=== === ============= ==== === === == == == == == ==== == == = == ==== === == == == == == == == = == == == == == == == == == ==== M U S I C T H E O R Y O N L I N E A Publication of the Society for Music Theory Copyright (c) 1996 Society for Music Theory +-------------------------------------------------------------+ | Volume 2, Number 1 January, 1996 ISSN: 1067-3040 | +-------------------------------------------------------------+ All queries to: mto-editor@boethius.music.ucsb.edu or to mto-manager@boethius.music.ucsb.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ File: mto.96.2.1.ann 1. Real Time Composition Library (RTC-lib) for MAX, version 2.2 2. Rocky Mountain Society for Music Theory: Call for Papers 3. Music and {Con}Text: Art Song in the Twentieth Century 4. Tonal Structures in Early Music: Provisional Program 5. Georgia Association of Music Theorists: Call for Papers 6. Music Theory Midwest: Call for Papers 7. New England Conference of Music Theorists: Call for Papers 8. The Middle Ages in Contemporary Popular Culture: An Interdisciplinary Conference 9. History, Music, and the Arts in Germany and Austria, 1815-1848 ========================================================= 1. Real Time Composition Library (RTC-lib) for MAX, version 2.2 I would like to announce the new release of my "Real Time Composition Library" (RTC-lib) for MAX, version 2.2. The new version was uploaded to: ftp://ftp.ircam.fr/pub/incoming/max-patches/RTC-lib_2.2.sea and should be moved within the next days to ftp://ftp.ircam.fr/pub/IRCAM/programs/max-patches/composition/ I am especially indebted to Peter Elsea (University of California, Santa Cruz) who implemented some already existing RTC-objects as externals and who gave the permission to include some of his list objects (Lobjects). Description of the RTC-lib ========================== This library (a collection of MAX-patches) offers the possibility to experiment with a number of compositional techniques, such as serial procedures, permutations and controlled randomness. Most of these objects are geared towards straightforward processing of data. By using these specialized objects together in a patch, programming becomes much more clear and easy. Many functions that are often useful in algorithmic composition are provided with this library - therefore the composer could concentrate rather on the composition than the programming aspects. For more information please check the following article on my website: http://www.ping.at/users/essl/works/rtc.html New features of version 2.2 =========================== New objects, enhancements of already existing objects, bug fixes (see release note in the end of this message). A *Tutorial* shows how selected compositorial issues such as harmony, rhythm, and random can be mastered with the aid of the "Real Time Composition Library". Furthermore it contains several especially adapted and documented structure generators from "Lexikon-Sonate" such as Triller, MeloChord, and Esprit. A new version of "Lexikon-Sonate" (1992-95), an infinite interactive realtime composition for computer-controlled piano, now allows to choose between different performance modes (concert, installation, minimal) and to adjust the output to the velocity range of your MIDI-device (player piano, sampler, synthesizer). More informations about "Lexikon-Sonate" can be found at: http://www.ping.at/users/essl/works/Lexikon-Sonate.html ---------------------------------------------------------------------- RTC-lib_2.2 (release notes) New objects =========== List Objects * assorted Lobjects by Peter Elsea (Univ. of California, Santa Cruz): Ladd, Lsub, Lmult, Ldiv, Lpow, Lrem, Lround, Labs Transitions * trans-exp (implementation as an external by Peter Elsea): exponential transition between min and max in n steps * trans: general transistion function, covers trans-log, trans-lin, and trans-exp * make-trans-scale: general transistion function for list generation Rhythm Generators * super-rhythm: most general and powerful rhythm generator * ED-rhythm Random * periodic: random number generator Harmony * anti-interval: filters out a certain interval from a stream of notes New implementations =================== * transpose-row (vs. 