=== === ============= ==== === === == == == == == ==== == == = == ==== === == == == == == == == = == == == == == == == == == ==== 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 4 SEPTEMBER, 1999 ISSN: 1067-3040 | +-------------------------------------------------------------+ General Editor Eric Isaacson Co-Editors Henry Klumpenhouwer Catherine Nolan Lawrence Zbikowski Reviews Editor Robert Gjerdingen Manager Ichiro Fujinaga mto-talk Manager Jay Rahn Consulting Editors Bo Alphonce Richard Littlefield Jonathan Bernard Thomas Mathiesen John Clough Benito Rivera Nicholas Cook John Rothgeb Allen Forte Arvid Vollsnes Stephen Hinton Robert Wason Marianne Kielian-Gilbert Gary Wittlich MTO Correspondents Peter Castine, Germany Marco Renoldi, Italy Wai-ling Cheong, Hong Kong Ken-ichi Sakakibara, Japan Tore Ericksson, Sweden Roberto Saltini, Brazil Gerold W. Gruber, Austria Michiel Schuijer, Holland Tess James, England Uwe Seifert, Germany Henry Klumpenhouwer, Canada Panos Vlagopoulos, Greece Nicolas Meeus, Belgium, France Arvid Vollsnes, Norway Editorial Assistants Arthur Samplaski Michael Toler Brent Yorgason All queries to: mto-editor@smt.ucsb.edu or to mto-manager@smt.ucsb.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 1. Reviews AUTHOR: David A. Damschroder TITLE: Review of Carl Schachter, *Unfoldings: Essays in Schenkerian Theory and Analysis*, ed. by Joseph N. Straus (Oxford: Oxford University Press, 1999). KEYWORDS: Schacter, Schenker, analysis, essays, theory, music David A. Damschroder 120 Donald N. Ferguson Hall University of Minnesota 2106 4th St. S. Minneapolis, MN, 55455 damsc001@maroon.tc.umn.edu [1] As a young student I often explored the music stacks of my college library. Small though its book collection was, I discovered there an astonishing world of information--a panoply of routes for my future development as a musician. A heavy, peculiarly wide, dark blue volume called *Counterpoint in Composition* intrigued me particularly. Though much that it contained was familiar, in its final chapter it seemed to go berserk: solid and dotted beams connected long spans of notes, some noteheads lacked stems altogether, and Roman numerals appeared with alarming infrequency. I astutely concluded that I had a lot more to learn, that none of my current mentors could help me, and that bizarre graphs such as these *might* some day become a focus of my musical life. The younger co-author of that book was, of course, Carl Schachter. And though others guided my journey through the foothills of Schenkerian theory, ultimately Schachter must count as one of my and of every Schenkerian's mentors, for the scope and brilliance of his writings in that field have been unmatched, at least since 1935. [2] Laudably, Schachter has devoted himself to two separate audiences of readers. With Felix Salzer in *Counterpoint in Composition* (1969), and with Edward Aldwell in *Harmony and Voice Leading* (1978), he has endeavored to provide the best possible guidance and insight for the larger community of musicians in the inaugural phase of their theoretical study. And, in a steady stream of well-crafted essays spanning several decades, he has made generous offerings of his knowledge and skill for the community of scholars and teachers who pursue the Schenkerian perspective. It is this latter community to whom Oxford University Press's compendium, *Unfoldings: Essays in Schenkerian Theory and Analysis* (edited by Joseph N. Straus), is directed. [3] Straus has arranged the essays in four categories: Rhythm and Linear Analysis (the three celebrated *Music Forum* articles), Schenkerian Theory ("Either/Or," "Analysis by Key: Another Look at Modulation," "The Triad as Place and Action," and a review of Oster's translation of *Free Composition*), Words and Music (samplings from Schubert and Mozart), and Analytical Monographs (a Bach fugue and Chopin's *Fantasy*, Op. 49). And there is a stimulating bonus: the book begins with a wide-ranging dialogue between editor and author. A list of Schachter's publications and an index conclude the volume. Since many of the essays were originally published during the 1970s or 1980s and may be difficult to obtain in their original incarnation, this undertaking is most welcome. [4] For those not acquainted with Schenker's method, this volume is not a very good place to start. Assumptions regarding terminology and notation would make for frustrating reading. For those with some experience, however, these essays are among the most rewarding material one could study beyond Schenker's own writings. A few of the essays might enhance a beginner's course, but most are for more mature practitioners. [5] I am not inclined to use this space for airing perceived faults with Schachter's graphs or arguments. Any analyst of Schachter's stature will do things which make other analysts scratch their heads, though in this case the increased blood supply around the brain might lead one to realize that Schachter is probably right. Instead I would like to explore the essence of Schachter's particular gift as a thinker and writer by annotating a few striking sentences from among the essays in the compendium. "One can be pretty sure that giraffes did not become plentiful in the zoological gardens of China" (pp. 192-193) [6] Schachter is fascinating to read, not only because he raises his readers to a most stimulating intellectual plane, but also because he is so elegant and humane. Here he is arguing subtly against the view of some unnamed analysts who reject the notion of fundamental lines descending from scale degree 5. He compares such analysts to a Chinese emperor who, upon encountering a giraffe, mandates: "It ought not to exist!" But if the emperor will take a good look at nature--or if such analysts will take a good look at the repertoire--it will be observed that, in fact, such creatures do exist. "Learning to analyze means learning to hear in depth; a good analysis is always verifiable by the educated ear." (p. 19) "If the analysis has been successful it leads to hearing that is incomparably clearer and more comprehensive than it had been before; it never leads to abstraction without sensory content." (p. 35) [7] Receptivity to musical expression is not simply an innate talent. One's capacity for making sense of music can be augmented through study. For a few, the starting point of natural talent may be set very high. But for most people, even most people who devote their lives to the pursuit of music, developing an "educated ear" is a lifelong process. Every word that Schachter writes is intended to foster that endeavor. "I do not wish to draw out the subject of duration to unendurable lengths" (p. 28) "Of course the name itself--'Luise'--sounds more like whispering leaves and water than, say, 'Katinka' would." (p. 211) [8] How refreshing to read an analyst with a twinkle in his eyes! "If the ideas elaborated in this article and the analyses that illustrate them reveal anything significant about musical rhythm and meter, they are testimony to the continuing creative force that emanates from the work of our greatest music theorist, Heinrich Schenker." (p. 116) [9] Humility is an attribute not necessarily associated with Schenkerians. Yet when reading Schachter, Schachter begins to disappear. It is the composer's world--and the interface between that world and Schenker's perspective--that we inhabit. Even when, as here, Schachter is expanding that perspective in new ways, it is the original theory--and its continuity with eighteenth- and nineteenth-century practice--that shines through. "I doubt that this symmetry is accidental, though I can't prove that it is not." (p. 61) "An irreducible residue of personal opinion remains in any metrical analysis of a piece which . . . lends itself to more than one plausible interpretation." (p. 101) [10] Schachter accepts that the analytical enterprise is speculative, and despite the uncanny precision of his presentations, he acknowledges that there are unknowable elements. After all, Schenkerian analysis addresses issues that were never articulated in words or symbols during the period of composition. Schachter hopes to persuade his readers that certain ways of thinking about a piece are more insightful than other ways. Yet there are limits concerning what can be accomplished. "[Anticipating 6/4s] are hardly ever mentioned in theory books." Footnote: "But see Edward Aldwell and Carl Schachter, *Harmony and Voice Leading*." (pp. 73 and 78) [11] Like Schenker, Schachter can express exasperation concerning standard textbooks. Unlike Schenker, he has contributed significantly towards a solution. "The performer must take care to project measures 29-30 as an upbeat to the II^6^ in measure 31." (p. 74) [12] Those who perform music and those who speculate about it generally pursue quite different regimens of training. Given the colossal and ever-increasing pressures within both fields, it might seem foolish to hope that many would devote significant energies to an auxiliary agenda, particularly one as daunting as Schenkerian analysis. Nevertheless Schachter expects that performers will be among his readers. Because performed art requires continual re-creation, a class of practitioners who can make sense of what music notation implies must thrive. Music analysis--especially Schenkerian analysis and, here, Schachter's metric enhancement--is the systematic study of those implications. Every performer is the potential recipient of Schachter's insights. Though many performers never develop a sophistication in music theory that would allow them to ponder their art at the level of these essays, those who do will find in Schachter an enthusiastic ally. "For many reasons, I find it difficult to contemplate this song for the keyboard [Chopin, Prelude in E Minor] without attributing to it a programmatic character--I hear it as a vision of death, perhaps the imagination of one's own death. . . . Needless to say, I don't require anybody--not even my students--to believe in this program, but I find that many people do seem to have an emotional reaction to the piece that would be compatible with its being strongly tinged with grief, mourning, and the thought of death." (pp. 163, 165) [13] On a superficial level, Schenker's procedures may seem to reduce meaning out of a musical work. Schachter knows that that is not the case, and with characteristic eloquence he ponders musical meaning and, through the medium of analysis, offers insights into the means by which a composer imbues a work with a specific sentiment. "Viewed purely as a 'theoretical' work, *Der freie Satz* falls short of *Kontrapunkt* in comprehensiveness, consistency, and elegance." (p. 185) "I don't know why Schenker includes all of the levels beyond the first in Part III [of *Der freie Satz*], but I believe that it is because these levels (as he describes them) can contain prolongational events characteristic of the foreground as well as those 'transferred' from the background and the first level of middleground." (p. 186) "This position has occasioned a good deal of misunderstanding, probably because Schenker's explanations are inadequate and confusing." (p. 201) [14] Schachter understands Schenker's theory as few others do. He knows the writings intimately, in both German and English. He has pondered the various nuances of change that occurred in Schenker's thought over the course of his career, and is sensitive to lingering difficulties. This comprehensive immersion by one great mind in the work of another gives a special authority. Schachter can be critical without seeming negative. He can offer hunches that ring true. In the midst of a contemporary culture that glamorizes the newfangled, Schachter has pursued with steadfast devotion an inherited perspective, one which, through his own contributions, has continued to evolve dynamically. [15] Though the eleven essays in *Unfoldings* reveal only a part of Schachter's contribution to musical thought in the last third of the twentieth century, this convenient and inviting volume assures that his impact will persist well into the future. As long as there are inhabitants of the planet who care about the musical heritage of the eighteenth and nineteenth centuries, Schachter will remain a trusted and inspiring mentor. AUTHOR: Hofmann-Engl, Ludger TITLE: Review of W.B. Hewlett & E. Selfridge-Field, eds., *Melodic Similarity: Concepts, Procedures, and Applications* (Cambridge, Massachusetts: MIT Press, 1999). KEYWORDS: melody, analysis, similarity Ludger Hofmann-Engl Keele University (UK) hofmannengl@netscape.net [1] Volume 11 of *Computing in Musicology* comprises 13 contributions by 18 authors. While the spectrum of topics is broad, reaching from melodic similarity in music-copyright infringement suits (C. Cronin) to web-based melodic search tools (A. Kornstädt), a clear emphasis is given to the conceptional approach to melodic similarity [2] The main article within the group of essays on *Concepts and Procedures* is written by E. Selfridge-Field and focuses on data representations of music and search strategies for melodic material as stored in data banks. In her contribution, Selfridge-Field remarks that the representation of musical data crucially influences the choice of the search strategies and the results of data base searches. She suggests classifing musical components into three classes: (a) "representable components" such as pitch and duration, (b) "derivable components" such as intervalic motion and accent and (c) "non-derivable components" such as articulation and dynamic indications. Melodies, for example, which are represented only in the form of pitch sequences may misidentify musical material as "similar" which might have been identified as being "different" had the rhythm been considered. Thus, as Selfridge-Field maintains, such data representations are often inadequate. Why, however, she classifies dynamics into the class of non-derivable components remains unclear to this reviewer, especially if we consider its highly developed notation in 20th century music. 20th-century avant-garde music seems frequently slighted as, for instance, when Selfridge-Field critiques the base-12 system (the representation of the chromatic scale by twelve values) as not being applicable to the "conventions of written tonality." Inspired by music ethnologists (e.g. C. Seeger (1960)) and supported by the findings of music psychologists (e.g. Dowling (1971)), contour has often been regarded as a major factor in melodic similarity. Thus it does not surprise when Selfridge-Field confirms that contour is a "common approach to melodic comparison." How melodic similarity--including rhythmic representation--might be implemented in an algorithm, however, remains an unanswered question. Thus neither a definitive working solution nor a definite approach is offered. [3] D. O Maidin's article, "A Geometrical Algorithm for Melodic Difference," offers a specific algorithm which is based on some interesting principles. First, 0 Maidin proposes to compare a given pair of melodies by forming the difference between the pitch sequences of both melodies. For instance, melody A given as C-E-G-E and melody B given as E-D-E-G will produce the differences in semitones: C - E = 4, E - D = 2, G - E = 3 and E - G = 3. Overall we obtain the sum of the differences of 12 semitones. Further, O Maidin maintains that notes of longer durations will have to be weighted more than notes of shorter durations. This seems a plausible assumption. Had we transposed the first melody up by a fifth, we would have obtained: g-b-d-b. Comparing this with the second melody, we obtained the overall difference of 26 semitones. Thus, the proposed algorithm is transpositionally sensitive. Although this is in accordance with experimental findings by R. Egmond, D. Povel & E. Maris (1996), O Maidin seems uncomfortable with this aspect of the algorithm. He suggests the following procedure for the calculation of the pitch difference between the melodies A and B: (a) transpose melody B into various keys, (b) calculate the pitch differences between these various transpositions of melody B and the melody A and (c) determine which transposition of B yields the minimal pitch difference. This is a tedious procedure which could have been avoided by calculating the differences between the intervals rather than between the pitches. In fact L. Hofmann-Engl & R. Parncutt (1998) found in two experiments that a model based on interval difference is a major predictor for melodic similarity (r > 0.8, p < 0.01). [4] Admittedly, experimental investigations into melodic similarity are still scarce. This might explain why neither the two articles reviewed above nor the other four contributions in the section on "Concepts and Procedures" endeavor to approach the issue from a more cognitive point of view. However, there seems altogether a certain amount of confusion prevailing over the issue of melodic similarity. This becomes apparent, when for instance T. Crawford, C. S. Iliopoulos, and R. Raman formulate in their article, "String-Matching Techniques for Musical Similarity and Melodic Recognition," the objective that an important part of their research is directed towards a "formal definition of musical similarity." This seems like yet another trial to develop a formal theory and then to hope for it to have some cognitive relevance (as happened with the "generative theory of tonal music" by F. Lerdahl & R. Jackendoff (1983) and more recently E. Narmour's "implication realization model" (1992)). [5] L. A. Smith, R. J. McNab, and I. H. Witten approach the issue of melodic similarity in their essay, "Sequence-Based Melodic Comparison: A Dynamic Programming Approach," from a transformational angle, based on the work of M. Dillon & M. Hunter (1982). The underlying hypothesis is: "The more steps required to transform a given melody A into a melody B the smaller the similarity." Although interesting and possibly valuable, the reviewer is of the opinion that an experimental approach to the issue might be more promising. Useful examples of such an experimental approach can be found in the wider spectrum of cognitive psychology for instance within the works of S. Shepard (1987) and A. Tversky (1977). Until there is more experimental evidence supporting a theoretical approach, it will remain purely speculative. [6] The issue of melodic similarity is considered from a more practical point in J. Howard's article, "Strategies for Sorting Melodic Incipits." As he points out in his introduction, the collection of musical materials in libraries and the need for systematic classification pose direct questions. The most pressing question might be the attribution of pieces of unknown origin. Howard reports that while ten years ago there was still a trend to trace the origin of a source in order to determine authorship, there has recently been a shift towards comparing musical material directly. In a first attempt, the RISM database in Frankfurt was used to determine the origin of 144 unknown pieces by comparing pitch and interval profiles of melodic incipits. As this did not produce the desired results other factors were included (e.g., staccati, pauses). The results obtained confirmed that when several factors are included in a search, the search becomes far more effective. In a similar approach, Howard devised a series of search criteria. Although a search based on those criteria reproduced similar effects as had the team in Frankfurt, he also found that over-specification can be misleading, placing highly similar material into different classes. Howard concludes that search strategies have to be somewhat flexible and adaptable in order to be most effective. It also appears to the reviewer that more sophisticated statistical tools would enhance such search processes. [7] The concepts of musical "signatures" as referred to by D. Cope in his essay, "Signatures and Earmarks: Computer Recognition of Patterns in Music," has been popular since J. S. Bach, who "signed" many of his compositions (the sequence B-flat-A-C-B translates into German B-A-C-H). Cope proposes to broaden this concept of musical signature to any characteristic which is unique to a composer's style, referring to some examples of typical Mozartian cadences and to some excerpts of Chopin's Mazurkas. The question of what makes a specific style is as old as musicology itself. True, the given examples of Mozart are somewhat typical for his piano music, but they can also be found in compositions of other composers (e.g., Haydn and Clementi). Thus without some more detailed investigation, it seems difficult to say whether the quoted type of cadence is more typical for Mozart than, for instance, Clementi. The question remains: "Who's signature really is it?" Maybe more crucial is the question whether the style of a composer like Mozart or Chopin can be captured by referring to a signature. From a musicological point of view, we are tempted to say "no." It seems a multiplicity of features creates Mozart's piano style including the extensive use of Alberti basses, chromaticisms, thin layered harmony (mostly within the understanding of the functional tonal system) and extensive use of the classic sonata form. Stanley's (1983) entry in "The New Grove" might serve as a suitable starting point. Investigations of the kind proposed by Cope's conclusion will need further substantiation. [8] The essay, "A Multi-scale Neural-Network Model for Learning and Reproducing Choral Variations," by D. Hörnel is one of the three article in the group on "Tools and Applications." The underlying concept of his presentation is to test whether neural-networks will perform a compositional task better when the task is divided between two neural-networks. While one of the neural-networks is implemented to make decisions about the use of motivic material depending on the more global structure, the second neural-network is designed to decide on the exact pitches according to counterpoint rules and melodic coherence. The test case is the artificial composition of a melodic variation in the style of Pachelbel where quarter and half notes are replaced by a flowing line of sixteenth notes. After the initial training of this neural-network system by imputing examples of original Pachelbel excerpts, the system artificially composed several variations (two of them are given in the article). The results are impressive and seem to confirm that more complex neural-network systems, taking into account global structuring, are more likely to be successful. The composition composed by this system falls short, however, when compared to a typical Pachelbel variation. Several counterpoint rules are violated throughout both examples (e.g., improper resolution and preparation of dissonances). Additionally, much of the melodic line does not flow smoothly, which makes it hard to mistake these examples for compositions in Pachelbel's style. While the counterpoint violations can be avoided by algorithmic adaptation of the neural-network, the smoothness of the melodic line could be, as Hörnel suggests, improved by using a third neural-network controlling the overall structure of motive distribution. The reviewer feels, however, that the application of neural-networks will be far more instructive if the network system is fed with different styles and used for the artificial composition of new works. [9] The concept of database search has been shown to provide useful information for the classification of musical material (e.g., Schlichte, 1990). Computer-aided music analysis might be just as useful, however, for the analysis of stylistic characteristics of individual composers. This is the main argument put forward by N. Nettheim in "Melodic Pattern-Detection Using MuSearch in Schubert's 'Die schöne Müllerin'." As the title suggests, Nettheim uses the song cycle, "Die schöne Müllerin," by Schubert as an example. The melodic material, together with the text, was entered into a database. A text/melody search then can, for instance, list all data entries which contain the letter sequence "lieb" (love). Nettheim does not, however, draw any conclusions from his search results. Although the reviewer agrees with Nettheim that the use of databases could be a helpful tool for the analyst, he also feels that Nettheim's argument would have been much more convincing if he had shown that the text/melody search helped to reveal a new and interesting aspect of Schubert’s music. [10] It certainly is true that a closer interdisciplinary cooperation between the various branches of musicology is still insufficiently explored. Ethnomusicology is no exception. Thus the article, "Rhythmic Elements of Melodic Process in Nagauta Shamisen Music," by M. Yako could have been a valuable contribution to the publication. As it stands, however, Yako's article draws conclusions which seem little justified by the research details given in the text. Initially, Yako sets out to analyze ten nagauta compositions, based on transcriptions from 1918. Although aware that traditional Japanese notation identifies finger positions and movements rather than pitches and durations, Yako seems to accept the accuracy of the transcriptions (transcriptions which usually ignore tempo deviations by grouping durations into simple duple or quadruple time). Following some vaguely described criteria Yako then isolates 700 rhythmical patterns within these 10 pieces. Although one of the tables in the text endeavors to list a selection of these patterns, we are given letters (representing patterns) without explanation what these letters stand for. Further, the letters given in the table do not coincide with the letters in the musical examples, thus rendering both the table and the examples useless. Finally, the conclusion that patterns overlap is trivial and more a consequence of allowing 700 patterns for the search and likely of no cognitive relevance. This is all the more disappointing as the understanding of time in Shamisen music, which might be described as breathing, is certainly worth a thorough investigation. [11] The section on "human melodic judgment" contains two articles. Disappointingly, neither article addresses cognitive questions, and any expectation to find an answer for the question "What is melodic similarity?" remains unfulfilled. Although E. Dahlig & H. Schaffrath present an experiment in their essay, the standards of psychological experimentation are not met. The authors set out to investigate the effects of real folk songs in comparison to artificial folk songs. The stimuli of the real folk songs are authentic, but the construction of the artificial folk songs seems problematic, as they consist of phrases taken from original folk songs. The construction according to algorithmic strategies would have been more appropriate, for instance by using Markov chains (E. Cambouropoulos, 1994). The records of the participants of the experiment are also insufficient (for instance musical skill is simply measured by whether a participant plays an instrument or not). We are also not informed how many people participated in the experiment. The questionnaire itself gives the participant a three-point scale for "pleasure" and a five-point scale for "authorship." The inclusion of other dimensions such as "coherence" and "completion" instead of "authorship" would have enabled the researchers to measure responses more accurately. Finally, in the result section we learn that subjects were from socially diverse groups. Groups of participants are listed as "Hauptschüler" (students classified by the German education system as unsuitable for regular secondary education and not, as claimed by the authors, students at the beginning of secondary education), statisticians, music-conservatory teachers, computer science students and others. Yet none of these groups form social groups per se and the formation of testable social groups would require much more detailed information about the participants. Finally, the evaluation as reported by the authors does not satisfy statistical requirements (e.g., correlations are stated without the value for "r" or with significance levels). The sum of all these deficiencies renders the text of questionable value. [12] C. Cornin's contribution, "Concepts of Melodic Similarity in Music-Copyright Infringement Suits," is funny to read. It shows how courts struggle to prove the unprovable: That two melodic fragments which are highly similar are either truly the same or truly different. The fact that this quest is mostly driven by monetary interests can, as Cornin points out, produce highly controversial court decisions. Two on-line tools allow the Internet user to access a databank containing American/British, German, Chinese and Irish folk songs (there was no response when the reviewer tried to contact ), and a databank containing themes from compositions from the Baroque to the romantic period (). [13] Overall, the book is interesting and contains some new research. Nevertheless, some of the articles fail to approach the topic with methodologies sufficient for the considerable difficulties entailed by the subject matter. It also would have been beneficial to include at least one article dealing with cognitive aspects of melodic similarity. References Cambouropoulos, E. (1994), Markov Chains As an Aid to Computer- assisted Composing, *Musical Praxis* 1: 41-52. Dillon, M. & Hunter, M. (1991), Automated Identification of Melodic Variants. In *Folk Music, Computers and the Humanities 16*: 107-117. Dowling, J. W. (1971), Recognition of inversions of melodies and melodic contours, *Perception & Psychophysics* 9: 348-349. Hofmann-Engl L. & Parncutt R. (1998). "Computational Modeling of Melodic Similarity Judgments: Two Experimetns on Isochronous Melodic Fragments. http://freespace.virgin.net/ludger.hofmann-engl/similarity.html Lerdahl, F. & Jackendoff, R. (1983). *A Generative Theory of Tonal Music*. Cambridge, Mass.: MIT Press. Narmour, E (1992). *The Analysis and Cognition of Melodic Complexity: The Implication-Realization Model*. Chicago: The University of Chicago Press. Schlichte, J. (1990). Der automatische Vergleich von 83,243 Musikincipits aus der RISM-Datenbank: Ergebnisse-- Nutzen--Perspektiven, *Fontes Artis Musicae* 37: 35-46. Seeger, C. (1960). On the Moods of a Musical Logic. *Journal of the American Musicological Society* 13: 224-261. Shephard, R. N. (1987), Toward a Universal Law of Generalization of Psychological Science. *Science* 237: 1317-1323. Stanley, S. (1983). *The New Grove Mozart*. New York: W.W. Norton & Co. Tversky, A. (1977). Features of Similarity. *Psychological Review* 84: 327-352. AUTHOR: Perrott, David TITLE: Review of Laurent Fichet, *Les theories scientifiques de la musique* (Paris: Librairie philosophique J. Vrin, 1996). KEYWORDS: Fichet, theory, history, science. David Perrott Cognitive Science Program Northwestern University Evanston, IL 60208 [1] In 1862, Fetis curtly dismissed the ensemble of theories of his contemporary, Durutte, with the words "il suffit de l'expliquer pour le reduire au neant" ["It suffices to explain it to reduce it to nothing"]. In his recent work, "Theories scientifiques de la musique aux XIXe et XXe siècles", Laurent Fichet proceeds to do just that and, with a candor that may at times embarrass the more gentle reader, provides a sharp critique of various and varied attempts over the last two centuries to espouse a "scientific theory of music." [2] More precisely, Fichet limits himself to the most significant, poorly understood or ill-known theories from mainly French and German authors over the last two centuries, that are based on physics, acoustics, physiology, or mathematics. These are sciences that can establish facts with objectivity and certitude, explains Fichet, in contrast to sociology and psychology, which can often be the object of discussion without end. We learn that this work should be particularly useful to musicians, many of whom, either through disinterest or lack of scientific background, neglect these theories, even those of their favorite composers. The author's main conclusion is that most attempts to provide a scientific account of music, whatever this actually means, are at best quasi-scientific in nature, and often riddled with incoherence and logical inconsistency. Indeed, the reader is left to ponder at the end of the work whether it is at all feasible aspire to such a goal. [3] Published in 1996 by Librarie philosophique J. Vrin, the work appears as the seventh in a series on music and aesthetics. Broadly speaking, its 382 pages are divided into four sections: a brief introduction is followed by a hundred or so pages on nineteenth century theories, leaving the bulk of the work to be devoted to mathematics- and physics-based theories from the twentieth century. A twenty-page conclusion attempts to thematically reunite the preceding sections, after which a still-curious reader may find a useful annotated bibliography organized by chapter, an index, and a more detailed description of the contents than is found at the beginning of the work. [4] Opening with quotes from Rameau that "La musique est une science physico-mathematique" ["Music is a physico-mathematical science"] and that "la simple resonance du Corps Sonore donne la loi a toute la musique theorique et pratique" ["the simple resonance of the Corps Sonore accounts for all music theory and practice"], Fichet overviews the musings of seven post-Ramellian theorists, ranging from the wonderful to the just plain weird. The first three--Alfred Day, Jerome-Joseph de Momigny, Victor Derode--unsuccessfully attempt to demonstrate how the chromatic scale and harmonic practices at the time could be derived from an analysis of the resonance of the *Corps Sonore*, and their theories are variously criticized by Fichet for their intellectual gymnastics, logical inconsistency, and failure to correspond to musical reality. The avid reader then takes a trip into the wonderful world of Baron Blein, who declares with certitude but without calculation that the primary colours correspond exactly to the sounds produced by the major chord. The writings of three more theorists--Arthur von Oettingen, Anatole Loquin and E Guyot--are then briefly overviewed, again merely to be quickly dismissed as merely speculative in the case of the first, convoluted in that of the second, and unscientific in that of the third, whose assertions are excoriated by Fichet for being "as mysterious as they are inconsequential." [5] The next portrait in this rogues' gallery is that of Camille Durutte. A little known French composer, and epigone of the Polish mathematician and philosopher, Hoene Wronski, Durutte introduces the notion of rhythmic numbers, which