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Volume 8, Number 1, February 2002
Copyright © 2002 Society for Music Theory
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Calls for Papers
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Call for Papers: The University of Western Ontario Graduate Student Symposium in Music 2002
The program committee for the Graduate Student Symposium in Music at the University of Western Ontario (London, Ontario, Canada) is pleased to invite submissions from graduate students of proposals for our third annual symposium, to be held during the first weekend in June, 2002 (Saturday and Sunday, June 1 and 2). We are delighted to announce that our Keynote Speaker will be Janet Schmalfeldt of Tufts University (President of the Society for Music Theory, 1997-1999).
The theme for the 2002 symposium is "Interrelationships of Scholarship and Performance," but we invite proposals on any topic. We seek submissions in all areas of music scholarship, including: ethnomusicology, music education, musicology, music psychology, and music theory. Proposals of an interdisciplinary nature are also encouraged. Those wishing to read a paper, which must be limited to 20 minutes, should submit six copies of an abstract (maximum 500 words, excluding illustrations).
In addition, we invite proposals for lecture-recitals and submissions from student composers to explicate their piece(s). Both kinds of sessions must be limited to 40 minutes. Send six copies of an abstract (max. 500 words) and 3 copies of a cassette tape or CD with excerpts from the pieces under discussion. If you wish to have your recordings returned, send a stamped, self-addressed envelope.
Send proposals and abstracts to:
Robert Wouda
Graduate Student Symposium in Music 2002
University of Western Ontario
Faculty of Music
Talbot College 210
London, Ontario
CANADA
N6A 3K3
Submissions and inquiries can also be sent through e-mail to <rwouda@uwo.ca>. Proposals sent in the body of an e-mail are preferred over attachments. Please have the subject line read: Graduate Student Symposium. The author's name should appear only on the cover letter, along with the title of the paper, mailing address, telephone number, and e-mail address. The deadline for the receipt of proposals is MONDAY, MARCH 25, 2002. All submissions received before and up to the deadline will be acknowledged.
International Summer Institute for Semiotic and Structural Studies
INTERNATIONAL SUMMER INSTITUTE FOR SEMIOTIC AND STRUCTURAL STUDIES Imatra, Finland, June 9-16, 2002
This is the announcement and call for papers for the International Summer Institute for Semiotic and Structural Studies. The meetings are organized by the International Semiotics Institute at Imatra and open to anyone interested in the topics listed below.
Director of the Summer Institute and ISI: Prof. Eero Tarasti, University of Helsinki.
Time and Congress/Seminar site: June 9-16, 2002, Hotel Valtionhotelli, an art nouveau castle in Imatra, Eastern Finland (on the River Vuoksi, near the Russian border). A seminar and an excursion to St. Petersburg will be arranged from Friday, June 14 to Sunday, June 16 (details below).
Seminars:
1) Juri Lotman symposium, June 9-13
Directors: Pekka Pesonen (Helsinki), Tomi Huttunen (Helsinki) Invited
lecturers: Sergei Daniel (St. Petersburg), Aage Hansen-Lvwe (Munich), Roman
Leibov (Tartu), Georgi Levinton (St. Petersburg), Mihail Lotman (Tartu), Gennadi
Obatnin (St. Petersburg), Kiril Postoutenko (Los Angeles), Peeter Torop (Tartu)
2) After Greimas, June 9-13
Director: Eero Tarasti (Helsinki)
Invited Lecturers: Omar Calabrese (Siena), Paolo Fabbri (Bologna), Jacques
Fontanille (Limoges), Anne Henault (Paris), Eric Landowski (Paris), Herman
Parret (Brussels), Peter Stockinger (Paris), Saulius Zukas (Vilnius)
3) Semiotics of Media, June 9-13
Directors and invited lecturers: Kristian Bankov (Sofia), Sam Inkinen (Rovaniemi),
Peeter Stockinger (Paris), Ugo Volli (Milan), Mauri Yld-Kotola (Rovaniemi)
a) Work session: Music and Media, June 9-13
Directors: Heloisa de Araujo Duarte Valente (Santos), Luiz Fernando de Lima
(Rio de Janeiro),Susana Gonzales Aktories (Mexico City), Jean-Marie Jacono (Aix
en Provence), Erkki Pekkild (Helsinki), Richard Littlefield (Michigan)
4) Derrida and Deconstruction, June 9-13
Directors: Tomi Kaarto, Outi Pasanen
5) Semiotics of Game and Play, June 9-13
Director: Solomon Marcus (Bucharest)
6) Interpreting the Sign Language of Archaeological Rock Painting and Art,
June 9-13 [On condition that funding is approved]
Directors: Hannele Koivunen (Helsinki), Timo Miettinen (Huutjdrvi), Juha
Pentikdinen (Helsinki), Vilmos Voigt (Budapest)
Invited Lecturers: Emmanuel Anati (Italy), Gvran Burenholt (Sweden),
KnutHelskog (Sweden), Mihaly Hoppal (Hungary), Eke Hultkranz (Sweden), A.D.
Stoljar (Russia)
7) 21st Annual Meeting of the Semiotic Society of Finland; June 7 - 9
a) Sign and Mind
Director: Eero Tarasti (Helsinki)
b) Art, Identity, Knowledge
Director: Anne Stenros (Helsinki)
Invited lecturers: Antti Hautamdki (Helsinki), Irmeli
Hautamdki (Helsinki), Hannele Koivunen
(Helsinki), Marketta Luutonen (Helsinki), Minna Uotila (Rovaniemi)
Each seminar consists of lectures given by the invited lecturers and of papers given by the participants (except the Lotman symposium). The aim of the summer school is to offer the participants both up-to-date research information and an opportunity to discuss thoroughly their projects with leading specialists of the field. Those who present a paper will have 30 minutes at their disposal. Papers may be presented in English, German, or French.
Conditions of Admission:
There are two categories of attendance:
1) Active: the participant will present a paper
2) Passive: the participant will follow the summer school without presenting
a paper
Those wishing to participate actively must send a short curriculum vitae and
a 2-3 page abstract of his/her paper together with the registration form. These
materials should reach the organizers no later than March 31, 2002. Abstracts
are to be published in in an abstract book and should be sent both as an email
attachment and/or saved to diskette, and as hard copy.
Participation fees for the Summer Institute:
Received by March 31, 2002: 100 EUROS (= c. $100 US) Students 50 EUROS,
Members 80 EUROS
Received after April 1, 2002: 115 EUROS, Students 80 EUROS, Members 90 EUROS
The fee covers course materials and the evening reception on June 9.
A seminar and excursion to St. Petersburg will be arranged for all attendants from Friday, June 14 to Sunday, June 16. To visit St. Petersburg, a visa is required. Contact the Russian Embassy of your own country to get a visa. The fee of the excursion: double room 383 EUROS; single room 433 EUROS. The fee includes the seminar, accommodations, meals, visit to Hermitage and Tsarskoje Selo, opera ticket, and sightseeing tour. Payment for the St. Petersburg excursion must be made before April 30 by bank transfer to the ISI bank account with Sampo Bank, account number: PSPBFIHH FI8780001802071697.
For further information, contact:
Maija Rossi (Secretary),
International Semiotics Institute,
Imatra Cultural Centre
Virastokatu 1
55100 Imatra
Finland
tel: 358-5-681 6639
fax: 358-5-681 6628
e-mail: Maija.Rossi@isisemiotics.fi
internet: www.isisemiotics.fi
Musicological Society of Australia
MUSICOLOGICAL SOCIETY OF AUSTRALIA -- 25TH NATIONAL CONFERENCE
MUSIC RESEARCH: NEW DIRECTIONS FOR A NEW CENTURY
THE CONSERVATORIUM
UNIVERSITY OF NEWCASTLE
NEWCASTLE, NSW, AUSTRALIA
3-6 OCTOBER 2002
Themes:
Research through Performance
Music and Society
Structure and Context
Music and Technology
Plenary Speakers
Suzanne Cusick
Roy Howat
Rolf Gehlhaar
Panels
Music and Technology
Research through Performance
Forums
Gender and Sexuality
Indigenous Issues
Installation by Rolf Gehlhaar
Performances including:
Reconstruction of the first program of the Eastman Wind Ensemble Ian Cook,
University of Newcastle Wind Orchestra
Spontaneous Events of Great Wonder
Curated by Margery Smith and Rosalind Halton
Something Old, Something New
Alessandro Scarlatti's Prelude Fede, Idolatria e Furore and Intermezzo Il
Ratto di Prosperpina (first modern performances), framing the world premiere of
Daphne by Newcastle composer Katrina Pring Stage Director Michael Ewans, Music
Director Marie-Louise Catsalis
GUEST SPEAKERS
Research through Performance, Music and Society
Musicologist and Associate Professor at the University of Virginia, Suzanne
Cusick is known for the originality and elegance of her writing on subjects
ranging from early opera to American film musicals, from the perspective of
feminist criticism. She is in demand as a speaker who can illuminate cultural
and gender constructs as they are reflected through musical structures. She will
deliver at the Conference a presentation on ideas that lie at the intersection
of two of our conference themes - 'research through performance' and 'music and
society'. She currently holds a Frederick Burkhardt Residential Fellowship at
Villa I Tatti, Florence.
