OR student/emeritus $10 for one year, $20 for two years - places you on our mailing list and admits you to our annual meeting. To join the conference or to renew your membership, please complete and return this form. For further information, please see our website at:
or via the SMT Regional Societies webpage; or email the secretary at


Member name: _______________________________________________________________________

(please print)

Mailing address: _______________________________________________________________________

(please print)


_________________________________ZIP+4 code: __________________________

Telephone: work ( )______________________ home ( )______________________

E-mail address: _______________________________________________________________________

Academic affiliation: _______________________________________________________________________

Membership status: Renewal ( ) New member ( )

(please check one)

Dues payment: $20 professional one year ( ) $10 student/emeritus one year ( )

* NEW! * $40 professional two years ( ) $20 student/emeritus two years ( )

(please check one)

Please make checks payable to NECMT.

Mail this completed form with dues to:

Deborah Burton, NECMT Secretary
Music Department
Harvard University
Cambridge, MA 02138

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Conference Announcements

Conference Announcement: A Stravinsky Symposium honoring the opening of the H. Colin Slim Stravinsky Collection

The University of British Columbia Library and The UBC School of Music
A Stravinsky Symposium honoring the opening of the H. Colin Slim Stravinsky Collection
Stravinsky's Legacies
April 6-7, 2002
Dodson Room, UBC MAIN Library

H. Colin Slim, University of California, Irvine
"Made in California: Stravinsky's earliest settings of English, 1939-44."

Lynne Rogers, Oberlin Conservatory
"A Serial Passage of Diatonic Ancestry: What Stravinsky's Sketches Reveal about the Te Deum from The Flood"

Lynn Garafola, Columbia University
"Stravinsky and Ida Rubinstein"

Stanislav Shvabrin, University of California, Los Angeles
"The Institut de France Affair of Stravinsky in Russian Emigre Newspapers"

Richard Taruskin, University of California, Berkeley
"Stravinsky and Us"

Concert by the Pacific Baroque Orchestra performing Stravinsky's Apollon musagete and Persephone.

Gretchen Horlacher, Indiana University
"On Starting and Stopping: Interpolation in Stravinsky's Sketches"

Margarita Mazo, Ohio State University
"Stravinsky's Les noces"

H. Colin Slim, University of California, Irvine
"UBC's recent acquisition for its Stravinsky Collection"

Chan Centre for the Performing Arts
Concert celebrating the 50th anniversary, and replicating, an all-Stravinsky concert given by the UBC Department of Music on April 7, 1952, in which H. Colin Slim conducted the Canadian premiere of Les Noces, and played, with John Brockington, the Canadian premiere of the Concerto for Two pianos. Also on the program: Stravinsky's Duo Concertant.

The Stravinsky week-end celebrations honor the opening of the "H. Colin Slim Stravinsky Collection," an 123-item collection of Stravinskiana donated to the University by the musicologist H. Colin Slim, who is an alumnus of this university. The official opening of the exhibit will be on Friday, April 5 at 3 PM.

For further details on the Stravinsky! events and on the UBC School of Music check our website,

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Conference Announcement: Messiaen 2002 International Conference


Sheffield, 20-23 June 2002

The University of Sheffield is hosting a conference on Olivier Messiaen in 2002 to commemorate the tenth anniversary of the composer's death. The conference is intended to be a celebration of the maitre and an opportunity for scholars interested in his music to share their knowledge and deepen their understanding of all aspects Messiaen, his music and his influence.

Speakers at the conference include:
Julian Anderson (Royal College of Music)
Jean Boivin (Universite de Sherbrooke, Quebec)
Siglind Bruhn (University of Michigan)
Allen Forte (Yale University)
Peter Hill (University of Sheffield)
Betsy Jolas
Père Jean-Rodolphe Kars
Roger Nichols
Nigel Simeone (University of Wales, Bangor)

There will also be presentations on the onde Martenot in Messiaen's music by Jacques Tchamkerten (Conservatoire de Musique de Geneve) and on historical recorded sources by Timothy Day (National Sound Archive).

The conference also features two concerts of music by Messiaen, featuring the UK premières of Prélude for piano (1964) and Feuillets inédits for piano and onde Martenot. There will be the first concert performance of a short piano piece written for the Ecole Normale in the 1930s. In addition to these, and other rarely heard works, the concerts will also include Visions de l'Amen, La fauvette des jardins and extracts from Vingt regards sur l' enfant-Jesus. Performers include Madeleine Forte, Peter Hill, Matthew Schellhorn and Jacques Tchamkerten.

A full list of speakers, papers and events is available on the conference website:

Enquiries should be made to:

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Conference Announcement: Rocky Mountain Society for Music Theory

The Rocky Mountain Society for Music Theory will hold its 2002 annual conference April 19-20 at the University of Colorado at Boulder, in conjunction with the Rocky Mountain Chapter of the American Musicological Society and the Southwest Chapter of the Society for Ethnomusicology. The RMSMT program follows below.