is the series of prime numbers and their multiples, from which, he argues, the true chromatic scale can be derived. To fend off his critics, Durutte was cleverly able to justify the importance of certain of these numbers by physiological demonstrations--three is justified as a rhythmic number, for example, since the heartbeat moves in triple time. Amongst the most original of Durutte's ideas, we learn, are his "Loi generatrice des accords" (two formulae for generating every possible chord), and a series of mathematical principles which purport to distinguish between good and bad chord sequences. Fichet proceeds by way of example to demonstrate how Durutte's notions could produce absurd results that would not even have comported with what musicians regarded as acceptable in Durutte's own time, and exposes the theorist's attempt to mask this flaw by judicious selection of self-serving musical examples. [6] The second half of the section on nineteenth century theories of music is devoted to three theorists whose scientific orientation was physiological in nature: A-J Morel, Charles Henry, and Hermann von Helmholtz. Few pages are devoted to discussion of the first, whose theories were based on the misconception that the timpanic membrane can only perceive one tone at a time. The ruminations of the second, whose goal was to realise our destiny in the form of the creation of a universal harmony, are similarly presented as rather absurd, with Fichet noting that it was indeed their very lack of seriousness which, although limiting their weight, had allowed them to evade systematic criticism for so long. This section of the work concludes with an overview of the writings of Helmholtz, who sought to bring together the fields of acoustics, physiology, and music. Fichet notes that although Helmholtz's theories on consonance are now obsolete in certain respects, they nevertheless form the basis of contemporary thought on the subject. For example, Helmholtz argued that different frequencies are processed by particular auditory nerve fibres in the same way as if different piano strings were attached to them, with approximately 33 fibres per semitone. It is clear that Helmholtz was at least on the right track, and the main advantage of this theory, notes Fichet, was that it explained why the ear could be insensitive to phase differences in the various components of a sound, for the perception of timbre. An overview is then provided of Helmholtz's account of consonance and dissonance in terms of beats, and his classification of various intervals and chords according to their dissonance. [7] The twentieth-century theories covered in *Theories scientifiques de la musique* are subsumed under two categories: those founded on mathematics, and those based on physics. In the former group fall Hindemith, Schillinger, Ansermet, Information Theory, theories influenced by the advent of computer-assisted sound wave analysis, the theories of Xenakis, and the Set Theory of Allen Forte; the latter group encompasses theories based on micro-intervals, spectral music, and the work of Stockhausen. Concerned to bring an end to the confusion that hitherto reigned in musical composition, Hindemith proposed several laws of composition designed to bring an element of certitude to the discipline, while at the same time maintaining a profound belief in the total freedom of the compositional process. Like his nineteenth-century counterparts, Hindemith commenced by attempting to use the acoustical phenomena of harmonics to derive the ideal chromatic scale and provide a complete classification of musical intervals. Hindemith's approach differs from that of his predecessors in that he does not hold that the harmonic series is necessarily instantiated in the natural spectrum of musical instruments, but is more like a mathematical representation which more or less coincides with it, and he provides a convoluted algorithm for deriving the notes of the chromatic scale, which Fichet dismisses as a mere game of numbers with no scientific basis whatsoever. He then proceeds to show the internal logical inconsistency of Hindemith's derivation of a tonal hierarchy, his account of difference tones, his classification of chords with respect to their dissonance, and his dismissal of all atonal music. Fichet concludes this section by arguing that Hindemith's approach on the whole is only speciously scientific, often based on nothing more than compositional practice, as the direct expression of human nature, as if it were as immutable as the physical nature of sounds. [8] The next theorist examined by Fichet, Joseph Schillinger, receives a critique so scathing that one is left to wonder why his work was ever considered worthy of discussion in the first place. Schillinger is described as an obscure and mediocre composer, with a poor musical background, and in the fourteen pages devoted to summarizing his work it is demonstrated that his methods have no scientific or mathematical foundation whatsoever, despite his claim to have established the first scientific system crossing the threshold of the sanctuary of musical creation. Lovers of the great masters may be especially interested in the section describing Schillinger's noble vision to "improve" the works of Bach, Mozart and Beethoven, by recomposing them according to his compositional methods. [9] An overview is then provided of phenomenological accounts of music, which focus upon the mental phenomena arising from the appearance of music in sounds. Ernest Ansermet, famous conductor and Swiss phenomenologist, is shown to argue illogically, inconsistently, and incomprehensibly that the energy from sound percepts is logarithmic in nature, which he argues to imply of itself that music must have a tonal center and that the fifth is of primordial importance in intervallic relations. [10] The next section focuses on application of Shannon and Weaver's Information Theory to music, by Abraham Moles among others. The basic idea is that a musical composition is treated and analyzed into bits of information to be communicated to the auditor, and that the more structured a piece of music, the more redundancy it contains and the less original information it conveys. The main problem that Fichet identifies with this approach is that it totally ignores the subjective nature of perception, both between auditors and between epochs, and rests on the dubious assumption that the brain processes all sensory information in the same manner. [11] Continuing the computer science theme, Fichet next describes the limited success of the attempts of Hiller, Isaacson, and Barbaud to design computer programs capable of composing music, using random number generation within the confines of programmed harmonic rules, to model the creative aspect of composition. [12] The final two approaches considered under the rubric of mathematics are the stochastic music of Xenakis, and the set theory of Allen Forte. The former is more a mode of composition than a theory as such, and applies a formula derived for analyzing kinetic energy of gases, to allow manipulation of the degree of randomness in various aspects of musical composition. The main problems Fichet identifies with this approach are that: various degrees of order can still emerge in patterns defined as random according to the formula; that the formula was not designed to indicate whether or not a particular pattern would be perceived by humans as random; and that it prescribes randomness only for small clusters of notes and not for the way in which these clusters are then linked together by the composer. [14] Forte's Set Theory is then reviewed, and criticized for its overly complex nature, that it not does not always provide a complete analysis of important patterns evident in atonal music, and that it can sometimes give results that do not comport with the reality of the music described. [15] Fichet's analysis of physics-inspired "theories" of music consists of an overview of compositional procedures using micro-intervals and spectral music, as well as a discussion of Stockhausen's notion of the primacy of time as the overarching organizational principle in music. Fichet observes here that these are more a series of scientifically-based observations on music that may help to create compositions closer to naturally-occurring sounds, rather than attempts to expound exhaustive theories of music. [16] The final section of the text is a twenty-page conclusion, which Fichet commences by noting the yawning chasm between the hopes raised by the theories reviewed and the actual progress they have made to music theory, and that this shortcoming is particularly apparent for those theories from the preceding century. In fact, Fichet concludes that the only theorist from that period to have made any real contribution to music theory was Helmholtz, with his theory of dissonance. He notes that, while notions of what is considered "scientific" have changed over the last two centuries, this nevertheless does not excuse the number of mathematical and logical errors and inconsistencies contained in these purportedly "scientific" theories of music, and that several theorists (notably Ansermet) attempted to give a scientific flavor to their writings in an attempt merely to give them some credence of rigor and certitude. [17] Fichet then notes (without any real substantiation beyond two quotes from Bertrand Russell and Karl Popper) a movement over the twentieth century of the decreasing confidence of scientists in the value of science as a discipline, which renders somewhat surprising the hopes that certain (unspecified) musicians place in scientific research. He then questions whether it is even feasible to ever hope for one scientific theory of music, given the very large extent to which the notion of what comprises music is so heavily culturally-mediated. He leaves open the possibility, however, that there does exist some universal conception of music, but that we are yet to discover what it is. It is at this point that Fichet reopens the possibility that scientific research in other domains--notably, the psychology of music perception--may actually be able to make some useful contribution. [18] He concludes by noting that the quest over the last two centuries to produce a scientific account of music has largely been motivated by the search for an "ideal" music, based in nature, and declares rather patronizingly that it is regrettable that artists sometimes take themselves for researchers capable of discovering in nature immutable laws for their art form, and that it would be more reasonable for them to "find" their own music, taking into account natural constraints, but trusting in their intuition, guided by a rich cultural background, to thereby produce *une creation feconde*. [19] By way of general appraisal, Fishet's writing style is lucid and entertaining, and the development of ideas proceeds in a logical manner throughout the text. Occasionally, however, some points are too labored (for example, in the section on computer modeling of composition, Fichet takes three pages to explain the simple point that it is inappropriate for Barbaud to run his software several times and then independently select the most aesthetically pleasing computer output to demonstrate the effectiveness of his program), and the chapter on Xenakis is at times repetitious (the point is made several times that while Xenakis' formula indicates the number of each musical phenomenon that should appear if a work is to be regarded as random, it does not indicate the exact positioning of the phenomenon with respect to its neighbors). [20] The usage of footnotes and illustrations is informative without distracting from the flow of the text. It would have been helpful, however, if the abbreviations employed therein were more clearly defined by initially noting them adjacent to the phrase they denote. Furthermore, the reader would be better able to follow the structure of the text had section headings and subheadings been more clearly differentiated. Finally, given the author's recognition in his conclusion of the contribution that other scientific disciplines--notably psychology--may bring to understanding the nature of music, and the manifest inadequacy of theories proposed in the "harder" sciences, it would arguably have been legitimate to include in the work some analysis of research in these fields over the last century. AUTHOR: Schaffer, John Wm. (University of Wisconsin-Madison) TITLE: Review of Eleanor Selfridge-Field, ed., *Beyond MIDI: the Handbook of Musical Codes* (Cambridge, Mass.: MIT Press, 1997) KEYWORDS: data, formats, notation, music John Wm. Schaffer College of Letters and Science Humanities Building 3561 455 North Park St. Madison, WI 53706 musicdir@vms2.macc.wisc.edu [1] Since the days of the earliest electronic computers, musicians have engaged them in a veritable love/hate relationship. We seem to have little or no indifference towards computers. Indeed, individually we seem either to embrace them with a passion or to shy away from anything concretely or representationally related to them. I do not want to imply, however, that there are not gradations--layers so to speak--of interest, particularly among the convert group (after all, that really is the intended audience for this review). Here you will find the pedagogues, the catalogers, the analysts, and the cognitive and artificial intelligence explorers to name but a few. You will also find overlapping camps of those with an aural bent and those with a visual one. Of course, across all of these boundaries there exist degrees of involvement among respective members. In other words, there are "users" (e.g., non-programmers) and their are "doers" (e.g., programmers). [2] *Beyond MIDI: The Handbook of Musical Codes* is a compilation of reports and documents from numerous authors. The work, edited by Eleanor Selfridge-Field, Consulting Professor at the Center for Computer Assisted Research in the Humanities at Stanford University, is a book that is clearly aimed at the doers. In fact, it aims high enough to propel itself beyond many "apprentice doers"--this is not a work for the faint of heart. If you happen to be one of the real "power doers," however, it speaks clearly and with an effective voice. At its most profound level, *Beyond MIDI* is a book that discusses the nuances and intricacies of computer-based musical descriptions, the languages and vehicles by which we are able to interact with or make observations about the phenomenon known as "music." At its simplest level, it is an extremely valuable handbook for those who wish to harness computers to facilitate such interactions. In either case, the work succeeds in conveying what is important to the reader, partly because it is a book written by insiders for insiders. It takes someone well versed in the complexities of computer programming--the "power doers"--to appreciate fully the profound nature of the information being shared, and it is precisely these sorts of professionals who have been engaged to supply the information for the book. Included are such notable practitioners as Max Matthews, Stephen Dydo, Thomas Hall, Leland Smith, Donald Byrd, David Huron, and Walter Hewlett. [3] This is not another MIDI programmer's handbook, yet it gives a surprisingly detailed and explanative summary of this language. It lacks examples of many code models, yet is an effective exposition on how to represent music in a computer environment. The book confronts us with a marvelous dichotomy: it is both incomplete, yet complete. It omits much, yet gives more than one could hope for. It accomplishes what most well-written books should but few actually do: it presents us with enough of the right information targeted at the appropriate audience and presented in such a way that it enables the reader to continue where the book leaves off. In this case, it empowers those of us who are "doers" to propel ourselves into the status of "power doers." OVERVIEW [4] This work is actually an outgrowth of an initiative of the Study Group on Musical Data and Computer Applications sponsored by the International Musicological Society, and co-chaired by Walter B. Hewlett and Selfridge-Field [xvii]. According to Selfridge-Field, the purpose of *Beyond MIDI* is "to provide a general description, with encoded examples, of numerous ways of representing music in the computer" (xv). Such an overtly terse statement, while elegant in its simplicity, belies the accomplishments of the work. Her reasons for creating the compilation are stated with significantly more zeal--a tone more befitting the spirit of the book: Hundreds of codes for music have been developed. Most are intentionally made invisible to users. Not so happily, documentation about many musical codes is extremely scarce. This scarcety impedes applications. It deprives many potential users from investigating the relative merits of different schemes for data representation. It thwarts discussions of generalized representational systems. Worst of all, it imprisons data sets within the confines of the specific applications for which they were created. [xv] [5] As someone trained in computer programming, it was always stressed to me that a computer program is essentially a set of data combined with a collection of means, or tools, for manipulating that data effectively. At