Volume 9, Number 1, March 2003
Copyright © 2003 Society for Music Theory



Calls for Papers

Conference Announcements

Journal-Related Announcements

Other Announcements

Calls for Papers

Call for Papers: Graduate Student Symposium in Music at theUniversity of Western Ontario

Graduate Student Symposium in Music 2003


The program committee for the Graduate Student Symposium in Music at theUniversity of Western Ontario (London, Ontario, Canada) is pleased toinvite submissions from graduate students of proposals for our fourthannual symposium, to be held during the first weekend in June, 2003(Saturday and Sunday, June 7 and 8). Our keynotespeaker will be Dr. Stephen McClatchie, Associate Professor in theDepartment of Music at the University of Regina and author of AnalyzingWagner’s Operas: Alfred Lorenz and German Nationalist Ideology(University of Rochester Press, 1998). Visit our website at

The committee is seeking submissions in all areas of music scholarshipincluding ethnomusicology, music education, musicology, musicpsychology, and music theory. Proposals of an interdisciplinary natureare also encouraged. Those wishing to read a paper, which must belimited to 30 minutes, should submit six copies of an abstract (maximum500 words, excluding illustrations).

In addition, we invite proposals for lecture-recitals and submissionsfrom student composers to explicate their piece(s). Both kinds ofsessions must be limited to 40 minutes. Send six copies of an abstract(max. 500 words) and three copies of a cassette tape or CD with excerptsfrom the pieces under discussion. If you wish to have your recordingsreturned, send a stamped, self-addressed envelope.

Send proposals and abstracts to:
Anita Hardeman
Graduate Student Symposium in Music 2003
Don Wright Faculty of Music, University of Western
Talbot College 210
London, Ontario Canada N6A 3K3

Submissions and inquiries may also be sent through e-mail sent in the body of an e-mail are preferredover attachments. Please have the subject line read: Graduate StudentSymposium.

The author’s name should appear only on the cover letter, along with thetitle of the paper, mailing address, e-mail address, and telephonenumber. The deadline for the receipt of proposals is MONDAY, MARCH 31,2003. All submissions received before and up to the deadline will beacknowledged.

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Call for Papers: The Fifth Symposium on Systems Research in the Arts

The Fifth Symposium on Systems Research in the Arts"Music, Environmental Design, and the Choreography of Space"to be held in conjunction with the15th International Conference on Systems Research, Informatics, andCybernetics

Proposals are invited for the Fifth Symposium on Systems Research in the Arts,to be held in conjunction with the 15th International Conference on SystemsResearch, Informatics, and Cybernetics, July 28-August 2, 2003 inBaden-Baden, Germany. The study of systems within the scope of traditionalarts-related theory, or the application of general systems methodologies tothe analysis of music, architecture, interior design, dance, theatre, andthe visual arts are areas of particular interest.

Proposals for presentations/papers of approximately 200 words should besubmitted by April 15, 2003 for evaluation. Please submit proposalselectronically in Microsoft Word format to James Rhodes, JacksonvilleUniversity, USA ( and Jane Lily, University of Georgia, USA( For more complete contact information and detailsabout the symposium, please visit the Arts Symposium home page at and the IIAS home page at

Please note that dates for the Symposium on Systems Research in the Artstake precedence over those published at the IIAS Web site.

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Call for Papers: International Conference on Music Information Retrieval

Fourth International Conference on Music Information Retrieval

October 26-30, 2003
Library of Congress, Washington, D.C., USA, and
Johns Hopkins University, Baltimore, Maryland, USA

Call for Papers, Posters, Tutorials, Panels and Exhibits
The annual ISMIR Conference is the first established international forumfor those involved in work on accessing digital musical materials. Itreflects the tremendous growth of music-related data available eitherlocally or remotely through networks and the consequent need to searchthis content and retrieve music and musical information efficiently andeffectively.