Daphne Leong

Local Arrangements, RMSMT 2002

RMSMT 2002

April 19-20, 2002

University of Colorado at Boulder



Intertextual Connotations of the German Lied
Chair: Steven Bruns, University of Colorado at Boulder
Karen M. Bottge, University of Wisconsin-Madison
"Wolf's Magdlein and Breuer's Anna O.: Traumatic Loss and Hysteria"
Joice Waterhouse Gibson, University of Colorado at Boulder
"Schubert's Last Settings of Nur wer die Sehnsucht kennt"
Graham G. Hunt, University of Texas at Arlington
"Transformational Reduction: A Cross-Analytical Approach to Richard Strauss' Im Abendrot (1948)"

Metric Displacement and Dissonance
Chair: Daphne Leong, University of Colorado at Boulder
Yonatan Malin, University of Chicago
"Metric Displacement and Romantic Longing in the German Lied"
Scott Murphy, University of Kansas
"Re-Solving One Kind of Metrical Dissonance"

Plenary Session: Keynote Address
Steven Bruns, University of Colorado at Boulder
"Sound and Symbol in the Music of George Crumb: Some Cross-Cultural Questions"

Harmonic Language in Stravinsky and Messiaen
Chair: Jack Boss, University of Oregon
Mark A. Zobel, University of Colorado at Boulder
"Juxtaposition and Polarity in Extended Tonal Contexts: Igor Stravinsky's Sonata for Two Pianos"
Paul M. Lombardi, University of Oregon
"Harmonic Areas in Stravinsky's 'Interlude' from the Requiem Canticles"
Vincent Benitez, Bowling Green State University
"Exploring Messiaen's Later Harmonic Language: An Examination of Three Non-Modal Chord Types in Saint Francois d'Assise"

Coherence in Schoenberg, Webern, and Perle
Chair: Deron McGee, University of Kansas
Jack Boss, University of Oregon
"The Palindromic 'Ideal' and Coherence of the Whole in Schoenberg's Prelude Op. 25"
Carolyn Mullin, University of Oregon
"Global Coherence in Webern's Three Short Pieces Op. 11 Nos. 2 and 3"
Gretchen Foley, University of Nebraska-Lincoln
"George Perle's Use of Mutation: Bridging the Gap Between Surface and Underlying Pitch-Class Structures"

Rhetorical, Formal, and Contrapuntal Influences of J. S. Bach
Chair: Tim Smith, Northern Arizona University
Amy Bauer, Washington University
"The Passacaglia and Eternal Return in Bach and Ligeti"
Bruce Quaglia, The University of Utah
"Bach's Fugue, Schoenberg's Combination"
Amy Carr-Richardson, East Carolina University
"A Study in Stretto after J. S. Bach: the First Movement of Beethoven's Op. 127"
John E. Crotty, West Virginia University
"Learning to Think Musically: Bach's Inventions as a Musical Dialectic"

Similarity and Unity in Mozart and Beethoven
Chair: Keith Waters, University of Colorado at Boulder
Gerald A. Krumbholz, DePauw University
"Mozart's Symphonic Triptych: Thematic Similarities in the Symphonies K. 543, K. 550, and K. 551"
Marva G. Duerksen, Willamette University
"Imperatives of Unity: The Case of Beethoven's Eroica Symphony"

Metaphor, Perception, and Tonal Memory
Chair: Daphne Leong, University of Colorado at Boulder
Ken Stephenson, The University of Oklahoma
"Does Anybody Really Know What key It Is?: Shifting Diatonic Sets as Structural Reference Points"
Deron McGee and Bryan Kip Haaheim, University of Kansas
"Developing a Musical Metaphor to Understand Brain Functions"
Art Lawton, Northern Arizona University
"Harmonic Invariance in Ancient Greek Music as Metaphor"

Special Session: Jazz Composition and Improvisation
Chair: Frank Riddick, Oklahoma City University
Steve Larson, University of Oregon
"What Makes a Good Bridge?"
Henry Martin, Rutgers University-Newark
"Maria Schneider's 'Hang Gliding': Intention and Inference in a Big Band Composition"
Steven Strunk, Catholic University
"Wayne Shorter's 'Yes and No': Schenkerian and Neo-Riemannian Views"
Keith Waters, University of Colorado at Boulder
"Motivic and Formal Improvisation in the Miles Davis Quintet 1965-1968"

Program Committee
Tim Smith, Northern Arizona University, Chair
Jack Boss, University of Oregon
Deron McGee, University of Kansas
=46rank Riddick, Oklahoma City University
Keith Waters, University of Colorado at Boulder

Website Development
Tim Smith, Northern Arizona University

Local Arrangements
Daphne Leong, Chair

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Conference Announcement: Music Theory Society of New York State

The 30th annual meeting of the Music Theory Society of New York State (MTSNYS) will be held Saturday and Sunday, 27-28 April 2002. Sponsored by Columbia University, it will take place at the adjoining campus of Barnard College. Further information about the conference, its program, registration, accommodations, and directions can be found at the web site A summary of the program is shown below.


Looking Glass into the Vagaries of Improvisational Style: Structural Levels in C.P.E. Bach's Fantasia in E-flat major
J. Randall Wheaton
Beethoven's Meditation on Death: The Funeral March of the Eroica Symphony
Eric Wen
Pastoral and Tragic Expressive Qualities in Chopin's Ballade in F minor, Op. 52
Michael L. Klein

Composition with a Single Row Form? Partitioning Schemes in Webern's Schatzerl klein, Op. 18, No. 1
Mark Sallmen (University of Toronto)
Viktor Ullmann's Twelve-Tone Technique in the Context of the Second Viennese School
Rachel Malinow Bergman (Yale University)
Aggregate-Class Interaction in Il Prigionero: A Preliminary Study
Paul Sheehan (Columbia University)

Adele T. Katz and the Emergence of the New York Schenker School
David Carson Berry (Yale University)
Post-Tonal Improvisation in the Aural Skills Classroom
Peter Silberman (Eastman School of Music)

What Performance Tells Us About Analysis
Diane Urista (Oberlin Conservatory)
Moving Beyond Motion: Musical Temporality and Metaphor
Robert Adlington (University of Nottingham)

PLENARY SESSION: How does studying music (theoretically) teach us about the world?

