=== === ============= ==== === === == == == == == ==== == == = == ==== === == == == == == == == = == == == == == == == == == ==== 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) 1999 Society for Music Theory +-------------------------------------------------------------+ | Volume 5, Number 2 MARCH, 1999 ISSN: 1067-3040 | +-------------------------------------------------------------+ All queries to: mto-editor@smt.ucsb.edu or to mto-manager@smt.ucsb.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ File: mto.99.5.2.ann Toronto 2000: Open Call for Proposals for Joint Sessions Call for Papers: Don't Stop Till You Get Enough: Consuming Popular Music Call for papers: Arnold Schoenberg Center College Music Society Summer 1999 Opportunities for Professional Development: (1) Center for Professional Development in Music Technology at Illinois State University (2) Center for Professional Development in World Music at New England Conservatory of Music (3) Weekend Workshop on Teaching Women and Gender in Popular Music at the University of Wisconsin, Madison (4) CMS International Conference in Kyoto, Japan New England Conference of Music Theorists: Program Schedule Call for Papers: International Conference on Jean Sibelius, Helsinki 2000 West Coast Conference for Music Theory and Analysis and Rocky Mountain Society for Music Theory Music Theory Society of New York State 1999 Program _______________ TORONTO 2000: MUSICAL INTERSECTIONS Open Call for Proposals for Joint Sessions (*Proposal deadline: June 1, 1999*) The Society for Music Theory will hold its annual meeting November 1-5, 2000 in Toronto, Canada, together with fourteen sister societies engaged in music research and the teaching of music in U.S. and Canadian colleges and universities. Entitled *Toronto 2000: Musical Intersections*, the conference will bring together The American Musical Instrument Society (AMIS); the American Musicological Society (AMS); the Association for Technology in Music Instruction (ATMI); the Canadian Association of Music Libraries, Archives, and Documentation Centres (CAML); the Canadian Society for Traditional Music (CSTM); The College Music Society (CMS); the Canadian University Music Society (CUMS); The Historic Brass Society (HBS); the Canadian and U.S. chapters of the International Association for the Study of Popular Music (IASPM); the Lyrica Society for Word-Music Relationships; the Society for Ethnomusicology (SEM); the Society for Music Perception and Cognition (SMPC); and The Sonneck Society for American Music. The Steering Committee for this joint meeting invites proposals from members of the participating societies for sessions that focus on interdisciplinary topics in the scholarly study, teaching, or creation of music (including performance), in an effective session format involving members from two or more of these societies. A proposal for a joint session may be coordinated with a separate evening concert. Presentations in these sessions may be given in English, French, and Spanish. Proposals for joint sessions must describe the topic and state the purpose of the session in fewer than 1000 words, give contact information for the session coordinator (valid for all of 1999), and provide a one-page resume for each committed participant. The Steering Committee encourages proposals that include participants from many disciplines; it is expected, however, that scholars in the field of music be members in good standing of at least one of the participating societies; membership should be indicated on the resume. All participants must register for the conference. Six copies of each proposal should be sent no later than June 1, 1999 to Dr. Leslie Hall, Department of Philosophy and Music, Ryerson Polytechnic University, 350 Victoria Street, Toronto M5B 2K3, Canada. Proposals may also be sent before June 1, 1999 by electronic mail to Dr. Hall at Facsimile transmissions will not be accepted. Joint sessions for the Toronto 2000 meeting will be selected by the fifteen-member Steering Committee by December 1, 1999, before the SMT deadline for regular proposals for the meeting. Individuals participating in these special joint sessions may also appear on any one other session on the formal Toronto