Milton Babbitt Symposium
On Saturday, May 2, 1998, the Music Division of the Library of Congress will be sponsoring a symposium in honor of Milton Babbitt. Mr. Babbitt is donating his papers to the Library, and this symposium is being planned to celebrate that gift as well as his close association with the Music Division for the past 30 years. The program will cover a wide variety of topics inspired by Milton Babbitt's life and work. The speakers will be Milton Babbitt Joseph Dubiel Allen Forte Marion Guck Andrew Mead Robert Morris Joseph Straus Robert Taub will perform Reflections (1974) for piano and synthesized tape, and Richard Lalli will sing Mr. Babbitt's early Theatrical Songs accompanied by Mr. Forte. Specific titles and abstracts of the seven papers will be published as soon as they are all available. The symposium will be held in the Coolidge Auditorium where several of Mr. Babbitt's works have been premiered. The Auditorium is located in the Jefferson Building of the Library of Congress across from the Capitol Building. The symposium will begin at 10:00 am and end at around 5:00 pm with about 1 1/2 hours for lunch. Since the symposium is being underwritten by a grant from the Krasnoff Gift Fund, there will be no attendance fee. Travel: The Library is located one block from the Capitol South Metrorail station and six blocks from Union Station. From National Airport you may wish to take the Metrorail, about a 20 minute ride. Shuttle service is available from Dulles Airport and Baltimore-Washington Airport. Limited on-street parking is available. Accomodations: Rates and locations of some hotels are listed on the Library's website: http://lcweb.loc.gov (click on General Information -- About the Library -- Visiting the Library -- How to Get to the Library and Where to Stay). For a copy of "Inexpensive Hotels and Housing in the Washington, D.C. Area" contact Stephen Soderberg. Due to a very convenient and efficient Metrorail, most area motels/hotels are an easy commute to Capitol Hill. Please contact Stephen Soderberg as soon as possible to make a reservation. Stephen Soderberg, Symposium Coordinator Music Division Library of Congress 101 Independence Avenue SE Washington, DC 20540 email: firstname.lastname@example.org phone: 202-707-1051 fax: 202-707-0621
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The Center for Experimental Music and Intermedia (CEMI) at the University of North Texas is offering four computer music workshops in scenic Crested Butte, Colorado. Enjoy intensive workshops in Csound, KYMA, MAX, and Algorithmic Composition amidst the beauty of the Rocky Mountains. The workshops offered include: Software Synthesis With Csound---July 13-17 Jon Christopher Nelson, Instructor Real-Time Synthesis With KYMA---July 18-21 Phil Winsor, Instructor Interactive MIDI Programming With MAX---July 23-26, Jon Christopher Nelson, Instructor Algorithmic Composition Workshop---July 27-31 Phil Winsor, Instructor Each workshop will be limited to 15 participants to ensure adequate access to the computer music workstations. The workshop fees are $750 for one workshop, $1400 for two workshops, $1900 for three workshops, and $2250 for all four workshops. Reduced rate housing and partial scholarships may be available for students. For additional workshop information please point your browser to our web site at http://www.music.unt.edu/CEMI/cb To apply, either fill out the form in our web site or send a letter of intent including your name, address, phone, fax, email, and a brief biographical statement including educational background and computer experience to: Jon Christopher Nelson, Director Center for Experimental Music and Intermedia UNT College of Music Denton, TX 76203 ph. (940) 369-7531 email@example.com http://www.music.unt.edu/CEMI Preference will be given to those applicants who submit this initial registration information by March 1, 1998.