www.virginia.edu/music/facultyacadmore.html#cusick
Music and Technology
Composer, inventor, educator, Rolf Gehlhaar worked closely with Karlheinz
Stockhausen in the late 1960's, participating actively in the development of
many of Stockhausenùs important ideas and projects. These ideas led eventually
in 1984 to the development of SOUND=SPACE the interactive musical environment
for which Gehlhaar has become most well known. SOUND=SPACE has become the major
focus of Gehlhaar's compositional and performance activities and he plans an
installation for the Conference, as well as a presentation on Œmusic technology:
music & sound artù.
www.gehlhaar.org
Research through Performance Structure and Context
Pianist and musicologist, Roy Howat is best known for his association with
French music. He has recorded the complete solo piano music of Debussy, edited
much of it, and published a provocative study Debussy in Proportion. As a
performer and lecturer, he has championed the music of Debussyùs contemporaries,
notably Chabrier and Fauré. He has also published on performance and notation
and is married to Australian composer Wendy Hiscocks. He is currently AHRB
Research Fellow in Creative and Performing Arts, Royal College of Music, London.
www.geocities.com/royhowat
Offers of Papers and Lecture-Demonstrations
SUBMIT ABSTRACTS OF PAPERS (20 minutes)
AND PROPOSALS FOR LECTURE-DEMONSTRATIONS (40 minutes)
To Rosalind Halton by 31 March, 2002
EMAIL IS PREFERRED; murh@cc.newcastle.edu.au
Or fax +61 49 21 8958, marked for the attention of Dr R Halton
Or post Dr
Rosalind Halton, The Conservatorium, Auckland St Newcastle, NSW 2300, Australia
All lecture theatres will be provided with a piano; cd, audiocassette and VHS videotape playing equipment; and overhead projector. If your presentation requires additional facilities please advise us when submitting your abstract.
TRAVEL
Newcastle has two airports; Newcastle Airport at Williamtown, 24 km north of
the city, and Belmont (served by Aeropelican commuter services from Sydney) 22
km south of the city. At Newcastle Airport Qantas subsidiaries provide regular
services from Sydney, and direct flights from Melbourne, the Gold Coast,
Brisbane and regional centres.
Newcastle is served by direct electric rail services from Sydney; the
Conservatorium is less than five minuteùs walk from Civic station. Regional and
interstate trains stop at Broadmeadow station, in the inner western suburbs and
approximately fifteen minutes by bus or taxi from the Conservatorium.
The Conservatorium will provide a shuttle service from and to Williamtown to
meet flights with three or more delegates arriving on Wednesday 3 and departing
on Sunday 6 October. To book this service please email mkelly@mail.newcastle.edu.au
with details of your confirmed flight date, time, and flight number before
23 September. (Do not assume you will be met until this has been confirmed by a
return email). Some Newcastle hotels also provide shuttle services.
ACCOMODATION
Delegates are requested to make their own arrangements. The following hotels,
motels and apartments are within easy walking distance from the
Conservatorium:
Bimet Motel 121 Union St 02 4929 6677
$88 single $99 double
Capri Plaza Hotel King St (cnr Steel St) 02 4926 3777
Rooms from $105. Shuttle service $10
reservations@capriplazahotel.com.au
Clarendon Hotel 347 Hunter St 02 4927 0966
Rooms $121-154
Newcastle Executive Apartments Wharf Road 02 4929 6677
$95 single $105 double
Quest Apartments 575 Hunter St 02 49296677
Rooms from $144
(Prices correct at time of printing)
There are several more hotels in the beachside East End of Newcastle,
approximately ten minutes by bus or taxi from the Conservatorium; including
Noah's on the Beach (02 49 29 5181)
Budget accommodation is provided by the YHA at Newcastle Beach (30 Pacific
St) 02 49253544. Rates start from $22 (for shared accommodation).
FURTHER INFORMATION
On travel and accommodation -
Ian Cook, muirc@cc.newcastle.edu.au (+61) 2 49 21 8936
About making a presentation at the conference -
Rosalind Halton, murh@cc.newcastle.edu.au (+61) 2 49 21 8950
All other inquiries -
Michael Ewans, Conference Convenor
mewans@mail.newcastle.edu.au (+61) 2 49 21 8883
REGISTRATION FORM
Name
Address
Telephone I wish to attend MSA XXV, New Directions for a New Century in Newcastle, 3-6 October 2002. I enclose a cheque in $A for þþþ Made out to University of Newcastle (MSA Conference) OR please debit my Bankcard/Mastercard/Visa
Name on Card
Number
Expiry Date
Registration fees
Members (earlybird)* $120
Members (later) $140
Non-members $160
Students $60
Day attendance $50
(GST included)
*Earlybird registrations must be received by 31 July 2002.
Please post this form to Michael Robertson, Conservatorium, Auckland St
Newcastle NSW 2300 Australia
If paying by credit card you may fax the form to +61 49 21 8958.
2002 Conference of the Association for Technology in
Music Instruction
ATMI 2002 CALL FOR PROGRAM PARTICIPATION
The ATMI 2002 Program Committee invites the submission of proposals for the 2002 Conference of the Association for Technology in Music Instruction. The concurrent national conferences of ATMI and the College Music Society will be held in Kansas City, Missouri, September 26-29, 2002. Proposals dealing with any aspect of technology in music instruction and/or MIDI performance are welcome. The Association is particularly interested in presentations that focus on:
* Innovative strategies and formats for web-based music learning and artistic collaboration
* New software applications for music learning
* Multimedia: integrating text, graphics, video, audio, etc.
* Music technology in the curriculum
* Performance ensembles incorporating music technology
* Research on the effectiveness of music technology
* Student-created projects involving music technology
PROPOSAL SUBMISSION DEADLINE: March 29, 2002. A complete Proposal Form is included at the end of this announcement.
CONFERENCE SESSIONS
The conference will offer a variety of presentation formats, including papers, panels, demonstrations, training sessions/workshops, electronic poster sessions, and performance involving technology software/hardware. In addition, the intended audience will be identified (e.g., general, novice, intermediate, or advanced) with regard to prior music technology experiences or comfort level.
Informal debriefing sessions will follow the formal presentations to allow more detailed questions/explanations of topics.
Presenters are encouraged to propose electronic poster sessions. This venue is particularly appropriate for graduate students engaged in relevant and timely research. These will follow the usual electronic poster session format.
A Conference Proceedings Index will be available, which will point to presenter's sites to provide a centralized access to conference topics.
PRESENTATION TOPICS
Proposals dealing with any aspect of technology in music instruction and/or MIDI performance are welcome. The Association is particularly interested in presentations that focus on:
* Music Technology Curricular and Programmatic Interests
* OnLine Music Instruction: Local, Regional, National, and International
* Multimedia: Integrating Text, Graphics, Video, Audio, etc.
* Creative Pedagogies/Technological Tools: Music Learning, Composition, etc.
* Performance Incorporating Music Technology: Solo, Chamber Music, Ensemble Uses of Digital Audio
* Research on the Effectiveness of Music Technology
* Student-Created Projects involving Music Technology
The Association strongly encourages students to present their own projects, though a faculty ATMI member may submit the official proposal.
PRESENTATION FORMATS
MIDI PERFORMANCE: The Association renews its efforts to present musical performances focusing on the use of MIDI and/or other music technologies. The proposal should include specific information regarding the ensemble and its relation to curricular goals. Encouraged are solo, chamber, or ensemble performance proposals, demonstrations of unique MIDI instruments, or performance-related compositional activities involving music technology. (If you know of performers, ensembles, or presenters that meet this description, please forward this message to the appropriate person!)
NOTES: ATMI cannot provide funding/compensation for the travel or lodging of any performers. At least one person involved in the presentation (e.g., director, performer, composer) must be an ATMI member.
PAPERS AND PANELS: Traditional academic papers and panels dealing with music technology in any manner are welcome.
DEMONSTRATIONS: Appropriate are demonstrations that focus on newly authored software from all aspects of the music curriculum. Especially welcomed are applications that take an innovative approach to music teaching and learning. Proposals should include a complete description of the software's design and its use in the teaching environment.
TRAINING SESSIONS/WORKSHOPS: People looking for practical ways to expand their skills often attend ATMI sessions. The Program Committee would like to serve this constituency by offering short training sessions tailored to novice and intermediate skill levels. Submissions in this category should focus on the presenter's level of experience and background. A one-hour limit will be placed on these workshops. Presenters will need to provide the appropriate software, preferably on CD ROM. NOTE: For these sessions, it should be assumed that the presenter would be working with a group using laptop computers.
ELECTRONIC POSTER SESSION(S): The conference will host at least one computer-based poster session, in which multiple presenters will show material in a large display area concurrently. Especially encouraged are
one- on-one or small-group presentations or demonstrations of research, interactive music lab software, work in progress, and examples of student work. Proposals should include a complete description of the material to be presented. If appropriate, graphic images or actual software samples may be included with a proposal submission, but should be clearly described in the text of the proposal. NOTE: Poster session participants must supply all necessary presentation hardware and software.