program. _______________________________________________ For further information, feel free to contact me at the e-mail address above (jschmalf@emerald.tufts.edu). Janet Schmalfeldt SMT President Tufts University home: 3 Cliff Street Arlington, MA 02476 (new zip) (781) 641-3317 _______________ Don't Stop Till You Get Enough: Consuming Popular Music CONFERENCE ANN0UNCEMENT/CALL FOR PAPERS DON'T STOP TILL YOU GET ENOUGH: CONSUMING POPULAR MUSIC The 1999 National Meeting of IAPSM-US (International Association for the Study of Popular Music, United States Branch) WHEN: Sept. 30-Oct. 2, 1999 WHERE: Middle Tennessee State University (MTSU), Murfreesboro, TN The 1999 IASPM/U.S. conference welcomes papers on the cultural roles of music and musicians; the means by which music gets to its audiences; and the ways in which music is interpreted and used by listeners in a variety of contexts. Within this broad frame, the conference will focus especially on consumption practices. In the study of popular music, attention is sometimes focused on producers at the expense of consumers: we still understand and investigate very little about who listens to popular music, how they hear it, and how that music affects their lives. Thus we encourage papers on this topic. In addition, we welcome disciplinary and interdisciplinary examinations of (among other topics): * various histories and traditions in popular music * institutions, politics, and popular music * race and popular music * the dominant discourses of popular music/popular music studies * gender studies and its relation to popular music studies * technology and new media * authorship issues in popular music * performance theory and performance styles * new ways of understanding both "popular" and "music" GRAD STUDENT AWARDS: IASPM-US will offer three awards of $200 each to the three best papers presented by graduate students. ABOUT THE LOCATION: Murfreesboro is located approximately 35 miles from Nashville. We will plan several panels, speakers, and recreational activities around music-making activities in the Nashville area. Deadline for proposals: May 15, 1999 Please send all proposals (submissions by e-mail are strongly encouraged) to: Professor Thomas Swiss Chair, Program Committee e-mail: thomas.swiss@drake.edu 1514 Buresh Ave Iowa City IA 52245 For more info, contact: Professor Paul Fischer Dept. of Recording Industry Box 21 Middle Tennessee State University Murfreesboro, TN 37132 Phone: (615) 898-5470 FAX (615) 898 5682 e-mail: pfischer@frank.mtsu.edu conference info is also available at: _______________ Arnold Schoenberg Center EVENT: Call for papers HOST: Arnold Schoenberg Center DATE: September 1999 DESCRIPTION: In September 1999, on the occasion of Arnold Schoenberg's 125th birthday, the Arnold Schoenberg Center and the Arnold-Schoenberg-Institute of the University of Music and Dramatic Arts in Vienna will jointly host a musicological symposium devoted to the topic "Arnold Schoenberg's Viennese Circle" and herewith extend an invitation for papers. The topic embraces Schoenberg and his Viennese pupils, the concept "school" with respect to the Viennese School, and the "Society for Private Musical Performances." Each section will include several papers. Applications should be submitted with a brief abstract to the Arnold Schoenberg Center, attention of Dr. Christian Meyer (Secretary-General) Schwarzenbergplatz 6 A-1030 Vienna Austria e-mail: For more information, contact the Arnold Schoenberg Center. CONTACT: Dr. Christian Meyer Arnold Schoenberg Center Meyer@schoenberg.at _______________ College Music Society Summer 1999 Opportunities for Professional Development Offered by The College Music Society This message contains information and updates on the following Summer 1999 events: (1) Center for Professional Development in Music Technology at Illinois State University, (2) Center for Professional Development in World Music at New England Conservatory of Music, (3) Weekend Workshop on Teaching Women and Gender in Popular Music at the University of Wisconsin, Madison, and (4) CMS International Conference in Kyoto, Japan ******************************************************* Center for Professional Development in Music Technology June 11-16, 1999 The Office of Research in Arts Technology (ORAT) Illinois State University, Normal, Illinois This year's Center for Professional Development in Music Technology will provide beginning to intermediate levels of training with three tracks of Web development with a special emphasis on music tools, Macromedia Director training for music software development and notation and sequencing tools to teach orchestration and arranging. The five-day experience will give participants the opportunity to explore these possibilities, seek answers to questions related to music technology, and work in a cross-platform environment with the large resources of music software, hardware, and well-qualified professional expertise on hand in the arts technology program at Illinois State. Special events and presentations are also planned for each day including a night at the Shakespeare Festival. The three tracks this summer provide enough new areas of study that previous attendees to the workshop should consider returning to the summer Institute. Instruction will consist of lecture and demonstration, followed by hands-on experiences in the four Macintosh and Windows labs. Registration is available for "Internet Observers" who would like private access to RealAudio broadcasts of the lectures over the Internet and access to the Web-based teaching materials. We have made many changes and improvements that include: * New G3 Macintosh systems have been purchased this year for the Mac multimedia lab * Upgraded software (e.g. Finale 98, Cakewalk, QuickTime 3.0, and more) * New high-tech lecture room for morning open sessions * Internet observer delivery will be expanded to provide RealVideo as well as RealAudio support * New staff additions with Henry Panion and Joe Bernert * Motel as well as dorm options for housing Three nationally known music technology faculty will provide the primary instruction for the Center: Peter Webster, Henry Panion, and David Williams. Henry has unique talents, as arranger for Stevie Wonder, in teaching the use of MIDI software for arranging and orchestration and would provide new talent to the instructional mix. Webster and Williams, authors of Experiencing Music Technology, bring a broad range of experience with multimedia, web, and classroom applications. Additional Illinois State ORAT staff support will be provided by James Bohn, Jody DeCremer, David Kuntz and Joe Bernert. For more information, see, Tuition: Before April 30: CMS members, $450. Non-CMS members, $525. Internet Observer, $200. After May 1: CMS members, $550. Non-CMS members, $625. Internet Observer, $25 ****************************************************** Center for Professional Development in World Music New England Conservatory of Music Boston, Massachusetts Again offered in collaboration with the New England Conservatory Summer Intercultural Institute, which is now in its sixth year. The Institute is an immersion experience emphasizing oral learning through close contact with master performers and scholars, integration of performance with cultural study, and an open environment of cross-cultural inquiry. Session I: July 6-11, 1999 East Africa and Haiti. Baganda music from Uganda features drums and xylophones and will be taught by James Makubuya of the Massachusetts Institute of Technology and Andrew Mangeni of the Smithfield, Rhode Island schools. They will also offer a separate course of instruction in teaching the music of East Africa in the K-12 classroom. Drum ensembles, songs, and dances of Haitian Vodun will be taught by Gerdes Fleurant of Wellesley College, Patric LaCroix of the Patric LaCroix Dance Company, and Fritz ("JuJu") Joseph of Boston. Session II: July 12-17, 1999 North India and Turkey. Improvisation and composition in classical Hindustani raga and tala will be taught for Indian and Western instruments and voice by Peter Row of New England Conservatory (sitar), George Ruckert of the Massachusetts Institute of Technology (sarod), and Jerry Leake. Improvisation and composition in classical Ottoman makam and usul will be taught for Turkish and Western instruments and voice by Ihsan Ozgen of Istanbul Conservatory (kemence, tanbur, bendir, voice) and Center/Institute Director Robert Labaree of the New England Conservatory. Session III: July 12-17, 1999 Klezmer: Jewish Folk Instrumentalists and Their Music. A rare opportunity to learn the klezmer style and repertoire directly from master musicians of Moldova and Bessarabia traditions: Yosef Kagansky from Toronto (accordion), Gershon Goldenshteyn from New York (clarinet), and Hankus Netsky of the New England Conservatory. ****************************************************** Weekend Workshop on Teaching Women and Gender in Popular Music June 11-13, 1999 University of Wisconsin, Madison The teaching of subject matter concerning women and gender in music has burgeoned in the past several years, supported in part by constantly expanding research in a variety of disciplines. To enhance professional development for teachers of women and gender in music, The College Music Society sponsors a variety of activities. Its weekend workshops are modeled on week-long summer institutes on women and music held in 1993 and 1996, and designed in part for participants who are not able to invest in a week-long activity. The workshops are of relevance to persons new to teaching women and gender in music, as well as to those seeking a short refresher course, the latest in teaching materials, and new contacts with colleagues around the country involved in this subject matter. The workshops should appeal to graduate students and junior faculty new to teaching, seasoned teachers new to women and gender courses, and veterans of women's studies. The first weekend workshop on women and gender in music was held January 1998 at the University of Texas-Austin, the second in February 1999 at Agnes Scott and Spelman Colleges. The workshop in Madison will be devoted to teaching women and gender in popular music. Workshop formats include large group sessions, smaller breakout discussion groups, and unstructured time for individual work. Some reading materials may be assigned in advance, and participants may be asked to bring some of their own resources to share. Participants may present reports on their research and participate in informal concerts and reading sessions of repertoire. The faculty facilitator is Susan Cook, Associate Professor, University of Wisconsin, Madison, and well-known author of a variety of women and gender studies in music. ****************************************************** CMS International Conference in Kyoto, Japan Thursday and Friday, June 24 and 25 Kanazawa, Japan--Pre-Conference Workshop: "An Introduction to Japanese Culture I" Visit Nishida Family Garden, adjoining Kenrokuen, one of Japan's three most beautiful gardens, for an Urasenke-school tea ceremony, "bento" box dinner with concert featuring hand drum, flute, and koto. Also Noh master class, traditional and modernist flower arranging, and more. Sunday and Monday, June 27 and 28 Kyoto, Japan--Pre-Conference Workshop: "An Introduction to Japanese Culture II" Sabie house--located alongside Kyoto's famous Philosopher's Walk--will provide a priest-led Buddhist temple architecture tour, instruction in the tea ceremony (Urasenke school), including philosophy, teahouse architecture, the use of incense and flowers, and more. Also receive a lesson in Japanese phrases and greetings, with a few words about the language's relationship to the people and culture and learn some traditional Yokyoku songs with an experienced Yokyoku practitioner, who will prepare his teaching selections in Western notation. And enjoy a visit to a Japanese home (in small groups) for an informal lesson in Japanese cooking and table etiquette with the hostess. Monday evening-Thursday, June 28-July 1 1999 CMS International Conference Monday evening, June 28--Conference Opening Reception Tuesday, June 29--Issues in the Transmission of Musical Knowledge in Japan. Plenary addresses and discussions with: Yoshimi Tagahagi (Tokyo Gakugei University) and Robert Werner (University of Cincinnati) (both past presidents of the International Society for Music Education): "Professional Education of Musicians in the United States and Japan." Silvain Guignard (Doshisha Women's College of Liberal Arts, Kyoto): "Fifteen Years of Study with a Living National Treasure," a discussion of his fifteen-year apprenticeship to Madame Yamazaki Kyokusui, considered to be the foremost biwa player in Japan. Kimiko Ohtani (Kochi University): "Non-Western Musics in Schools and Universities in Japan," focusing on the problems and difficulties faced by music educators as they consider the future of music education in Japan at the elementary, high school, and university levels. Akeo Okada (Kobe University): "About the Reception of European Classical Music in Japan," covering western music in Japan as a symbol of social status, its use as "official" music, and traditional Japanese elements "hidden" in the education system of European classical music in Japan. Tuesday will conclude with a concert of biwa music performed by Dr. Guignard, and of gagaku music performed by Tomihisa Hida and his pupils. Guji (Reverend) Hida is priest of the Ichihime Jinja Shinto Shrine in Kyoto and heads a foundation dedicated to teaching Japanese traditional musics to young people. Wednesday and Thursday, June 30 and July 1--A concert, including Works by CMS Composers, and a variety of presentations of interest, covering musics of Japan, Europe, North America, and South America. Friday, July 2--Post-conference day trip to Hiroshima Peace Park and Miya Jima. Miya Jima is considered (along with Mt. Fuji) to be the destination of one of the three most important pilgrimages in any Japanese person's life. Costs (all lodging costs are per person, per night, double occupancy): Kanazawa workshop $245 Kanazawa inn lodging 38 or 45 Kanazawa hotel lodging 44 Kyoto workshop 230 Kyoto inn lodging 55 107 Kyoto hotel lodging 64 78 Conference registration 315 Hiroshima tour 45 (does not include travel--see below) Air travel: the best fares are "consolidators" fares, available from most travel agents. Phone Wide World of Travel (1-800-735-7109) or any travel agent, and ask for a quote. Rail travel: The new Kansai airport at Osaka is 55 minutes by train from Kyoto. Below are sample itineraries and costs, based upon the most economical combination of fare options (US$1 = 110 yen). (1) Kansai, Kanazawa, Kyoto, Hiroshima, Kyoto, Kansai $308. (2) Kansai, Kanazawa, Kyoto, Kansai $108. (3) Kansai, Kyoto, Hiroshima, Kyoto, Kansai $237. (4) Kansai, Kyoto, Kansai $37. Instructions will be provided in the registration packet detailing how the adventurous can easily keep food costs under $20/day. Eating well for $30/day is possible, provided hotel restaurants are avoided! ****************************************************** For more information on these events, including registration materials, please contact: THE COLLEGE MUSIC SOCIETY 202 West Spruce Street Missoula MT 59802 phone: 406-721-9616 fax: 406-721-9419 email: cms@music.org Or see the CMS website at ****************************************************** _______________ New England Conference of Music Theorists FOURTEENTH ANNUAL MEETING MARCH 27-28, 1999 (Sat.-Sun.) Paine Hall, Harvard University Cambridge, Massachusetts PROGRAM Abstracts of presentations may be viewed on the NECMT website, above; follow the Annual Meeting link. Saturday, March 27 9:30-12:30 Music + Drama + Text Deborah Burton, Harvard University, chair "The Strategic Use of Tonality in Twentieth-Century Opera: A Linear-Dramatic Analysis of Debussy's _PellČas et MČlisande_" Edward Latham, Yale University (elatham@pantheon.yale.edu) "Schoenberg's 'Vagrant Chords' and Webern's _Dehmel Lieder_" Matthew Shaftel, Yale University (matthew.shaftel@yale.edu) "On Bodily Music, Disembodied Codas, and Beethoven's _Egmont_" Elizabeth Paley, School of Fine Arts, University of Kansas (espaley@falcon.cc.ukans.edu) "The Force of Naming: _Grimes_ and the Operatic Speech Act" Philip Rupprecht, Consrvatory of Music, Brooklyn College, CUNY (PhilipR@brooklyn.cuny.edu) 2:00-3:15 Keynote Address "What Song Cycles Do" Peter Westergaard, Princeton University 3:30-5:00 Schubert's Mirror: Reflecting on Lieder Michael Schiano, The Hartt School, chair "Text, Context, and Conceptions of Distance in Schubert's 'In die Ferne'" Edward Gollin, Harvard University (egollin@fas.harvard.edu) "Intimate Revelation or _Nachtstueck_ of Romantic Irony?: Two Ways of Reading Schubert's _Der Wanderer_, D. 649" James Parsons, Southwest Missouri State University (jap614@mail.smsu.edu) Responses Richard Lalli, Yale School of Music Janet Schmalfeldt, Tufts University 8:30 Keynote Recital Richard