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In November 1998 the Alamire Foundation will hold a congress on chant and polyphony. The main topic for the 5th International Colloquium is the relation between chant and polyphony (Middle Ages - 20th C.). Possible items include: -chant as a basis of polyphonic composition/improvisation (e.g. cantare super librum) -notated performance practices in manuscripts and prints (e.g. ornaments in chant under influence of polyphony) -performance praxis of chant and polyphony (e.g. alternatimpraxis organ-chant and polyphony-chant; the use (accompaniment) of instruments like organ, serpent, ophicleide, double bass) -the relation between chant and liturgy -historiography of chant -... This congress will take place at the Katholieke Universiteit in Leuven (Belgium) on Friday 20 and Saturday 21 November 1998. Proposals (abstracts: max. 40 lines) are due by May 1, 1998 and should be send to Christophe Libberecht, Congress Coordinator, Alamire Foundation, Katholieke Universiteit Leuven Mgr. Ladeuzeplein 21, 3000 Leuven (Belgium). A definitive program will be sent by September 1, 1998. Christophe Libberecht Alamire Foundation Jo Santy Holsbeeksesteenweg 122 3010 Kessel-Lo 016/25 34 02 firstname.lastname@example.org fax 016 32 46 91
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Centre for Computational Musicology and Computer Music Department of Computer Science and Informations Systems University of Limerick, Limerick, Ireland Research studentships leading to a PhD. in: Computational Musicology, Computer Music or Cognitive Musicology Applications are invited from students interested in working towards a doctorate in the area of Computer Music, Computational Musicology or Cognitive Musicology.Initially students will register for a Master's by Research and subsequently re-register for a Doctorate. The research interests of faculty involved are: Paschall de Paor: Aesthetic models in computer music; Historical computer music; Computer music composition; Music composition/performance systems. Niall Griffith : using neural networks and related machine learning techniques (Fuzzy Logic, GA's, Reinforcement Learning) in models that are able to learn about musical structure and that can use what has been learned to adapt to novel performance situations. Modelling universals in musical parameters and descriptors. Donncha O'Maidin: The use of music notation systems, MIDI and non MIDI-based sound synthesis. The use of musical corpora and software tools in testing theories about musical processes. Polyphonic Score Processing, the problems associated with the representation of general polyphony. Limerick is musically very active with the Irish World Music Centre and the Centre for Computational Musicology and Computer Music. The CCMCM offers a Masters in Music Technology. Projects include a collaboration with members of the Irish World Music Centre and the Interaction Design Centre at UL in designing and implementing a "wired" dance floor that can track, represent and analyse dance steps. This project is ongoing and involves the floor as performance medium, a compositional and analystical tool and a choreographic aid. The centre is running a two day workshop on computer support for the compositional process in March. IThe CCMC is currently initiating a port the Composers' Desktop Project to the Macintosh platform. The CCMCM concerts presents a series of computer music concerts including the work/research of postgraduate students. It collaborates over research seminars in CSIS and IWMC, and is visited by leading practitioners such as Trevor Wishart (Computer Music Composition, Composition Systems Design and Programming) Applicants should have a 2.1 honours degree in a relevant subject (e.g. Music, Cognitive Science, Computer Science, Psychology), though experience and other qulifications will be taken into account. Practical programming skills, where appropriate, are an advantage. If you are curious then please visit the following web sites at http://www.csis.ul.ie /* Dept. of CSIS home page http://www.csis.ul.ie/ccmcm /* Centre for Computational Musicology and Computer Music http://www.ul.ie/~pal/litefoot /* LiteFoot dance floor home page Contact: Paschall De Paor,email: email@example.com Tel. : +353 61 202782 Niall Griffith, email: firstname.lastname@example.org Tel. : +353 61 202785 Donncha O'Maidin,email: email@example.com Tel. : +353 61 202705 Dept. Fax: +353 61 330876