POST-PRESENTATION DEMONSTRATIONS: Presenters will be encouraged to present their research in two stages for this conference: the formal presentation of the results of their work, and an informal session where the details or 'nuts-and-bolts' of their work can be demonstrated. All presenters should be prepared for the two-tiered mode of presentation.
NORMAL CONFERENCE EQUIPMENT: As in the past, the ATMI room will be equipped with a VCR, data projectors, a moderate sound system and wireless microphones (suitable for voice, pre- recorded audio, and synthesizer amplification; may not be suitable for MIDI performance ensembles). At least one synthesizer and a MIDI Interface (USB?) will be available.
All INTERNET-BASED PRESENTATIONS should be designed to run locally (i.e., without actual connection to the internet) due to the unpredictability of conference facility telephone lines. If actual connection is *essential* to your proposal, this must be indicated in the Specialized Equipment/Software portion of the proposal form.
Details regarding specific hardware configurations and installed software installed will be available immediately prior to the convention. However, you should be prepared to provide whatever non-standard software and/or hardware is required for your presentation.
ATMI members who can supply (i.e., bring with them) any of the equipment listed here are highly encouraged to contact the Program Chair. This will help to defer the rising cost of equipment rental.
Presenters are expected to supply their own laptop computers, which must be appropriately configured to work with data projectors. Consult your local dealer if you are unsure about compatibility issues. In particular, Macintosh CPUs must have appropriate Mirroring (older OS) or Multiscan (newer OS) options available in the Monitors Control Panel. (NOTE: monitor options may not appear unless a data projector is connected to the CPU.)
SUBMISSION GUIDELINES
ALL proposals must include the following:
* Completed Proposal Form (included at the end of this e-mail)
In addition...
PAPER, PRESENTATION, and DEMONSTRATION proposals must be submitted for blind review. The proposal must exclude references to individuals and/or institutions within the Proposal Description that would compromise this process. Proposals for papers should include clear statements of background, methodology, content to be covered, and conclusions. Demonstration proposals may be accompanied by a Training Session/Workshop proposal. Prior to submission to the Program Committee, these proposals will be edited by the Program Chair as needed to allow for blind review.
TRAINING SESSION/WORKSHOP proposals must be submitted for blind review. Authors must exclude references to individuals or institutions within the body of the proposal that might compromise this process. The presenter may also propose a Demonstration session to precede the Training Session/Workshop. A detailed list of software CPU requirements and all other equipment required to present the session as proposed. Prior to submission to the Program Committee, these proposals will be edited by the Program Chair as needed to allow for blind review.
PANEL proposals must clearly describe the purpose of the presentation and should list the proposed participants and their qualifications in relation to the presentation topic.
MIDI PERFORMANCE proposals should include the name of the primary contact person (performer or director); a description of the proposed performance, a recording of recent performances, a statement describing the purpose/mission of the performance medium and its relationship to music education, and any other relevant information. If ATMI is expected to provide any equipment other than that described above, a detailed list must be submitted.
The ATMI 2002 PROGRAM COMMITTEE :
Sara Hagen, Chair (Valley City State University)
Tom Hughes, Past Chair (Texas Tech University)
Robert Adams (Montevallo University)
Timothy Koozin (University of Houston)
Kimberly Walls (Auburn University)
PROPOSAL SUBMISSION DEADLINE: March 29, 2002
SUBMISSION FORMAT:
E-mail all proposals to sara_hagen@mail.vcsu.nodak.edu and include the word 'proposal' in the subject line.
(Hard-copy will NOT be accepted unless materials absolutely cannot be submitted/read electronically!)
MIDI Performance recordings should be sent to:
Sara Hagen
ATMI 2002 Program Chair
Valley City State University
101 College St. SW
Valley City, ND 58072
NOTIFICATION:
Proposal Receipt will be acknowledged by return e-mail within three days.
Programming Decisions will be announced by April 26, 2002. NOTE: with the exception of student or professional performers, presenters must be fully paid members of ATMI at least one month prior to the
conference.)
Complete and E-mail the form below within the body of the email in plain text to: sara_hagen@mail.vcsu.nodak.edu. Include the word "proposal" in the subject line.
NOTE: Do *not* quote or include any preceding text!
PROPOSAL FORM -- Must be completed for *each* ATMI 2002 session
proposal:
1) Proposal Author(s) and Institutional Affiliation(s):
2) Proposal Title:
3) Intended Audience (delete all but one):
General (little or no experience)
Novice (minimal experience)
Intermediate (uses many apps., doesn't write code) advanced (very experienced, may incl. programming)
4) Presentation Topic (delete all but one):
Music Technology Curricular/Programmatic Interests Multimedia Creative Pedagogies/Technological Tools Performance Digital Audio Research on the Effectiveness of Music Technology Student-Created Projects OnLine Music Instruction
Is Internet Connection Desired (delete one):
Yes
No
Is Internet Connection Required (delete one):
Yes
No
5) Presentation Format (delete all but one):
ELECTRONIC POSTER SESSION
PAPER
DEMONSTRATION
TRAINING SESSION/WORKSHOP
Must be appropriate for participants using lap-top computers (either Wintel or Mac OS).
PANEL
Panel Participants and Institutional Affiliation:
MIDI PERFORMANCE (complete if appropriate/known):
Group Name:
Performers:
Instrumentation:
Repertoire:
Equipment I cannot provide:
Other:
OTHER (be specific):
6) Presentation Description (2000 word limit!):
7) Single-Paragraph ABSTRACT suitable for inclusion in program:
8) Requested Presentation Period (delete all but one):
30 minutesOther (explain):
10) Specialized Equipment/Software that I *cannot* provide:
None
Internet connection is *essential* to my presentation
Other (be specific):
11) Due to *unavoidable* conflict I absolutely *cannot* present on the following date(s):
No Conflicts Exist
September 26
September 27
September 28
September 29
Explain unavoidable conflict:
12) List all other non-ATMI proposals that you are submitting for the Kansas City 2002 meeting:
13) Other information that may be helpful to the Program Committee:
14) BRIEF biography (of each participant, performer, or ensemble):
15) All e-mail addresses that you regularly access:
Office:
Home:
Other:
16) All phone numbers at which you can be reached:
Office:
Home:
Other:
* INCOMPLETE PROPOSALS will *not* be reviewed.
* SUBMISSION DEADLINE: March 29, 2002.
* E-mail to sara_hagen@mail.vcsu.nodak.edu. Include the word 'Proposal' in the subject line.
Second International Conference on Web Delivering
of Music
WEDELMUSIC-2002 2nd International Conference on Web Delivering of Music WEDELMUSIC2002, Darmstadt, Germany, 9-11 December 2002
http://www.wedelmusic.org/wedelmusic2002
WEDELMUSIC2002@igd.fraunhofer.de
WEDELMUSIC@dsi.unifi.it
Sponsored by: Fraunhofer Institute, University of Florence, IRCAM With the support of: IEEE CS TC on Computer Generated Music
The popularity of Internet and multimedia has increased the need for rapid diffusion of culture in new formats. Since its beginnings, music has never shied away from incorporating the latest technological advances to maximise expressive power. Its pioneering role in the use of Internet technology to broadcast audio and music files continues to break new boundaries. Current state of the art still distributes music either on paper or on CD or similar media. However, the possibility to distribute music in several other formats, such as symbolic, audio (in its several available formats) and as images of music scores opens several new avenues for research. At the same time, Internet technologies are having a strong impact on system architectures and business processes, while new regulations are changing the distribution mechanisms of music in important ways.
WEDELMUSIC-2002 aims to deal with these major topics in music-related fields, in order to address new ways to distribute music to larger audiences. The impact of these developments on cultural heritage will be considered, together with their availability to people with limited access to classical archives or libraries. In particular, proposals and solutions benefiting visually-impaired people are encouraged, to let everybody access this large and hidden cultural heritage. Tools for impaired people will contribute to broadening music playing and enjoyment. The conference focuses on both the challenges posed by Internet in its role as a major player for business changes and music distribution, as well as opportunities as a new infrastructure for enabling technology. In addition, this conference seeks to promote discussion and interaction between researchers, practitioners, developers and users of tools, technology transfer experts, and project managers. Of particular interest is the exchange of concepts, prototypes, research ideas, and other results which could both contribute to the academic arena and also benefit business and the industrial community. WEDELMUSIC-2002 will bring together a variety of participants to address not only different technical issues, but also the impact of Internet on the preservation of cultural heritage.
Topics of interest include but are not restricted to the following aspects:
RESEARCH PAPERS
Papers should describe original and significant work in the research and practice of the main topics listed above. Research case studies, applications and experiments are particularly welcome. Papers should be limited to 2000 - 5000 words in length. Of the accepted paper, 8 pages will be published in the conference proceedings. Papers should be written in English and submitted in PDF format via email to WEDELMUSIC2002@igd.fraunhofer.de, by 30th of March 2002.