the heart of all good programs is a well-developed, powerfully flexible data model: one capable of supporting profound exploration and revelation, yet also capable of expressing subtle nuances. Music, in whatever form it is perceived or explored, presents us with an extremely complex set of data that requires an extraordinary representational model even to begin to capture its essence. No one model can embody it all; instead, we must strive to solidify and implement those concepts necessary to meet our immediate needs. Beyond MIDI attempts to do just that by offering us a pastiche of numerous different models for accomplishing musical representations. The work does not overtly attempt to be profound in what it offers. Instead, the editor reverts to a rather apologetic tone when she states that the emphasis of the *Handbook* is intended to be on practical concepts. While the *Handbook* cannot serve as a complete reference for any one code, it is designed to cover the basic features of pitch, duration, articulation, dynamics, timbre, and other defining features of music. It also describes the file organization for each code, existing applications, data archives (where relevant), existing file interchange provisions, published references, and sources of further information [xvi]. Were this work nothing more than a set of simple documentations it might not merit the attention being given to it. And, documentation is essentially what it is. Yet, the nature of what it is being documented and the audience to whom it is being addressed empowers it with a profound sense of purpose: it is the appropriate information presented at the appropriate level of detail to address the needs of a specific set of needy users. Nor does the book offer the reader a complete set of documentation, instead it presents the user with a selective subset of information targeted at the already knowledgeable user. A word processor manual, for example, may utilize many of pages of documentation to explain just the basics of text selection to a novice user. Yet, one page of appropriate information might unleash powerful nuances of macro creation to someone already well versed in the topic. In other words, this book is both selective, yet capable of generating powerful insights. One could easily argue that the value of the work lies, not in the content found within, but solely in the mind of the reader, a notion with which I would not totally disagree. The strength of this text, instead, lies in its ability to enable the reader to infer, to speculate, to resolve, to reconcile all of those loose associations and half-understood concepts that can plague us incessantly without any easy recourse for resolution. CONTENT [6] As part of a rather selective approach to the amount of detailed information about each code set discussed in the text, the editor strives to emphasize those codes that are as comprehensive as possible in their attempts to represent the broadest spectrum of musical information. The lure of "total" representation has now been pursued for roughly three decades. This volume gives considerable recognition to those systems which aim to provide the greatest degrees of completeness. Yet no one involved with the most competent of systems claims that any piece of music can be represented at the 100% level in all of its conceivable aspects. Every system makes sacrifices somewhere to optimize clarity of its preferred features [5]. [7] Nonetheless, the work includes a considerably large body of code examples spanning a broad array of formulaic approaches to solving problems in the representation of musical data. Selfridge-Field begins by grouping most data models into four general usage categories: those based on "sound or phonological context, the notation or graphical context of notation, the rational context of analytical parameters, and the semantic context of musical perception and understanding" (7). She goes on to state that the book explicitly concentrates on the first three of these. More specifically, she points out that the choice of materials presented in the book are aimed first at introducing the reader to "the general subject of music representation, showing how intended applications influence the kinds of information that are encoded" (20). Her second aim is "to present a broad range of representation schemes, illustrating a wide variety of approaches to music representation" (20). All of these data models were then grouped rather arbitrarily into ten different categories, each containing at least two sample schemes, while acknowledging that in some categories dozens of models were available to chose from. In nearly every case, the individual models are documented by individuals closely associated with those representational schemes. One exceptional feature of the book is the mandated inclusion of several relevant musical excerpts that are then coded as a working examples for each correlative chapter. [8] Rather than discussing each model here, I present a listing of what is included. The very complex nature of each model effectively precludes encapsulating in a few words what has taken others years to conceive and implement. The best solution I believe is the one presented in the book's table of contents, and I choose here simply to recreate it as Figure 1 (contributing authors are referenced in "[ ]"). Figure 1: Organization of Data Models 1. Introduction - describing musical information [Eleanor Selfridge-Field] 2. Sound-Related Codes (1): MIDI - MIDI [Walter Hewlett & Eleanor Selfridge-Field] - MIDI Extensions - NoTAMIDI (Meta Events) [Kiell Nordli] - Expressive MIDI (Extension for Notation) [David Cooper, et. al.] - MIDIPlus (Extension for Notation) [Walter B. Hewlett] - Augmented MIDI (Sound Control) [Max Matthews] 3. Sound-Related Codes (2): Other Codes - Csound [David Bainbridge] - Music Macro Language [Toshiaki Matsushima] - NeXT ScoreFile [David Jaffe] - Conductor Score File (Radio Baton)[ Max Matthews] 4. Musical Notation Codes (1): DARMS - Its Dialects, and Its Uses [Eleanor Selfridge-Field] - Note Processor Dialect [Stephen Dydo] - A-R Dialect [Thomas Hall] -Lute Tablature Extensions [Frans Wiering] - Mensural Notation Extensions [Lynn Trowbridge] 5. Musical Notation Codes (2): ASCII Representations - Common Music Notation [Bill Schottstaedt] - MuTEX, MusicTEX, and MusiXTEX [Werner Icking] - Philip's Music Scribe [Philip Hazel] - SCORE [Leland Smith] 6. Musical Notation Codes (3): Graphical-object Descriptions - LIME [David Cottle and Lippold Haken] - Nightingale Notelist [Donald Byrd] 7. Musical Notation Codes (4): Braille - Overview [Roger Firman] - Common signs [Bettye Krolick and Sile O'Modhrain] 8. Codes for Data Management and Analysis (1): Monophonic Representations - Essen Associative Code [Helmut Schaffrath] - Plaine and Easie Code [John Howard] 9. Codes for Data Management and Analysis (2): Polyphonic Representations - Humdrum (Kern) [David Huron] - MuseData [Walter B. Hewlett] 10. Representations of Musical Patterns and Processes: - Encoding of Compositional Units [Ulf Berggren] - Score-Segmentation Approach to Analysis [Andranick Tanguiane] 11. Interchange Codes: - HyTime and Standard Music Description Language [Donald Sloan and Steven Newcomb] - Notation Interchange File Format [Cindy Grande] - Standard Music eXpression [Toshiaki Matsushima] 12. Reflections: - Beyond Codes: Issues of Musical Representations [Eleanor Selfridge-Field] - Afterward: Guidelines for New Codes [David Halperin] CONCLUSIONS [10] This work is amazingly free of any significant problems. The text seems extremely accurate--at least as far as one can tell with so much complicated data incorporated both in tables and within the text. With the exception of the last chapter, the text also seems to be very well organized. I feel that the section entitled "Beyond Codes: Issues in Musical Representation" really belongs with the opening introductory chapters of the book. Selfridge-Field offers us a brief, yet engaging, discussion about the nature of codes: What attributes are essential?; How general vs. how specific should a code be?; etc. While one might see these as logical extensions of the exploration of the preceding 500+ pages of code documentation, it is probably unrealistic to think that most readers will actually sit down and read their way through the entire book. After all, this work is more a powerful reference tool containing a compelling collection of data than a "compelling" story line. Yet, this final chapter does represent a fitting conclusion to the opening discussions and certainly should be included as an integral part of the opening stages of the work. [11] Perhaps more problematic is the lack of a summary of the abbreviations used throughout the code-definition portions of the book. This omission is a problem that will be more acutely felt by the "users" than by the "doers." For example, most programmers are familiar with reading and interpreting hexadecimal codes and variable symbols; yet most non-programmers, while perhaps somewhat familiar with hexadecimal numbers, would not automatically be able to infer the appropriate meaning in an unfamiliar context. Their appearance in code definitions absent of any explanation as to why they are being used and how they should be interpreted within that context can generate significant confusion or even leave an example completely undecipherable to such a non-practitioner. For example, the section on MIDI defines a pitch event as: PITCH [kkkkkkk: note# ] Unfortunately, no attempt is made to define the meaning of the various elements present in the definition. For example, kkkkkkk stands for the first seven bits of an eight-bit byte used to store the integer representing a particular pitch. None of this information is explicitly offered as an explanation by the author--what I present here is just my informed interpretation. A few pages later, the definition for a duration is given as: DURATION [00:00:00 or 00:00:00:00] This example is even more problematic, as the 00s are not a direct computer representation as the k's were in the previous example. Here, each group of zeros stands respectively for bars, beats, and fractions of a beat, or hours, minutes, seconds, and frames. The actual definition for how to represent that information in the computer does not appear until 15 pages later. Fortunately, most of the code in the book is reasonably easy to decode for someone with a fair amount of programming experience. And, in many respects, eliminating much of the explanation enables the authors to present the pertinent information more succinctly. What makes this text work so well for the "power doer," however, is precisely what keeps it from working for the novice user. [12] No single work can serve the multiple needs of every practitioner, and this book is no exception. If you are anywhere close to considering yourself a "doer," and if you have even the slightest inclination to explore the world of music with a computer, however, then having this text within easy reach is an absolute must. There is no other source that comes close to matching the breadth, quantity, and quality of information amassed in this one work. Much of the information simply is not available anywhere within easy reach. I must commend the editor and contributing authors for a splendid job of creating an invaluable reference work. +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 2. Music Theory International AUTHOR: Tess James TITLE: Polish composer Zbigniew Preisner's Requiem in London KEYWORDS: Preisner, Van den Budenmayer, Requiem, Minor Third, Vibrato, Soprano, Premiere REFERENCE: Text INSTITUTIONAL AFFILIATION: University of East London STREET ADDRESS: Fairholme, Bridgemarsh Lane Althorne, Essex CM3 6DQ Email: Xmwords@aol.com ABSTRACT: A review of the London premiere of Polish composer Zbigniew Preisner's *Requiem for my Friend*, which marked its first performance outside Poland. Preisner is best known for his award-winning film work, but he crosses over into the classical, and is signed by a well-known classical label. An investigation of Preisner's background leads to his pseudonym, the late 18th-century Dutch composer Van den Budenmayer, whose work contains elements of Beethoven and Mahler. Polish Composer Zbigniew Preisner's *Requiem* in London [1] One living composer to watch out for is Poland's Zbigniew Preisner. March 19, 1999, marked the premiere at London's Royal Festival Hall of Preisner's *Requiem for My Friend*. It is his first work written especially for live performance and recording. Preisner is best known in the United States as an award-winning film composer, foremost for his collaborations with Krzysztof Kieslowski, the friend in the title of the Requiem (see Appendix 2). [2] Many 20th-century composers have been tempted by film music at some stage. Generally, I consider film music too popular for its own good, but Preisner caught my attention in 1993. Missing the correct screen for my movie, I had accidentally wandered into a film by the Polish director Krzysztof Kieslowski. "Three Colours Blue" turned out to be the story of a classical composer who dies in a car accident, and his widow completes his final symphony. [3] The symphony at the center of the story, which surfaced only in fragments, was monumental, quite unlike anything composed in our century. There were elements of Mahler and Beethoven, but also of Sibelius. Interestingly, simple woodwinds filled the gap between the fortissimo and the pianissimo. There was a noticeable contrast to composers like Gorecki, who is clearly identifiable as a modern imitation of old styles. The final chorus, in French, was drawn from the biblical text on charity: "Though I speak with the tongues of angels, if I have not love, my words would resound but with a tinkling cymbal." In 1995, editors at Oxford University Press wrote to Kieslowski when updating Oxford's music encyclopaedia. They had listened to the symphony segments written by Preisner's pseudonym, Van den Budenmayer (see Appendix 3), and had had an equal reaction to my own. Now they wanted to include this "brilliant, late 18th century, Dutch composer" in the encyclopaedia, and did not believe Kieslowski when he wrote back to state that the music was written by a living, Polish, composer. Oxford University Press ended up accusing Kieslowski of protecting the privacy of a long-dead genius. [4] Ignorant of who is who in film music, I had made a similar glitch. Half-hoping to discover some great, unknown talent stacked away in a little wood hut somewhere in the steppes of Poland, I wrote to Kieslowski from Canada in 1993, only to be told that no full-scale work by Preisner existed. He advised me to buy the soundtrack, and it became the first time for me to do so. If you like film music, Hans Zimmer is good. Preisner is good, too. The difference is that Preisner crosses over. Due to the nature of his chosen medium, he has mainly been reviewed by film reviewers, but he was recently signed on by the classics label Erato (Warner) in Paris. The death of Kieslowski may mark a new era in Preisner's life, and perhaps more concert works will follow the Reqiuem. Meanwhile, his music continues to reach people across a wide range of fields, including--very obviously--the classical. [5] "We signed him because we believe that Preisner's work spans the classical field more than that of any other film composer," remarks Erato's Christian Hallwig in Paris. "His soundtracks have sold hundreds of thousands of copies, especially in the United States. We hope to reproduce this success with the Requiem." [6] Kieslowski's death of a heart attack in 1996 prompted Preisner to write *Requiem for my friend*, a highly unusual, modern work for full orchestra which elicited standing ovations and three curtain calls at the sold-out Royal Festival Hall. It is Preisner's first concert music, written not for a mainstream orchestra but for the people who provide Preisner with his roots: the Polish orchestra and soloists with whom he has performed for decades, and whom he knew as a young man. Despite numerous offers, Preisner has never left Poland to live elsewhere. He is loyal to his country and his people, and it is easy to see why. At the end of the concert, a Polish woman beside me, who was not acquainted with Preisner, got carried away during the standing ovations. She exclaimed with moist eyes "we are so proud of him"--speaking, one presumes, for all of Poland. Preisner's rootedness translates into his music, eliciting images of a composer who remains centered in himself throughout the piece, despite the trials and tribulations which are the theme of his unusual Requiem. [7] The work is divided into two parts, Requiem and Life. Following the Erato recording in Cracow, London marked the first live performance outside Poland. [8] Requiem is written in nine movements. It is characterised by typical Preisner features, long reverberations and expressive vibrato. He uses small male choir, string quintet, organ and percussion. The voice of an astonishing Polish soprano, Elzbieta Towarnicka, dominates both, the first and the second part of the work. In the second part, Life, the musical background grows into full chorus (the forty-piece Salisbury festival chorus) and a sixty-piece orchestra (the BBC concert orchestra) which includes alto saxophone and recorder. [9] The Times of