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Composition Competition for women composers from the Nordic Countries Oerebro Chamber Music Festival has been recognised as one of Scandinavia's foremost chamber music festivals since its inception in 1993. Its exciting programmes have featured famous artists from Sweden and around the world. Oerebro Chamber Music Festival celebrates five years of music making in 1998 with a festival dedicated to women composers. 1998 is also the 900th anniversary of the birth of Hildegard of Bingen. She has become something of a cult figure for Early Music enthusiasts, feminists and the New Age movement. 1998 also sees the 70th anniversary of the death of Valborg Aulin, one of a very few important Swedish composers associated with Oerebro. Women composers have not been generally encouraged in their work through the ages. Even today the works of women composers are not performed publicly to the same extent as those by male composers. This is despite the fact that women composers are to be found in all periods, many of them important ones. Today there are many good, young, women composers who are very active, but who have even greater difficulty than their male colleagues in getting their work performed. Oerebro Chamber Music Society aims therefore to focus even more on women composers by organising a competition for women composers in the Nordic countries in 1998. String Quartet Competition for Women Composers of the Nordic Countries Kammarmusikpriset 1998 We invite all women composers resident in the Nordic Countries to take part in the Kammarmusikpriset 1998. A String Quartet, 10 to 25 minutes in duration, newly composed or written not earlier than 1st January 1993. The last date of application is 1st May 1998. The jury will be chosen in co-operation with Nordisk Komponistrad. The jury will chose four works to go to the finals which will take place during Oerebro Chamber Music Festival in August 1998. The finals will be before an audience in Oerebro Concert Hall. All finalists will be awarded prizes. The first prize winner chosen by the jury will, apart from a prize cheque, receive a commission to write a work to be premiered at Oerebro Chamber Music Festival 1999. An audience prize will also be awarded. This gives an opportunity of being performed publicly not just to the winner but to several other composers as well. The audience will be able to participate actively by voting for their own favourite, something which we believe will create a greater interest for both contemporary music and women composers. We hope that this initiative will inspire women composers and create interest for their work from the general public. If you would like to know more, write to Oerebro Kammarmusikfoerening Oerebro Konserthus Box 335 701 46 OEREBRO SWEDEN Home page http://www.srk.se/orebro/festspel E-mail:
firstname.lastname@example.org or call Sissel Aarhaug on tel. +46 (0)706 408811
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University of Bristol 16-19 July 1998 Information Sheet The Music Department of the University of Bristol will host the 10th International Conference on Nineteenth-Century Music from 16 to 19 July 1998. The main sessions will take place in the Victoria Rooms, home of the University's Department of Music, close to the attractive Clifton area of Bristol. Programme: The conference will begin at lunchtime on Thursday 16 July and end after lunch on Sunday 19 July. There will be sessions on the following topics: 19th-century music criticism; the New German school; Meyerbeer; sacred tropes in secular music; mediating music: creating, collecting and publishing in 19th-century France; performance studies and nineteenth-century music; women and music; New Wagner criticism; Verdi and censorship; music and ideas; music and society; Liszt. Professor Charles Rosen will deliver the keynote lecture, and there will be a special round-table session, 'How should philosophers approach musical meaning?' with Andrew Bowie, Lydia Goehr, Peter Kivy, and Roger Scruton. The conference dinner (speaker Professor Arnold Whittall) will be preceded by a reception hosted by Cambridge University