Volume 9, Number 4, October 2003
Copyright © 2003 Society for Music Theory



Calls for Papers

Conference Announcements

Journal-Related Announcements

Calls for Papers

Call for Papers: International Machaut Society at Kalamazoo

CALL FOR PAPERS: International Machaut Society at Kalamazoo
Thirty-Ninth International Congress on Medieval Studies
Kalamazoo, Michigan, May 6-9, 2004
Proposal deadline: 15 September 2003

The International Machaut Society will be organizing two sessions at the 39th International Conference on Medieval Studies at Kalamazoo in 2004. As always, the members of the society seek in these sessions to bring together scholars of literature, music, art history, and codicology. We feel that the two Machaut sessions we propose present an opportunity for scholars to engage in cross-disciplinary discussion. Both sessions focus on a question of genre, and both allow for comparative work. The first, Machaut and the Fourteenth-Century Mass, lends itself to consideration of Machaut's relationship to his mostly anonymous contemporaries, as well as considerations of liturgical use and function in the polyphonic Mass Ordinary, a genre that was new in Machaut's time. The second, Machaut and the Medieval Lyric, can include studies of Machaut's place within a more long-standing lyric tradition, e.g., discussion of the formes fixes, sources and adaptations, text-music relations, and aspects of the multi-texted motets, which have recently sparked exciting interdisciplinary work.

Proposals should be sent to the Machaut Society (contact information below) by the Congress's September 15 deadline. For more information about the Congress itself, see For more information about the sessions, or the Machaut Society, you can consult our webpage at or contact our current president, Nicole Lassahn, at OR, by snail mail or phone at

Nicole Lassahn
Assistant Director
University of Chicago Writing Program
1010 East 59th Street
Chicago, IL 60637

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Call for Papers: Musicology at Kalamazoo

Thirty-Ninth International Congress on Medieval Studies
Kalamazoo, Michigan, May 6-9, 2004
Proposal deadline: 15 September 2003

The session organizers for Musicology at Kalamazoo invite submissions for papers to be read at the next annual gathering in Kalamazoo, May 2004. We have proposed six sessions (see the list below), but we welcome submissions on any topic pertaining to medieval music. We will also consider alternate session proposals, especially if submitted as a complete slate of papers. Our chronological boundaries are loosely defined; we generally include papers covering any time up to the mid-1500s.

Suggested Topics:
Across the Carolingian Divide: Gregorian and Non-Gregorian Chant
Women in Medieval Music
How to Copy Right: The Reuse of Music in the Middle Ages
Music and Imagery
Recreating Medieval Music
Medieval Music Theory in and out of Context

Please send abstracts and session proposals to Cathy Ann Elias at the address below:
Cathy Ann Elias
5429 S. Hyde Park Blvd.
Chicago, IL 60615 (email)

Abstracts should be roughly 250-500 words. Please send both an electronic version, and a hard copy to the address above. Please include your snail-mail address, your institutional affiliation or city of residence, your e-mail address, and a list of necessary A-V equipment. The congress organizers will schedule only one paper per participant; multiple submissions are discouraged. Presentations are 20 minutes in length, including music clips. The deadline for proposals is 15 September 2003.

The members of this year's program committee are
Cathy Ann Elias, DePaul University (
Alice V. Clark, Loyola University New Orleans (
Kevin N. Moll, East Carolina University (

For more information about the sessions and the conference, please visit the web pages of Musicology at Kalamazoo,

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Call for Papers: Analysis, Composition and Creative Process

Analysis, Composition and Creative Process

Spring Study Day

Department of Music & Sound Recording, University of Surrey in Association with Society for Music Analysis and the Royal Musical Association

Monday 29th March 2004

The methodology of music analysis and established notions of composition and creativity are being challenged by recent developments in musicological practice and cultural production.

The day will offer analysts, theorists and composers a timely opportunity to reassess how analytical understanding of the process and documents of musical composition might be developed.

Papers are invited which address any repertory, style or method. Areas of interest might include:

Visiting speakers to include Dr Robert Saxton.

Proposals should be sent, in the form of an abstract (emails preferred) of no more than 250 words, to Dr Stephen Downes, Department of Music, School of Arts, University of Surrey, Guildford, UK GU2 7XH.; Tel: +44 (0) 1483 686500 Fax: +44 (0) 1483 686501


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Call for Papers: Principles of Musical Composition/Aspects of Historical Spread

Lithuanian Academy of Music Lithuanian Composers’ Union

Fourth Music Theory Conference Principles of Musical Composition/Aspects of Historical Spread

April 22-24, 2004 Vilnius, Lithuania

The purpose of the conference is to give new impulses to the development of musicological thought, which could do service to compositional practice and teaching process. The three preceding conferences took place in Vilnius (Principles of musical composition. Theory and practice 1999; Principles of musical composition. Between ethno and techno 2001; Composing principles. Continuity and innovation in contemporary music 2002).

Main theme: Principles of musical composition. Aspects of historical spread

Sub themes:
1. Etymological and evolutional aspects of the concept of compositional principle.
2. Notions of compositional principles in music theory and history of various epochs (from the Antiquity to the present day). Systematisation prospects for rising contradictions.
3. Historical overview and perspectives of modern compositional principles (serialism, minimalism, etc.).
4. Old and new composition: comparative structural aspect.
5. National schools of composers and musicologists at the turn of the centuries and generations: conceptions, systems, principles. Vision of the future.