London was not quite sure about the high number of minor thirds which hold the two parts of the work together. It made no mention of some of Preisner's more unusual features, which are only for acquired tastes (like using the alto saxophone for a solo between the two parts). But like everyone else, London's most prestigious newspaper praised Towarnicka. The "Lacrimosa," which features prominently in both sections, suggests that her voice must be somewhere around the seven or eight octave range. [10] Not much is known about her, an interview was not possible. A short biography informs that she studied with Barbara Walczynska at the Krakow Academy of Music in 1978. She worked for the Krakow opera, singing soprano parts in operas like *La Boheme*, *La Traviata*, *Dido and Aeneas*, and *Tosca*. She performs regularly in Germany, Italy, France, Russia, the United States, Canada and Sweden. Oratorio and cantata are her preferences. [11] Preisner is self-taught. He was born in 1955 near Krakow, Poland, and graduated from Krakow university with a degree in history. His interest in music caused him to buy scores and read along as the music played on the radio. He started writing small pieces for cabaret before going into larger works. He met Towarnicka when working at the local cabaret in Krakow, and then Kieslowski in the early eighties. The three began a collaboration which would take them around the world--and result in many of Kieslowki's best-known works. [12] Preisner's music belies his lack of formal training, perhaps fueling the myth that some of the best composers are self-taught. He writes for every instrument in the orchestra and then some, including the organ, and even wine glasses. The London concert finished with the theme from "Blue," played on a recorder. In stark contrast, this was preceded by the full-chorus "Song for the unification of Europe," which had provided the chorus finale of the symphony in the movie "Blue." [13] Eduardo Ponti, a filmmaker and the son of Sophia Loren, was chosen by Preisner to create a concept for the stage version of his Requiem. "A requiem is a ceremony for the Living as much as for the Dead," Ponti says. "The show was to be a dialogue between the one who has left this world, and the one left behind here. I wanted it to be simple, human, direct, inspired by the integrity and purity of the requiem. I wanted an ambience of light and shadow, but also of courage and hope." [14] Preisner describes his own music as "border line. It is not quite film music, and not quite classical. Somewhere in between. I make creations, creative music. I think in the Requiem I took one major aspect from film music. My music has names, the title defines it: Silence, or Peace. 'Life' is a story about life, the part we have lived, and the part we are still going to live. I think about death, and for me the question is 'how shall we live and die with dignity?'" [15] Preisner wrote the first part of the Requiem while Kieslowski was in hospital, dying. "He had gone for a bypass operation, and was joking about things he would do when he would leave again. But he never did," recalls Preisner. "I composed some music for his funeral, just organ and voice, and later expanded it into a full requiem. The final part of the work is a prayer of Hope, asking for the strength to go on living." "This is very personal," Preisner says. "I am asking for the strength to go on living in this sad situation. In my life, there were only very few people I wanted to spend time with. One of them was Krzysztof. This prayer is also a request, that such friendship could be found once more." [16] Recently, Preisner was commissioned to write the music for People's Century, a 26-part series on BBC television documenting the history of the 20th century. Co-produced with WGBH Boston, it is going to be shown on PBS in the United States. Appendix 1 Some of Preisner's Major Film Works Kieslowski: Three Colors Blue, White, Red, Dekalogue, Double Life of Veronique Malle: Damage Holland: Europa Europa Mandoki: When a Man loves a Woman Ponti: Liv Babenco: Foolish Heart Appendix 2 Principal Awards and Citations 1991 * Los Angeles Critics Association Award,: the year's most outstanding composer of film music, first citation 1992 * Los Angeles Critics Association Award, second citation * Golden Globe Award nomination for At Play in the Fields of the Lord * Cesar Award of the French Film Academy (nomination for Dekalog and Double Life of Veronique) * Award of the Polish Minister for Foreign Affairs (for presentation of Polish culture abroad) 1993 * Los Angeles Critics Association Award (year's most outstanding composer, third citation) * Golden Globe Award (Nomination for Three Colours Blue) 1994 * Major of Krakow's Medal (for lifetime achievements) 1995 * Cesar Award of the French Film Academy (three colours Red) 1996 * Cesar Award of the French Film Academy (citation for Elisa) * Royal Television Society Craft and Design Award for Original Music (title music: People's Century) 1997 * The Silver Bear, Berlin Appendix 3: CD Blue (Trois Couleurs Bleu), Virgin Records, 1993 Editions MK2 Van den Budenmayer Funeral Music: 2. winds, 14. full orchestra, 13. Organ 3. Julie, glimpses of burial 19. Oliver and Julie, trial composition 22. Song for the unification of Europe Website (and information on CD availability) www.Preisner.com +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 3. Announcements Conference Description: Music and Manipulation Conference Program: Music Theory and Analysis 1450-1650 Exhibition/Conference Announcement: "The Treasury of Alamire"/The Burgundian-Hapsburg Court Complex of Music Manuscripts Call for Papers: International Conference on Nineteenth- Century Music Publication Announcement: _Canadian University Music Review_ New Online Publication: _Frankfurter Zeitschrift fuer Musikwissenschaft_ Publication Announcement/Call for Papers: _Women and Music_ Conference Update: "A Tale of Three Cities: Janacek's Brno between Vienna and Prague" Meeting Schedule/Call for Papers: American Musicological Society, Greater New York Chapter Call for Papers: Opera Analysis Call for Papers: Thirteenth Nordic Musicological Congress Call for Papers: Indiana Graduate Theory Association Call For Papers: Society for Seventeenth-Century Music and Related Arts Conference Announcement: The Moment of Music Conference Program: "Rebecca Clarke: A Conference and a Concert" Announcement: New Online Classical Music Resource Site New Publication: _Min-ad: Israel Studies in Musicology Online_ Conference Update: 4th European Music Analysis Conference =============== Conference Description: Music and Manipulation M U S I C A N D M A N I P U L A T I O N: On The Social Uses and Social Control of Music 17-19 September 1999 National Palace ("Nalen") Stockholm, Sweden ORGANIZERS: Division of Psychosocial Factors and Health, Department of Public Health Sciences, Karolinska Institutet, in cooperation with the Swedish Artists and Musicians Interests Organization (SAMI). The conference is being presented in the context of "The Year of the Brain" in Sweden. CONTACT PERSON: Steven Brown (Steven.Brown@neuro.ki.se) Ulrik Volgsten (Ulrik.Volgsten@music.su.se) DESCRIPTION OF THE CONFERENCE: Music is an ever-present element of human life which is used to influence the emotions in ways appropriate to social situations. Music is an emotional and behavioral manipulator that is actively exploited in all ritual contexts, in the audiovisual media, and throughout the sound environment. But music is the manipulatED as well as the manipulator: music is actively controlled by those in power in order to promote social and commercial aims. In addition, familiar music is re-used extensively in contexts for which it was not intended as a means of creating associations to, for example, commercial products. These many uses of music raise a large number of important social, psychological, musicological and moral issues that must be addressed in a comprehensive fashion. This program brings together a wide range of topics of relevance to the role of music in society and to music's place in our cultural heritage. The conference is organized around two broad aspects of music and manipulation: Manipulation BY Music (i.e., the uses of music), and Manipulation OF Music (i.e., the control of music). It addresses the following types of questions: * How does music affect us emotionally, cognitively and biologically? * How is music actively used to manipulate emotional reactions in social situations and in the audiovisual media? * What effect does environmental exposure to music have on our emotional reactions, behavior, and health? * How is music controlled by societies and governments in order to promote their social agendas? * Is it morally right to allow artistically-intended music to become a symbol for commercial products? * What consequence does this all have for our health and cultural heritage? "Music and Manipulation" deals with a host of timely issues related to the role of music in society and history, and should have a broad appeal to people working in musicology, music psychology, sociology, history, political science, film, advertising, semiotics, and the music industry itself. As the conference is being sponsored by the Division of Psychosocial Factors and Health at the Karolinska Institutet and is being presented in the context of the "Year of the Brain" (1999) in Sweden, it will provide an unprecendented interdisciplinary perspective on music, one that should be of interest to specialists in many fields. For further information, see: =============== Conference Program: Music Theory and Analysis 1450-1650 MUSIC THEORY AND ANALYSIS 1450-1650 International conference 23-25 September 1999 Louvain-la-Neuve (Belgium) A conference on 'Music Theory and Analysis, 1450-1650' will take place from 23 to 25 September 1999 at the Universite catholique de Louvain at Louvain-la-Neuve (Belgium). Its purpose is to bring together musicologists interested in the theory and analysis of Western music between 1450 and 1650 and the interrelationship of the two disciplines. PROGRAMME 20.00 Concert with analysis organized by the Belgian Society for Music Analysis Marco Mangani (Universita di Pavia)-Michaela Zackova Rossi (Scuola di musica di Fiesole): The Early Madrigal and the Ballata Form Jaap van Benthem (Universiteit Utrecht): La magie des cris trenchantz: Comment le vray tresorier de musique Echappe a la trappe du trEs terrible satrappe Margaret Bent (All Souls Collge, Oxford): On diminished fifths and false relations in late 15th-century music Paloma Otaola (Universite catholique de Louvain): L'usage des dissonances dans la theorie du contrepoint de Juan Bermudo Guy E. Garnett (University of Illinois): Josquin's Music: Getting Beyond the Theories Cristle Collins Judd (University of Pennsylvania): A Newly- recovered Eight-Mode Motet Cycle from the 1540s: Zarlino's Song of Songs motets Rudolf Rasch (Universiteit Utrecht): Chiavette and Transposition Anne-Emmanuelle Ceulemans (Universite catholique de Louvain): Presentation de l'edition electronique des traites de Pietro Aaron pour le Thesaurus musicarum italicarum Ronald Woodley (Lancaster University): Minor Coloration Revisited: Okeghem's "Ma bouche rit" and Beyond Bonnie Blackburn (Wolfson College): The Dispute about Harmony c. 1500 and the Creation of a New Style Ignace Bossuyt (Katholieke Universiteit Leuven): The French Chansons of Orlandus Lassus: A Comparative Analysis Groupe d'Analyse de la Musique ancienne de l'Universite de Paris-Sorbonne: Philomena praevia de Claude Le Jeune (Chr. Plantin, Anvers, 1585): une analyse polyphonique Timothy McKinney (University of Texas at Arlington): Rhetorical Functions of Harmony and Counterpoint in the Theory and Practice of Nicola Vicentino Katelijne Schiltz (Katholieke Universiteit Leuven): Breaking Boundaries/Content and Context: On Public and Private Motet Style in Sixteenth Century Venice Florence Malhomme (Universite de Paris IV-Sorbonne): G. M. Artusi, analyste de Monteverdi: le debat sur la dissonance, expression d'une pensee musicale en mutations Graham H. Phipps (University of North Texas): Heinrich Schuetz's "Heu mihi, Domine:" Traditional and Progressive Attributes in the F- Repertory The colloquium "Music Theory and Analysis 1450-1650" coincides with the opening of the exhibition "The Treasures of Alamire: Music and Miniatures in the Time of Charles V (1500-1535)," organized by the Alamire Foundation at the Katholieke Universiteit at Leuven: . Contact and practical information: Anne-Emmanuelle Ceulemans Unite de musicologie College Erasme 1, Place Blaise Pascal B-1348 Louvain-la-Neuve (Belgium) tel. + 32 10 47 26 68 fax. + 32 10 47 48 70 e-mail: ceulemans@musi.ucl.ac.be Conference website: =============== Exhibition/Conference Announcement: "The Treasury of Alamire"/The Burgundian-Hapsburg Court Complex of Music Manuscripts EXHIBITION "The Treasury of Alamire: Music and Miniatures in the Time of the Emperor Charles, 1500-1535" Leuven, Predikherenkerk, 25 September - 5 December 1999 The "Treasury of Alamire" presents the culmination of polyphonic music in the Low Countries in all its aspects. For the first time, over 40 manuscripts of Petrus Alamire will be brought together. This musician and transcriber of musical scores was a remarkable character. In addition to being a composer and a copyist, he also was a merchant in musicalia, a ministrel, an ambassador, a spy and a counterspy, mostly in the service of the Burgundian-Habsburg court in Mechelen, where Charles V grew up. His music manuscripts were presented to the great of his day: the Emperors Maximilian and Charles, Frederick the Wise of Saxony, Henry VIII of England, and even found their way into the papal chapel of Leo X. With their rich decoration and subtle finish they can be counted among the finest in Europe. This exceptional event (with concerts and workshops in addition to the exhibition) is highly recommended to anyone interested in the sixteenth-century Zeitgeist. CONFERENCE The Burgundian-Hapsburg Court Complex of Music Manuscripts (1500-1535) and the Workshop of Petrus Alamire K.U.Leuven, Faculty of Arts, 25-28 November 1999 In connection with the exhibition "The Treasury of Alamire", the Alamire Foundation (Department of Musicology, K.U.Leuven) is organising an international conference that will focus specifically on the manuscripts from Petrus Alamire's workshop. During this conference scientists from different disciplines will bring together and exchange the results of their exchange the results of their research on this court complex of music manuscripts. Opening lecture by Prof. Dr. Herbert Kellman. Among the speakers: W. Elders, D. Fallows, B. Haggh, H. Meconi, R. Sherr, M. Staehelin, D. Thoss, F. Warmington a.o. More Information: or, for the conference, contact: Mariet Vriens Alamire Foundation Mgr. Ladeuzeplein 21 3000 Leuven, Belgium, tel: 0032 16 324661 fax: 0032 16 324706 email: =============== Call for Papers: International Conference on Nineteenth- Century Music INTERNATIONAL CONFERENCE ON NINETEENTH-CENTURY MUSIC Royal Holloway, University of London 29 June to 2 July 2000 The Music Department at Royal Holloway, University of London will host the eleventh International Conference on Nineteenth-Century Music from 29 June to 2 July 2000. The Conference will be held on the College's campus in Egham, Surrey, which is 35 minutes by train from London and a short journey from Heathrow and Gatwick airports. The Keynote Paper will be given by Hermann Danuser (Humboldt Universitaet, Berlin), and there will be a special round-table session chaired by John Daverio (Boston University) on "Romanticism and the Historical Consciousness". The Programme Committee (David Charlton, Katharine Ellis, John Rink) invites proposals for papers on any aspect of music in the nineteenth century, but contributions on the following topics are particularly encouraged: popular musics music and technology performing traditions music as commodity memory and reminiscence music in literature and art music and the State temporality in music Individual papers should last no more than twenty minutes. Proposals for round tables or study sessions up to two hours long are also welcome. Abstracts (200 words) should be submitted to David Charlton at the address below by 1 December 1999, as should proposals for round tables/study sessions (500 words). The program will be announced early in January 2000. Further information can be obtained from: David Charlton Department of Music Royal Holloway, University of London Egham TW20 0EX England tel +44 1784 443946 fax +44 1784 439441 A web page for the conference can be found at =============== Publication Announcement: _Canadian University Music Review_ The "Canadian University Music Review," a peer-reviewed, international journal about music, invites contributions in all areas of musical scholarship (musicology, music theory, ethnomusicology, etc.). We are particularly interested in publishing essays that address current issues within the respective disciplines, but will consider any first-rate scholarship. The most recent issue includes articles by Beverley Diamond, John Shepherd, David Gramit, and David Beach. The issue in press, guest edited by Robert Witmer and Beverley Diamond, is a special issue devoted to essays by ethnomusicologists on cultural production, mediation and