APPLICATIONS and INDUSTRIAL PAPERS
Alternatively, proposals for presentations of Applications and Tools are also welcome. These may consist of experience reports from actual utilisation of tools, industrial practice and models, or tool demonstrations. Please submit proposals for Application presentations via email to WEDELMUSIC2002@igd.fraunhofer.de by March 30, 2002. Application proposals will be reviewed based on their description and demo, if any. A one page summary of the accepted proposal will be published in the conference proceedings.
PROCEEDINGS
Proceedings will be published by IEEE, the conference is patroned by IEEE Computer society Technical Committee on Computer Generated Music.
IMPORTANT DATES
Paper submission: 30 March, 2002
Notification of acceptance: 10 July, 2002.
Camera ready version in Postscript is due on the 31th of July 2002.
CALL FOR PAPERS
Submission deadline: Monday 15 April 2002
"Cage 2002 - 90/10" is a day to discuss, perform and listen to John Cage's music. It will take place on Saturday 21 September at the music department of the University of Sheffield. The day aims to mark Cage's 90th birthday and the 10th anniversary of his death. Key-note speaker will be David Nicholls (University of Southampton).
We welcome proposals for individual papers, themed sessions, round tables, lecture recitals relating to and performances of any compositions of John Cage. We especially encourage performers and speakers of all backgrounds to submit their proposals.
Please note that there will be no conference fee; we are also not able to remunerate presenters or performers.
*Proposals for individual papers*
(maximum 20 minutes) should include an abstract (max. 300 words), indicating any necessary audiovisual equipment.
*Proposals for themed sessions*
(60 or 90 minutes; 2 or 3 speakers) should include one abstract for the whole session (max. 600/900 words), indicating any necessary audiovisual equipment and the names and contact details for all speakers involved in the session.
*Proposals for round tables*
(max. 60 minutes) should indicate the issue to be aired and list names of participants. (abstract: max. 300 words)
*Proposals for lecture recitals*
(30 minutes) should include a list of pieces being performed (partly or fully), indicating any needed audiovisual equipment, and if necessary any equipment required for the performance. (abstract: max. 300 words)
*Proposals for performances*
(duration anything up to 90 minutes) should indicate the list of compositions, and if necessary any equipment required for the performance.
*Important notice for all submissions:*
Any proposals should be sent via e-mail (text within the body of the message only, please do not send any attachments) to
(deadline: Monday 15 April 2002)
The programme will be announced before 20 May 2002.
The organisers are:
Stephen Chase (Sheffield University), MUP99STC@sheffield.ac.uk Clemens Gresser (University of Southampton), cgresser@soton.ac.uk Danae Stefanou (Royal Holloway, University of London) Danae.stefanou@talk21.com
Local arrangements are being co-ordinated by Stephen Chase (Music Department, Sheffield University, MUP99STC@sheffield.ac.uk)
Interested in being kept up to date with this day?
Send an e-mail with subject "Cage2002" to cgresser@soton.ac.uk and body of message
subscribe Cage2002
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The 4th Symposium on Systems Research in the
Arts
"Music, Environmental Design, and the Choreography of Space"
to be held in conjunction with the
14th International Conference on Systems Research, Informatics, and Cybernetics
Proposals are invited for the 4th Symposium on Systems Research in the Arts, to be held in conjunction with the 14th International Conference on Systems Research, Informatics, and Cybernetics, July 31-August 3 in Baden-Baden, Germany. The study of systems within the scope of traditional arts-related theory, or the application of general systems methodologies to the analysis of music, architecture, interior design, dance, theatre, and the visual arts are areas of particular interest.
Proposals for presentations/papers of approximately 200 words should be submitted by April 7, 2002 for evaluation. Please submit proposals electronically in Microsoft Word format to James Rhodes, Shorter College, USA (jrhodes@shorter.edu) and Jane Lily, University of Georgia, USA (lilyj@arches.uga.edu). For more complete contact information and details about the symposium, please visit the Arts Symposium home page at http://www.jcrhodes.net/2002 and the IIAS home page at http://www.iias.edu.
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Conference Announcements
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Wellesley Symposium on Beethoven's Op. 70 Piano Trios
A symposium entitled "Summoning the Ghosts: Beethoven's Op. 70 Piano Trios in Cultural Context" will be held at Wellesley College, Jewett Auditorium, in Wellesley, Massachusetts, on Sunday, April 14, 2002, 3:30-5:30 p.m. The symposium has been organized by the Triple Helix Piano Trio, Wellesley College Ensemble-in-Residence-with members Lois Shapiro, piano, Bayla Keyes, violin, and Rhonda Rida, cello-as part of a two-year Beethoven Festival, Beethoven and His Vibrant Legacy. The third and final concert in the group's performance of the entire cycle of Beethoven piano trios will be presented on the evening of the symposium, at 7:30 p.m. Moderated by Janet Schmalfeldt, Tufts University, the symposium will feature papers by John Daverio, Boston University; Lawrence Kramer, Fordham University; and Sanna Pederson, University of Oklahoma. Both the symposium and the concert are free and open to the public. For further information, call (781) 283-2028.
The Mannes Institute for Advanced Studies in Music Theory-Institute on
Schenkerian Theory and Analysis
1. Applications & Website
Applications for the 2002 Summer Institute on Schenkerian Theory and Analysis conducted by The Mannes Institute for Advanced Studies in Music Theory are now being accepted via the Institute's website at:
The website can also be located at www.mannes.edu/mannesinstitute. It contains the electronic application form and complete information about the Institute, including program overview, session descriptions, faculty bios, applicable policies, selection criteria, and contact information. The deadline for applications is March 1, 2002.
2. Program Description
The Institute will convene at Mannes College of Music in New York City from June 27-30, 2002. This is an intensive 4-day gathering to investigate practical skills and techniques of Schenkerian analysis, theoretical and historical issues, pedagogical strategies, and the current state of the discipline. Unlike the traditional conference format, there is no submission of proposals or formal reading of papers. Instead, members actively participate in a concentrated series of interactive analytic workshops and conceptual study groups of 12-15 people each, plus plenary presentations and open-floor panel discussions, all devoted to the collective exploration of specific subjects based on prior reading and preparation guided by a diverse faculty of experts.
3. Program Summary
Each member enrolls in one of the three analytic workshops and one of the three conceptual study groups indicated below, in which they participate for the entire duration of the Institute. All members attend the plenary presentations and engage in the two open-floor panel discussions. A complete description of each session is provided on the Institute's website:
A. Opening Panel Discussion.
THE STATE OF THE DISCIPLINE: PAST, PRESENT, AND FUTURE
Hedi Siegel, Hunter College (moderator)
This panel discussion assesses the history, struggle, and development of Schenkerian theory from its modest origins to its current ubiquity, as a background for more controversial inquiries and vigorous debate about what it actually is or should be today--and what it might become or risks becoming in the future.
B. Plenary Presentations.
THREE ANALYSES
Carl Schachter, Mannes College of Music (plenary speaker)
Each session is devoted to the comprehensive analysis of the special and in some cases unique features of a single work. Interpretations assigning structural priority to elements emphasized in the foreground or conforming to stylistic or structural norms are often preferred--but not always. Session 1: Schubert, "Der Neugierige," Die Schoen Mullerin, Session 2: Mozart, Piano and Violin Sonata, K. 481, 2nd movt., Session 3: Beethoven, "Waldstein" Piano Sonata, op. 53.
C. Analytic Workshops.
SCHENKERIAN PARADIGMS AND THEIR EXTENSION
Charles Burkhart, City University of New York (emeritus)
This workshop focuses first on common paradigms and standard techniques of Schenkerian analysis, and then on the degree to which they can be extended or modified and still be useful. Session 1: Verdi, "Addio del passato," La Traviata; Chopin, Eb major Prelude, op. 28, no. 19, Session 2: Mozart, Haffner Symphony No. 35, 2nd movt.; Beethoven, C minor Piano Sonata, op. 10, no. 1, 1st movt., Session 3: Wagner, Tristan and Isolde.
SCHENKERIAN SYNTAX: VARIATIONS ON THREE THEMES
William Rothstein, City University of New York (chair)
This workshop addresses three aspects of Schenkerian technique as a distinctive form of musical syntax, utilizing Mozart variations, a Handel chaconne, and excerpts from Bach and Brahms. Session 1: Reading and Writing Graphs, Session 2: Diminution, Invertible Counterpoint, and Variation Technique, Session 3: Voice-leading Structure and Form.
ANALYSES AFTER SCHENKER: RECONSIDERING THE LEGACY
Frank Samarotto, Indiana University
This workshop uses Schenker's own complex and often problematic body of analyses, published and unpublished, as starting points to refine analytic skills and enhance theoretical understanding. Session 1: Brahms, Waltz, op. 39, no. 1; Session 2: Bach, Allemande from French Suite in E major; Beethoven, Sonata in G major, op. 14, no. 2, Session 3: Brahms, Rhapsody in B minor, op. 79, no. 1.