Press. There will be a lecture-recital on the songs of Fanny Hensel by Suzanne Summerville, and a piano recital by Professor Charles Rosen. There will be a book display (Friday-Sunday) organized by Rosemary Dooley. Accommodation: 100 single study-bedrooms are reserved at Clifton Hill House (72 with wash basins, 28 without), approximately ten minutes' walk from the conference venue. In addition 30 single rooms are available in local hotels (with private facilities). The hotel accommodation will be allocated on a first-come, first-served basis, as will the 'superior' study bedrooms in Clifton Hill House. Dinner will be provided at Clifton Hill House, except the Conference Dinner, which will be in the Victoria Rooms; vegetarian menus are available. A finger buffet lunch, morning coffee and afternoon tea will be provided daily in the Victoria Rooms. Early booking is advisable for residential attendance, as space is strictly limited to the above numbers. We will, however, try (but cannot guarantee) to arrange supplementary hotel accommodation if and when the 130 allocated places have been filled. Clifton Hill House will need to have final numbers by 1 June 1998. Please note that 'Conference Package' bookings, which benefit from a discounted registration fee, will be given first priority. For all bookings, payment should be received in full by 1 July 1998. Details of how to book appear at the end of this leaflet. For further information, please contact Professor Jim Samson (Conference Director), Department of Music, University of Bristol, Victoria Rooms, Queens Road, Bristol BS8 1SA, U.K. Telephone: + 44 117 9545028; fax: + 44 117 9545027; e-mail: email@example.com PROGRAMME (as of 4 February 1998) THURSDAY 16 JULY 11.30- Registration 13.00-14.00 Lunch 14.15-14.30 Introduction 14.30-18.00 Session 1: 19th-century music criticism Chair: Dr Katharine Ellis (Royal Holloway College, London) Dr Cristina Bashford (Oxford Brookes University): 'History of criticism or history of culture? The English musical press as a historiographical tool' Dr Stuart Campbell (University of Glasgow): 'The reception of Russian music in the British Isles: the evidence of The Musical Times, 1850-1900' 16.00-16.30 Tea Professor Janet L. Johnson (University of Southern California): 'Stendhal, Rossini, and the Parisian homme de lettres: an "ecole des journalistes"' Dr Richard Langham-Smith (University of Exeter): 'The Midi interface in turn-of-the-century French music criticism: themes of decentralisation and regionalism' 14.30-1800 Session 2: The New German school Chair: Professor Detlef Altenberg (University of Regensburg) Professor Detlef Altenberg (University of Regensburg): 'Introduction: the New German school---a fiction of Franz Liszt?' Dr Gerhard Winkler (Eisenstadt/Austria): 'Richard Wagner and the New Geman school' Professor James Deaville (McMaster University): 'The controversy surrounding Liszt's conception of programme music' 16.00-16.30 Tea Professor Martin Zenck (Bamberg): 'Classicism versus the New German school' Dr Walter Werbeck (Detmold/Paderborn): 'Richard Strauss and the symphonic style of the New German school' 126.96.36.199 Dinner 20.00-21.30 Keynote lecture: Professor Charles Rosen FRIDAY 17 JULY 8.00-9.00 Breakfast 9.30-13.00 Session 3: Meyerbeer: the last two decades Chair: Professor Mark Everist (University of Southampton) Professor Gabriela Cruz (Princeton University): 'Myth and drama in the genre of "L'Africaine"' Professor Sieghart Duhring (University of Bayreuth): Italian influence on "L'Africaine"' Dr Karen Henson (University of Oxford): 'The 1877 revival of "L'Africaine"' 11.00-11.30 Coffee Dr Robert Letellier (Cambridge): 'Meyerbeer and the comic spirit: miniature variations on grand themes' Professor Sabine Henze-Duhrung (University of Marpurg): '"L'=E9toile du nord": from draft to print' Dr Gabriella Dideriksen (London): '"L'=E9toile du nord" in London: 1855 and 1864' 9.30-13.00 Session 4: Sacred tropes in secular music Chair: Professor James Deaville (McMaster University) Dr Crawford Howie (University of Manchester): '"One chord of music like the sound of a great amen"' Dr Cornelia Szab-Knotik (Musikhochschule Wien): 'Changing aspects of sacred and secular: Liszt's "Legend of St. Elisabeth" in the repertory of the K.K. Hof-Operntheater in Vienna' Professor