Major Thirds, Augmented Triads, and Aggregate Completion in Liszt's 1839 Concertos symphoniques
Robert Gauldin (Eastman School of Music)
Dissonant Tonics and Post-tonal Tonality
Daniel Harrison (University of Rochester)
Ravel's Chords, Ravel's Contradictions
Marlon Feld (Columbia University)

Billie Holiday's Art of Paraphrase
Cynthia Folio (Temple University)
Metric displacement in Joao Gilberto's 1973 recording of Aguas de marco
Brian Robison (Cornell University)
Distortion, Subversion and Expressive Heightening of Text in Stravinsky's The Rake's Progress
Chandler Carter (Hofstra University)

A-flat, C, AND E
E major and Spirituality in the Music of Beethoven with Special Focus on the Second Movement of Beethoven's String Quartet in E-flat major, Op. 127
Eric McKee (City College, CUNY)
The A flat-C-E Complex: Association, Tonal Structure, and the Evolution of a Compositional Strategy
Matthew Bribitzer-Stull (Pennsylvania State University)
The A flat-C-E complex and Erl=C3=B6sung in Nineteenth-Century Programmatic Music for Orchestra
Charles Youmans (Pennsylvania State University)

Method-Technique-System: Evolving Approaches to Twelve-Tone Composition
Bruce Samet (Mount Airy NC)
A Classification Scheme for Harmonic Sequences
Adam Ricci (Eastman School of Music)
Re-imagining the Concept of Style and the Role of Music Theory
Richard Randall (Eastman School of Music)

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Conference Announcement: CUNY - Graduate Students in Music Fifth Annual Music Symposium

The Graduate Students in Music at the Graduate Center, City University of New York will hold its 2002 annual conference April 20th in New York City. The program for the Fifth Annual Music Symposium is below. This event is free and open to the public.

Philip Stoecker
2002 Conference Director

The City University of New York - Graduate Students in Music Fifth Annual Music Symposium 2002

Session I (10:30-12:30)
William Rothstein, Chair
"Phrase Rhythm in Paul Simon's Simon and Garfunkel Songs"
Anna K. Stephan-Robinson (Eastman School of Music)
"Misquoting the Master: The Troubled Transmission of Boethius in Pedagogical Writings on Music"
Anne E. Johnson (CUNY Graduate School and University Center)
"Performance and Structural Ambiguity in Schenkerian Theory and Analysis"
Alan Dodson (University of Western Ontario)

Session II (1:45-3:45)
Ellie Hisama, Chair
"Beethoven, Structuralism and Alienation"
Guy Obrecht (University of California, San Diego) "Partition Possibilities in Ives's Like a Sick Eagle"
Eric B. Chernov (University at Buffalo SUNY)
"Remixing Reich: Race and Reception History in Ken Ishii's Come Out"
Sumanth Gopinath (Yale University)

Keynote Address (4:00-5:00)
(Associate Professor of Music at Brooklyn College and the CUNY Graduate Center.)
"Above and Beyond the Bass: Recent Concepts of Musical Texture"

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Conference Announcement and Call for Papers: Music of Japan Today

EVENT: Music of Japan Today 2003

HOST: University of Maryland, Baltimore County

DATE: April 4-6, 2003


(for further information, see website -

UMBC will host a three-day symposium of performances, lecture-recitals, panel discussions, and paper presentations on topics that concern Japanese music from the widest possible range of disciplines and expertise. Four guest composers of international stature will participate in the symposium - Toshi Ichiyanagi, who worked with John Cage in the early 1960s in New York, and has ever since introduced Japan to experimental music; Joji Yuasa, who was a member of the jikken kobo in the 1950's and a Professor of Music at the University of California, San Diego from 1981-94; Akira Nishimura, who has received numerous international awards and commissions for his music that is influenced by historic Japanese music and elements from other Asian cultures; and Tokuhide Niimi, who has received international recognition for works that span musical genres from ballet, to choral, to orchestral and chamber music, to music for traditional Japanese instruments.

Performances during the symposium will include a broad range of works for different genres (solo instrument, chamber music, choral, traditional instruments) by Yuasa, Ichiyanagi, Nishimura, and Niimi, as well as the winner of a composition competition. They will include the premiere of a new work by Nishimura. The performers for these concerts will include RUCKUS (the contemporary music ensemble at UMBC), faculty and students of the UMBC Department of Music, and guest musicians from the Baltimore/Washington DC area and other international new music centers.

This symposium is the fifth in a series of events since 1992 to address Japanese and other Asian musics, organized by Tanosaki and Richards. Visit the websites of the other four to view programs, abstracts, papers, and lecture transcriptions - Asian Music in America: A Confluence of Two Worlds, and Music of Japan Today: Tradition and Innovation I (1992), II (1994), and III (1997).

Call for Scores, Tapes, Papers and/or Lecture/Recitals:


abstracts of no more than 300 words on any topic relating to the theme of the symposium. The review committee will take special interest in proposals that address music and ideas of the guest composers (interdisciplinary topics are welcome).

Deadline for receipt (hard copy or email Microsoft Word attachment) is December 20, 2002, 5 PM EST


30 minutes. cassette tape or CD of performance and short abstract (200 words). Deadline for receipt is December 20, 2002.