performance. The review pubishes articles both in English and French. Contributors need not be Canadian, nor do articles have to deal with Canadian topics. Contributions should be sent to James Deaville or Susan Fast, School of Art, Drama & Music, McMaster University, Hamilton, Ontario, L8S 4M2, Canada. We also invite subscriptions, at the rate of $40 Canadian for one year (two issues). For subscriptions, contact Becker Associates Box 507, Station Q Toronto, Ontario M4T 2M5 Canada =============== New Online Publication: Frankfurter Zeitschrift fuer Musikwissenschaft The Frankfurter Zeitschrift fuer Musikwissenschaft is online, at the URL It is possible to view its two issues online, or to download them as ZIP files and read offline. To subscribe to a list for notifications, send an email message to =============== Publication Announcement/Call for Papers: _Women and Music_ The Editorial Board of _Women and Music: A Journal of Gender and Culture_ is pleased to announce the fall, 1999 printing of Vol. 3 of the annual publication _Women and Music: A Journal of Gender and Culture_. The journal is available through individual or institutional membership. For individual membership in International Alliance for Women in Music contact Kristine Burns Florida International University School of Music University Park Campus Miami, FL 33199 tel. 305-385-9517 For institutional/library membership contact University of Nebraska Press Attn: Kirt Card PO Box 880484 Lincoln, NE 68588-0484 tel. 800-755-1105 _Women and Music: A Journal of Gender and Culture_ is a journal of scholarship about women, music, and culture. Drawing on a wide range of disciplines and approaches, the refereed journal seeks to further the understanding of the relationships among gender, music, and culture, with special attention being given to the concerns of women. It is a publication of the International Alliance for Women in Music. Submissions of varying length are now being accepted for consideration in the fourth issue, which will appear in the fall of 2000. Author guidelines are given at the end of this message. Vol. 3, 1999 includes articles by Margaret Sarkissian, Michael Lee, Elizabeth Gould, Carol Matthews, Liz Garnett, David Hunter, Pirkko Moisala, and Mary Natvig, on topics including gender studies in ethnomusicology; musical gender in performance; Annea Lockwood; Native Women's music, poetry, and performance as resistance; Poor Clares--female monastics prior to the sixteenth century; Margaret Cecil, Lady Brown: persevering enemy to Handel, and sexual politics in the Barbershop. Author Guidelines: 1. Submit a brief abstract (two paragraphs) along with three copies of your typescript, two without identifying information and one with. 2. For footnotes, please conform to _The Chicago Manual of Style_, 14th ed. (Chicago: University of Chicago Press, 1993). 3. Authors with accepted articles will be asked to provide camera-ready, publication-quality musical examples. 4. Authors are responsible for providing necessary copyright permission. 5. Submissions received after December 1 will be considered for the following year's issue. Send all submissions to the following address: WOMEN AND MUSIC Attn: Prof. Catherine Pickar Department of Music B-144 Academic Center The George Washington University Washington, DC 20052 USA J. Michele Edwards Macalester College St. Paul, MN 55105 Tel: 651-696-6521 Fax: 651-696-6785 =============== Conference Update: "A Tale of Three Cities: Janacek's Brno between Vienna and Prague" As previously announced, the Music Department of Royal Holloway College, University of London, in association with the Centre for the Study of Eastern Europe, School of Slavonic & East European Studies, University of London, will host a three-day International Conference, "A Tale of Three Cities: Janacek's Brno between Vienna and Prague", from Friday 22 October to Sunday 24 October 1999, at Senate House, Malet Street, London WC1E 7HU. The conference will include a keynote lecture by Roger Scruton, an interview with Sir Charles Mackerras, papers by John Tyrrell and Arnold Whittall, and a song recital by the young tenor Matthew Elton Thomas, of songs (some not heard previously in London) by Janacek and his contemporaries. Details of the conference and a registration form, which can be printed out and returned to us, can be found at the conference web site: We look forward to meeting you in London. Matthew Lane Conference Administrator, Janacek Conference Department of Music Royal Holloway, University of London =============== Meeting Schedule/Call for Papers: American Musicological Society, Greater New York Chapter AMERICAN MUSICOLOGICAL SOCIETY, Greater New York Chapter 1999-2000 SCHEDULE OF MEETINGS AND CALL FOR PAPERS There are many available slots for papers this year at the October and April meetings. We encourage all members, especially graduate students, to participate. If you would like to present a paper, please submit a title and 250 word abstract to Joseph Auner. E-mail submissions are welcome.Papers should be 20-25 minutes in length, including examples. Submissions should be received by September 1, 1999 for Meeting One, and March 1, 2000 for Meeting Three. MEETING ONE SATURDAY, OCTOBER 16, 1999, NEW YORK CITY (location TBA) Morning Paper Session: 10:00-12:00 Lunch Break: 12:00-1:15 Business Meeting: 1:15-2:00: Discussion and Vote on New Chapter Bylaws The proposed chapter bylaws, now being developed by a committee appointed at the last meeting, will be mailed in advance to all AMS members within the geographical boundaries of the Greater New York Chapter. Afternoon Paper Session: 2:00-4:00 Reception: 4:00-5:00 MEETING TWO FRIDAY, MARCH 10, 2000 CUNY GRADUATE CENTER One-Day Conference and Evening Concert: ASTOR PIAZZOLLA: A SYMPOSIUM Co-sponsored by the GNYC-AMS, CUNY Graduate Center, and the Center for the Study of Free-Reed Instruments. Speakers to include: Allan Atlas, David Cannata, Ulrich Kraemer,Malena Kuss, Martin Kutnowski, Ramon Pelinski. Morning Paper Session: 10:00 -12:30 Lunch Break: 12:30-2:00 Afternoon Session: 2:00-4:30 Concert: 8:00 (information about ordering tickets will be provided in a later mailing) MEETING THREE SATURDAY, APRIL 15, 2000 PRINCETON UNIVERSITY Morning Paper Session: 10:00-12:00 Lunch Break: 12:00-1:15 Business Meeting: 1:15-2:00: Chapter Elections: New Chair to be elected. Afternoon Paper Session: 2:00-4:00 Reception: 4:00-5:00 FIRST CALL FOR 1999-2000 DUES Dues finance mailings and expenses related to Chapter meetings. Memberships run Sept-August. Please make checks payable to "AMS-Greater New York Chapter" and send to: Mark Berry, Sec./Treas. Dept. of Music SUNY Stony Brook Stony Brook, NY 11794-5475 Regular Member ($5.00) ____ Student Member ($3.00) ____ Additional Contribution ____ Name______________________________________ Address____________________________________ _______________________________ZIP_________ E-Mail____________________________ =============== Call for Papers: Opera Analysis OPERA ANALYSIS APRIL 2000 TRINITY COLLEGE, CAMBRIDGE Abstracts are invited for papers considering all aspects of opera analysis, for a two-day conference to be held at Trinity College, Cambridge on 10th and 11th April, 2000. The conference hopes to provide a platform for the exploration of a variety of analytical approaches to opera, and a re-evaluation of the contribution that can be made in this field in the light of the recent proliferation of socially and historically contextual studies of this 400 year old genre. Papers should be 25-30 minutes long; please send abstracts (150 words) of proposals and details of audio-visual requirements by 1st January to: Joanna Harris Trinity College Cambridge CB2 1TQ UK =============== Call for Papers: Thirteenth Nordic Musicological Congress The 13th Nordic Musicological Congress was hosted by the Department of Musicology at the University of Aarhus, 15-19 August 2000 The programme was divided into plenary morning sessions and individual afternoon sessions. The four morning sessions were devoted to the following themes: Wednesday 16 August WORKING GROUP 1: Music as Culture - Setting new Agendas Within today's musical scholarship a number of different research activities deliberately cultivate alternatives to the more conventional musicological fields of research in an attempt to expand, question or even replace the canonical, theoretical and methodological norms of predominant agendas. These often interdisciplinary activities include cultural studies, gender studies, popular music studies, and other forms of studies associated with New Musicology, as well as ethnomusicology and sociology of music. Common to all is the basic understanding of music as a social and cultural phenomenon. The aim of the session is to present and debate general as well as specific issues within this scholarly spectrum. Thursday 17 August WORKING GROUP 2: Music as Text - Revising the Analytical Agenda Distinguished by constant revision and renewal of its methodological agenda, the field of music analysis has found inspiration in as disparate areas as hermeneutics and, more recently, semiotics in its attempt to deal with the meaning and effect of musical works. This ongoing process of methodological expansion and actual redefinition has to some degree also been dictated by the embrace of new kinds of musical material, e.g. popular music and electro acoustic music, the usually non- graphic nature of which necessitates new approaches to the determination of key parameters, to the discussion of musical meaning and to the basic question of what constitutes a musical work. The aim of the session is to present and debate key issues in relation to today's analytical research activities and their objectives. Friday 18 August WORKING GROUP 3: Music Education and Music Therapy The expansion of the musicological fields of research also comprises music education (including interpretation) and music therapy. Within the Nordic countries this change has been made obvious by the conversion of conservatoires into research institutions, by various instances of integration of music academies and university music departments, and by the fact that institutions of research and education have been established within music education and music therapy. The aim of the session is to present the current state of these fields of research and to demonstrate their place within musical scholarship at large. Saturday 19 August WORKING GROUP 4: Musicology and Communication The consequences of the rapid development within information technology, including an increased societal interest in (or rather evaluation of) scholarly research and education, have made the communication and dissemination of research achievements a key issue. How have scholars responded to this challenge so far, and how should they respond in the future? These issues merit illumination and debate from various perspectives, including their relevance to specific research programmes, e.g. the extensive Nordic historical projects, the question of mass media mediation in general, and, perhaps most topical, the scholar's appropriation and utilization of the latest electronic media, e.g. the internet. The working group of each of these morning sessions will propose a key-note speaker and select a discussion-panel, whose participants will present statements related to the initial key note presentation. Congress participants are of course welcome to join the debate. The afternoons are reserved for individual presentations, and proposals are invited for free papers, thematic sessions, round table sessions, and poster presentations in all areas of musicology. Thematic groupings of free papers will be arranged by the Programme Committee. NMK 2000 Department of Musicology University of Aarhus Langelandsgade 139 DK-8000 Aarhus C Denmark Fax: +45-89 42 51 64 =============== Call for Papers: Indiana Graduate Theory Association The Indiana University Graduate Theory Association's Eleventh Biennial Music Theory Symposium will be held February 25-26, 2000, on Indiana University's Bloomington campus. The Program Committee welcomes paper proposals on all topics in music theory. Papers focusing on Stravinsky are particularly welcome. In addition, student submissions are warmly encouraged. Proposals should be 3 to 5 pages, double-spaced (excluding diagrams and examples). Please send five (5) copies of your proposal along with a cover letter containing your name -- your name should not appear on the proposal copies. Papers will be scheduled for thirty-five minutes each, with twenty- five minutes allotted for reading, and ten for questions and discussion. Proposals must be postmarked by December 1, 1999. Proposals should be sent to: David Thurmaier Graduate Theory Association 2000 Symposium Indiana University School of Music Bloomington, IN 47405 812-855-0168 Updated information on the symposium may be found at our Website: =============== Call For Papers: Society for Seventeenth-Century Music and Related Arts The Society for Seventeenth-Century Music and Related Arts will hold its eighth annual Conference 27-30 April 2000 at America's Shrine to Music Museum (an important museum of early instruments) at the University of South Dakota in Vermillion. Proposals on all aspects of seventeenth-century music and music culture, including papers dealing with other fields as they relate to music, are welcome. Because of the venue, proposals pertaining to musical instruments and such topics as tuning systems are especially encouraged. A prize will be awarded for the best student paper. Presentations are invited in a variety of formats, including papers, lecture-recitals, workshops involving group participation, and roundtable discussions. Papers will generally be limited to 20 minutes and lecture-recitals to 45 minutes. It is the policy of the Society to require a year's hiatus before presenters at the previous meeting can be considered for another presentation. Five copies (four anonymous and one identified with name, address, telephone, fax, and e-mail address) of an abstract of not more than two pages, postmarked by 1 October 1999, should be sent to Jeffrey Kurtzman, Dept. of Music Campus Box 1032 Washington University St. Louis, MO 63130-4899 Abstracts from outside the United States and Canada may be sent by fax (one copy only) to 314-727-1596. Tapes (audio or visual) supporting proposals for lecture-recitals are welcome. =============== Conference Announcement: The Moment of Music THE MOMENT OF MUSIC Philosophy/Temporality/Performance A conference at Middlesex University Saturday 20 November 1999 The conference brings together musicians, critics, musicologists, historians and philosophers to explore the significance of music as performance. Participants include: Andrew Bowie, Ian Bostridge, John Butcher, Danielle Cohen-Levinas, John Dack, Jonathan Dronsfield, David Osmond-Smith, Jonathan Ree, Darren Shephard, Nicholas Spice, Ben Watson Conference Organiser: Jonathan Ree Conference Fee: 25 pounds (or 10 pounds unwaged), to cover lunch and refreshments. For further information and booking details, contact Anna Pavlakos Conference Administrator Middlesex University White Hart Lane London N17 8HR tel: +44 (0)181 362 5370 =============== Conference Program: "Rebecca Clarke: A Conference and a Concert" Rebecca Clarke (1886-1979) A Conference and Concert Saturday, September 25, 1999 Brandeis University, Waltham, MA Rebecca Clarke was part of the renaissance of English music that took place between the two world wars. A professional violist, she achieved fame as a composer with her Viola Sonata and Piano Trio written for competitions of the Berkshire Festival of Chamber Music, sponsored by the American patron Elizabeth Sprague Coolidge. Clarke wrote a steady stream of chamber music and songs, much of it for her fellow performers. In 1944 she married and settled in New York, where she lived until her death at age 93. Commemorating the twentieth anniversary of the death of this Anglo-American composer, Brandeis University has planned the day in conjunction with the fall meeting of the New England Chapter of the American Musicological Society. CONFERENCE Silver Auditorium (Sachar International Center) 1:30-5:30 1:30 -- Welcome -- Jessie Ann Owens (Brandeis University) Christopher Johnson (Oxford University Press) "Rebecca Clarke in Her Own Words" Deborah Stein (New England Conservatory) "The Englishwoman of Many Voices: Clarke's Songs" Cyrilla Barr (Catholic University) "The Sonata for Viola: An 'Also Ran' or Cinderella?" 