Paper proposals may be submitted electronically or in paper format (pdf). Electronic submissions are preferred. The abstract must not exceed 200 words. The duration of papers will be limited to 30 minutes, leaving 10 minutes for questions and discussion. Please indicate whether your proposal belongs to one or more of the conference theme groups.

The deadline for proposal submission is December 15, 2003. The proposals will be reviewed by members of the organizing committee and all applicants will be notified of the outcome by the end of January 2004.

The main language of the conference is English.

The material of the conference - papers, summaries, discussions will be published.

We wish to announce that the contemporary music festival “Jauna muzika” will be held on April 15-25, 2004 in Vilnius.

For more information about the conference write or phone us at the following address:

Lithuanian Composers’ Union, Mickeviciaus 29 Vilnius 2600, Lithuania.
ph. +370 5 2721727, fax. +370 5 2120939
Coordinator of the conference: Ph.D. Antanas Kucinskas (, ph. +37068759927)

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Call for Papers: New England Conference of Music Theorists

New England Conference of Music Theorists


Nineteenth Annual Meeting
April 16-17, 2004
Boston University
Boston, Massachusetts

Program Committee
David Clampitt (Yale University), Chair
Mark DeVoto (Tufts University, retired)
Margaret Thomas (Connecticut College)
Richard Bass (University of Connecticut) ex officio

Proposal deadline: November 3, 2003 (postmark)

Sessions provide 30 minutes for presentation and 10 minutes for discussion of each paper. All who wish to propose papers should send four copies of a three-to-five-page proposal and one copy of an abstract suitable for publication, by November 3, 2003, to the following address:

Deborah Burton, NECMT Secretary
Department of Music and Dance
273 Fine Arts Center - East
University of Massachusetts
151 Presidents Drive
Amherst, MA 01003-9330

Proposals are read blind; they should contain no identification of the author. With your proposal and abstract copies, please include a cover letter giving your name, address, phone, email, affiliation, the title of your proposal, and any special equipment or arrangements required. You may be asked to submit a copy of your abstract electronically or on floppy disk. For more information, contact Deborah Burton at:

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Call for Papers: The 2004 Experience Music Project Pop Conference

This Magic Moment: Capturing the Spirit and Impact of Music
The 2004 Experience Music Project Pop Conference
Seattle, Washington
April 15 - 18, 2004

It might be a song, an album, or a performance, the flowering of a vision or the eruption of a scene. Music often seems to come to us in a kind of burst, leaving behind the sense of a mystery that needs deciphering. But what's the best approach? Musicians can be frustrated by attempts to categorize rather than delve into their work. Journalists often find that their deepest take on a subject comes long after their piece has been turned in. Academics grapple with how to bring issues of emotion, affect, and meaning into their analyses.

For the 2004 EMP Pop Conference, we invite papers and other kinds of presentations that closely examine specific musical moments, past and present, across any genre. The idea is to bring to the surface aspects of musical experience that often get subsumed in tidier accounts. All perspectives are welcome: political, literary, musicological, historical, sociological, aesthetic, identity-based, and beyond.

Participants are urged to treat the way they write about music as seriously as what they write about. This year's conference will serve as the basis of a future special issue of Popular Music devoted to questions of style and perspective in music writing. To that end, and beginning with the abstracts that are submitted, we'd like to see work (however scholarly, engaged, or experimental) whose sense of language rises to the challenge of the music under examination.

The Pop Conference, now entering its third year, is an annual event, hosted by Seattle's interactive music museum, Experience Music Project. This gathering connects an unusually broad range of academics, journalists, musicians, industry figures, and anyone else interested in ambitious music writing that crosses disciplinary walls. The 2002 conference inspired a book, "This is Pop," due out in 2004 on Harvard University Press. A second book, based around the 2003 and current conference, is under development. For more information, go to:

This year's program committee includes: Gage Averill (NYU), David Brackett (McGill), Carrie Brownstein (Sleater-Kinney), Michelle Habell-Pallan (University of Washington), Margo Jefferson (New York Times), writer Greil Marcus, Ann Powers (EMP), Oliver Wang (UC Berkeley), Eric Weisbard (EMP), and writer Douglas Wolk. The conference is sponsored by the Seattle Partnership for American Popular Music: EMP, KEXP, and the University of Washington School of Music.

We welcome maverick suggestions, encourage performance ideas, and can accommodate nearly any form of technological presentation. Proposals should include a roughly 250 word abstract of the paper, a brief biography of the presenter, preferred affiliation/title, and complete contact info. Please send all proposals by December 15, 2003, to Eric Weisbard at

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Call for Papers: Sixth Conference of the Dutch Society for Music Theory

EVENT: Sixth Conference of the Dutch Society for Music Theory

HOST: Faculty of Music, Utrecht School of the Arts, The Netherlands

DATE: February 20 & 21, 2004

Call for Papers

Music theory and Interpretation

Between theory of music and the interpretation or reading of a score an intensive exchange exists. Within our institutes, it is the prevailing opinion that music theory supports the practical interpretation of music. On the other hand, interpretation itself could become a topic of theoretical reflection. Or one could say that an analysis equals interpretation. What exactly do we mean with "interpretation"? What role does improvisation play in it? As could be concluded from this ambiguous inventory, the topic chosen brings many aspects of music theory together, whether it is theory of Jazz, traditional music theory at conservatoires, or music analysis as a research discipline.