D. Conceptual Study Groups.
SCHENKERIAN THEORY AS A THEORY OF TONALITY
Matthew Brown, Eastman School of Music
This study group explores the conceptual foundation of three fundamental aspects of Schenkerian theory, not just as an analytic technique, but as a comprehensive theory of musical tonality itself. Session 1: tonal transformation of the laws of strict counterpoint, Session 2: recursive vs. nonrecursive transformations and the laws of tonal voice leading, Session 3: the thorny issue of "dissonant prolongation."
UNDERSTANDING THE SCHENKER PROJECT
Nicholas Cook, University of Southampton
This study group takes Schenker's controversial politics as a point of departure in exploring the broader ideological context that underlay his work. Session 1: currents of Austro-German conservatism and Schenker's position as an over-assimilating Jew within a context of national cultural renewal, Session 2: right-wing German discourses appropriating the rhetoric of naturalism for ideological objectives, Session 3: the Austrian tradition of conceiving music as an image of social and political relationships.
LINES OF INTERPRETATION
Robert Snarrenberg, Washington University
This study group explores how Schenkerian linear prototypes actively shape and influence our musical perception, so that what is heard is an interpretative product of what is thought and expected. Session 1: harmonic counterpoint as an expanded linear elaboration of Schenkerian prototypes, Session 2: the rhythm of diminutional linear elaboration and evaluation of some proposed interpretative principles, Session 3: tracking how prototypes shape perception in Brahms, "O kuehler Wald," op. 72, no. 3.
E. Closing Panel Discussion.
SCHENKERIAN PEDAGOGY AT THE CROSSROADS
David Gagne, City University of New York (moderator)
This panel discussion addresses the issue of change versus tradition in Schenkerian pedagogy, confronting controversial questions about how and why this analytic technique should be taught, exploring the strengths and pitfalls of different pedagogical approaches, and offering specific pedagogical insights to members in their professional capacity as educators as well as scholars.
4. Application Policies
The Institute's application and other policies are stated in detail on the Institute's website and should be thoroughly reviewed prior to applying. Members are selected by committee in accordance with the mission and policies of the Institute. There is no tuition, and housing, meals, a reception, and banquet are provided. Given its intensive structure and interactive methodology, registration is necessarily limited.
The Institute's mission is to stimulate discourse, foster inquiry, and promote collegiality among practicing professionals with a record of scholarly achievement and distinction within the international academic music community. It is not designed to provide career development, educational training, or experience for graduate students, future scholars, interested amateurs, or other musicians and teachers not actively involved or recognized within the scholarly profession. Doctoral status is generally preferred, favoring established scholars in accordance with the Institute's mission and policies.
Some familiarity with the specific subject matter of the Institute--this year, Schenkerian Theory and Analysis--is desirable, but expertise in this particular area is neither required nor discouraged. The Institute is intended both to facilitate dialogue and debate among those already concentrating in a specific area, as well as to disseminate knowledge and solicit fresh perspectives among peers distinguished in other areas of musical research. Those with limited backgrounds in the designated subject area may qualify for participation on the basis of professional achievement and scholarly distinction in different areas of scholarship where appropriate. International applications are welcome. All members, regardless of background, are expected both to actively contribute to as well as benefit from the Institute's collective investigation, and participate fully in the Institute's proceedings in a spirit of cooperation and collegiality in accordance with its mission and interactive methodology.
5. Mannes Institute
The Mannes Institute for Advanced Studies in Music Theory is an independent scholarly organization dedicated to innovative thinking through collaborative exploration. The Institute conducts annual summer programs of high-level participatory workshops for select groups of international scholars. Members convene for intensive investigation of advanced theoretical concepts, immersed in a working, think-tank environment guided by a rotating faculty of experts. Last year's 2001 Institute on Historical Musical Theory was conducted by a faculty of Thomas Christensen (chair), Ian Bent, Sarah Fuller, Cristle Collins Judd, Joel Lester, and Thomas Mathiesen. Next year's 2003 Institute on Transformational Theory and Analysis will be conducted by a faculty of Richard Cohn (chair), Robert Morris, John Roeder, Joseph Straus, and other distinguished scholars in this field, with the participation of David Lewin as respondent.
Please direct inquires of a substantive nature to Wayne Alpern, Director, Mannes Institute for Advanced Studies in Music Theory, at mannesinstitute@aol.com and administrative inquiries to Jan Miyake, Administrative Coordinator, at Jan.Miyake@world.oberlin.edu.
ISMIR 2002 - 3rd International Conference on Music Information Retrieval
October 13-17, 2002
Ircam - Centre Pompidou, Paris, France
Call for Papers, Posters, Tutorials, Panels and Exhibits
The annual ISMIR Conference is the first established international forum for those involved in the tremendous growth of music-related contents available digitally, locally or remotely, through networks.
This area presents vast challenges for those who need to organize and structure, provide tools to search and retrieve, and use them efficiently: music representation, when it exists, is multi-dimensional and time-dependent; audio instantiations are voluminous objects requiring particular care for storage and transmission while preserving quality; descriptive information about what is musically significant addresses a large spectrum of internal and external characteristics, from acoustic to musicological ones; intellectual property rights about what can be made available and how are complex, involve a variety of individuals and organizations, and vary from country to country.
All of these concerns are of interest to education, academia, entertainment and industry. This conference thus aims at providing a place for the exchange of news, issues and results, by bringing together researchers and developers, educators and librarians, students and professional users, working in fields that may contribute significantly to this multidisciplinary domain, by presenting original theoretical or practical work in peer-reviewed contributions (papers, posters), serve as a discussion forum (panels), provide in-depth information in specific domains (tutorials), and show current products (exhibit).
Detailed information about the conference and its organization is available on its Web site (http://ismir2002.ircam.fr/), and will be regularly posted in the music-ir mailing list (information on subscription available on the conference site).
Domains and Topics of Interest
ISMIR 2002 solicits original contributions in the following domains (this is a non-exclusive list), as they apply to music information retrieval:
Typical topics of interest, inasmuch as they relate to music information retrieval, are:
General information for submissions
Papers
Authors are invited to submit papers, which they will present in 30-minute sessions (20 minutes for presentation, 10 for Q&A).
Papers should not exceed 3000 - 5000 words (approximately 10 pages).In the event there are more excellent papers than can fit into the conference program, we may request some paper submissions become poster sessions
Poster Sessions
Poster sessions will consist of printed posters - exact sizes to be announced - available throughout the conference in a nearby space.
Submission should consist of an extended abstract 750 - 1,000 words (2 pages maximum, including references, to be included in conference proceedings)
Tutorials
The first afternoon of the conference (10/13/2002) will consist of tutorials covering a single topic in detail, lasting 3 hours (plus a break).
Submissions should consist of a 3-5 page abstract including:
1. Biography of the presenter(s)
2. The objectives
3. An outline
4. Course material
Submissions should specify the intended audience and its expected level. Submissions must be received by February 18, 2002.
To submit, send your tutorial proposal via email (ismir-tutorials@ircam.fr).
Panels
The last morning of the conference (10/17/2002) will consist of panels meant to foster discussion on a specific topic of interest to the community, as well as real-world implementations and experience reports.
Submissions should consist of a 1-2 page abstract including:
1. Biography of the moderator.
2. The topic and issues to be discussed.
3. The intended and expected audience.
Submissions must be received by February 18, 2002.
To submit, send your panel proposal via email (ismir-panels@ircam.fr).
Exhibits
Throughout ISMIR 2002, space will be available for publishers, booksellers, software and systems sellers and other companies interested in exhibiting their products.
Deadline for full applications is September 30, 2002.
Interested exhibitors should request information and/or apply via email (ismir-exhibits@ircam.fr) .
Fifth European Music Analysis Conference
5th EUROPEAN MUSIC ANALYSIS CONFERENCE
5eme CONGRES EUROPEEN D'ANALYSE MUSICALE
5. EUROPAEISCHES SYMPOSION FUER MUSIKALISCHE ANALYSE
University of Bristol
4-7 April 2002
Following editions of the Conference in Colmar (F), Trento (I), Montpellier (F) and Rotterdam (NL), the 5th European Music Analysis Conference will take place in Bristol (GB), 4-7 April 2002.
The Conference begins at 14.00 on Thursday 4 April in the Music Department (Victoria Rooms) of the University of Bristol. The Conference finishes at 13.00 on Sunday 7 April.
Highlights of the Conference include:
The full programme and registration details can be consulted at
www.bris.ac.uk/Depts/Music/
ADDITIONAL INFORMATION
Bristol is situated 185 km west of London, from which it is easily accessible by rail and road. There is a frequent rail service from London Paddington (approx. 1h 30) to Bristol Temple Meads, and the city can also be reached by major motorway links (M4, M5) from London, the North of England and South West England. Regular direct scheduled flights to Bristol International Airport are available from many major European cities.
The Conference takes place in the Victoria Rooms, in the Clifton district of Bristol.
Hotel accommodation at a special conference rate is offered by the Clifton Hotels Group, situated only a short walk from the Victoria Rooms. Please contact the hotels direct as listed below, stating that you are attending the 'Music Analysis Conference'. The hotels cannot guarantee rooms or prices for bookings made after 04/03/02. For further information about the hotels, consult their website at www.cliftonhotels.com
Washington Hotel (tel: +44 117 973 3980; email: washington@cliftonhotels.com) Single, twin & double rooms from 50GBP per room inc. breakfast.