3:15-3:30 - Break Paula Gillet (San Jose State Univ.) "The Climate for Female Musical Creativity in Turn-of-the-Century England" Liane Curtis (Brandeis University) "The ISCM of 1942 and other Contexts for Clarke's Late Works" 4:30 -- Roundtable Discussion, Ruth Solie (Smith College), Chair Issues of Biography: Writing Women Composers into Music History Panelists: Barr, Laurie Blunsom (Northeastern Univ.), Curtis, Alain Frogley (Univ. of Connecticut, Storrs), Gillet, Johnson, Judith Tick (Northeastern Univ.) 5:15 -- Ruth Solie: Closing Remarks Reception An All-Rebecca Clarke CONCERT, Schwartz Auditorium, 8:00 p.m. The Lydian String Quartet in the world premiere of "Comodo e amabile" (1924); Coro Allegro (directed by David Hodgkins) singing Clarke's recently published choral works; and songs performed by Sarah Pelletier (soprano) and Shiela Kibbe (piano). The concert is free and open to the public. For more information, contact Liane Curtis Women Studies Program Mailstop 082 Waltham, MA 02254-9110 tel: (617) 776-1809 fax: (781) 736-3044 Brandeis University Sponsors: Women's Studies, Music Department, Dean of Arts and Sciences, ArtsFest =============== Announcement: New Online Classical Music Resource Site, Duke University Music Library The Duke University Music Library is proud to present DW3 Classical Music Resources, the most comprehensive collection of classical music resources on the Web with links to more than 1,200 non-commercial pages/sites in more than a dozen languages. The site is comprised of more than 90 well organized, subject-specific pages. It features a powerful, easy-to-use internal search engine; multiple access points for hundreds of entries, including "see" and "see also" references; numerous links, in the form of "canned" subject and author searches, to the Duke online catalog (not meant to encourage ILLs!); and composer-specific pages and links organized by historical period for enhanced browsing. All links will be validated and updated biweekly. DW3 Classical Music Resources is intended to be an educational/research tool, and as such, it contains few (if any) links to overtly commercial sites. It is intended to be an alternative to the multitude of highly commercial Web resources that offer advertisements in place of information, and to less comprehensive, poorly maintained, non-commercial sites. We invite you to bookmark or link to our site and utilize it to your heart's delight. =============== New Publication: _Min-ad: Israel Studies in Musicology Online_ The Israel Musicological Society is pleased to announce that Vol. 1 of _Min-ad: Israel Studies in Musicology Online_, may now be viewed at The featured article is by Sarah Mandel-Yehuda, "The Symphonies of Antonio Brioschi: Aspects of Sonata Form." =============== Conference Update: 4th European Music Analysis Conference We are happy to report that the 4th European Music Analysis Conference is getting attention from all over the world. If you are planning to visit the conference, please keep in mind that October is a busy time for hotels. Information on the 1st Rotterdam Music Biennial, including the 4th European Music Analysis Conference, is available on the Internet. We invite you to visit the website of the Rotterdams Conservatorium at There you will find the programme of the 1st Rotterdam Music Biennial, including: - concerts - 4th European Music Analysis Conference, and - 32nd International Gaudeamus Interpreters Competition. The enrollment form and hotel reservation form are available at the website too. You can print them, fill them in, and return them by fax to the Rotterdam Music Biennial Office. We are looking forward to your enrollment. If you prefer to receive the information on paper, we would be happy to send you the brochure by post. Please contact the Rotterdam Music Biennial Office at the following address: Rotterdam Music Biennial Office attn. Noor Engelse Rotterdams Conservatorium Pieter de Hoochweg 222 3024 BJ Rotterdam the Netherlands tel: +31 (0)10-476 73 99 fax: +31 (0)10-425 32 62 +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 4. Employment Tufts University Department of Music: History of African-American Music Cardiff University: Lecturer in Music (two posts) Amherst College: Assistant Professor University of Music, Bucharest, Rumania: Professor, Musical Composition Peabody Conservatory of Music: Full-time Faculty, Music Theory Georgia College & State University: Assistant Professor, Music Theory Department of Music, Stanford University: Composer (Assistant Professor) University of Wisconsin, Madsion: Lecturer in Music Theory Temple University: Assistant or Associate Professor, Music Theory Arizona State University: Visiting Lecturer in Music Theory University of Rochester: Assistant Professor =============== Tufts University Department of Music History of African-American Music We seek candidates who show strong promise of excellent teaching and outstanding scholarship in the field of African-American music history for a beginning Assistant Professor position to start in September 2000. Requirements: doctoral degree (preference for Ph.D in music); expertise in additional music subjects. Teaching responsibilities include courses for graduate students, undergraduate music majors, and general liberal arts students. Review of applications begins November 1, 1999 and continues until the position is filled. Send cover letter, CV, and three letters of recommendation to David Locke, Department of Music, Tufts University, 20 Professors Row, Medford, MA 02155. Tufts University is an Affirmative Action/Equal Opportunity employer. We are committed to increasing the diversity of our faculty. Members of underrepresented groups are strongly encouraged to apply. =============== Cardiff University Lecturer in Music (two posts) You will be active in research of a high calibre, with a record of publications and/or a strong portfolio of contracted work-in- progress, and you will contribute to teaching and administrative duties as required by the Head of Department. A research specialism compatible with the research interests of the Department's staff would be desirable but not essential. The Department's staff member have expertise in the following areas: 18th-and 20th-century studies, Popular Culture, Music and Politics, Theory and Analysis, Aesthetics, Composition and Performance. DURATION: 3 years fixed-term. SALARY: L17071 per annum (under review) CONTACT: Personnel Division: email Persad2@cf.ac.uk informal enquiries to Professor Robin Stowell stowell@cf.ac.uk =============== Amherst College Asst. Prof. QUALIFICATIONS: MM/musicology, theory, or performance ABD; Ph.D/musicology or theory, or DMA performance preferred. JOB DESCRIPTION/RESPONSIBILITIES: Tenure-track position at the level of assistant professor, beginning July 1, 2000. Teaching will include a broad range of courses for majors and non-majors in basic musicianship, theory, music literature, history, and criticism. The candidate will be favored who has wide-ranging musical and intellectual interests, experience as a performing musician, and a commitment to undergraduate instruction and artistic collaboration. SALARY RANGE: Negotiated with the Dean of Faculty ITEMS TO SEND: Letter of application, three letters of recommendation, curriculum vitae, graduate and undergraduate transcripts, and sample of scholarly writing. DEADLINE: Screening begins Oct. 5, 1999 and will continue until the position is filled. CONTACT: Search Committee, Amherst College Department of Music P.O. Box 2258 Amherst, MA 01002-5000 =============== University of Music, Bucharest, Rumania: Prof., Musical Composition QUALIFICATIONS: Ph.D- Musicology-Composition (U.K) DEADLINE: 09.30.1999 CONTACT: =============== Peabody Conservatory of Music, Johns Hopkins University Full-time Faculty, Music Theory QUALIFICATIONS: A minimum of a Master's degree in music theory or composition with a record of teaching excellence in a graduate institution is required. Research and publication activity is highly desirable. JOB DESCRIPTION/RESPONSIBILITIES: Duties will include the teaching of undergraduate and graduate courses according to the successful candidate's areas of expertise. Competence in a wide variety of theoretical approaches to music is necessary. SALARY RANGE: ITEMS TO SEND: Letters of application, accompanied by a curriculum vita and three letters of reference. DEADLINE: Consideration of applications will begin after October 15, 1999. CONTACT: Steven Baxter, Dean Peabody Conservatory of Music One East Mt. Vernon Place Baltimore, MD 21202 =============== Georgia College & State University Assistant Professor, Music Theory (tenure track, 10 month contract) INSTITUTION: QUALIFICATIONS: Ph.D or D.M.A. Experience teaching at the college level. Must be committed to personal professional growth, interdisciplinary programming and a liberal arts mission. Must be able to work effectively in an active, multi-faceted department. JOB DESCRIPTION/RESPONSIBILITIES: Duties include teaching undergraduate theory courses and other area(s) as dictated by the candidate's strengths (current needs in the department include woodwinds, low brass, composition, jazz studies and music technology); being involved in performing on campus and in the wider community; standard advising/mentoring work and committee service. The normal teaching load is 12 credit hours per semester. The Department of Music and Theatre is housed in the College of Arts & Sciences. The University is located in historic Milledgeville, the former capitol of Georgia, and is the public liberal arts institution for the state university system. The department is accredited by NASM. GC&SU is an equal opportunity/affirmative action institution. SALARY RANGE: ITEMS TO SEND: A personal letter of application, current CV, transcripts for all university degrees and three current letters of reference. DEADLINE: December 1, 1999 CONTACT: Dr. Richard Greene, Chair, Department of Music and Theatre Campus Box 66 Georgia College & State University Milledgeville, GA 31061 rgreene@mail.gcsu.edu (phone: 912-445-4346) (FAX: 912-445-1633) =============== Department of Music, Stanford University Assistant Professor: Composer The Department of Music at Stanford University is inviting applications for the position of tenure-track composer at the rank of Assistant Professor. The initial term of appointment will be for four years, with the possibility of renewal for three years before the candidate is considered for tenure. The envisaged starting date for the initial term is September 1, 2000. Teaching responsibilities will include courses in analysis and composition, at both undergraduate and graduate levels. A strong commitment to teaching undergraduate theory and musicianship is also expected. Knowledge of computer music is an asset. Letters of application, together with a curriculum vitae, list of works and performances, and three letters of reference, should be sent by November 15, 1999, to Annie Dolber, Secretary Composer Search Committee Department of Music Stanford University Stanford, CA 94305-3076 Other supporting materials will be requested at a later date. Please do NOT send scores or recordings at this stage of the search. Stanford University is an affirmative-action, equal-opportunity employer, and actively seeks applications from women and minority candidates. =============== University of Wisconsin, Madsion Lecturer in Music Theory The University of Wisconsin-Madison is requesting applications for a one-semester, limited-term position as Lecturer in Music Theory for the spring semester of 2000. The appointment will be at 80% and will pay a princely $12,840 for the semester. The position, which will begin January 7, 2000, and terminate May 21, 2000, is non-renewable. Responsibilities will be to teach (1) the fourth semester (on twentieth-century music) of a four-semester undergraduate curriculum in music theory and analysis, (2) a master's-level course in music analysis on a topic of the instructor's choosing, and (3) to coordinate and supervise four teaching assistants. Preference will be given to applicants with a completed or nearly completed Ph.D. in music theory or composition; a master's degree is required. A record of publication or conference presentation will also be considered an advantage. Send a letter of application, a curriculum vitae, and three letters of recommendation to: Prof. Brian Hyer 4515 Humanities Building 455 North Park Street Madison, Wisconsin 53706 Please include a brief (one paragraph) proposal for the master's-level analysis course (described above) in the letter of application. The cover letter should refer to Position Vacancy Listing 35444. To insure full consideration, applications must be received by November 15, 1999. Unless confidentiality is requested in writing, information regarding the names of applicants must be released on request. Finalists cannot be guaranteed confidentiality. The UW-Madison is an equal opportunity/affirmative action employer. For more information, feel free to contact Brian Hyer at . =============== Temple University Assistant or Associate Professor, Music Theory Announcing Full-time position in music theory (pending approval) at Temple University. Teach undergraduate courses in music theory; graduate courses in theoretical and stylistic analysis; graduate advising of theses and doctoral monographs. Requirements: Ph.D. in music theory preferred; substantial expertise in technology; demonstrated excellence in teaching written and aural theory; strong musicianship skills; a significant record of publication; and potential for substantial scholarly contributions. Rank: Assistant or Associate Professor, tenure-track, salary negotiable. Begin: Fall 2000. Review of applications will begin Nov. 15, 1999 and continue until the position is filled. Reply to: Jan Krzywicki, Music Theory Boyer College of Music (012-00) Temple University Philadelphia PA 19122-6079 Include letter of application, vita, minimum of 3 references. EOE/AA =============== Arizona State University Visiting Lecturer in Music Theory College of Fine Arts, School of Music, Tempe, Arizona 85287 Full-time, visiting lecturer position beginning January 12, 2000, for one semester with possible continuance through summer session. Salary commensurate with experience (range: $16,000-20,000). Duties: Instruct two classes in first- and second-year music theory. Required qualifications: record of successful teaching (or teaching assistant) of college-level music theory courses; ABD or earned doctorate in music theory or composition. Desired qualifications: record of active research and publication. Send application including a) a letter of application which addresses the essential duties, required and desired qualifications of the position; b) a detailed vita; and c) three (3) current letters of recommendation or a current placement file; by October 29, 1999, to: Dr. J. Richard Haefer, Chair, Division of Music History, Theory, and Composition, School of Music, Arizona State University, P. O. Box 870405, Tempe, AZ 85287-0405 =============== University of Rochester Assistant Professor The UNIVERSITY OF ROCHESTER is conducting a search for a full-time faculty member in the Music Department of The College. RANK: Assistant Professor. Appointment in The College and the Eastman School of Music. QUALIFICATIONS: -- Completed Ph.D. by 1 July 2000. -- Primary graduate training in musicology or music history with evidence of achievement and/or promise of distinguished scholarship in the field. Specialization in an area of music before 1750 is preferred. -- Experience as or potential of becoming a dynamic teacher in undergraduate music history sequence. -- Secondary training, experience, and/or expertise in one or more of the following areas is desirable: world musics, popular musics, cultural studies, performance. -- Commitment to excellence of undergraduate musical education in a Bachelor of Arts curriculum. RESPONSIBILITIES: -- Teach regularly in the music history sequence of the Bachelor of Arts in Music curriculum. -- Participate in a distinctive array of courses for both majors and non-majors. -- Teach in the Musicology Department at the Eastman School of Music periodically. -- Professional activity and achievement as a musicologist on a nationally recognized level. SALARY: Negotiable, depending upon qualifications and experience. BEGINNING DATE: 1 July 2000 Please send nominations and letters of application to: Prof. Joel Galand, Chair Music Search Committee University of Rochester 207 Todd Rochester, New York 14627-0052 A curriculum vitae should accompany a letter of application. Candidates should arrange for dossiers or placement files to be sent directly to the search committee. All applicants' files must include at least three confidential letters of reference. Review of applications begins on 15 November 1999. The University of Rochester, founded in 1850, is an independent, non-sectarian coeducational institution of higher learning and research. It is one of the smallest of the nation's leading universities. Teaching and research programs are conducted by seven schools and colleges situated primarily on three campuses. The College Music Department, which cooperates with the Eastman School, is located on the University's River Campus. The University of Rochester values diversity and is committed to equal opportunity for all persons regardless of age, color, disability, ethnicity, marital status, national origin, race, religion, sex, sexual orientation or veteran status. Further, the University complies with all applicable non-discrimination laws in the administration of its policies, programs and activities. Questions on compliance should be directed to the particular school or department and/or to the University's Equal Opportunity Coordinator, University of Rochester, P.O. Box 270501, Rochester, New York 14627-0501. Phone: (716) 275-4321. +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 5. New Dissertations Brown, Stephen C. "Dual Interval Space in Twentieth-Century Music." Yale University, 1999. Cox, Arnie W. "The Metaphoric Logic of Musical Motion and Space." University of Oregon, 1999. Derkert, Jacob. "Tonalitet och harmonisk artikulation i Claude