Lalli, Yale School of Music, baritone Janet Schmalfeldt, Tufts University, pianist performing Schubert _Sechs Moments musicaux_, a group of Schubert songs, and Schumann _Dichterliebe_ co-sponsored by NECMT and the Harvard Music Department Sunday, March 28 9:30-12:30 Inner and Outer Time: Aspects of Music in the Fourth Dimension Hali Fieldman, University of Missouri at Kansas City, chair "A Marxian Approach to Schubert" Marlon Feld, Columbia University (mbf21@columbia.edu) "Walter Harburger's _Metalogik_: The Rhythmic Theory" Martin Steffen, University of California at Santa Barbara (6500stfn@ucsbuxa.ucsb.edu) "Improvisation as Continually Juggled Priorities: Julian Cannonball Adderley's _Straight, No Chaser_" Karim Al-Zand, Harvard University (alzand@fas.harvard.edu) "The Edge of Intelligibility: Time, Memory, and Analytical Strategies for _Clarinet and String Quartet_ (1983) by Morton Feldman" Mark Janello, School of Music, University of Michigan (mjanello@umich.edu) _______________ International Conference on Jean Sibelius INTERNATIONAL CONFERENCE ON JEAN SIBELIUS IN HELSINKI IN 2000 This is the first announcement and call for papers for the 3rd International Jean Sibelius Conference to be held in Helsinki on December 7-10, 2000. This event belongs to the program celebrating Helsinki as one of the cultural capitals of Europe that year. It will be organized by the Sibelius Academy, Department of Musicology at the University of Helsinki and the Musicological Society of Finland. The main topics of the conference are the life and works of Jean Sibelius, manuscript studies, theater and vocal music, program music and intertextuality, gender and Sibelius, nationality and politics, reception and performance studies. The Honorary Committee of the conference consists of: Professor emeritus Fabian Dahlstrom (Abo Academy), Professor Glenda Dawn Goss (University of Georgia, Athens), Professor James Hepokoski (University of Minnesota), Professor Timothy Jackson (North Texas University), Professor Edward Laufer (University of Toronto), Dr. Robert Layton (London), Professor Tomi Makela (University of Magdeburg), Professor Erkki Salmenhaara (University of Helsinki) and Dr. Marc Vignal (Paris). The organizing committee consists of: Dr. Kari Kilpelainen (Jean Sibelius Gesamtausgabe Project), Ms. Anna Krohn, Secretary (Sibelius Academy), Dr. Eija Kurki (Finnish Cultural Foundation), Professor Veijo Murtomaki (Sibelius Academy), Rector Lassi Rajamaa (Sibelius Academy) and Professor Eero Tarasti, Chair (University of Helsinki). We encourage any music scholar working on Sibelius studies in the world to attend the conference either as an active participant delivering a paper (of 30 minutes, including time for questions) or as a passive one. The deadline for registering for the conference with a paper is December 31, 1999. The abstract (one page) and short CV (half a page) should be sent to the Secretariat of the conference. Participation fee of USD 100 (active participants) or USD 50 (passive participants) should be paid at the conference. The conference is organized in the proximity of the International Jean Sibelius Violin Competition taking place in Helsinki on Nov. 18 - Dec. 2, 2000 and coinciding with the 135th anniversary of the composer on Dec. 8. A visit to the home of Jean Sibelius at Ainola, Jarvenaa (25 kms from Helsinki) will be organized as well. The papers of the conference will be published (the proceedings from the earlier international Sibelius conferences in 1990 and 1995 can be ordered from the Secretariat). Helsinki, January 21, 1999 Eero Tarasti Professor, Chair Anna Krohn Secretary of the Conference All registrations and inquiries should be addressed to: Anna Krohn, Sibelius Academy, P.O.Box 86, 00251 Helsinki, Finland tel. +358-9-405 4645, fax. +358-9-405 4603 e-mail: anna.krohn@siba.fi _______________ West Coast Conference for Music Theory and Analysis Rocky Mountain Society for Music Theory The following information, as well as registration and travel information, is also available on the web at the RMSMT web site: West Coast Conference for Music Theory and Analysis and Rocky Mountain Society for Music Theory Joint Meeting, April 16-18, 1999 Stanford University, Stanford, CA THURSDAY, APRIL 15 2:00-6:00 