Competition for Performers:

The review committee welcomes a cassette tape or CD submission by performers for a performance of a work by Yuasa, Ichiyanagi, Nishimura, or Niimi. Winners will receive:

1) masterclass performance opportunity with the composer

2) a concert performance opportunity and honorarium

first prize = $500

second prize = $150

third prize = $100

3) CD recording

Deadline for receipt is December 20, 2002

Masterclass Opportunity:

Winners of the tape/CD competition will be invited to perform in a masterclass led by the composer. Auditors will also have the opportunity to attend this class, and, for a small fee, attend a luncheon with the guest composers.

Deadline for registration for the auditor luncheon - March 1, 2003

Composer Competition:

Composers of any nationality are invited to submit a score(s) for a performance by RUCKUS (Contemporary Music Ensemble of UMBC) at the symposium. Submitted music should have some connection to the theme of the symposium (tradition and innovation in music of Japan): this connection could be the use of traditional Japanese music and/or aesthetic principles; or/and the nationality of the composer (Japanese, Japanese-American, etc.)

1) scores should be written for any combination of the following 5 players:

flute/piccolo/alto flute/bass flute

clarinet/bass clarinet




2) scores must be accompanied by a one-paragraph description of how the music is connected to the theme of the symposium

3) all submitted scores will be retained in the RUCKUS library at UMBC

(for further information, see website -

REGISTRATION DEADLINE: before March 15, 2003 - $30; after = $40



see website -

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Conference Announcement: Graduate Student Symposium in Music at the University of Western Ontario

Everyone is welcome at the 2002 Graduate Student Symposium in Music at the University of Western Ontario (London, Ontario, Canada), which will take place on Saturday and Sunday, June 1 and 2. Our Keynote Speaker is Dr. Janet Schmalfeldt, who will read her paper "Music that Turns Inward: New Roles for Interior Movements and Secondary Themes in the Early Nineteenth Century." The diversity of the program, included below, promises an exciting event.

If you are driving to the university, be aware that the bridge between the Richmond Gates and Talbot College is closed to all but pedestrian traffic due to construction. Visit the university's website: for more details and alternative routes.

Send inquiries to


The Modernist's Backward Glance (Robert Wouda, chairperson)
"Heinrich Schenker and the Organicism Debate: Unpacking Schenker's Place in the Germanic Philosophical Tradition" (Andrew Kizas, University of Western Ontario)
"Ursula Mamlok's Polarities, II (1995): The Interaction of Two Parallel Paths" (Roxane Prevost, SUNY-Buffalo)

11:45-12:30 Pedagogy and Practice (Troy Ducharme, chairperson)
"From Repetition to Deduction: A New Approach to Improvisation in Buchner's Fundamentum (ca. 1520)" (Frauke Jurgensen, McGill University)

Keynote Address
"Music that Turns Inward: New Roles for Interior Movements and Secondary Themes in the Early Nineteenth Century" (Dr. Janet Schmalfeldt, Tufts University)

Who's Buying? Contingencies of Dissemination (Alan Dodson, chairperson)
"Graceful Zigzags or Organic Chromaticism? Sources, Ideologies and the 'Right Way' to Perform Mozart's K. 593" (Thomas Irvine, Cornell University)
"Rocking Lukey's Boat: Recoding Music for Various Markets" (Paul E. Guise, University of Kansas)

Perspective on Composition (Troy Ducharme, chairperson)
"Technique, Intuition, and 'Explorations': A Guided Tour by the Composer of 'Explorations' for Solo Guitar" (Joseph A. Perry, Indiana University)

Identity Politics in Film and Folklore (Andrew Kizas, chairperson)
"Pygmalion's Domestication of the Hollywood Musical" (L. Christine Amos, University of Texas)
"Official Nationality and the Russian Folk Tradition" (Christopher Dempsey, University of Michigan)

Social Issues in Recent Popular Music (Nora Vince, chairperson)
"Borrowing and Appropriation in Rap: Eminem's ('Stan') Interpretation of Dido ('Thank You')" (Alyssa Woods, University of Ottawa)
"Riot Grrrl, Le Tigre, and the Confrontation of Gender in Music" (Sara Nicholson, Eastman School of Music)

Structures in Recorded Popular Music (Andrew Mitchell, chairperson)
"'Giant Steps' Revisited: Differing Portrayals of Tonal Structure" (James McGowan, Eastman School of Music)
"Phrase Rhythm in the Simon and Garfunkel Songs of Paul Simon" (Anna K. Stephan-Robinson, Eastman School of Music)

Music and Literature: Reciprocal Relationships (Sean Kim, chairperson)
"Noise, Music, and the City: Explorations of Musical Ideas in Literature" (Matthew Griffin, University of Western Ontario)
"'An actual reproduction of my inner self': Autobiographical Representation in the Works of Robert Schumann" (Alana Bell, University of Hawaii)

Tour of the Gustav Mahler-Alfred Rose Rare Book Room (led by Lisa Philpott, UWO Music Reference Librarian)

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Journal-Related Announcements

Journal Announcement: Journal of Film Music

The Journal of Film Music provides an interdisciplinary forum for scholars in music, film, and other disciplines who share a common interest in this vital new area of scholarly inquiry. Though now represented in mainstream journals in music, film, the media, and mass communication, scholarly writing on film music is currently dispersed across many publications throughout the world. By providing a scholarly journal devoted to the subject, the interdisciplinary work of film music studies can flourish. Contributions encompassing all aspects of film music history, analysis, theory, and criticism are welcome.