Debussys verk. Om reception, armonikteori och analys." University of Stockholm, 1998. Steffen, Ralph Martin. "Metalogik: The Music Theory of Walter Harburger." University of California, Santa Barbara, 1999. =============== AUTHOR: Brown, Stephen C. TITLE: "Dual Interval Space in Twentieth-Century Music" INSTITUTION: Yale University BEGUN: September 1994 COMPLETED: May 1999 ABSTRACT: This study proposes a model of pitch-class space called "dual interval space." A dual interval space (or "DIS") is a two- dimensional array of pitch classes, in which each dimension corresponds to a unique (non-zero) interval class. Given some pitch-class collection, the members of that collection can be visualized as residing in various locations of a DIS. These locations can then be translated within the space or flipped about some axis. The flipping operations in particular offer new ways to relate set-classes, even set-classes of different cardinalities. Aside from its theoretical interest, the concept of dual interval space is suggestive for the analysis of certain twentieth-century pieces. Moreover, it can apply to music displaying a wide range of styles and techniques, including pitch-centric, freely atonal, and serial music. Chapter 1 introduces the concept and develops the idea of operations in a DIS, exploring their effects on pitch-classes and pitch-class sets. It closes by relating some ideas from graph theory to the concept of dual interval space. Chapter 2 discusses precedents for dual interval space and traces connections with more recent developments in music theory. Chapter 3 shows how the concept can provide the basis for the detailed study of a single body of music, specifically, that of late Shostakovich. Finally, Chapter 4 demonstrates the broader applicability of the concept, using it to analyze pieces by Ruggles, Schoenberg, and Webern. KEYWORDS: atonal theory, post-tonal theory, graph theory, transpositional combination, Klumpenhouwer networks, Shostakovich, Ruggles, Schoenberg, Webern TOC: Chapter 1 Theory and Methodology Chapter 2 Other Music Theories: Precedents and Intersections Chapter 3 Ic1/Ic5 Space in the Music of Shostakovich Chapter 4 Dual Interval Space in Other Music CONTACT: Stephen C. Brown 15 North Cedar Street Oberlin, OH 44074 440-775-0249 (home) 440-775-8239 (office) =============== AUTHOR: Cox, Arnie W. TITLE: "The Metaphoric Logic of Musical Motion and Space." INSTITUTION: University of Oregon BEGUN: June, 1995 COMPLETED: June, 1999 ABSTRACT: Music discourse relies on concepts of musical motion and space despite the fact that tones do not actually move in the ways that we describe. This study employs Lakoff and Johnson's theory of metaphor to analyze the logic behind these basic concepts, and it grounds the musical meanings afforded by these concepts in phenomenology, embodied cognition, and the logic of metaphoric thought. Concepts of motion and space are shown to emerge in the imagination of embodied listeners as we map experience in the domain of actual motion onto the domain of musical experience. Chapter 1 offers an account of verticality in terms of a blend of ten sources, seven of which depend on the conceptual metaphor "More Is Higher." Chapter 2 presents the 'mimetic hypothesis', which argues that we understand music in terms of our own experience of making vocal sounds and via tacit imitation of the sounds and gestures of performers. Chapter 3 examines the role of metaphor in Kaluli and Ancient Greek music theories and finds verticality integral there as well. The analysis of Greek theories also reveals the pervasiveness of the metaphor "More Is Higher" and demonstrates, among other things, that verticality in the West predates its representation in staff notation. Chapter 4 extends Lakoff and Johnson's analysis of our temporal metaphors and shows musical motion and space to be special cases of temporal motion and space. The identical dynamics of anticipation, presence, and memory in the domains of music and actual motion motivate us to map spatial relations onto the relations of tones. By setting out the details of the cross-domain mappings we can account for both the logic and the paradox of musical motion and space. By grounding musical meaning in embodied cognition, this study also establishes the basis of an affective theory of meaning. KEYWORDS: Metaphor, verticality, motion, time, space, Greek theory, perception, cognition, philosophy TOC: Chapter 1: 'High' and 'Low' Chapter 2: The Mimetic Hypothesis and Embodied Music Cognition Chapter 3: Conceptions of Pitch in Kaluli and Ancient Greek Music Chapter 4: Temporal Motion and Musical Motion CONTACT: Arnie Cox Visiting Assistant Professor Oberlin College Conservatory of Music 77 W. College St. Oberlin, OH 44074 Office 440-775-8945 Home 440-775-3174 Fax 440-775-6972 =============== AUTHOR: Derkert, Jacob TITLE: "Tonalitet och harmonisk artikulation i Claude Debussys verk. Om reception, armonikteori och analys." INSTITUTION: University of Stockholm COMPLETED: October, 1998 ABSTRACT: This dissertation is a study of ways to analyze some harmonic features of the music of Claude Debussy. It begins with a critical survey of the discussion of tonality and dissolution of tonality in Debussy's works, as it manifested itself in contemporary French criticism and in the German-speaking countries after World War I. It tries to clarify the notion of "tonality" involved in this discussion. It comes to a critical conclusion concerning the characterization of Debussy's music as embodying dissolution of tonality, which is found to be either rather trivial or speculative, i.e. unproven and difficult to test. A conceptual clarification is suggested, which gives a slightly different, at once more general and more precise, meaning to the trivial version of the discussed characterization. Next we turn to a discussion of the use of different scale-forms found in Debussy's music. We show that, in spite of the absence of tonality at the chord level, and in spite of the presence of a wide variety of different scale-forms, a scale-based conception of keys can be used to analyze at least some works of Debussy as embodying an articulation of keys. We then turn to ways to analyze the scale- form variation in itself. Lastly, we note that key-articulation in Debussy's music is due to two factors: transposition and scale-form variation. We present a simple method to single out the contributions of these two factors. TOC: KAPITEL I DET PROBLEM SOM AVHANDLAS KAPITEL II OM MUSIKTEORI OCH MUSIKANALYS KAPITEL III DEBUSSY SOM IMPRESSIONIST URSPRUNGET TILL EN GANGSE KARAKTARISTIK: HUR DEBUSSYS BEHANDLING AV HARMONIK OCH TONALITET DISKUTERADES I DEN SAMTIDA KRITIKEN KAPITEL IV STUDIET AV TONALITETSUPPLOSNING I DEBUSSYS MUSIK MED UTGANGSPUNKT I TRADITIONELL MUSIKTEORI DEL 1: OM TONALITETSBEGREPPET KAPITEL V STUDIET AV TONALITETSUPPLOSNING I DEBUSSYS MUSIK MED UTGANGSPUNKT I TRADITIONELL MUSIKTEORI DEL 2: OM DEBUSSYRECEPTIONEN KAPITEL VI ANDRA ANSATSER I ANALYSEN AV DEBUSSYS HARMONIK KAPITEL VII ETT FORMALT TONALITETSBEGREPP KAPITEL VIII TONALITET I DEBUSSYS MUSIK? KAPITEL IX TONARTSARTIKULATION I DEBUSSYS MUSIK? KAPITEL X ANALYS BASERAD PA TONFORRADS INTERVALLINNEHALL OCH DESS TILLAMPBARHET PA DEBUSSYS MUSIK KAPITEL XI TONARTSARTIKULATIONENS TVA ORSAKER: FORMVARIATION OCH TRANSPOSITION KAPITEL XII SLUTSATSER SUMMARY IN ENGLISH CONTACT: Jacob Derkert Musikvetenskapliga institutionen Stockholms universitet Valhallavagen 103-109 S-115 31 Stockholm Sweden fax: +46 8 163 281 =============== AUTHOR: Steffen, Ralph Martin TITLE: "Metalogik: The Music Theory of Walter Harburger" INSTITUTION: University of California, Santa Barbara BEGUN: September, 1996 COMPLETED: June, 1999 ABSTRACT: This dissertation investigates the music theory, called the "metalogic," of the German writer and composer Walter Harburger (1888-1967). The metalogic offers an alternative interpretation of rhythm and harmony in tonal music. Rooted in the familiar German theoretical tradition of Moritz Hauptmann and Hugo Riemann, it differs by embracing the rebellious spirit of the post-World War I era. The new approach to logic proposed by Edmund Husserl and his school of phenomenology is apparent in Harburger's writing, as well as the influence of new trends in mathematics and physics. Based on his idea of a logic unigue to music, Harburger reconceptualizes the primal elements of rhythm, melody, and harmony in familiar common-practice musical constructions. His unique mathematics, the "metalogic calculus," allows him to attain this goal. In Harburger's theory, all musical structures, from the lowest level such as beats and scale degrees, to complex structures such as motives and harmonies, relate to one another through hierarchical levels of unity. In order to perceive structures on different levels, such as a single beat vs. a grouping of beats into duple or triple meters, the mind must "cross over" from one level of consciousness to another. In his metalogic equations, which resemble algebraic equations, Harburger aims to express the transformations that occur between adjacent levels of consciousness. _Die Metalogik,_ published in 1919, is the source for Harburer's theory. The dissertation features original translations from this book, as well as from other published and unpublished primary sources, the latter studied at the Bayerische Staatsbibliothek in Munich, Germany. Chapters 1 and 2 survey Harburger's life in Munich and the nineteenth- and twentieth-century philosophical and scientific developments that influenced his thought. Chapters 3 and 4 investigate the metalogic in detail and Harburger's application of mathematics to music. Chapters 5 and 6 present his theories of rhythm and harmony. A concluding chapter shows how Harburger's mathematical approach foreshadows recent work in tonal music theory, especially the neo-Riemannian theories of David Lewin and Richard Cohn. KEYWORDS: phenomenology, mathematics, musical logic, tonal theory, rhythm, perception, Hauptmann, Riemann TOC: Chapter 1: Harburger's Life, Work, and Critical Recognition Chapter 2: Harburger's Philosophy and Influences Chapter 3: _Metalogik_ Chapter 4: Harburger's Mathematical Conception of Music Chapter 5: The Rhythmic Theory Chapter 6: The Harmonic Theory Chapter 7: Conclusion Bibliography CONTACT: P.O. Box 14103 Santa Barbara, CA 93107 805-683-5664 +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 6. New Books Princeton University Press New Paperback The Social and Religious Designs of J. S. Bach's Brandenburg Concertos Michael Marissen This new investigation of the Brandenburg Concertos explores musical, social, and religious implications of Bach's treatment of eighteenth-century musical hierarchies. By reference to contemporary music theory, to alternate notions of the meaning of "concerto," and to various eighteenth-century conventions of form and instrumentation, the book argues that the Brandenburg Concertos are better understood not as an arbitrary collection of unrelated examples of "pure" instrumental music, but rather as a carefully compiled and meaningfully organized set. It shows how Bach's concertos challenge (as opposed to reflect) existing musical and social hierarchies. "This book is full of significant insights into the nature of the [Brandenburg Concertos]. . . . [It] offers a fascinatingly fresh approach to these masterworks." --F. Ellsworth Peterson, _Notes_ "For anyone who is interested in exploring the remarkably rewarding challenge Bach lays down for the human family, this is a careful, helpful, plausible, and perceptive analysis." --Paul Westermeyer, _Church History_ "Full of important and closely argued discussions of individual aspects of chronology, source criticism, musical structure, and [Bach's] biographical background. . . . [Marissen] is very informative on analytical and historical points, effectively demolishing many received beliefs, especially regarding chronology and source filiation." --Michael Talbot, _Music and Letters_ Michael Marissen is Associate Professor of Music at Swarthmore College. His most recent book is _Lutheranism, Anti-Judaism, and Bach's "St. John Passion."_ 0-691-00686-5 Paper $14.95 US and L9.50 UK and Europe 168 pages, 6 x 9, 5 music examples. If you wish to place an order, we encourage you to do so through your local bookseller. If that is not possible, you can order through our Web site: +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 7. Advertisements ChordSymbol and CSTimes Fonts Integral =============== ChordSymbol and CSTimes Fonts The ChordSymbol and CSTimes music analysis fonts contain a wide variety of music analysis symbols, including roman numerals, three levels of figures and slashed figures, accidentals, careted scale degrees and other Schenkerian symbols, form symbols, and many more. The fonts are available for both Macintosh and Windows, in either TrueType or PostScript formats. Both fonts are useful in word- processing applications such as Microsoft Word, music notation applications such as Coda Finale, and any other application having a font menu. CSutility, a cross-platform variant of the ChordSymbol font specifically intended for use with multimedia development applications such as Macromedia Director, may also be licensed. A PDF flyer containing font samples and all necessary ordering information may be downloaded from John Clevenger's web site at , or a paper flyer can be mailed if necessary. Contact Information: John Clevenger Maestro Software 50 S. Patterson Ave., #203 Santa Barbara, CA 93111 E-mail: JClevESM@aol.com Telephone: (805) 964-7988 Web site: =============== Integral Integral is a juried periodical on music theory, analysis, criticism, and their relationship to composition and performance. It is published annually by the graduate theory students at the Eastman School of Music.Editorial board members include Kofi Agawu, David Beach, Allen Cadwallader, William Caplin, Michael Cherlin, John Covach, Robert Gjerdingen, Patrick McCreless, Andrew Mead, Benito Rivera, and Robert Wason. Volume 12 (forthcoming 1999) MÁRTA GRABÓCZ The Application of A. J. Greimas's Structural Semantics to the Analysis of Sonata Form Klumpenhouwer Network Symposium: EDWARD GOLLIN Some Unusual Transformations in Bartók's 'Minor Seconds, Major Sevenths' H. KLUMPENHOUWER The Inner and Outer Isomorphisms of Pitch- Class Inversion and Transposition: Some Implications for Analysis with Klumpernhouwer Networks SHAUGN O'DONNELL Klumpenhouwer Networks, Isography, and the Molecular Metaphor JOEL GALAND Review of recent books on Classical form by William Caplin, and Nicholas Cook. MARTHA HYDE Review of The Music of Ruth Crawford Seeger by Joseph Straus Volume 13 (forthcoming 2000) DAVID CARSON BERRY Dynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin DAVID CLAMPITT Ramsey Theory, Unary Transformations and Webern's Op. 5, No. 4 JOHN DOERKSEN Comparing Collections of Set-Classes: Indexes in Forte's Genera Theory DAVID SMYTH Beethoven's Last Bagatelle DAVID GAGNE Review of Unfoldings by Carl Schachter GUY CAPUZZO Review of The Music of Elliott Carter, 2nd ed., by David Schiff View our index of back issues on-line at http://theory.esm.rochester.edu/integral Subscription Information Single volume: $14 ($12 for students, $18 for institutions) Back issues (vols. 1-10): $12 ($10 for students, $16 for institutions) Complete back issues: $108 ($90 for students, $144 for institutions) Prepayment of orders is appreciated but not required. Checks (in U.S. dollars) should be made payable to Integral. Outside North America, please add $4.00 postage per volume (up to $12.00). Please allow 4-6 weeks for delivery. Send subscription requests to: Subscriptions Manager, Integral Eastman School of Music 26 Gibbs Street, Rochester, NY, USA 14604 +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 8. Editor's Message Music Theory Online took a brief hiatus over the summer. The present issue contains a generous set of reviews and the usual listings of professional announcements, employment opportunities, new dissertations, and new books. MTO readers are reminded that reactions to MTO items can be made in two ways. Short comments are appropriate for mto-talk, the journal's email discussion list (one must be an official MTO subscriber to post to mto-talk). More extended responses may be submitted as Commentaries, which will be published in a subsequent issue. Formatting guidelines for Commentaries are the same as for regular submissions and can be reviewed in the MTO Author Guidelines . Readers are also reminded that MTO accepts submissions of articles at any time. Articles are read blind and authors normally receive a response within about four weeks. I am happy to work with potential contributors who, after reading the Author Guidelines (URL is listed above) have questions about preparing musical examples. We continue to improve the MTO web pages. The Comprehensive Author Index has been resigned to improve readability. Your suggestions for making it easier to use the site are always welcome. Eric J. Isaacson, General Editor Music Theory Online School of Music Indiana University Bloomington, IN 47405 U.S.A. mto-editor@smt.ucsb.edu voice: (812) 855-0296 (with voice mail) fax: (812) 855-4936 +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 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. 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