James Parsons (Southwest Missouri State University): '"Sacred words" and "magic tones": the trope of the sacred in the Finale of Beethoven's Choral Symphony' 11.00-11.30 Coffee Professor Denise Gallo (The John Hopkins University): 'Pacini's Giudetta: operatic elements in oratorio' Dr Francesco Izzo (New York University): 'Prayers in nineteenth-century Italian art song' Dr Willem Erauw (University of Ghent): 'Why and how musical practice became a secular religion' 13.00.14.00 Lunch 14.30-17.30 Round Table: How should philosophers approach musical meaning? Chair: Professor Robert Pascall (University of Nottingham) Professor Andrew Bowie (Anglia Polytechnic University) Professor Lydia Goehr (Columbia University) Professor Peter Kivy (Rutgers University) Professor Roger Scruton 15.45-16.15 Tea 18.30-19.30 Reception hosted by Cambridge University Press 19.30-21.00 Conference dinner. Speaker: Professor Arnold Whittall SATURDAY 18 JULY 8.00-9.00 Breakfast 9.15-12.45 Session 5: Mediating music: creating, collecting and publishing in 19th-century France Chair: Dr Annegret Fauser (City University, London) Dr Katharine Ellis (Royal Holloway College, London): 'The "Chefs-d'oeuvre classiques de l'opera francais" and the re-creation of France's operatic heritage' Dr Annegret Fauser (City University, London) 'World exhibition-World music? Musical politics in 1889 Paris' 10.45-11.15 Coffee Dr Andrea Musk (Oxford University): 'Regional music as national music? Reconciling the internal exotic' Dr Clair Rowden (City University, London): '"Herodiade": anticlerical, imperial or republican opera? 9.15-12-45 Session 6: Performance studies and 19th-century music: historical and modern practices Chair: Dr John Rink (Royal Holloway College, London) Dr Bernard Harrison (University of Lancaster): 'The revision of Clementi's Op.2 and the transformation of piano performance style' Dr Peter Johnson (Birmingham Conservatoire): 'Truths and enigmas: Beethoven's Lento assai (Op.135/iii) in performance' 10-45-11-15 Coffee Ms Elaine Goodman (Royal Holloway College, London): '1 + 1 = 2? The ensemble performance of Chopin's Cello Sonata' Professor Anatole Leikin (University of California, Santa Cruz): 'Granados's recordings of his "Danzas Espanolas": Implications for today's performers' 9.15-12.45 Session 7: Women and music Chair: Professor Helen Greenwald (New England Conservatory) Ms Sevin H. Yaraman (City University of New York): 'Opera, women, and playing with the waltz' Professor Naomi Andre (University of Michigan): 'Power, judgment and ritual: Amneris and the subversion of convention in Aida, act four, scene one' 10.45-11.15 Coffee Professor Harald Krebs (University of Victoria): 'Josephine Lang and the Schumanns' Professor Juanita Karpf (University of Georgia): 'Art music and activist discourse: the case of the African American musician Amelia Tilghman' 12.45-13.45 Lunch 13-45-14.30 Lecture-recital: Professor Suzanne Summerville (University of Alaska Fairbanks): '"There be none of beauty's daughters": the songs of Fanny Hensel' 14.45-18.15 Session 8: New Wagner criticism Chair: Professor Thomas Grey (Stanford University) Professor Thomas Grey (Stanford University): 'Music as natural language and the perception of evil in the Ring' Professor Lydia Goehr (Columbia University): 'Wagnerian endings: uneasy thoughts about redemption, utopia, and millennium' 16.15-16.45 Tea Professor John Deathridge (King's College, London): 'Wagner and Mendelssohn' Professor Mary Ann Smart (University of California, Berkeley): 'Mimomania: allegory and embodiment in "Die Walkure", Act,1' 14.45-18.15 Session 9: Verdi and censorship Chair: Professor Roberta Marvin (University of Iowa) Professor Martin Chusid (New York University): 'Local censorship and Verdi's operas: evidence from the Verdi Archive' Professor David Rosen (Cornell University): 'The peregrinations of Verdi's and Somma's "Gustavo III"' 16.15-16.45 Tea Dr Linda Fairtile (New York Public Library): 'All politics are local: variations in the censorship of two Verdian librettos' Professor Roberta Marvin (University of Iowa): 'The censorship of Verdi's operas in Victorian London' 18.30-19.30 Dinner 20.00-22.00 Piano Recital: Charles Rosen SUNDAY 19 JULY 8.00-9.00 Breakfast 9.30-13.00 Session 10: Music and ideas Chair: Dr. Jonathan Cross (University