Volume 1, Number 1, Summer 2002

EDITORIAL: William H. Rosar. ARTICLES: Robynn J. Stilwell, The Literature of Film Music: A Critical Review. Charles Leinberger, Thematic Variation and Key Relationships: Charlotte's Theme in Max Steiner's Score for Now, Voyager. REVIEWS: David Neumeyer, Overtones and Undertones: Reading Film Music by Royal S. Brown and The Art of Film Music by George Burt. Linda Schubert, Hugo Friedhofer: The Best Years of His Life edited by Linda Danly and Music and the Silent Film: Contexts and Case Studies, 1895-1924 by Martin Marks. Charles Leinberger, Max Steiner's Now, Voyager: A Film Score Guide by Kate Daubney.

Forthcoming issues include:

James Wierzbicki
University of California at Irvine
E. Todd Fiegel, The Day the Earth Stood Still: An Analysis of Bernard Herrmann's Score. William Wrobel, Herrmann's Self-Borrowing. Thomas DeMary, Herrmann's Music for Selznick's Portrait of Jennie. Ronald Burbella, Jennie's Song in Portrait of Jennie. David Cooper, Film Form and Musical Form in Bernard Herrmann's Score to Vertigo. James Wierzbicki, Grand Illusion: The Storm Cloud Music in The Man Who Knew Too Much. REVIEW: Richard Littlefield, A Heart at Fire's Center by Steven Smith.

Robynn J. Stilwell
Georgetown University

Michael Beckerman
University of California at Santa Barbara

William H. Rosar, Editor

Linda Schubert, Book Review Editor

Leslie Andersen, Managing Editor

Brad Eden, University of Nevada, Las Vegas
Michael Long, University at Buffalo, The State University of New York
Robynn Stilwell, Georgetown University
James Wierzbicki, University of California at Irvine

Michael Beckerman, University of California at Santa Barbara
Royal S. Brown, City University of New York
Alfred W. Cochran, Kansas State University
James V. D'Arc, Brigham Young University
Annette Davison, University of Leeds, England
Kevin J. Donnelly, Staffordshire University, England
Caryl Flinn, University of Arizona
Andrew L. Kaye, Albright College
Miguel Mera, Royal College of Music
David Neumeyer, University of Texas at Austin
Michael V. Pisani, Vassar College
Stephan Prock, The College of William and Mary
Larry Timm, California State University, Fullerton
Richard Trombley, University of Oregon
James L. Zychowicz, A-R Editions


Yes, please begin a subscription to The Journal of Film Music.

Individual: $55.00 ___________
Institution: $100.00 ___________
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Please make check payable to The Journal of Film Music
Return this form with payment to:
The Journal of Film Music
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Claremont, CA 91711

For further information, or to request a free Preview Copy of the Journal, please contact Leslie Andersen, Managing Editor at

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Journal Announcement: Indiana Theory Review

We are pleased to announce the publication of Volume 21 of Indiana Theory Review. In this special double issue--the largest ITR published to date--we present a selection of articles and reviews focusing on popular music. The contents are as follows:

David Carson Berry, "The Popular Songwriter as Composer: Mannerisms and Design in the Music of Jimmy Van Heusen"

Pandel Collaros, "The Music of the Beatles in Undergraduate Music Theory Instruction"

Brandon Derfler, "U Totem's 'One Nail Draws Another' as Art Music"

William Echard, "Gesture and Posture: One Useful Distinction in the Embodied Semiotic Analysis of Popular Music"

Adam Ricci, "A 'Hard Habit to Break': The Integration of Harmonic Cycles and Voice-Leading Structure in Two Songs by Chicago"

Marianne Tatom, "Mining for 'Goldheart': A Sketch Study in Popular Music"

Philip Chang and Don Traut, Review of Walter Everett (ed.), Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays

Nadine Hubbs, Review of Kai Fikentscher, "You Better Work!": Underground Dance Music in New York City

Tim Hughes, Review of John Covach and Graeme Boone (eds.), Understanding Rock: Essays in Musical Analysis

Felicia M. Miyakawa, Review of Adam Krims, Rap Music and the Poetics of Identity

Stephen Swayne, "Sondheim: An American Composer Only a British Musicologist Can Love?" (review of several recent studies about Stephen Sondheim including Stephen Banfield, Sondheim's Broadway Musicals)

To order, use the subscription form available at With your subscription you will receive this volume, equivalent to two issues or one year of ITR; you will then have the option to renew at a later date.

ITR would also like to remind our readers that we review articles on all aspects of music theory and analysis on a continuous basis. Guidelines for contributors are available at

Indiana Theory Review is a nonprofit publication of the Graduate Theory Association of the Indiana University School of Music. It is compiled and produced by graduate students in music theory at Indiana University. Questions may be directed to


Mark J. Butler, Outgoing Editor

Ryan McClelland, Incoming Editor

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Journal Announcement: Music Perception

The Winter Issue of Music Perception is now being shipped. Its contents are:

Collins & Schloss, "An Unusual Effect in the Canon per Tonos from J. S. Bach's Musical Offering."

Ragozzine, "The Tritone Paradox and Perception of Single Octave-Related Complexes."

Povel & Jansen, "Perceptual Mechanisms in Music Processing."

Brattico, Naatanen, & Tervanieme, "Context Effects on Pitch Perception in Musicians and Nonmusicians: Evidence from Event-Related-Potential Recordings."