The board of the Dutch Society for Music Theory hopes to welcomes proposals on lectures containing the above outlined topic. The maximum amount of time per lecturer has been set to 20 minutes. The proposal should not have more than 500 words. The deadline for application is December 1, 2003. A committee will judge the proposals received.

Please send your proposal to the office of the Dutch Society for Music Theory, preferably through e-mail:
P.O. Box 78022
1070 LP Amsterdam
The Netherlands
Phone/Fax: +31 (0)20 663 20 73

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Call for Papers: Texas Society for Music Theory

Texas Society For Music Theory
26th Annual Meeting

February 27 - 28, 2004 - Texas State University - San Marcos

Keynote speaker - David Huron

The Texas Society for Music Theory will hold its 26th annual meeting this spring in San Marcos at Texas State University. Nico Schuler will coordinate local arrangements. Our keynote address will be given by David Huron, who is on the faculty at Ohio State University. Dr. Huron is the recipient of SMT’s 2002 Outstanding Publication Award for his article "Tone and Voice: A Derivation of the Rules of Voice-leading from Perceptual Principles" (Music Perception 19/1, 2001, pp. 1-64). He is also the author of The Humdrum Toolkit (a general software package for music research), of two monographs on Humdrum, and of numerous articles in the areas of music cognition, music theory, and systematic musicology.

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

This year, the society will dedicate a special session to methodologies of music theory: how analytical and pedagogical methods shape outcomes. Topics may include research on specific methods of musical analysis, methods of pedagogical research in music theory, methods of computer applications in music theory, historical methods of music theory, etc. These papers should include reflections on how the methodology influences the outcome of the research and/or instruction. Participants in this special session may be invited to submit their work to the research series Methodology of Music Research (Frankfurt, New York: Peter Lang).

Please submit FIVE COPIES of a detailed proposal of 3 to 5 double-spaced typed pages. A selection committee will review the proposals. As individual proposals will be reviewed anonymously, do not include your name on these proposals. Panel discussion proposals, however, must include the names of all participants.

Your submission must be accompanied by a separate cover letter including title of the presentation, your name(s),telephone number, e-mail address, technological or equipment requirements, and an indication, if applicable, of student status. In addition you must include, on a separate sheet, a one-page abstract for inclusion in the conference program. Only complete submissions will be considered.

These materials must be mailed (POSTMARK DEADLINE) by December 1, 2003. Please send them to:

Timothy R. McKinney
School of Music
Baylor University
PO Box 97408
Waco, TX 76798-7408
(Note that proposals containing musical examples or figures cannot be sent by e-mail)

Each submitter will be notified of the selection committee’s decision by mid-January. Student presenters wishing to be considered for the TSMT Colvin Award must send two copies of the complete paper to above address postmarked on, or before, February 2, 2004. To be considered, please indicate student status in the cover letter. The program will be announced in mid-January along with full registration and travel information. Abstracts of those papers chosen for presentation will be published on the TSMT website. Subsequent to presentation, at the discretion of the author, the text of the entire paper will be made available on the website as well.

TSMT Executive Board
Timothy McKinney (Baylor University), President
Blaise J. Ferrandino (Texas Christian University), Past President
Philip Baczewski (University of North Texas), Secretary
Jana Millar (Baylor University), Treasurer
Tim Koozin (University of Houston)
Doug Rust (Centenary College)
Matthew Santa (Texas Tech University)
Nico Schuler (Texas State University-San Marcos)

Program Committee

Eric Lai (Baylor University) Catherine Losada (Texas Tech University) David Neumeyer (University of Texas) Stephen Slottow (University of North Texas)

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Call for Papers: Indiana University Graduate Theory Association


The Indiana University Graduate Theory Association is pleased to announce its Thirteenth Biennial Music Theory Symposium on Friday and Saturday, February 13 and 14, 2004, on the Bloomington campus of Indiana University. Our keynote speaker will be Dr. Elizabeth West Marvin of the Eastman School of Music.

We are now soliciting proposals related to any musical topic, including, but not limited to, music perception and cognition, ethnomusicology, history, performance, and analysis. Individual presentations should not exceed 30 minutes in length.

Submissions should include: (1) 6 copies of a 300-500 word proposal OR a single copy submitted by email. (2) a cover letter listing the author's name, address, telephone number, e-mail address, and affiliation, as well as all required equipment, such as piano, overhead projector, CD player, etc. (3) an abstract of no more than 250 words, suitable for publication in the conference program

Proposals must be received by 15 December, 2003. Submission of proposals as plain text in the body of an e-mail will also be accepted. Email proposals to

If you choose mail your proposal, please send materials to the following address:

Graduate Theory Association
School of Music
Indiana University
Bloomington, Indiana 47405 USA

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Call for Papers: Look and Listen Festival Conference


Look and Listen Festival Conference
Saturday, March 6, 2004
New York University, FAS Music Department

All are invited to submit proposals for presentations at the first Look and Listen Festival Conference. Any topics related to the intersections of music and visual art are welcome (topics may include, but are not limited to: aesthetics, critical theory, history, cultural studies, reception theory, perception). Presentation length should be 20-25 minutes, followed by a brief question and answer period.

Please submit proposals of no more than 300 words by December 15, 2003 to:

Sean Carson


Look and Listen Festival Conference
c/o Kristin Hevner
328 Sterling Place Apt 4C
Brooklyn NY 11238

Email submissions are preferred and can be in the body of a message or as an attached document. Please include all relevant contact information. Requests for further information about the conference may also be directed to the above email address.

Those accepted will be informed by January 15, 2004.