2): using Peter Elsea's Lobjects, works for lists with up to 64 elements * scale (vs. 2): implementation as an external by Peter Elsea Modified objects ================ * series (vs .3): added outlet shows index of chosen element * sequence (vs. 3): added outlet shows index of chosen element * sel-princ (vs. 2): added outlet shows index of chosen element * xrandom (vs. 2): bug fixed (initialisation); resets its state when a message is sent to the right inlet. * group (vs .2): selection of supply and group size is now done by "series"; second outlet now outputs the index of the chosen supply element. * serial-rhythm (vs. 3): added middle outlet for index of chosen element * alea-rhytm (vs. 3): added middle outlet for index of chosen element ---> BEWARE: changed order of outlets - check your patch-chords! * repeat-ED (vs. 2): bug fixed (argument did not work). Second outlet added - bangs when finished. A "stop"-message sent to the left inlet stops immediately. Bug fixes ========= * repchord-rhythm (vs. 1.1): does not get stuck when periodicity factor is 1 and a change is required. * trans-lin (vs. 3.1): wrong calculation when start value was 0 corrected * schweller (vs. 1.1): now resets when a single parameter changes * cresc-decresc (vs. 1.1): now resets when a single parameter changes * pass-bang (vs. 1.1): argument corrected Dr. Karlheinz Essl SAMT - Studio for Advanced Music Technology (Linz-Hagenberg / Austria) E-Mail: essl@ping.at WWW: http://www.ping.at/users/essl/index.html =================================================== 2. Rocky Mountain Society for Music Theory: Call for Papers The Rocky Mountain Society for Music Theory is holding its third annual meeting at the University of Arizona in Tucson on April 19-20, 1996. Our keynote speaker will be J. Timothy Kolosick from the University of Arizona. Proposals for papers are welcome on all topics related to music theory, analytic techniques, music theory pedagogy, or technology in music research or pedagogy. Proposals should be 2-3 pages in length (double-spaced) and should contain no references to the author or the author's academic affiliation. Submit five copies of the proposal along with a cover letter identifying your contribution to: Robert Clifford, Program Committee Chair School of Music and Dance University of Arizona Tucson AZ 85721 clifford@ccit.arizona.edu 520-621-2254 Please mark the envelope containing your proposal with "RMSMT Proposal." POSTMARK DEADLINE IS FEBRUARY 1, 1996. For more information about the Rocky Mountain Society for Music Theory, please contact: Steven Bruns College of Music University of Colorado at Boulder 18th & Euclid Campus Box 301 Boulder, CO 80309-0301 bruns@spot.colorado.edu ===================================================== 3. Music and {Con}Text: Art Song in the Twentieth Century CALL FOR PAPERS MUSIC AND {CON}TEXT Art Song in the Twentieth Century A Graduate Student Symposium at Duke University Saturday, March 2, 1996 *In the Keynote Address, renowned American composer NED ROREM will consider the state of art song in our century.* We invite musicologists, performers, and composers as well as interested scholars from other disciplines to participate in a discussion interrogating the concept of the genre 'Art Song' in the twentieth century. Is there such a thing as 20th-century art song? How might we define it? Posing these questions prompts further investigation into the relationships between the repertory and its cultural contexts. Topics of particular interest to the program committee include, but are not limited to, the following: * 'Art song' which attempts to engage popular culture and/or contemporary political issues * Experimentation with non-traditional ensembles * Musical postmodernism * Quotation and borrowing * Questions of 'voice' * The effects of extended vocal technique, electronic media, and/or recording technology on the composition and reception of music and text * Discussions of the 'art song' genre and repertory beyond North America and Western Europe * Problematizing performance Presentations limited to 20 minutes. Send abstracts (250 words) and cover letters (please specify audiovisual needs and include an e-mail address if possible) to Program Committee