Schellenberg, "Asymmetries in the discrimination of Musical Intervals: Going Out-of-tune is More Noticeable than Going In-Tune."

Dowling, Tillmann, & Ayers, "Memory and the Experience of Hearing Music."
The current issue is not yet online.

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Journal Announcement: Perspectives of New Music

Perspectives of New Music is pleased to announce the publication of PNM Volume 39, number 2. The contents are:


Paul Humphreys, "The Flowering of Gending Agbekor: A Musical Collaboration with I Dewu Putu Berata"

Bill Alves, "Kembangan in the Music of Lou Harrison"

Elaine Barkin, "Afterword"

Matthew Goodheart, "The 'Giant Steps' Fragment"

Rebecca Leydon, "The Soft-Focus Sound: Reverb as a Gendered Attribute in Mid-century Mood Music"

Ian Quinn, "Listening to Similarity Relations"

Julia Werntz, "Adding Pitches: Some New Thoughts, Ten Years after Perspectives of New Music's 'Forum: Microtonality Today'"

Minoru Shimizu, "What is Plura-Monism?"

In Memoriam Iannis Xenakis (Part Two)

Evan Jones, "Residue-Class Sets in the Music of Iannis Xenakis: An Analytical Algorithm and a General Intervallic Expression"

Sven Sterken, "Towards a Space-Time Art: Iannis Xenakis's Polytopes"

Please visit our new website,

Subscriptions can now be ordered online there.

Perspectives of New Music, edited by Benjamin Boretz, Robert Morris, and John Rahn, presents the best thinking on new art music and related issues. It is published twice annually. Comments and questions are welcome:

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Journal Announcement: Musical Academy Quarterly

Muzykal'naya Akademiya [Musical Academy Quarterly], #1 (2002) [ISSN 0869-4516; in Russian] Sadovo-Triumfalnaya 12-14 Moscow 103006 Russia

(7-095) 209-2384, 209-2916

Table of contents

1 Izaly Zemtsovsky. Apologia of hearing. [About ethnomusicology.]

13 Glenn Gould: "Listener will become artist and life itself will become art." Philosophy of sound recording.

39 Grigory Voronov -- Marina Karaseva: "Strategy of creative activity". [Voronov is director and chief editor of the Composer Publishers.]

49 Roman Ledenev. Via technique -- to music of sense. [About the latest Moscow Autumn musical competition.]

56 Anatoly Tsuker. A marathon two seasons long. Rostov Musical [Theater.]

69 Marina Nestyeva. When holidays become everyday life. [About the Munich and the Salzburg festivals.]

78 Gennady Shokhman. Opera over the lake. Notes from the festival in Savonlinna.

84 Yuri Yevgrafov. Teacher. [Towards the 100th anniversary of Sergei Balasanyan.]

91 Sergei Balasanyan. What impedes the development of opera in Central Asia. [1960, unpublished.]

95 Natalia Seregina. "I am hereby praising in songs..." (To the question of the author of chants about Euphrosiny of Polotsk and "The Tale of Igor's Army").

100 Lada Kondrashkova. "Heartfelt, self-movable and immortal love of wisdom". Saint Reverend Euphrosiny of Suzdal. [About her life and the church service devoted to her.]

107 Mark Pekarsky. Clever conversations with a clever man. [About organology, particularly percussion.]

123 Larisa Gerver. Polyphonic essays.

I. Mozart's Fugue in c-moll (KV426). An attempt at analytical interpretation -- under the impression from performance of this piece by Ye. Sorokina amd A. Bakhchiyev to whom the article is being dedicated. II. Once more on "bonds of legitimate marriage" between Western polyphonic tradition and "conditions of music here".

131 Lyudmila Kuznetsova. Theme as a category of musical content. [On Valentina Kholopova's article in #2 (2001) where a new methodology of musical analysis was proposed.]

139 Andrei Kudryashov. Musical romanticism: Ideas of the epoch and their embodiment.

145 Svetlana Cherkasova. Named after Alfred Schnittke. [About the Schnittke Center under the Schnittke Institute of Music in Moscow (former October Revolution Musical College).]

147 Svetlana Khlybova. Music theory as a great science. On the First Congress of Deutsche Gesellschaft fuer Musiktheorie. []

149 Ildar Khanannov. Specifics of national musicology. On the Conference of the American Musicological Society. []

153 Dzhakhangir Selimkhanov. Ten years passed. [On current music in Azerbaijan.]

158 Zumrud Dadashzadeh. "Because we are also part of the world...". [ On same.]

167 Variations... [Kara Karayev's school, genres, tradition, style, etc.]

173 Ismail Gadzhibekov. Was going like ideologized shadow... Reading Kara Karayev's notebooks.

174 Anar. Karayev's light. From the book "Sizsiz".

179 Anna Amrakhova. Toward the postmodern situation in Azerbaijani musical art. Through the examples of some works by Faradzh Karayev.

185 Rakhilya Gasanova. A concert in the museum. [About female composers of Azerbaijan.]

From literary works of Rakhilya Gasanova: Baku; Smell of Motherland.

190 Franghiz Alizadeh. Music needs beauty... [About mugam.]

193, 197, 201, 223 Published in 1991-2001. [Books on music in Azerbaijan.]