The Look and Listen Festival, now in its third year, promotes contemporary music and visual art in the context of concerts, lectures, and interviews in New York art galleries. For further information on the festival, please consult our website:

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Call for Papers: Conference on Interdisciplinary Musicology

CIM04, the first Conference on Interdisciplinary Musicology, will be held in Graz, Austria from 15 to 18 April 2004. It will be a forum for constructive interaction between and among subdisciplines of musicology such as acoustics, computing, cultural studies, education, ethnomusicology, history, psychology, and theory/analysis. We will especially promote collaborations between sciences and humanities, and interdisciplinary combinations that are new, unusual, creative, or otherwise especially promising.

All abstract submissions should have two authors with complementary backgrounds and will be anonymously peer-reviewed by international experts. Keynote lectures will be given by authors of the best submitted abstracts. The deadline for abstract submission is 31 October 2003.

The conference is hosted by the European Society for the Cognitive Sciences of Music ( and the Department of Musicology, University of Graz ( The various sub- and sister disciplines of musicology are represented by the conference's participating societies.

Graz is an ideal location for a conference on interdisciplinary musicology. Its three universities include departments of musicology (covering historical and systematic musicology); composition, music theory, music history and conducting; music education; ethnomusicology; aesthetics; early music and performance practice; jazz research; electronic music and acoustics; and communications technology.

CIM04 is not only about the many subdisciplines of, and approaches to, the study of music - it is also about direct interaction between scholars with contrasting backgrounds who come together to solve common problems emerging from that study. It is about the collaborative collection of convergent evidence. It is about climbing walls and crossing bridges.

Welcome to CIM04!
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Call for Papers: Eighth International Conference on Music Perception & Cognition

8th International Conference on Music Perception & Cognition (ICMPC8)

Evanston, IL, August 3-7, 2004
Northwestern University School of Music

ICMPC8 is the world conference on music psychology and related disciplines. For more details about the conference, point your web browser to the ICMPC8 conference web site ( For general information about the conference mission and past conferences, visit the general ICMPC web site (

The 2004 Evanston conference follows meetings of the music perception and cognition research community in Kyoto, Japan (1989); Los Angeles, USA (1992); Liège, Belgium (1994); Montréal, Canada (1996); Seoul, South Korea (1998); Keele, UK (2000); and Sydney, Australia (2002). ICMPC8 will be sponsored by the Society for Music Perception and Cognition and hosted by the Northwestern University School of Music.

The venue for ICMPC8 is the School of Music at Northwestern University ( In view from the conference site are the beautiful Lake Michigan shoreline and downtown Chicago, with its vibrant cultural life and many musical opportunities.

Conference Aims
The focus of ICMPC8 is interdisciplinary discussion and dissemination of new, unpublished research relating to the field of music perception and cognition. The conference will have relevance for university and industry researchers and graduate students working in psychology, music theory and composition, psychophysics, music performance, music education, music therapy and music medicine, neurophysiology, ethnomusicology, developmental psychology, linguistics, artificial intelligence, computer technology, and other related fields of inquiry.

ICMPC Organizing Committee
Scott Lipscomb, Chair
Richard Ashley, Robert Gjerdingen, & Peter Webster, co-organizers

ICMPC Advisory Board (Society Presidents & Past Conference Organizers)
Richard Ashley -Eugenia Costa-Giomi -Irène Deliège - Roger Kendall -Sonoko Kuwano -Isabel Martinez Susan O'Neill -Kengo Ohgushi - Bruce Pennycook -Andrzej Rakowski - John Sloboda - Kate Stevens -Suk Won Yi

Submissions are invited for:
1. Spoken papers
2. Poster presentations
3. Demonstrations
4. Symposia

The deadline for submissions to ICMPC8 is December 1, 2003. The conference language is English and spoken papers, posters, conference proceedings, and publications will all be in English.

Spoken papers, constituting the bulk of the program, will be allocated 30 minutes, consisting of 20 minutes for presentation, 5 minutes for questions & discussion, and 5 minutes for preparatory set-up for the following presentation. Full text of papers will be available on the CD-ROM Proceedings for the conference.

Poster presentations and demonstrations will appear in the conference program, abstract book, and proceedings and will be assigned to designated times in the conference schedule. Depending on subject and/or content, it may be more appropriate to submit an abstract as a poster for visual presentation rather than as a 20-minute spoken presentation. In general, the sorts of papers which are most effective as posters are those in which the major conclusions become evident from the thoughtful examination of charts and graphs, rather than those which require the audience to follow a sustained chain of verbal argumentation. Therefore, authors will want to make points in narrative form as brief as possible. The poster paper is able to stand alone; that is, be understandable even if the author is not present and does not typically require audiovisual support. For demonstrations of software or equipment, authors will be responsible for ensuring that the necessary equipment is available, and their submission should include a full description of the equipment and facilities required. Specific information about poster dimensions and other requirements will be communicated to authors of accepted poster presentations in the acceptance letter.

Symposia will consist of a set of integrated spoken papers related to a theme. The total time allowed for a symposium will be 90 minutes to two hours, consisting of three to four 25-minute papers and a discussion (although variations will be considered). Symposium conveners are asked to coordinate submission of papers ... including an abstract for the entire symposium stating the rationale for the topic, the aims of the symposium, and the set of speakers proposed (see detailed submission information below). A discussant may also be proposed.

Submission Procedure
All submissions for spoken papers, posters, demonstration papers, and symposia must include a submission form and a structured abstract OR four-page paper that conforms to the instructions below.