Art Song in the Twentieth Century Department of Music Box 90666 :: Duke University Durham, NC 27708-0666 Abstracts and cover letters may be submitted via facsimile at 919/660-3301. Questions may be addressed to imgall@acpub.duke.edu DEADLINE: FEBRUARY 1, 1996 ================================== 4. Tonal Structures in Early Music: Provisional Program TONAL STRUCTURES IN EARLY MUSIC University of Pennsylvania Department of Music March 29-30, 1996 Provisional Program ~~~~~~~~~~~~~~~~~~~ ================ Friday, March 29 ================ 1:00 Registration 2:00 FOURTEENTH- AND FIFTEENTH-CENTURY SONG "Exploring Tonal Structure in 14th-Century Polyphonic Song" Sarah Fuller (SUNY Stony Brook) "_Prenez sur moi_: the cyclical solution" Stefano Mengozzi (University of Chicago) "Tonal Procedures in Okeghem's _Prenez sur moi_ and Busnoys' _A que ville_" Mary Kathleen Morgan (Univerisity of Pennsylvania) Respondent: Leeman L. Perkins (Columbia University) 4:30 MONTEVERDI (Gary Tomlinson, Chair) "The Rhythm of the Nymph: Long-Range Motion and Coherence in Monteverdi's Lament" Linda Ciacchi (Michigan State University) "Monteverdi and Festa: Towards a Rehabilitation of Motivic Theory in Sixteenth-Century Music" Geoffrey Chew (Royal Holloway College, London) 6:30 Reception ================== Saturday, March 30 ================== 8:00 Registration, Coffee 9:00 SEVENTEENTH-CENTURY INSTRUMENTAL MUSIC (Robert Judd, Chair) "The Missing Flat: The Concept of Key in GB-Och MS 1179" Candace Bailey (Louisburg College) "Tonal Types and Modal Equivalence in Two Keyboard Cycles by Murschhauser" Michael Dodds (Eastman School of Music) "Giovanni-Maria Bononcini's Op. 6 Trio Sonatas and the State of Late 17th-Century Modal Theory in Relation to Compositional Practice" Donald Fader (Stanford University) "Applied Modality in late Seicento Instrumental Music: the theory and practices of G.C. Arresti and G.M. Bononcini" Gregory Barnett (Princeton University) 1:30 MODE AND BEYOND (Cristle Collins Judd, Chair) "The Cycle of Thirds and Tonal Coherence in Josquin des Prez's _Memor esto verbi tui_" Timothy Steele (Palm Beach Atlantic College) "Tonal Coherence and Function in Sixteenth-Century Polyphony" Wolfgang Freis (Chicago) "Internal and External Views of the Modes" Frans Wiering (Utrecht University) 4:30 ROUND TABLE AND DISCUSSION: Tonal Structures in Early Music Cristle Collins Judd (Univerisity of Pennsylvania) Jessie Ann Owens (Brandeis University) Harold Powers (Princeton University) 6:30 Conference Dinner ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ For information on registration and accommodation, please contact: Cristle Collins Judd Music Department University of Pennsylvania 201 S. 34th St. Philadelphia, PA 19104-6313 tel: (215) 898-5412 fax: (215) 573-2106 e-mail: cjudd@sas.upenn.edu ============================================= 5. Georgia Association of Music Theorists: Call for Papers The Georgia Association of Music Theorists (GAMUT) will hold its annual meeting at the University of Georgia in Athens on Friday April 26 - Saturday Arpril 27, 1996. Severine Neff from UNC at Chapel Hill will be the keynote speaker. The tentative meeting schedule includes a panel presentation/discussion on a pedagogical issue Friday evening, a paper session Saturday morning, and the keynote paper titled, "'This I Have Learned From My Students': The Teachings of Arnold Schoenberg" on Saturday afternoon. Address inqueries for further details about the meeting and send papers (limit to 30-45 minutes) and proposals for panel presentation/discussion to: Leonard Ball, Program Chair School of Music University of Georgia Athens, GA 30602 Phone: (706) 542-2800 e-mail: lvball@uga.cc.uga.edu Deadline is Monday, February 26, 1996. The GAMUT Journal welcomes articles dealing with all aspects of music theory, including pedagogy, analysis, history, and book reviews. Contributors should submit three copies anonymously with an identifying cover letter and a short abstract of the article. Manuscripts should be double-spaced with 1-inch margins. Documentation must be complete. Musical examples, tables, and diagrams should be camera-ready. Copyright privileges, if required for publication, should be secured in advance. The