194 Literary works by composers -- Oleg Feltzer and Elmir Mirzoyev.

198 Musiqi Duenyasi. [World of Music, a journal;; other sites such as,,,,,,, are also mentioned.]

202 Leila Abdullayeva. Serqi: An independent journal of Baku musicians.

203 Sanubar Bagirova. Essays on [Uzeir] Gadzhibekov. [Azerbaijani composer.]

207 Zemfira Safarova. [City of] Shusha, a temple of our music.

212 Lala Mekhtiyeva and Afag Dzhafarova. Kara Karayev's modal innovation: Causes and consequences.

216 Zemfira Safarova. Musical world of Dedeh Korkud.

218 Kyamilya Dadashzadeh. Korkud musicology: Reality and perspectives.

220 A man of action. [Medzhnun Kerimov, Laboratory of restoration and improvement of musical instruments.]

226 Nigyar Aliyeva. Creating a holiday of art. [About musical events in Baku.]

228 Great Silk Road: Azerbaijan, USA, Japan.

230 This century and the previous century... [About Baku Academy of Music.]

232 Theatrical events. [About Azerbaijan Opera and Ballet Theater.]

235 Second Byulbyul International Competition of Vocalists.

237 Rena Rzayeva [pianist.] It is a burst. Fragments from a book.

239 Turan Mamedaliyeva. Baku: Panorama of jazz.

242 Rakhman Badalov. Hundred years after. [About musical life in Azerbaijan.]

244 Index of articles published in Musical Academy in 2001.

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Journal Announcement: Music Theory Spectrum

SMT's Music Theory Spectrum 24, no. 1 (Spring 2002)


Cramer, Alfred
Schoenberg's Klangfarbenmelodie: A Principle of Early Atonal Harmony

Day-O'Connell, Jeremy
The Rise of ^6 in the Nineteenth Century

Tymoczko, Dmitri
Stravinsky and the Octatonic: A Reconsideration

Wason, Robert W.
Two Bach Preludes/Two Chopin Etudes, or Toujours travailler Bach-ce sera votre meilleur moyen de progresser


Carey, Norman
W. A. Mathieu: Harmonic Experience

Gagne, David and Hedi Siegel
Heinrich Schenker (Heribert Esser, ed.): The Art of Performance

Hisama, Ellie
Bell Yung and Helen Rees, Ed.: Understanding Charles Seeger, Pioneer in American Musicology

Lochhead, Judy
Susan McClary: Conventional Wisdom: The Content of Musical Form

Schulenberg, David
Paul Murphy, ed. Jose de Torres's Treatise of 1736: General Rules for Accompanying on the Organ, Harpsichord and the Harp...

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Journal Announcement: Musurgia

Just published:

Musurgia VIII/3-4 (2001), Modalité en France, XIXe-XXe siècles (II) 168 p., ISSN 1257-7537, ISBN 2-7472-0321-2


Jean-Pierre Bartoli, "Historicisme, éclectisme et modalité dans L'Enfance du Christ d'Hector Berlioz" Michel Fischer, "Le quatuor à cordes en sol mineur de Claude Debussy: de la contraction formelle à la polyvalence de l'idée génératrice" Nicolas Meeùs, "Note sur les vecteurs harmoniques" Philippe Cathé, "Eléments d'une modalité non scalaire en France au début du XXe siècle, trouvés là où on ne les attendait pas, soixante ans plut tôt qu'on ne l'aurait cru"

Marie Delcambre-Monpoël, "Les Folk Songs de Berio, entre populaire et popularité" Vincent Tiffon, "Jean Claude Risset, Sud (1985)"

Correspondance: Serge Gut, Claude Helffer, Yizhak Sadaï

Notes de lecture:
Luigi Verdi, Organizzazione delle altezze nello spazio temperato (Moreno Andreatta)
Max Noubel, Elliott Carter ou le temps fertile (Michel Rigoni) Grazia Giacco, La notion de "figure" chez Salvatore Sciarrino (Marc Chouvel)

Abstracts (French and English)

Index thématique

Editions ESKA, 12, rue du Quatre-Septembre, 75002 Paris

22,86 euros

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Journal Announcement: Music Perception 19/3

Volume 19, Number 3 of Music Perception is a special issue devoted to Jazz.

Geoffrey L. Collier; James Lincoln Collier


Black Atlantic Rhythm: Its Computational and Transcultural Foundations
Jeff Pressing

Do[n't] Change a Hair for Me: The Art of Jazz Rubato
Richard Ashley

Swing Ratios and Ensemble Timing in Jazz Performance: Evidence for a Common Rhythmic Pattern
Anders Friberg; Andreas Sundström

Musical Forces, Melodic Expectation, and Jazz Melody
Steve Larson

Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music
Vijay Iyer

How Jazz Musicians Improvise
P. N. Johnson-Laird

Toward Objective Measurement and Evaluation of Jazz Piano Performance Via MIDI- Based Groove Quantize Templates
Walter Gerard Busse

A Study of Timing in Two Louis Armstrong Solos
Geoffrey L. Collier; James Lincoln Collier

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Journal Announcement: British Postgraduate Musicology

British Postgraduate Musicology

NEW ISSUE Vol. 5 now online at

Content includes:

TOM SERVICE, Playing a New Game of Analysis: John Zorn's Carny, Autonomy and Postmodernism

ELIZABETH HOLLAND, Henry Purcell's Dido and Aeneas: A Strategy for Historically-Informed Role-Allocation in the Twenty-First Century

HELEN JEFFRIES, The Court Reformed? Music in the Royal Household under Edward IV

MICHAEL SPENCER, Re-Placing the Dialectic: Notions of Compositional Procedure in James Dillon's German Tryptych

THOMAS MUIR, Ad Majorem Dei Gloriam: Catholic Church Music at Everingham = and Stonyhurst 1839-1914=20

Plus editorial, correspondence, back issues, debate group, announcements and more.