1. Submission Form
A separate form should accompany each submission and include the full contact details for the first author (full name, affiliation, full postal address, email address, phone number, and FAX number) and name & affiliation for all secondary authors. Authors should also indicate on the submission form a general topic area under which the paper might be grouped. The chosen topic area can be selected from the list below or a new topic area may be proposed.

Suggested Topic Areas

The submission form can be downloaded from the conference web site or a paper copy can be requested by writing to Scott Lipscomb at: ICMPC8, Northwestern University School of Music, 711 Elgin Road, Evanston, IL, 60208, USA. Alternatively, you can send an email message to, providing your full postal address and FAX number.

All submissions should be typed. Either structured abstracts (250-500 words in length) or papers up to four pages in length can be submitted for possible inclusion in ICMPC8. Abstracts and papers will be evaluated using a blind peer review process. The Conference Proceedings will distinguish between those papers that were reviewed and accepted on the basis of a structured abstract and those for which the full paper was reviewed.

Submissions are often rejected because they omit crucial information rather than because of errors in what they include. To minimize the possibility of such omission, please follow the guidelines presented below exactly.

2a. Structured Abstract Guidelines
Abstracts must be between 250 and 500 words in length, typed, and should not include references. Abstracts should begin with a title in ALL CAPITAL LETTERS and the appropriate topic area (see list above). Do not put author name(s) anywhere on the abstract page. Names should appear only on the Submission Form, available from the conference web site. Abstracts should be structured with headings.
For empirical papers, the headings should include
1. Background 2. Aims 3. Method 4. Results 5.Conclusions. 6. Topic Areas.
For theoretical/review papers, headings should include
1.Background 2. Aims 3. Main Contribution 4.Implications. 5. Topic Areas.
Authors should indicate at the bottom of each abstract up to five keywords, specifying the most important topics or content of the paper. Keywords will be used to assist in reviewing and streaming of papers. Also at the bottom of the abstract, please provide the word count.

2b. Four-Page Paper
Paper submissions (up to four pages in length) are required for researchers who wish to submit a more detailed document for review. The structure of the four-page paper is to be the same as the structured abstract but with the inclusion of additional detail in each section. The four-page paper should be typed and include complete references. Full papers should begin with a title in ALL CAPITAL LETTERS and the appropriate topic area (see list above). Do not put author name(s) anywhere in the document. Names should appear only on the Submission Form, available from the conference web site. Full papers should be structured with headings.
For empirical papers, the headings should include
1.Background 2. Aims 3. Method 4. Results 5.Conclusions. 6. Topic Areas.
For theoretical/review papers, headings should include
1.Background 2. Aims 3. Main Contribution 4.Implications. 5. Topic Areas.
Authors should indicate at the bottom of each paper up to five keywords specifying the most important topics or content of the paper. Keywords will be used to assist in reviewing and streaming of papers.
Abstracts and papers that do not conform to the format guidelines stated above may be returned to the author without being evaluated. A short abstract, intended for publication in the conference Booklet of Abstracts, will be requested from all authors of accepted papers. Specific instructions for the transmittal of this abstract will be included in the acceptance letters. It is important that these instructions, including the stated deadlines, be observed to facilitate creation of the final conference program.

3. Symposia Sessions
Organized symposia sessions typically involve more than one scholar and are expected to make a distinctive and creative contribution to the meeting. Symposia will consist of a set of integrated spoken papers related to a theme and will be allotted either a 90-minute or 2 hour time slot, typically consisting of three to four 25-minute papers followed by a discussion (although alternative formats will be considered). Proposals for organized sessions are not reviewed anonymously. These sessions may be: symposia that include several presentations on a single topic workshops focused on a specific theme or issue tutorials that give intensive instruction in some subfield of music perception and cognition or a related field colloquia that include a major presentation with one or more invited discussants sessions of any other kind with a clear, specific, and coherent rationale.
The session organizer(s) must supply all information requested on the Submission Form, available from the conference web site. In addition, the organizer(s) must submit the following supporting materials:
A detailed proposal (typically 2-5 pages), including:
a 250 to 500 word general description of the organized session that includes the purpose, motivation, length (1¸ to 2 hours), and justification for the session for publication in the Conference Proceedings
the names, addresses, and telephone numbers of all participants; including discussants, if applicable
a complete account, including timetable, of each participants role in the symposium
a 250 to 500 word structured abstracts for each participants presentation; also, for publication in the Conference Proceedings
The Program Committee reserves the right to select from the proposed participants and discussants. All symposium participants must have agreed to attend the conference and participate in the session prior to submission of the proposal.
Funding. The Program Committee does not have funds for organized sessions. If special funds are required, it is the responsibility of the symposium organizer(s) to seek and obtain them. When submitting the proposal to the Program Committee, the organizer(s) should state whether or not special funds are necessary. If so, the funding source should be identified, with an indication of what alternatives will be pursued if special funds fail to materialize.

General Requirements
After a structured abstract or four-page paper has been submitted, no changes of author, affiliation, title, or wording of the abstract, other than those due to typographical errors, are permitted. Papers must be delivered as projected in the abstract or represent bona fide developments of the same research. Handouts, if any, are not to be submitted with abstracts, but should be available at t he meeting for those attending the presentation. Spoken papers, posters, conference proceedings and publications will be in English. All presenters are required to register for the conference. Refereeing and the Conference Publication Submissions for paper presentations (both structured abstract and full paper submissions), poster presentations, and demonstrations will be blind-reviewed by members of the ICMPC8 Scientific Committee assisted by the Scientific Advisory Board. Proposals for organized sessions are not reviewed anonymously.