Fall 1995 issue is expected to be available by the end of January, 1996. The Editorial Committee for the Fall 1996 issue includes Joseph Auner, David Bernstein, Severine Neff, Frank Samarotto, and Susan Tepping. Deadline for submissions for the 1996 issue is May 31, 1996. Address inquiries for subscriptions, manuscripts, proposals for reviews, or any other reponses and communications to: Kristin Wendland Music Department Morris Brown College 643 Martin Luther King Drive Atlanta, GA 30314 (404) 220-0045 e-mail: muskfwx@gsusgi2.gsu.edu or ir002842@interramp.com ----------------------------------------------------- 6. Music Theory Midwest: Call for Papers CALL FOR PROPOSALS Music Theory Midwest 1996 Annual Meeting Western Michigan University Kalamazoo, Michigan The 1996 conference of MTMW will take place May 17-19 at Western Michigan University in Kalamazoo. Proposals and abstracts for papers, panels, round-tables, poster sessions or other types of presentations should be sent by February 2, 1996 to the program chair: David Butler School of Music 1866 N. College Rd. The Ohio State University Columbus, OH 43210-1170 Please identify proposals (1000 words maximum) and abstracts (250 words maximum) by cover letter only, and mark envelopes "MTMW Abstract" to ensure anonymity; please enclose 5 copies of the proposal and 1 copy of the abstract. Proposals and abstracts by electronic mail are encouraged: . Please type "MTMW Abstract" in the subject header. Proposals involving special session formats and special topics, including music in popular culture, music theory instruction by non-specialists, and regional folk and popular music are encouraged. Music Theory Midwest welcomes members, from any geographic area, who teach music theory or are interested in music-theoretic issues. Annual dues for 1996 are $15 (regular), $20 (joint), and $5 (student). Dues should be sent to: John Schaffer 1703 Middleton Street Middleton, WI 53562 Members of the 1996 MTMW Program Committee: Claire Boge (Miami University, boge_claire@msmail.muohio.edu); Helen Brown (Purdue University, helen@mace.cc.purdue.edu); James Buhler, Student Representative (University of Pennsylvania, jbuhler@sas.upenn.edu); David Butler (Ohio State University, butler.7@osu.edu); and Gretchen Horlacher (Indiana University, ghorlach@indiana.edu). The Local Arrangements Chair is David Loberg Code (Western Michigan University, CODE@wmich.edu). David Butler O: (614) 292-7321 School of Music H: (614) 488-2420 1866 N. College Rd. fax: (614) 292-1102 Ohio State University Columbus, OH 43210 USA **New address** for our website: http://www.cgrg.ohio-state.edu/other/music/ ------------------------------------------- 7. New England Conference of Music Theorists: Call for Papers New England Conference of Music Theorists Eleventh Annual Meeting March 30-31, 1996 Amherst College Robert Morris, keynote speaker Proposals on all topics are invited from interested theorists, both members and non-members of the conference, whether or not they presented papers at NECMT in 1995. Submissions will be read blind; they should contain no identification of the author. With your submission, please include a cover letter giving your name, address, phone number, affiliation, and the title of your proposal. Those who wish to propose papers or topics for sessions should send four copies of a three-to-five-page proposal postmarked by February 1, 1996 to: David Cohen Department of Music Harvard University Music Building Cambridge, MA 02138 Program committee: David Cohen (Harvard University), chair Patrick Miller (Hartt School of Music) Deborah Stein (New England Conservatory) Allan Keiler (Brandeis University), President, ex officio For questions and/or further information, please contact me at the e-mail address below. David Kopp Secretary, NECMT kopp@minerva.cis.yale.edu ---------------------------- 8. The Middle Ages in Contemporary Popular Culture: An Interdisciplinary Conference McMaster University Hamilton, Ontario, Canada March 29-31, 1996 Keynote Speaker: Derrick de Kerckhove Director of the McLuhan Program in Culture and Technology University of Toronto This conference will explore the general theme of "The Middle Ages in Contemporary Popular