of Bristol) Professor Judith Norman (Trinity University, San Antonio): 'Nietzsche and the spirit of music' Dr Kevin O'Regan (University of East Anglia): 'Wackenroder and the doctrine of the soul' Dr Stephen Downes (University of Surrey): 'Kierkegaard, a kiss, and Schuman's Fantasy' 11.15-11.45 Coffee Dr Marcia Lebow (Pacific Palisades, California): 'Marian Evans, cryptomusicologist' Dr Bennett Zon (University of Hull): 'Creation/evolution: the conjugations of British historicism' 9.30-13.00 Session 11: Music and society Chair: Dr John Irving (University of Bristol)) Dr Friedemann Kawohl (Berlin): 'Musical copyright and the Prussian Copyright Act of 1837' Dr Elizabeth Way (University of South Florida): 'German nationalism and the Czech String Quartet in Vienna, 1893-1910' Mr Thomas Olsson (University of Lund): 'Music and musicians in Malm 1775-1850' 11.15-11.45 Coffee Professor Marie-Claire Mussat (University of Rennes): 'La pratique musicale prive en province dans la seconde moitif du XIX siecle: l'exemple de l'Ouest de la France' Professor Katharine K. Preston (The College of William and Mary): 'Opera on two sides of the Atlantic' 9.30-13.00 Session 12: Liszt Chair: Dr Adrian Beaumont (University of Bristol) Professor Anna H. Harwell Celenza (Michigan State University): 'Death transfigured: the origins of Franz Liszt's "Totentanz"' Dr Galia Hanoch (University of Tel Aviv): 'Franz Liszt's "La lugubre gondola": continuing the musical dialogue beyond the lament' Dr Marta Grabcz (University of Human Sciences of Strasbourg): 'Common narrative structures in music and literature: a semiostylistic investigation in the arts of the nineteenth century (Liszt and Goethe)' 11.15-11.45 Coffee Mr Alex Rehding (University of Cambridge): 'Liszt reminiscing: the Tristan quotation in "Ich moechte hingehn"' Dr David Butler Cannata (Temple University, Philadelphia): 'Mephisto incognito' 13.00-14.00 Lunch and depart Concerning Booking, contact: Professor Jim Samson, 10th International Conference on Nineteenth-Century Music, Department of Music, University of Bristol, Victoria Rooms, Queens Road, Bristol, BS8 1SA, U.K. Or write to: Margaret Peirson firstname.lastname@example.org
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Vol. 3/1 of the Dutch journal "Tijdschrift voor Muziektheorie" has appeared in the first week of February. Below are the contents of this issue, with English abstracts of the main articles. The editors of the "Tijdschrift voor Muziektheorie" invite contributions on a broad range of subjects related to the fields of music theory, music analysis, or the pedagogy of these disciplines. These contributions should be sent by e-mail or on a diskette to the editorial office. Books for review should be sent to the editorial office as well. The address is: Tijdschrift voor Muziektheorie Frans van Mierisstraat 72hs 1071 RX AMSTERDAM Holland telephone: + 31 20 6628669, fax : + 31 20 6721358, e-mail : email@example.com For information on subscription, contact the publisher: Donemus--Paulus Potterstraat 16, 1071 CZ AMSTERDAM, Holland Telephone: + 31 20 6764436, Fax : + 31 20 6733588, e-mail : firstname.lastname@example.org Volume 3 number 1 February 1998 Contents Articles Konrad Boehmer Die Dritte Revolution der Musik: Vom Konzert zur Disko? (The third Musical Revolution: From Concert to Dance Club?) [in German] The productive dialectic both of art music (whose promise of happiness lies in the view it casts beyond itself) and of consumption music (whose hedonism promises the happiness of the moment) now threatens to become stymied by the hegemony of total musical marketization. Not only does this paralyse compositional thinking, it also heralds a musical revolution, a terza prattica, whose material substratum is electricity. The author traces historical developments from early polyphony to today!s musical global economy. The information flows of the latter do more to foster oblivion than to stimulate new musical meanings. Without furnishing aesthetical or compositional recipes, the author calls for critical reflection on how music composition relates to world reality. The very antithesis between the two opens a multitude of compositional perspectives. Rein Laul Schaken met Beethoven Beethovens vormtechniek als schaakstrategie (Playing Chess with Beethoven. Beethoven's