Accepted submissions will be published in the Conference Proceedings. In an effort to keep costs manageable and for ease of distribution, the Conference Proceedings will be produced as a CD-ROM, complete with ISBN. Details of the procedure and format for submitting final papers will be provided when authors receive notification of acceptance. All registered attendees will receive one copy of the CD-ROM Proceedings and may purchase additional copies for a nominal fee.

Structured Abstracts and Four-Page Paper submissions for ICMPC8 must be received by December 1, 2003. Notification of acceptance will be made by January 15, 2004 and revised and final papers for inclusion in the Proceedings will be due March 31, 2003.

Where to Send Submissions
Authors with internet access are strongly encouraged to send submissions via electronic mail to:, stating "ICMPC8 submission" in the "Subject" field. To facilitate the review process, submissions should be in one of the following document formats: rich text format (RTF), Microsoft Word (DOC), or Adobe Acrobat (PDF). If it is not possible to submit electronic versions of the documents, hard copies can be sent via postal service or FAX to:

Scott Lipscomb, ICMPC8
Northwestern University School of Music
711 Elgin Road
Evanston, IL 60208 USA
FAX: (847) 491-5260

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Midwest Graduate Music Consortium

Midwest Graduate Music Consortium
8th Annual Conference
University of Chicago
February 27th and 28th, 2004
Submission deadlines: Nov. 15 (snail mail), Nov. 22 (e-mail)


The Midwest Graduate Music Consortium is a joint venture organized by graduate students from The University of Wisconsin at Madison, The University of Chicago, and Northwestern University. Conferences allow graduate students in various fields of music to come together and share ideas on a vast array of topics. Conferences are held annually, in the spring, at UW-Madison, the University of Chicago, or Northwestern.


The program committee invites all graduate and advanced undergraduate students to submit abstracts (250-500 words) for papers related to popular music, music theory, analysis, cognition, history, ethnomusicology, or any other topic concerning the study and practice of music. We ask that abstracts not exceed 500 words. The presentation will have to fit into a thirty minute time slot; therefore, papers should be about twenty minutes in length, allowing time for a brief introduction and follow-up questions.


Submissions via email are preferred; if your abstract or score is in a common electronic format (Word, PDF, etc.), please email an attached copy to Be sure to include relevant information (name, contact info, institutional affiliation, title of paper or composition) in the email but not in the attachment; this ensures anonymous evaluations.

Submissions via snail mail are also accepted. Please send three copies of your abstract, omitting your name (or any other identifying marks), along with a cover letter providing your relevant information to:

Joti Rockwell, MGMC Program Chair
431 W. Roscoe Street Apt. 5A
Chicago, IL 60657

Proposals must be received with a postmark of no later than November 15th, 2003.
Email must be received no later than November 22, 2003

For more information about MGMC, see our web site:

If you have any questions, please contact Joti Rockwell at

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Music Theory Society of the Mid-Atlantic

Music Theory Society of the Mid-Atlantic will meet March 26-27, 2004 at Temple University The Music Theory Society of the Mid-Atlantic will have its Second Annual Meeting at Temple University's Esther Boyer School of Music on Friday, March 26th, beginning at 1:00 PM and concluding Saturday afternoon, March 27th. All are invited to attend and also to submit seven-copied proposals with a postmark date of no later than December 6, 2003 (early submissions are welcomed) to:

Joel Phillips, Program Chair
Music Theory Society of the Mid-Atlantic
Westminster Choir College of Rider University
101 Walnut Lane
Princeton, NJ 0850-3899 

The text of the proposals should be no longer than two pages. Additional information will be be posted soon on the Society's web site (Paul Mathews web master, Ted Latham of Temple ( is Chair of the Local Arrangements committee.

Those wishing to become members and have their names placed on the mailing list (there are no dues) are invited to contact

Pamela L. Poulin, President
Music Theory Society of the Mid-Atlantic
Peabody Conseratory of Music |
Johns Hopkins University

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Florida State University Music Theory Society


Florida State University Music Theory Society
2004 Annual Forum
February 7, 2004
Florida State University, Tallahassee
Keynote Speaker: Prof. Daniel Harrison (Yale University)

Paper proposals are solicited on any topic related to music theory.  Paper presentations should be approximately 30 minutes in length.  Submissions should include six copies of an anonymous proposal two to three pages in length, an anonymous abstract of 250-300 words, and a cover letter giving the title of the proposal, the author's name and institutional affiliation, address, phone number, e-mail address, and a list of technical requirements for presenting the paper.  All submissions should be postmarked no later than December 8, 2003, and sent to:

Scott Farrah and Adam Roberts, co-chairs
FSU Theory Forum
School of Music
Florida State University
Tallahassee, FL 32306-2098

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West Coast Conference of Music Theory and Analysis

The Department of Music, University of California, Santa Barbara announces


Friday, Saturday and Sunday, April 23, 24, 25, 2004 at the University of California, Santa Barbara, California

Keynote Speaker: Rose Subotnick, Brown University

Special panel and session: Music Theory and Analysis Outside the Canon

Invited speakers include: Robert Fink (UCLA), Victoria Johnson (UC Irvine), John Covach (University of North Carolina), Justin London (Carleton College), David Neumeyer (University of Texas)


The WCCMTA program committee invites proposals for short talks (15 minutes) or long talks (30 minutes) on a variety of topics touching on the theory and analysis of Western art music and other repertoires. Proposals should be between one and two pages long and should indicate whether they are for a 15-minute or 30-minute presentation. Since proposals are to be reviewed blind, please list your presentation title, name and contact information separately; do not reveal your identity within the proposal itself.