Culture." This theme is intended to be as open-ended as possible and will be approached from many directions. Topics include, but are not limited to: *Marketing the Middle Ages in music (Gregorian chant, Hildegard of Bingen), novels, movies,TV series, video games and CD-ROM *New Millenarianisms, Satanic cults and witchcraft *The Middle Ages in nationalist ideologies *The Middle Ages as an attraction for tourists: visits to archeological sites, medieval fairs, feasts and pageants. A number of special cultural events are also planned, including musical performances, films, a display of books, videos and interactive products. To receive further information or a registration form, please contact: Madeleine Jeay Susan Fast Department of French School of Art, Drama and Music McMaster University McMaster University Hamilton, On. Canada L8S 4M2 Hamilton, On. Canada L8S 4M2 Tel: (905) 525-9140 ext. 2375Tel: (905) 525-9140 ext. 23670 e-mail: jeaymad@mcmail.cis.mcmaster.ca e-mail:fastfs@mcmail.cis.mcmaster.ca FAX: (905) 577-6930 http:\\www.mcmaster.ca Presented by the McMaster Working Group on the Middle Ages and Renaissance ***************************************************************************= LIST OF PARTICIPANTS AND PAPERS: AVRUTIN Lily, University of Alberta The Artist as God's Fool; The Case of Andrei Roublev by Andrei Tarkovsky BEDARD Marie-Christine, Universite Laval, Quebec Les Medievales de Quebec comme terrain d'experimentation de la communication de l'histoire. BLAIN Jenny, Dalhousie University Witchcraft, Magic and Religion: Some Discursive Reconstructions of Belief and Practice. BRAY Dorothy, McGill University, Montreal The Beowulf Conceit in Terminators 1 and 2. BRENT Robert, University of Western Ontario I'm So Hot for Her and She Is So Cold: Petrarch and the Rolling Stones. CAPPS Sandra E., University of Tennessee, Knoxville Glastonbury: Medieval, Modern and New Age. CASH John, Indiana University Structure and Authenticity in the Current Middle Ages. CHAREST R., Universite Laval, Quebec Perceptions et critiques historiques des "Medievales" dans les medias. DARRUP Cathy C., City University of New York Did God Paint You? The Past as African Identity in Robin Hood, Prince of Thieves. de KERCKHOVE Derrick, University of Toronto The Electronic Middle Ages DUFRESNE Lucy, Universite d'Ottawa Which Witch is Which? Recasting Historical Nightmares as Utopian Visions. ERISMAN Wendy, University of Texas at Austin For My Lady's Honour: Gender, Performance and the Reproduction of Social Power in a Medieval Re-Creation Society. EVERETT William A., Washburn University, Topeka, Kansas Images of Arthurian Britain in the American Musical Theatre: A Connecticut Yankee and Camelot. FLINT Catrena, McGill University, Montreal Romancing Hildegard: Postmodern Appropriations of a Medieval Composer GOLINI Vera, St. Jerome's College, Waterloo Petrarch to Elvis, Lyrics Then and Now. GREGORY Christine, Florida Intenational University, Miami "So You Thought WE Have it Bad!" Dysfunctional, Corrupt and Brutal: Medieval Life in the Lion in Winter and Braveheart. HARLEY Maria Anna, McGill University, Montreal Romancing Hildegard: Postmodern Appropriations of a Medieval Composer. JEAY Gregoire, Orchestre Baroque de Montreal Concert with Carolyn Sinclair and the McMaster Dancers. KENDRIS Theodore, Universite Laval, Quebec Merlin, Sherlock Holmes and Mr. Spock: The Three Wise Men of Western Culture. KERSLAKE Geoffrey P., University of Guelph Popular Culture's Ignored Genre: The Middle Ages in Role-Playing Games KNIGHT Graham, McMaster University, Hamilton High-Tech Feudalism: Warrior Culture and Science Fiction Televison. KOLOZE Jeff, Cleveland State University Male "Bondage" or "Bonding": Malory's Depictions of Men and their Relationship to Men of Today. KREUZIGER-HERR Annette, University of Hamburg, Germany The Presence of the Past in the Present; Medieval Music in the Twentieth Century. LEWIS David Charles, University of Toronto The Return of Charlemagne;The Middle Ages, the European Idea and the European Right. LIFSCHITZ Felice, Columbia University Welcome to Medieval Life:Crafts, Dungeons and Instruments of Torture in Sunny Florida. MARKEWITZ Darrell, The Wareham Forge Historical Interpretationand