This area presents vast challenges for those who need to organize andstructure musical data, provide tools to search and retrieve, and usethese tools efficiently. Music representation needs to be multi-dimensional and time-dependent; audio data is voluminous, requiringparticular care in storage and transmission while preserving quality;the need for descriptive information about what is musically significantaddresses a large spectrum of internal and external characteristics,from acoustic to musicological and cultural features; intellectualproperty rights issues (about what can be made available to whom andhow) 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 aplace for the exchange of news, issues and results, by bringing togetherresearchers and developers, educators and librarians, students andprofessional users, working in fields that contribute significantly tothis multidisciplinary domain, to present original theoretical orpractical work in peer-reviewed contributions (papers, posters). It willalso serve as a discussion forum (panels), provide introductory andin-depth information in specific domains (tutorials), and show currentproducts (exhibits).

Domains and Topics of Interest

ISMIR 2003 solicits original contributions in the following domains, asthey apply to music information retrieval(this is a non-exclusive list):

Typical topics of interest, inasmuch as they relate to music informationretrieval, are:

Paper Submissions

Paper submissions are not to exceed 8 pages (including references andappendices) and must be formatted according to the following guidelines:
page size: "US letter", font size: 10pt or larger, single column layout,all page margins at least 2.5cm (or 1 inch).
Papers should include a 150-200 words abstract and a list of 2-5keywords related to their content.
Submission must consist of original contributions (not previouslypublished, and not currently being considered for publicationelsewhere).
To submit, send your paper as an uncompressed PDF file (stronglypreferred) or MS Word file via email to ismir2003-papers [at] must be received by April 25, 2003.
Authors will be notified about the acceptance of their submissions byJune 27, 2003.
Accepted papers will be allocated up to 8 pages in the ISMIR 2003proceedings and 25min presentation time at the ISMIR 2003 conference.
Authors of accepted papers will be asked to provide camera-readycopies of their papers that are formatted according to a template thatwill be made available to them with the notification of acceptance.
For each accepted paper, at least one author has to register for theISMIR 2003 conference.


Posters provide an excellent opportunity for presenting preliminary orintermediate results or work that is primarily targeted towards a smallsubset of the ISMIR community.Submission should consist of an extended abstract of 750-1,000 words(2 pages maximum, including a list of 2-5 keywords related to theircontent and references).
Extended abstracts must be formatted according to the followingguidelines: page size: "US letter", font size: 10pt or larger, singlecolumn layout, all page margins at least 2.5cm (or 1 inch).
To submit, send your poster abstract as an uncompressed PDF file(strongly preferred) or MS Word file via email to ismir2003-papers [at]
Submissions must be received by April 25, 2003.
Authors will be notified about the acceptance of their submissions byJune 27, 2003.
Accepted posters will be presented at a plenary poster session duringthe ISMIR 2003 conference; authors will be informed about the spaceavailable for each poster with their notification of acceptance.
Authors are encouraged to bring laptop computers to supplement theirposter presentations with system demonstrations; we hope to providewireless internet access for the poster session.
Accepted posters will also be allocated up to 2 pages for the extendedabstract in the ISMIR 2003 proceedings; authors will be asked to providecamera-ready copies of their extended abstracts that are formattedaccording to a template that will be made available to them with thenotification of acceptance.
For each accepted poster, at least one author has to register for theISMIR 2003 conference.

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Call for Papers: Session on Music Information Analysis, Indexing and Retrieval

Invited Session on Music Information Analysis, Indexing and Retrieval, atthe 7th World Multi-Conference on

Orlando, Florida (USA)
Sheraton World Resort

Deadline: April 20, 2003.


Extended abstracts or paper drafts should be sent taking into accountthe following format:
1. Major theme of the paper, related to the major themes given above.
2. Paper title.
3. Extended abstract of 500 to 1500 words and/or paperdrafts of 2000 to 5000 words, in English.
4. Author(s) and/or co-author(s) with names, addresses, telephone andfax numbers, and e-mail addresses.
Submission should be sentelectronically to Yazhong Feng (Invited Session Organizer),

Extended abstract or paper draft due: April 20, 2003. Notification ofacceptance: May 09, 2003. Camera-ready paper due: May 21, 2003.