Form Technique as a Chess Strategy) [in Dutch] At a superficial level, composing can be compared to playing chess. But sometimes the similarities extend further than one might think. This article captures the exceptional nature of certain moments in the music of Beethoven by analysing these as concrete situations or events that might occur on a chessboard. Henry Klumpenhouwer Network Analyses and Webern's Opus 27/III [in English] In Anglo-American music theory, the analysis of atonal music over the last 25 years has been dominated by Forte Set Theory. This essay presents a fairly recently developed alternative methodological construct called Klumpenhouwer Networks, and argues for its analytical usefulness. In particular, the essay demonstrates how the Network model is able to extend many more meaningful relationships than Set Theory can, pointing out analytic possibilities arising out of this ability. The first twelve measures of the last movement of Webern's Piano Variations (opus 27) provide the context for this discussion to take place. The essay presents two different interpretations of the musical excerpt, both developed within the framework of Network Analysis. Discussion Splijt de leeuwerik Muziek in het tijdperk van de Herverlichting (Split the lark. Music in the age of re-enlightenment) by Peter Schat [in Dutch] Set-theorie en de toonklok (Set Theory and the Tone Clock) by Maarten van Norden [in Dutch] Kunnen getallen tot muziek leiden? Een nabespreking naar aanleiding van het ontstaan van een dubbelconcert (Can Numbers Lead to Music? Looking Back at the Creation of a Double Concerto) by Robin de Raaff [in Dutch] Muzikale ecologie (Musical Ecology) by Paul van Emmerik [in Dutch] Een Nederlander in Dresden. Het muziektheorieonderwijs aan de Musikhochschule Carl Maria von Weber in Dresden (A Dutchman in Dresden. Music Theory Instruction at the Carl Maria von Weber College of Music in Dresden) by Patrick van Deurzen [in Dutch] Congres Docenten Muziekgeschiedenis 1997 (Music History Teachers' Conference 1997) by Gerard van der Leeuw [in Dutch] Pleidooi voor meer samenwerking tussen theorie en paraktijk aan het conservatorium (Appeal for Closer Cooperation between Theory and Practice at the Conservatory) by Clemens Kemme [in Dutch] Congres Algemeen Theoretische Vakken Lichte Muziek (Conference on General Theoretical Courses for Students of Light Music) by Ruurd Salverda [in Dutch] Books Paul van Emmerik: "Thema's en variaties: Systematische tendensen in de compositietechnieken van John Cage" by Menno Dekker [in Dutch] Journals Musik und Aesthetik by Henk Borgdorff [in Dutch]
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This new list is particularly welcomed due to the loss of the MuWi-liste. NEUE DEUTSCHE MAILING-LISTE FUER MUSIKWISSENSCHAFT Ab sofort kann eine neue deutsche Mailing-Liste subskribiert werden, deren Zweck es ist, als Diskussions- und Informations-Forum fuer MUSIKWISSENSCHAFT zu dienen. Naehere Informationen koennen unter http://www.kgw.tu-berlin.de/~fabri/forum/ abgerufen werden. Die Subskription ist von diesem URL aus moeglich. Subscription is now open. Visit the URL. Conctact: HUGO0134@MAILSZRZ.ZRZ.TU-BERLIN.DE
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Sponsors: Network for New Music Temple University Department of Music Stefan Wolpe Society The contact number is Network for New Music, tel 610 827 1848 fax 610 827 1973. 1. Thursday, March 19, 1998, 5:15, Rock Hall Temple University Saxophone Quartet Saxophone Quartet No. 1, 1964 John Carisi (1922-92) Quartet for Saxophones, 1966-67 M. Wm. Karlins (1932) Blues, 1972 M. Wm. Karlins Doxology, 1976 Ron Thomas (1942) Taylor Series Morris Wright sax, pno, synth, computer graphics 2. Thursday, March 19, 7:30, Rock Hall Temple University Faculty New Music Trio Piece in Two Parts for Flute and Piano, 1960 Stefan Wolpe (1902-72) In Memory of Stefan Wolpe, 1991, fl, pno. Raoul Pleskow (1932) Plus compositions by Emil Berbakov, Heather Frasch, Robert Sbar, students of Matthew Greenbaum 3. Friday, March 20, 3:40-5:30 p.m., Rock Hall Symposium: Wolpe the Teacher Panel: Ed Levy, Ursula Mamlok, Raoul Pleskow, Howard Rovics, George Russell, Elie Yarden. Moderator: Austin Clarkson 4. Friday, March 20, 8:00 p.m., Rock Hall Network for New Music Ensemble Quartet, Op. 22, 1930 Anton