Clifton Hotel (tel: +44 117 973 6882; email: clifton@cliftonhotels.com) Single, twin & double rooms from 50GBP per room inc. breakfast.
Rodney Hotel (tel: +44 117 973 5422; email: rodney@cliftonhotels.com) double rooms only from 50GBP per room inc. breakfast.
Berkeley Square Hotel (tel: +44 117 925 4000; email: berkeleysquare@bestwestern.co.uk) Single, twin & double rooms from 64GBP per room inc. breakfast.
The REGISTRATION FORM is downloadable from the Conference website. Please return by email to m.e.peirson@bristol.ac.uk using the message line 'EuroMAC Booking' or by post to Margaret Peirson, EuroMAC Booking, Victoria Rooms, Queens Road, BRISTOL BS8 1SA, UK or by fax to +44 117 954 5027.
Rocky Mountain Society of Music Theory
The Rocky Mountain Society for Music Theory is holding its eighth
annual meeting at the University of Colorado at Boulder on April 19
and 20, 2002. The meeting will be held with the Rocky Mountain
Regional Chapters of the American Musicological Society and the
Society for Ethnomusicology. Maps and local arrangements can be found
at:
http://jan.ucc.nau.edu/~tas3/rmsmt.html.
New England Conference of Music Theorists
SEVENTEENTH ANNUAL MEETING
MARCH 15-16, 2002 (Fri. - Sat.)
BOTOLPH HALL, NEW ENGLAND CONSERVATORY OF MUSIC
BOSTON, MASSACHUSETTS
Program
Friday, March 15
1:00 - 1:30 Registration, Annual Dinner payment, coffee
1:30-5:00 Session 1: Pitch Structures (Session chair: Edward Gollin, Harvard)
5:30-7:30 Annual Dinner ($25 advance payment required by 1:30 pm)
8:00-10:00 Concert: violinist Stefan Jackiw, with David Deveau, piano, Jordan Hall, NEC, payment in advance required.
Saturday, March 16
8:30 - 9:00 Registration and Coffee 9:00-10:30 Session 2: Intertextuality and Narration (Session chair: Carl Wiens, UMass-Amherst)
11:00-12:00 Keynote Address by Robert Cogan, New England Conservatory of Music: "Sonic Theory, Galactic Clusters, and Us." Introduction by Gary S. Karpinski (UMass-Amherst)
12:00-1:30 Lunch (ad. lib., at local restaurants)
1:30-3:00 Session 3: Unity and Metric Displacement (Session chair: Margaret Thomas (Connecticut Coll.)
3:00-4:30 Session 4: Theoretical Influences on Composition (Session chair: Anne Trenkamp (UMass-Lowell)
4:30-5:30 Business Meeting
5:30 - 6:30 Reception
Program Committee:
Carl Wiens (University of Massachusetts - Amherst), chair
Ed Gollin (Harvard University)
Margaret Thomas (Connecticut College)
Anne Trenkamp (University of Massachusetts - Lowell)
Gary S. Karpinski (University of Massachusetts - Amherst), ex officio
Local Arrangements chair:
Gerald Zaritzky (New England Conservatory of Music)
Website Development chair:
Edward Gollin (Harvard University)
Executive Committee (2001-2002):
Gary S. Karpinski (University of Massachusetts - Amherst), President (2001-2003)
Deborah Burton (Fordham University), Secretary (2000-2002) Roger Graybill
(New England Conservatory of Music), Treasurer (2001-2003)
Annual Dinner Information.
The NECMT Annual Dinner will be held on Friday, March 15, from 5:30 to 7:30
at a well-regarded southeast Asian restaurant a few-minutes' walk from NEC.
The fixed price of $25 is expected to cover a family-style meal including
appetizer, soup, entree, tea, dessert, tax, and tip. Other beverages,
including beer and wine, will be a la carte. Please note that payment for the dinner
must be received by registration time, 1:30 pm, Friday afternoon, March 15. Those
who will be arriving later in the afternoon should mail their checks, made
out to NECMT for $25 and marked "Annual Dinner", to Gerald Zaritzky, c/o
NEC, 290 Huntington Avenue, Boston, Mass. 02115, so as to be received before
the above deadline. [At the time of this announcement final Dinner
arrangements were still being made. The NECMT website will provide any
further details as we learn them, including any resultant reduction in the
cost.]
Friday Evening Group Concert Information.
A block of tickets has been reserved for the March 15, 8pm recital, in NEC's
Jordan Hall, of the acclaimed local teen-age violinist Stefan Jackiw, with
David Deveau, piano, sponsored by the Boston Marquee of the FleetBoston
Celebrity Series. To be seated with the NECMT block please send your check
for $20, made out to NECMT and marked "Friday Concert", to Gerald Zaritzky,
c/o NEC, 290 Huntington Avenue, Boston, Mass. 02115, so as to be received by
Tuesday, March 5. (If enough of us participate, there will be a small rebate
of the fee.) Those who do not send their checks in time still can attend the
concert by reserving non-block seating directly with Celebrity Charge,
617-482-6661 (M-F, 10-4), or at www.celebrityseries.org.
Program: Ysaye Solo Sonata, Op. 27/3; world premiere of Matthew Van Brink
Up, Up, and Up (Five Pieces for Violin and Piano); Beethoven Sonata in c
minor, Op. 30/2; Brahms Sonata in a major, Op. 100/2; Chopin/Milstein Nocturne in c#
minor, Op. 27/1; Sarasate Concert Fantasies on Carmen, Op. 25.
Lodging Information for Friday, March 15.
MidTown Hotel, 220 Huntington Ave.: An excellent group rate has been
arranged of $79 for one or two, $89 for three, $99 for four, including
parking (for one car). This rate is guaranteed only through March 1;
however, it might be extended after that date if space is available. (The
regular rate for March 15 is $140.) Call 800-343-1177, fax 617-262-8739, or
log on to www.midtownhotel.com, and ask for the "Music Theorists" group
rate.
Roommate Locator Service.
For assistance in locating a roommate with whom to
share lodging arrangements, register for the Society for Music Theory
website Roommate Locator Service. Follow the link on the NECMT home page,
www.yale.edu/yalemus/necmt, and be sure to select "NECMT" in the Locator
pop-upmenu.
Meeting Location Information.
The New England Conservatory of Music, 290 Huntington Avenue, Boston, MA
02115, home of world-renowned Jordan Hall, stands at the corner of Huntington
Avenue (Route 9) and Gainsborough Street, one block west of Massachusetts
Avenue (Route 2A). To the east along Huntington Avenue are the Huntington
Theater, Symphony Hall, the MidTown Hotel, and the Christian Science Church
Park. To the west are the Boston YMCA, Northeastern University (NU), and the Museum of
Fine Arts (MFA). NEC is served by the MBTA Orange Line, Mass. Ave. stop;
Green Line E, Symphony and NU stops; Mass. Ave. bus #1 and CT1; and
Huntington Ave. bus #39. The Botolph Building entrance is 1/2 block south
and east, around the corner from Jordan Hall, on St. Botolph Street. Enter
through the sunken parking lot and follow signs to Botolph Hall (Room 118).
Parking Information.
Travel by foot, skate, bicycle, public transportation, and carpool is
recommended, as public parking is limited. Those staying at the MidTown
Hotel, two blocks away, receive free parking. Otherwise, some spaces have
been reserved in the NEC Botolph Faculty and Staff lot each day,
first-come-first-served. (Tell the guard the full name of our organization.)
When those spaces are taken, commercial parking is available across the
street in the Gainsborough Garage, for a flat $15 rate on Friday and a
sliding hourly rate ($2 to start, less for longer periods) on Saturday.
Street parking ranges from one- and two-hour meters near NEC to 4-hour
meters near NU and the MFA. Meters take only quarters and are free after
6pm. Also, on Saturdays the NU open-air Columbus Street Lot is free,
first-come-first-served, near the corner of Columbus Ave. and Ruggles
Street. (From there back to NEC: Walk north on Ruggles towards MFA and NU,
then right on Huntington to NEC--about 15 min; or take Orange Line Transit
("T") inbound one stop from Ruggles to Mass. Ave. Call NU at 617-373-8322 for more info.
Travel Directions to Botolph Hall, New England Conservatory, Boston, Mass.
See map and directions at www.NewEnglandConservatory.edu/directions;
also see directions to the MidTown Hotel at www.midtownhotel.com, which is 2
blocks east of NEC.