Experimental Archeology in the Society for Creative Anachronism. MULHBERGER Steven, Nipissing University The Middle Ages As They Were or As They Should Have Been? NEWMAN Sharan, University of California, Santa Barbara Beyond Camelot and Chretien de Troyes: A Social Historian's Use of the Novel to Teach the Middle Ages. NOBLE James, University of New Brunswick The Realm of King Arthur in the Silly Season. PEDERSON Kristen, University of Toronto Magic, Power and Women's Sexuality in Medieval Scandinavia. RABINOVITCH Shelley, Universite d'Ottawa Which Witch is Which? Recasting Historical Nightmares as Utopian Visions. RIBORDY Genevieve Universite Laval, Quebec Le guide: un trait d'union entre la culture savante et la culture populaire. ROCHER Marie-Claude Universite Laval, Quebec Fetes populaires et histoire. SAMPLASKI Artie, University of Indiana The Middle Ages, Our Current Age and the Current Middle Ages. SCHUBERT Linda, University of Michigan Plainchant for the Pictures: The Use of the "Dies Irae" in Film Scores. SHARP Michael D., University of Michigan Adventures in the Hypermasculine: Medieval Scotland Goes to the Movies. VALOIS Jeanne, Universite Laval, Quebec La communication de l'histoire par le biais de la fete medievale. WILLARD Tom, University of Arizona Alchemical Gold: Worth More Than Ever. WILSON Robert, City University of New York English Storytelling --Beowulf and Rap. --------------------------------------- 9. History, Music, and the Arts in Germany and Austria, 1815-1848 Illinois Wesleyan University Bloomington, Illinois 30-31 March 1996 For more information, please contact Prof. Michael Cooper by e-mail: mcooper@titan.iwu.edu PROGRAM SATURDAY, 30 MARCH 1996: SESSION I (9:00 a.m.): POLITICAL AND CULTURAL METROPOLES: BERLIN AND VIENNA Elizabeth Paley (University of Wisconsin, Madison): "Music, Such as Charmeth Sleep": Musical Narrative in Mendelssohn's Keith Cochran (University of Mississippi): "A Subject Drawn from our National History": The Libretto for Spontini's R. Larry Todd (Duke University): On the Visual Element in Mendelssohn's Music Marian Wilson (Cornell College): Women, Music, and the Divine: The Female Composer in and Lisa Feurzeig (University of Chicago): Magnetic Illness in Friedrich Schlegel's Circle: The Story of Marie Schmith SESSION II (1:30 p.m.): MUSIC AND THE LITERARY ARTS Jonathan Bellman (University of Northern Colorado): Knights and Gypsies: The Musical Representation of Two German Literary Motifs David L. Mosley (Goshen College): The Wanderer as Topic and Trope in Early Nineteenth-century German Culture Harry E. Seelig (University of Massachusetts, Amherst): Orientalism and the Feminine in Selected German Lieder from 1815 to 1848: Settings of Goethe's by Schubert, Mendelssohn, and Schumann James McGlathery (University of Illinois, Urbana-Champaign): Wagner's Opera Texts and German Literature John Burchard (Rutgers University): Present at the Creation: Robert Schumann and the Myths Surrounding Schubert and Jean Paul Peter Mercer-Taylor (Valparaiso University): Mendelssohn's Grand Tour and the Italian "Bildungssymphonie" Jurgen Thym (Eastman School of Music): Schubert's Free Verse Settings SUNDAY, 31 MARCH 1996 SESSION III (9:00 a.m.) POLITICS AND THE ARTS Heidi Owen (University of Texas, Austin): Beethoven and the Congress of Vienna: Music, Message, and a New Path Matthew C. Glenn (Pennsylvania State University): German Romanticism and Political Statements in , , and John Sienecke (South Bend, Indiana): 'Round about Metternich: The Subtle Art of Criticism in Some Plays of J. A. Gleich John Daverio (Boston University): Sounds from without the Gate: Schumann and the Dresden Revolution Susanna Lodato (Columbia University): Robert Schumann's Lieder Criticism and German Nationalism Marjanne E. Gooze' (University of Georgia) and Ann Willison Lemke (Hennef, Germany): Music, Literature, and Political Activism in the Lives and Works of Bettine von Arnim and Johanna Kinkel +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Copyright Statement [1] *Music Theory Online* (MTO) as a whole is Copyright (c) 1996, 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. +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ END OF MTO ITEM