Conference organizers: Pieter C. van den Toorn, Patricia Hall

Please MAIL five copies of the proposal (postmark deadline: January 16, 2004) to:

Pieter van den Toorn
University of California
Department of Music
Santa Barbara, CA 93106-6070

or EMAIL the proposal to Patricia Hall at 

or FAX the proposal to the attention of Pieter C. van den Toorn at (805) 893-7194 (by January 16, 2004)

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Music Theory Midwest

Call for Proposals

MUSIC THEORY MIDWEST announces its Fifteenth Annual Conference, to be held at the University of Missouri-Kansas City, Kansas City, Missouri, 14-15 May, 2004.
The planned Keynote speaker is Andrew Mead (The University of Michigan).

CFP Deadline: 15 January 2004 (postmarked or electronic submission)
The program committee encourages individual presentations and special sessions on the following topics:
1) The music of Paul Creston (whose manuscripts are archived at UM-KC)
2) The pedagogy of twentieth-century music analysis (The conference will coincide with a meeting of the Barr Institute for American Composition Studies).

Papers on musicians with significant anniversaries in 2004 are also welcome. Some of these include Antonin Dvorák (d. 1904), Charles Ives (d. 1954), Luigi Dallapiccola (b. 1904), Mikhail Glinka (b. 1804), Felix Salzer (b. 1904), Witold Lutoslawski (d. 1994), Coleman Hawkins (b. 1904), and Count Basie (b. 1904).

MTMW welcomes presentations on any topic in music theory, either in established or more recent areas of enquiry. Special sessions devoted to a single work, illustrating a variety of analytical and interpretive approaches, are also encouraged.

Individuatl Presentations:
Individual presentations should be 20 minutes in length. The proposal should include a cover letter giving the author's name, email address, and paper title, along with a description of any special equipment required, and an abstract. The abstract is limited to 500 words and should be anonymous. Proposals may be submitted in two ways:

1) For online submissions of the cover letter and abstract, go to
Online Submissions:
Please submit musical examples in PDF format, or FAX them to the Program Chair at 502.852.0520.
Identify examples by paper title ONLY.

2) For paper mail submission, send the cover letter and five copies of the abstract, postmarked no later than 15 January 2004, to:

Anne Marie deZeeuw, Program Chair, MTMW 2004
School of Music, University of Louisville
Louisville, KY 40292

Special Sessions:
Proposals for special sessions or formats are also encouraged. These are exempt from the word limit, will not be read blind, and should include the names of the organizer and all participants. Special sessions must be "special" in the sense that they could not be put together by the program committee out of individually submitted papers. Anyone wishing to propose a special session is advised to contact the program chair via e-mail well in advance of the proposal deadline at this address:

Komar Student Award:
The Arthur J. Komar Award for best student paper will be presented at the conclusion of the conference. Student presenters who wish to be considered for this award must mention this in their cover letters. A member is considered a "student" until the receipt of a terminal degree, or the acceptance of a full-time position. Additional information about the Komar Award can be found at: 

You should receive notification of the program committee's decision in early spring when the preliminary program schedule is completed. If your proposal is accepted, you will be required to submit an electronic version of your abstract (if you have not already done so) condensed to about 250 words. The program committee may request that your proposal be presented in a format other than a traditional 20 minute paper. If at any time you learn that you will be unable to attend the MTMW 2004 meeting (14-15 May) please notify the program committee chair as soon as possible to withdraw your proposal from consideration. Please do not wait until after you receive notification, as this delay could cause additional complications in the entire program.

MTMW Web Address: 

MTMW 2004 Program Committee:
Chair, Anne Marie de Zeeuw, U. of Louisville, 
Rebecca Leydon, Oberlin College-Conservatory, 
Peter H. Smith, Notre Dame University, 
Brent Yorgason, Indiana University, 
Joseph Kraus (ex officio), University of Nebraska, 

MTMW 2004 Local Arrangements:
Hali Fieldman, University of Missouri-Kansas City, 

Claire Boge, MTMW Secretary
Miami University (Oxford, Ohio)

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Conference Announcements

Conference Announcement: Milton Babbitt: A Celebration of His Life and Music


Milton Babbitt, the dean of American serial composers, who at age 87 remains at the height of his creativity, will return on October 31 to Jackson, Mississippi, where he spent his formative years. There he will be honored by a conference that celebrates his life and music. Papers will be read and presentations given by notable Babbitt scholars, including Andrew Mead and Stephen Peles. The conference will include performances by pianist Robert Taub, guitarist William Anderson, flutist John McMurtery, and the ACS new music ensemble Luna Nova, conducted by James Romig Millsaps College will be hosting the two-day event, in a collaboration with the Associated Colleges of the South, the National Institute for Technology in the Liberal Arts, and the Composers' Guild of New Jersey.
Conference homepage:
To view abstracts:

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Conference Announcement: Ahead of the Ear. Expectation and Prejudice in Music

EVENT: International Symposium: Ahead of the Ear. Expectation and Prejudice in Music

HOST: Universitaet fuer Musik und darstellende Kunst
Institut fuer Wertungsforschung
Palais Meran
Leonhardstrasse 15
A-8010 Graz

DATE: 21 - 23 November 2003

Music is never just the sound event here and now. What music is to us in a given moment is always shaped by what preceded it and what will follow - whether in reality or in the listener's imagination. Remembrance and expectation make the music. The latter, our ubiquitous anticipations of sounds to come, will be the topic of the symposium. Expectations can retain flexibility, or they can ossify, turning into prejudices. When is anticipation a trap to our capacity to listen, when does it disclose musical time? - this certainly is a matter for fertile controversy.