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Journal-Related Announcements
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New Journal Issue: Musurgia VIII/2
Contents:
Annie Labussière -- Du schème au mode, du jeu au silence : Le
traitement mélodique dans la "Scène des moutons" (Claude Debussy,
Pelléas et Mélisande, Acte IV, scène 3)
Henri Gonnard -- Maurice Ravel, Le Tombeau de Couperin : Approche
analytique de la fugue
Walter Corten -- Courantes et métrique binaire : Le témoignage de
l'oeuvre de Couperin
Book reviews
Constant Pierre, Histoire du Concert spirituel (J.-P. Bartoli) Hommage au
compositeur Alexandre Tansman, textes recueillis par
P. Guillot (J.-P. Bartoli)
Serge Gut, Musicologie au fil des siècles (J.-P. Bartoli)
Announcements
Conference "Musique et Image", Université de Rennes 2, 14-16 mars 2002
Fifth European Conference on Music Analysis, Bristol, 4-7 avril 2002
The Australian online journal Mikropolyphonie (http://farben.latrobe.edu.au/mikropol) is launching its seventh issue, devoted to a selection of papers from the 13th Meeting of the Brazilian Association for Research and Graduate Studies in Music, which took place in the town of Belo Horizonte from 23 to 27 April 2001 and had William Davies (US), Keith Gfeller (US), Marc Leman (Belgium), Jean-Jacques Nattiez (Canada), Lewis Nielson (US) and Keith Swanwick (UK) as keynote speakers.
This issue has been edited by David Hirst (University of Melbourne), Fernando Iazzetta (Universidade de São Paulo) and Carlos Palombini (The Open University) and contains 12 articles tackling radio art, music meaning, Varèse's Density 21.5, the relationship between musical language and sound media, computer aided perceptual analysis, computer aided ethnomusicological analysis, the digital representation of clarinet sounds, perceptual similarity between melodies, soundwalk/soundscape and computer-aided analysis of music performances.
Indiana Theory Review is pleased to announce the publication of Volume 20, No. 2. In this issue we focus primarily on reviews of current publications. Andrew Davis provides a review-article on Carl Schachter's Unfoldings; Severine Neff reviews William Caplin's Classical Form; and Michael Oravitz considers James Briscoe's Debussy in Performance. In addition, Ryan McClelland has provided the first English translation of Marta Grabocz's article "Paul Ricoeur's Theories of Narrative and Their Relevance for Musical Narrativity."
Our next issue, volume 21, will be a large double issue devoted to popular music. The contents are as follows:
David Carson Berry, "The Popular Songwriter as Composer: Mannerisms and Design in the Music of Jimmy Van Heusen"; Pandel Collaros, "The Music of the Beatles in Undergraduate Theory Instruction"; Brandon Derfler, "U Totem's 'One Nail Draws Another' as Art Music"; William Echard, "Gesture and Posture: One Useful Distinction in the Embodied Semiotic Analysis of Popular Music"; Adam Ricci, "A 'Hard Habit to Break': The Integration of Harmonic Cycles and Large-Scale Structure in Two Songs by Chicago"; Marianne Tatom, "Mining for 'Goldheart': A Sketch Study in Popular Music"; Philip Chang and Donald Traut, Review of Walter Everett (ed.), Expression in Pop-Rock Music: A Collection of Critical and Analytical Essays; Nadine Hubbs, Review of Kai Fikentscher, "You Better Work!": Underground Dance Music in New York City; Tim Hughes, Review of John Covach and Graeme Boone (eds.), Understanding Rock: Essays in Musical Analysis; Felicia Miyakawa, Review of Adam Krims, Rap Music and the Poetics of Identity; Stephen Swayne, Review of several recent studies about Stephen Sondheim including Stephen Banfield, Sondheim's Broadway Musicals
We would also like to remind our readers of our plans for a special issue entitled "Art Music since 1960." For this issue, we are seeking articles that analyze compositions written since 1960 or that discuss theoretical issues pertinent to the analysis of such works. Submissions received by March 1, 2002 will receive first priority. In addition, we always welcome articles on any subject that might be of interest to music theorists. Guidelines for contributors are available at <http://theory.music.indiana.edu/gta/itr-cont.htm.
Regards,
Mark Butler
Editor
The Journal of Musicology is pleased to present the contents of our first issue produced under its new editors. Volume 18, no. 3 is scheduled to be released in mid-February 2002, and will offer the following articles:
Elizabeth Bergman Crist, "Aaron Copland's Third Symphony from Sketch to Score"
Sean Gallagher, "Pater optime: Vergilian Allusion in Obrecht's Mille quingentis"
Robert M. Cammarota, "On the Performance of 'Quia respexit . . . omnes generationes' from J. S. Bach's Magnificat"
Antonius Bittmann, "Reconciling God And Satan: Max Reger's Phantasie und Fuge über den Namen B-A-C-H, Op. 46"
Abstracts are available on the Journal's Web site at www.journalofmusicology.org, along with a preview of volume 18, no. 4.
The Journal also invites submissions in all areas of musical scholarship, including history, criticism, analysis, performance practice, and archival research. We offer quick responses and prompt publication of accepted articles. Instructions for submission can be found at the Web address above; questions may be sent to submissions@journalofmusicology.org.
We look forward to hearing from you.
John Nádas
Floyd Grave
Daniel R. Melamed
Please take a few minutes to read our press release for the Journal of Music in China, vol. 3, no. 2 at our web site http://www.musicinchina.org and see what we have done in the past year.
We deeply thank our subscribers -- many of the leading universities or institutes, metropolitan public libraries, and individuals in the Unite States as well as in England, France, Singapore, Hong Kong, and Macao -- for their farsighted trust to the journal in the very critical beginning years. We also highly appreciate those who have offered us their valuable advices, comments, criticisms, peer-reviews, translations, original papers, donations, recommendations to their librarians, or publications of our press releases at their web sites. We hope our efforts will be recognized by more and more colleagues in the world and serve better for their research.
In this early morning of the New Year's Day, I just read an e-mail from Professor Barbara Smith, one of our Advisers at Hawaii University. She told me that "...within the past week or so, I received an email message from a young scholar in Hong Kong who, following my suggestion, had become acquainted with the journal and had high praise for what it has contributed to scholarship." At the end of the summer, I was requested by Mr. Zdravko Blazekovic, the Executive Editor of RILM Abstracts of Music Literature, to send them the published issues of the journal. After a review, he wrote, "I really enjoyed looking it. It is a very good idea to bring Chinese scholarship to all of us not able to read Chinese." In the Notes 58/1 (September 2001), a short review of the journal by Karen Little, the editor of the "New Periodicals" column, appeared. All these, in addition to the subscriptions acknowledged above, represent a preliminary recognition of the journal at academic level.
Actually, within the published three volumes, we have translated 21 selected Chinese articles into English, 14 original articles, interviews, or reviews in English, and 5 selected lists of the articles, reports, and reviews in Chinese journals from 1994 to 2000. Since volume 2 (2000), we have added peer-reviews to all of the original paper in English and some of the translations of Chinese papers. This way we are establishing the journal to be partially refereed. Notable topics or issues have been discussed in the journal include (but not limited to):
And more in the future. With JMIC, we break down the language barrier and connect Chinese music scholarship with the outside world to allow a better exploration, discovery, study, and understanding of the music in or from China. So, please continue to support us in a way you prefer.
Thank you for your consideration!
(P.S. Please attention that our address has been changed since May 2001. The new address is attached below.)
Sincerely,
ZHOU Qinru
Editor, Journal of Music in China
PO BOX 25177
Los Angeles, California 90025-0177, USA
Phone/ Fax: 1 (310) 312-1675
E-mail: editor@musicinchina.org
URL: http://www.musicinchina.org
Dutch Journal of Music Theory 7/1
The next issue of the Dutch Journal of Music Theory (Vol 7, no 1 - Februari
2002) will appear at the end of this month. The content of this issue is listed
below. I also provide the content of Vol 6, no 2 & 3. Abstracts of articles can
be found on the website:
http://cva.ahk.nl/tvm/
The journal publishes articles in English, German and Dutch. Information on how
to subscribe, the submission of articles and the editorial board can also be
found on the website.