Pre-conference workshop Introduction to Humdrum David Huron [Enrollees are welcome to attend the graduate seminar on music representation at which David will be a guest speaker on Thursday, 11-1] FRIDAY, APRIL 16 9:30-9:45 Opening Remarks Stephen Hinton, Chair, Music Department, Stanford Jonathan Berger, Acting Head, CCRMA Eleanor Selfridge-Field, CCARH 9:45-12:00 Session I Preferential Strategies in Elliott Carter's Second Quartet (1959) Beth Crafton, University of North Texas Coherence in Prokofiev's 'Wrong-Note' Music: Tonal and Motivic Structures Deborah Rifkin, Eastman School of Music 'Music is an Inexhaustible Sea, No Amount of Paper can Contain its Rules!': The Concept of Tonordnung in Joseph Riepel's Anfangsgruenden Stefan Eckert, SUNY Stony Brook 1:30-3:45 Session II Interstitial Music Tom Baker, University of Washington The Edge of Intelligibility: Time, Memory, and Analytical Strategies for "Clarinet and String Quartet" (1983) by Morton Feldman Mark Janello, University of Michigan "Quartal" Pitch-Class Set Theory and Prokofiev's "There are Other Planets" Daniel Bertram, Yale University Seven Steps to Heaven: A New Two-Part Species Counterpoint Henry Martin, Rutgers University 4:00-5:00 Keynote Address: Bach's Parallel-Section Constructions Joel Lester, Dean, Mannes College of Music 5:15-5:45 Tour and demo: Archive of Recorded Sound, w/ Richard Koprowski 5:30-6:30 Reception and lab demos: CCARH SATURDAY, APRIL 17 9:00-11:30 Session III Schoenberg in Stravinsky's Ears: A Theoretical Approach Christoph Neidhoefer, Harvard University Polyphonic Adjustments to Meter in Torke's "Adjustable Wrench" John Roeder, University of British Columbia Musical Agency and the Communal Web Roger Graybill, University of Texas at Austin Mozart 'In Medias Res' Poundie Burstein, Hunter College 11:40-12:00 Business Meetings 12:15-1:15 Lunch [price included with early registration] 1:15-2:00 Demos and Tours of CCRMA 2:00-5:15 Session IV Compositional Algorithms and Composers' Creative Thought: Towards an Understanding of the Implications of Brian Ferneyhough's Process of Composition Pamela Madsen, UC San Diego Counterpoint Assistant (CPA) David Evan Jones, UC Santa Cruz Issues of Integrated Schematic Memory and Context in a Neural Network Model of Cognition of Music Jonathan Berger, Dan Gang, Stanford University Categorical Perception, Ordering Effect, and Interval Boundaries Leigh VanHandel, Stanford University A Computational System for Metrical Analysis David Temperley (Ohio State University) and Daniel Sleator (Carnegie Mellon University) Discussion: David Cope, University of California, Santa Cruz 5:30-6:30 Music Department Reception 7:00-10:00 Banquet [pre-registration required] Swagat Indian Restaurant, 2700 W. El Camino Real, Mountain View Dinner entertainment and short commentary Parag Chordia, sarod; Dan Schmidt, tabla SUNDAY, APRIL 18 9:00-12:45 Session V Chick Corea's "Crystal Silence": Tonal, Modal, or Post-Tonal? Richard Hermann, University of New Mexico Subverting the Dominant Paradigm? Shifting Concepts of V in Influential 19th Century Theories and Some Implications for Today David Kopp, University of Washington French Connections Anton Vishio, William Paterson University The Mono Mix of Sgt. Pepper Michael Hicks, Brigham Young University Metrical Dissonance in the Music of Chopin Harald Krebs, University of Victoria Program Committee: Steve Larson, Chair; Jack Boss; Jonathan Berger; Jonathan Bernard; Lisa Derry; Stephan Lindeman Local Arrangements: Eleanor Selfridge-Field, Chair; Leigh VanHandel; Craig Sapp; Fred Spitz ______________ Music Theory Society of New York State The program for the 1999 meeting of MTSNYS at Ithaca College on 10-11 April is available on the MTSNYS home page at The MTSNYS home page also contains all relevant conference information: registration form, travel directions, and housing. If you would like additional information, please contact me at the address below. Mary I. Arlin, President MTSNYS arlin@ithaca.edu Office: (607) 274-3350 +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Copyright Statement [1] *Music Theory Online* (*MTO*) as a whole is Copyright (c) 1999, 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]. 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