Recommended accommodation:
Hotel Gollner
Schloegelgasse 14
A-8010 Graz
phone (0043) (316) 8225210
fax (0043) (316) 8225217

The nearest airport is Graz-Thalerhof.

The venue of the conference can be reached most conveniently by tram lines 1 and 7 (stop: Lichtenfelsgasse/KunstuniversitŠt).

Univ.Prof. Dr. Andreas Dorschel
Universitaet fuer Musik und darstellende Kunst
Palais Meran
Leonhardstr. 15
A-8010 Graz
fax (0043) (316) 389-3141

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Conference Announcement: International Symposium: Theodor W. Adorno and Richard Strauss

EVENT: International Symposium: Theodor W. Adorno and Richard Strauss

HOST: Universitaet fuer Musik und darstellende Kunst
Institut fuer Wertungsforschung
Palais Meran
Leonhardstr. 15
A-8010 Graz

DATE: 5 - 6 December 2003

DESCRIPTION: The symposiasts will scrutinize the plausibility of Adorno's critique of Richard Strauss.

Speakers include Andreas Dorschel (Austria), Rebekka Fritz (Germany), Gabriella Hanke Knaus (Switzerland), Susanne Kogler (Austria), Otto Kolleritsch (Austria), Karin Marsoner (Austria), Peter Revers (Austria), Michael Walter (Austria), Walter Werbeck (Germany).



COST AND PAYMENT OPTIONS: Attendance is free.

Hotel Gollner
Schlšgelgasse 14
A-8010 Graz
phone (0043) (316) 8225010
fax (0043) (316) 8225217

Univ.-Prof. Dr. Andreas Dorschel
Universitaet fuer Musik und darstellende Kunst
Palais Meran
Leonhardstr. 15
A-8010 Graz
fax (0043) (316) 389-3141

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Conference Announcement: Vixen Muse: Hugo Wolf's Musical World

Announcing an international conference:
Vixen Muse: Hugo Wolf's Musical World
University of Ottawa, Ottawa Canada
23-26 November 2003

The conference website is at:

To see the conference programme in html:

To see the conference programme as a pdf file (legible with Adobe Acrobat):

The conference registration form is available as an html file:

or as a pdf file (legible with Adobe Acrobat):

For more information please write to

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Journal-Related Announcements

Indiana Theory Review special issue: "Music Theory and Performance"

Indiana Theory Review announces a special issue titled “Music Theory and Performance.” We welcome articles concerning the study of music as performance, particularly those connecting music theory and analysis to performance. Topics involving performance and meaning, issues of interpretation, gesture and embodiment, performance traditions, historical performance practice, recorded media, or performers and text are especially encouraged. Submissions received by January 15, 2004 will receive first priority.

Guidelines for contributors are available from

Please direct any questions regarding this special call to

Indiana Theory Review accepts articles on all aspects of music theory and analysis on a continuing basis. Indiana Theory Review is a semi-annual journal published by the Graduate Theory Association of the Indiana University School of Music. All submissions are subject to blind review by members of the editorial board.

Matthew Boyer
Victoria Malawey
Editors, Indiana Theory Review

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Psychology of Music 31/3

Psychology of Music

Volume 31 Issue 03 - Publication Date: 1 July 2003

Investigating music performance


Music performance research at the millennium
Alf Gabrielsson
Uppsala University, Sweden

Five facets of musical expression: a psychologist's perspective on music performance
Patrik N. Juslin
Uppsala University

In respect of performance: the view from musicology
John Rink Royal Holloway
University of London, Egham, Surrey

Musical performance: crux or curse of music education?
Janet Mills
Royal College of Music, London

Research Note

Investigating expressive timing and dynamics in recorded cello performances
Ju-Lee Hong
Birmingham Conservatoire

Book Reviews

Delucia-Waack, J.L., Using Music in Children of Divorce Groups: A Session-by Session Material for Counselors, reviewed by Dorit Amir

Parncutt, R. and G.E. McPherson (eds), The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, reviewed by Mark Lammers and Mark Kruger

Stige, B., Culture-Centred Music Therapy, reviewed by Tony Wigram


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Musurgia X/1

Just published: Musurgia X/1. The table of contents is as follows:

Katelijne SCHILTZ, "Giunto Adrian fra l’anime beate : Une quintuple déploration sur la mort d’Adrien Willaert"

Joseph DELAPLACE, "Les formes à ostinato dans Le Grand Macabre de György Ligeti : Analyse des matériaux et enjeux de la répétition"

André RIOTTE, "Quelques réflexions sur l’analyse formalisée"

Moreno ANDREATTA et Stéphan SCHAUB, "Une introduction à la Set Theory : Les concepts à la base des théories d’Allen Forte et de David Lewin"

Abstracts of these papers can be read on the journal's web site,


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Copyright Statement

[1] Music Theory Online (MTO) as a whole is Copyright (c) 2003, 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 19 January 2004