Contents Vol 6, no 2 (May 2001)
Articles
Barbara Titus
The end of the arts? Gegenwartsbewußtsein in German music criticism [in English]
Michel Khalifa
Bergsons tijdfilosofie en de twintigste-eeuwse muziekanalyse [Bergson's philosophy of time and twentieth-century musical analysis] [in Dutch]
Yves Knockaert
Recente opvattingen rond het fenomeen tijd in de nieuwe muziek [Recent ideas on the phenomenon of time in contemporary music] [in Dutch]
Svetlana Neytcheva
The timeless present: on two modes of distorting the illusion of time in music [in English]
Jan Christiaens
“Il n’y aura plus de temps.” Olivier Messiaen en de metafysische muzikale tijd [‘There will be no more time.’ Olivier Messiaen and metaphysical musical time] [in Dutch]
Rokus de Groot
The construction in music of fictitious time worlds [in English]
Discussion
Harmonie aan het Berklee College of Music [Harmony at the Berklee College of Music]
Barbara Bleij [in Dutch]
Books
Keith Potter, Four Musical Minimalists
reviewed by Maarten Beirens [in Dutch]
Peter Schubert, Modal Counterpoint, Renaissance Style
reviewed by Patrick van Deurzen [in Dutch]
Guido Brink, Die Finalsätze in Mozarts Konzerten: Aspekte ihrer formalen Gestaltung und ihrer Funktion als Abschluss des Konzerts reviewed by Hans Maas [in Dutch]
Contents Vol 6, no 3 (November 2001)
Articles
Carl Schachter
Taking Care of the Sense: A Schenkerian Pedagogy for Performers [in English]
William E. Caplin
The Classical Sonata Exposition: Cadential Goals and Form-Functional Plans [in English]
Nicolas Meeùs
Teaching Schenker at the Sorbonne [in English]
Hans Maas
Schenkeranalyse en onbegeleide melodie I [in Dutch}
Oliver Schwab-Felisch
Functions of the unclear: Chromaticism in Beethovens String Quartet in E-Flat major, op. 74 [in English]
Discussion
Trilogie van de Laatste Dag
Louis Andriessen [in Dutch}
Een lezing voor New York
Willem Boogman[in Dutch]
Books
Robert Gauldin, Harmonic Practice in Tonal Music
Suzanne Konings [in Dutch]
Dick Raaijmakers, Cahier “M”. kleine morfologie van de elektrische klank
Anthony Fiumara [in Dutch]
Frans Elsen, Jazzharmonie aan de Piano
Boudewijn Leeuwenberg, Berend van den Berg, Daniel Kaminski [in Dutch]
Contents Vol 7, no 1 (Februari 2002)
Articles
Dirk Griffioen
“Rationalis, non Vocalis”: Johannes Kepler en de Harmonie der Sferen [in Dutch]
Simon P. Keefe
Sophisticated Simplicity: a Study of Text and Music in the Early Songs of Georges Brassens [in English]
Katelijne Schiltz
Een zestiende-eeuwse variatie op het ‘Ma fin est mon commencement’-thema: Adriaan Willaerts Homo quidam fecit [in Dutch]
Christoph Hust
Musiktheoretische Unterweisung in der Seminaristenausbildung: Zwei Beispiele zur musikalischen Handwerkslehre im 19. Jahrhundert [in German]
Maarten van Norden
Set-theorie, Toonklok en de P-techniek voor componisten [in Dutch]
Books
Sebastian Claren, Neither: Die Musik Morton Feldmans
Paul van Emmerik [in Dutch]
Eddie Vetter, Concentrische cirkels. Modus, affect, sfeer en tijd in een middeleeuws muziektheoretisch gedicht. Mariken Teeuwen [in Dutch]
I am pleased to announce the publication of volume 26 (2001) of Theory and Practice. This volume contains articles by Carl Schachter on Schenker's Politics; David Carson Berry on Songs of Irving Berlin; Donald Traut on Displacement in Schenker's Theory; and Eric Wen on the Air on a G String by Bach. Also included are reviews of books on Bach by Lester and Dreyfus (review by Karl Braunschweig) and a review by John Rothgeb of Robert Snarrenberg's book on Schenker.
Subscribers should receive their copies in the coming days (or weeks).
Please support the journal by subscribing. For more info visit the MTSNYS website at www.ithaca.edu/music/mtsnys.
Gamut 10 and Call for Articles
GAMUT 11 Call for Article Submissions
GAMUT 11 will be a special issue devoted to music and movement. The editorial board welcomes article submissions on theoretical and analytical topics related to this theme, including music and dance, music and gesture, and kinetic energy in making music. Submission deadline is May 31, 2002. Contributors should submit four copies anonymously with an identifying cover letter and a short abstract of the article. Manuscripts should be double-spaced with 1-inch margins. Documentation must be complete. Musical examples, tables, and diagrams must be camera-ready. If accepted for publication, all materials must be provided in electronic formats as well as in hard copies. Copyright privileges, if required for publication, must be secured in advance.
News on GAMUT Volume 10 (2001)
Contributors include Murray Dineen (Schoenberg's Logic and Motor: Harmony and Motive in the "Capriccio," No. 1 of the Fantasien, Op. 116, by Johannes Brahms), Karen Fournier (Modeling Tonality and Modulation from Harry Partch's Just-Intonational Pitch Resources), Gregory Karl (Thematic Kinship and Narrative Design), and Linda Popvic (Harmonic Configurations and Motivic Developments in Franz Listz's "Ce Qu'on entend sur la montagne").
Please address all submssions, inquiries for subscriptions, manuscripts, proposals for reviews, or any other responses and communications to:
Kristin Wendland, GAMUT Editor
Music Department
Emory University
1804 North Decatur Road
Atlanta, GA 30322
For more information about the GAMUT Journal:
www.emory.edu/MUSIC/gjournal.htm
For more information about GAMUT:
www.emory.edu/MUSIC/gamut1.html
Call for Articles: Beethoven Forum
Beethoven Forum: Call for Papers and Reviews
The editors of Beethoven Forum, the leading journal of Beethoven scholarship, are pleased to announce that the journal will now be published twice a year by the University of Illinois Press. Our first issue, volume 9, number 1, will appear in April, 2002.
Maintaining our commitment to publishing the best in international Beethoven scholarship, we are expanding coverage to accommodate essays and review articles that deal with performance, recordings, and reception, all conceived in their broadest sense. Examples might include reviews of important recordings, review-essays of the performance histories of Beethoven's works, Beethoven in film and other media, and connections among musicology, performance, the music industry, musicians, and audiences. We also seek essays and reviews that explore the relationship between scholarship and performance. Where do history and aesthetics meet? Is musicology relevant to performance at all? This is, in short, a call not only for an integration of musicology and performance but also for a critique of the relationship between the two fields.
Future issues of Beethoven Forum will from time to time also include a set of reviews by a variety of scholars, critics and performers of the same recording or set of recordings. This will present a further way to address the relationship between aesthetics and history, as different authors will be asked to explore different aspects of the performances, including the recorded history of the work and the reception of the various recorded performances.
Book reviews will also expand beyond the Forum's traditional emphasis on Beethoven monographs. To be included are studies of Beethoven's contemporaries as well as broader musical and cultural developments of the era, the 200-year reception history of the music,its meanings in a variety of cultural and critical contexts, and issues of performance practice.
For volume 9/2 (to appear in October. 2002) we are interested in reviews and review essays on the Ninth Symphony and the Violin Concerto. Along with David Levy's review of Jonathan del Mar's new edition of Beethoven's Ninth Symphony, we ask for
Interested contributors are asked to contact Stephen Hinton, Jose Bowen, or Richard Will to discuss potential submissions or reviews. Please send email or correspondence to:
Stephen Hinton
Editor-in-Chief, Beethoven Forum
Department of Music
Stanford University
Stanford, CA 94305-3076
shinton@stanford.edu
Jose Bowen,
Recordings Reviews Editor, Beethoven Forum
Caestecker Chair of Music
Department of Art, Music & Theater
Walsh 102
Georgetown University
Washington DC, 20057
jab3@georgetown.edu
Richard Will
Book Reviews Editor, Beethoven Forum
McIntire Deparment of Music
University of Virginia
112 Old Cabell Hall
PO Box 400176
Charlottesville, VA 22904-4176
rw6w@virginia.edu
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Other Announcements
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Yale Summer Programs Special Course: The Music of Arnold Schoenberg's Middle Period: from Romanticism to Dodecaphony
Yale Summer Programs announces a special course, entitled The Music of Arnold Schoenberg's Middle Period: from Romanticism to Dodecaphony, to be held in the Arnold Schoenberg House in Moedling, Austria from June 3 to July 5, 2002. The instructor is Allen Forte, Yale Department of Music. This five-week college credit course was offered for the first time in 2001, in collaboration with the Arnold Schoenberg Center, the major repository of the Schoenberg sketches and manuscripts, as well as other materials of signal importance to his creative life. Inexpensive student housing, arranged by the Center, is available in Moedling--16 minutes by fast train from Vienna--or in Vienna. During June there will be several important Schoenberg events, including a performance of the Piano Concerto by pianist Mari Kodama, with Kent Nagano conducting the Vienna Symphony Orchestra. The modern facilities of the Arnold Schoenberg Center are available to the students, and the Center obtains concert tickets and provides other assistance. It is expected that this course, like its predecessor, will be a significant and worthwhile educational-cultural experience in what is historically one of the most important musical settings in Europe.
Application forms may be obtained by calling Yale Summer Programs at 203-432-2430 or by fax at 203-432-2434. Forms may also be downloaded from the YSP website: www.yale.edu/summer. For further information about the course content, contact Allen Forte: allen.forte@yale.edu.
Texts on Music in English from the Medieval and Early Modern Eras
A new full-text database, Texts on Music in English from the Medieval and Early Modern Eras (TME), is now available on the website of the Center for the History of Music Theory and Literature at Indiana University, at http://www.music.indiana.edu/tme. The TME joins two other full-text databases of the CHMTL (the Thesaurus Musicarum Latinarum [TML] and saggi musicali italiani [SMI]). Two further full-text databases, one for literature written in French and one for literature written in German, will be launched by the CHMTL in the near future to continue the ongoing efforts to make as much historical music theory available online as possible.
The TME is an ongoing project that has been inaugurated with just forty texts and accompanying graphics. It will be growing and adding features for some time to come. Queries, comments and suggestions concerning the TME should be directed to me at the e-mail address given below or via links in the Introduction to the TME, which can be found via a link on the TME's home page.
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