Webern Quartet (Counterpoise No. 1), 1948 John Carisi Quartet No. 1, 1950 Stefan Wolpe Sonata for Violin and Piano Ursula Mamlok (1928) Carmen Duplex, 1996 Matthew Greenbaum (1950) Music for Violin, Baritone Sax, pno, 1997 Ron Thomas (1942) 5. Saturday, March 21, 3:00-5:00 p.m., Rock Hall Symposium: Wolpe and Jazz. Panel: H. William Karlins, Ed Levy, George Russell, Ron Thomas. Moderator: David Carp 6. Saturday, March 21, 8:00 p.m., Rock Hall Network for New Music Ensemble Temple University Jazz Ensemble Tom Lawton Trio Blues, "Stimmen aus", Marsch, 1929 Stefan Wolpe Israel, 1949 John Carisi Lydian M-1, 1955 George Russell (1924) All about Rosie, 1957 George Russell Angkor Wat, 1961 John Carisi Moon Taj, 1961 John Carisi Roadmaps for Trio, 1997 Tom Lawton sax, tpt, pno 7. Video/film program to be fit when possible. 1. CBS Studio 3, November 1967. BW. 30:00 Stefan Wolpe interview. Ron Anderson, tpt, Robert Miller, pno, Don Stewart, Tsax, Raymond Desroches, perc perform Solo Piece for Trumpet, Form for Piano, Quartet No. 1 for tpt, Tsax, perc, pno. 2. "Thinking Twice." Film by Jayne Parker (b. 1957). BW. 10:00. Katharina Wolpe performing short piano pieces by Stefan Wolpe. 8. Saturday, March 21, 10:00 p.m., Rock Hall Jam Session: Temple University Jazz Faculty and Wolpe Alumni: H. Wm. Karlins, Sy Platt, George Russell, Ron Thomas
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The Mannes College of Music announces the Third International Schenker Symposium, to be held Friday through Sunday, March 12-14, 1999. We hope that this symposium, like those held in 1985 and 1992, will demonstrate the scope of scholarly and artistic work stimulated by Schenker. Anyone interested in presenting a paper is cordially invited to submit a proposal by October 1, 1998. For details, please contact: David Loeb Co-Chairman, Techniques of Music Department The Mannes College of Music 150 West 85th Street New York, New York 10024 USA +1-212-580-0210, ext. 249 E-mail inquiries may be addressed to Hedi Siegel at email@example.com The Mannes College of Music is a division of the New School University.Back to Announcement Menu
International Alliance for Women in Music (IAWM)
The International Alliance for Women in Music is pleased to announce the 17th IAWM (1998) Search for New Music by Women Composers. * Student Composer Prize (for women currently enrolled in school) Works for any medium First Prize $250.00 * Second Prize $150.00 * Ellen Taaffe Zwilich Prize (for women age 21 and under) Works for any medium First Prize $150.00 * Miriam Gideon Prize (for women age 50 and over) Works for voice and piano, or voice and small chamber ensemble First Prize $300.00 * Second Prize $200.00 Contest Guidelines: * A composer may submit only one piece. * The work submitted must be unpublished, have won no prior awards, and have no plans to be recorded at the time of entry in the competition. * Please send a score (not the original) and a cassette tape, if available. * Submissions are anonymous. Please do not put your name on either score or tape. Submissions with names on them will be automatically disqualified. All works should be identified with a 6-digit number written at the top of the score and on the tape. * If you want to be considered for the Zwilich Prize, write a "Z" at the top of the score. * If you want to be considered for the Gideon Prize, write a "G" at the top of the score. * On a separate piece of paper please write the following: your 6-digit number; the title of the submitted work; your name, address and phone number; your birth date, if you wish to be considered for the Zwilich or Gideon Prize. * Please place the paper and statement from your composition teacher verifying your student status (if you wish to be considered for the Student Composer Prize) in an envelope. Seal the envelope and write your 6-digit number on the outside. Enclose the envelope with your score. * Please include a self-addressed stamped envelope for the return of materials. All works without return postage will become the property of the IAWM. * Contestants must be IAWM members or be willing to join at the time of entry ($40.00 for individuals, $25 for students/seniors). Please make checks payable to: International Alliance for Women in Music (IAWM).
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