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Journal Announcement: Musicae Scientiae

Please find hereafter the content of the forthcoming special issue of MUSICAE SCIENTIAE.

Special Issue 2001-2002
Current Trends in the Study of Music and Emotion


Patrik N. Juslin and Marcel R. Zentner
Current trends in the study of music and emotion:

Justin London
Some theories of emotion in music and their implications for research in music psychology

Sandra E. Trehub and Takayuki Nakata
Emotion and music in infancy

Patrik N. Juslin, Anders Friberg and Roberto Bresin
Toward a computational model of expression in music performance: The GERM model

Alf Gabrielsson
Perceived emotion and felt emotion: Same or different?

Klaus R. Scherer, Marcel R. Zentner and Annekathrin Schacht
Emotional states generated by music: An exploratory study of music experts

Daniel V=E4stfj=E4ll
A review of the musical mood induction procedure

Emery Schubert
Correlation analysis of continuous emotional response to music: Correcting for the effects of serial correlation 211

John A. Sloboda
The "sound of music" versus the "essence of music": Dilemmas for music-emotion researchers (commentary) 235

For subscription and information about the Journal, please contact Irene DELIEGE (address below) and visit the ESCOM (European Sty for the Cognitive Sciences of Music) Website.

Irene Deliege
URPM University de Liege
ESCOM Permanent-Secretary
EDITOR Musicae Scientiae
Avenue du Brasil, 7
B - 1000 Brussels
Tel & fax 32 2 660 10 13


ESCOM web site:

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Journal Announcement: Women and Music

The Editorial Board of WOMEN AND MUSIC: A JOURNAL OF GENDER AND CULTURE, an annual publication published by University of Nebraska Press, is now accepting submissions for publication consideration in the fall 2003 issue of Vol. 7. The Board is pleased to announce the fall, 2002 printing of Vol. 6.

Please send article submissions to Women and Music, attn: Prof. Catherine Pickar, The George Washington University Department of Music, The George Washington University, Washington, DC 20052 or electronically to

Subscription information is at the end of this message.

WOMEN AND MUSIC: A JOURNAL OF GENDER AND CULTURE is a journal of scholarship about women, music, and culture. Drawing on a wide range of disciplines and approaches, the refereed journal seeks to further the understanding of the relationships among gender, music, and culture, with special attention being given to the concerns of women.

The journal is an annual publication of the International Alliance for Women in Music supported in part by The George Washington University and published by University of Nebraska Press.

Editorial Board Members:
Catherine Pickar, Editor in Chief
Fred E. Maus, Review Editor

Karen Ahlquist
Jane Bowers
Rae Linda Brown
Marcia Citron
Susan C. Cook
Suzanne Cusick
Linda Dusman
Annegret Fauser
Sophie Fuller
Eve Meyer, ex-officio
Lydia Hamessley
Ellie M. Hisama
Ellen Koskoff
Susan McClary
Helen Metzelaar
Pirkko Moisala
Jann Pasler
Karen Pegley
Eva Rieger
Catherine Parsons Smith
Judy Tsou

Author Guidelines:

1. Submit a brief abstract (two paragraphs) along with three copies of your typescript, two without identifying information and one with.

2. Please format original document with endnotes and conform to _The Chicago Manual of Style, 14th ed. (Chicago: University of Chicago Press, 1993).

3. Authors with accepted articles will be asked to provide camera-ready, publication-quality musical examples.

4. Authors are responsible for providing necessary copyright permission.

5. Submissions received after December 1 will be considered for the FOLLOWING year's issue. Send all submissions to the following address:

Attn: Prof. Catherine Pickar
Department of Music
B-144 Academic Center
The George Washington University
Washington, DC 20052

The journal is available through individual or institutional membership. For individual membership in International Alliance for Women in Music contact Cherilee Wadsworth Walker, Membership Director, at Illinois Central College, One College Drive, East Peoria, IL 6163, Phone 309-694-5548, or by email at

For institutional/library membership contact University of Nebraska Press, Attn: Kirt Card, PO Box 880484, Lincoln, Nebraska 68588-0484, Phone 800-755-1105 or email

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Other Announcements

Other Announcement: Ear-Training E-list

Dear list members:

The conference, "Developing the Musical Ear: A Conference on the Teaching of Ear Training at the College Level" held at Mannes College of Music was a resounding success. The "lively exchange of ideas and techniques" which we anticipated in the program flyer came to fruition at the conference in a remarkable manner.

It was suggested, helpfully, towards the end of the conference that an e-list, web ring, or general forum of some sort be established so that this important area can be explored in the musical community on an on-going basis. We are happy to report that an e-list has now been established. The web site for the list is:

To join the list, please go to the web site. Once there, click on the "e-list" button, *please* read the FAQs and Rules, and then subscribe through the subscription option. You may unsubscribe at any time.

Any additional questions which are not covered under the "FAQs" section may be directed to Eric Chernov at:

Thank you very much for your interest in this most important pedagogical area. We hope to see you on the list!

Yours sincerely,

The Conference Committee

Developing the Musical Ear

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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.

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Prepared by Stanley V. Kleppinger, editorial assistant
Updated 18 November 2002 by Eric Isaacson, co-editor