Submitted papers will be reviewed. Accepted papers, which should notexceed six single- spaced typed pages, will be published by means ofpaper and electronic proceedings.Best papers will be selected for awards and might be recommended forjournal publications. Multiple author books might be published by IIIS,based on the best-invited sessions, the best focus symposia or the bestmini-conferences, and the topic of the papers. Details can be found inthe conference web page

The conference fees will be $370 before the Camera Ready deadline and$420 after the Camera Ready deadline. This fee will include exclusively:

Each registration fee might include just one paper, whichpresentation will be included in the conference program and published inthe conference proceedings. Any other expenses must be afforded/providedby the participants. The registration fee does not include anypost-conference services. There will be additional shipping and handlingcosts for those registered authors who, for unforeseen reasons, couldnot go to the conference. Any post-conference administrativerequirements will be charged $20 per staff hour required to elaboratesuch a requirement, with a minimum of $10. Post-conference requirementswill have their own deadline, which in no case will be more than threemonths, after the last day of the conference.

For any information related with this invited session, please contactwith the organizer, Yazhong Feng,

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Call for Papers: International Musicological Colloquium Brno 2002


NEW MUSIC IN THE "NEW" EUROPE 1918-1938: Ideology, Theory, and Practice


The Institute of Musicology at the Masaryk University Brno (CzechRepublic) will host its annual musicological colloquium once more in 2003.It will concentrate on "new Music" ("neue Musik"), musical modernisms andavant-gardes in those parts of Europe which have recently been honouredwith the title of the "new Europe". In the past they have been called the"periphery" of Europe, an "extraterritorial" sphere (Adorno), the"Morgenland", Eastern Europe, or, less pejoratively, "Central and Eastern"Europe, and, least pejoratively, "Central Europe". (However, even thisdescription involves an implicit charge of orientalism, as do all theothers.) A German historian, Ferdinand Seibt, has highly praised theimpressive political and cultural advance made in the European peripheryat the beginning of the 14th century - a medieval periphery consisting notonly of the Czech Lands, Hungary, Poland, Lithuania and Serbia, butincluding also Spain, England and Denmark.

The topic of the conference focuses on musical life between the two WorldWars in areas beyond the traditional "Abendland" - beyond the axisParis-Berlin. Comparative analyses of particular concepts of modernism inmusic, accounts of the institutional contexts of new music, and aspects ofreception history are of special interest. Nevertheless, comparativestudies mapping the landscape of the "old" Europe are equally welcome, asare aspects of the history of the reception of peripheral music in thealleged "centre".

All prospective participants should submit a 300-word abstract by 31 May2003, together with a brief curriculum vitae, and their postal and e-mailaddresses.

Presentations of papers should not exceed 20 minutes. Papers will beaccepted in English and German. There are no interpreting facilitiesavailable in the conference rooms.

The active participants will be offered accommodation in an internationalhotel free of charge.

Further information will be progressively available on the web page of theInstitute of Musicology of the Masaryk University Brno:
under the heading Kolokvium. There is a special e-mail address forcolloquium business:

Paper abstracts, and requests for information, should be addressed to:

Institute of Musicology
Masaryk University Brno
Arne Novaka 1
CZ 602 00 Brno
Czech Republic
Phone and fax: +420 5 4112 1434

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Call for Papers: SMA Autumn Study Day

Analysing Text and Intertext
Call for Papers

Saturday 25th October 2003
Leeds College of Music

Intertextuality is a developing area of scholarly research formusicologists, especially those working on medieval, nineteenth century,jazz and popular musics. This study day invites proposals that develop theissues and methods of intertextual analysis within these areas or suggestways in which intertextuality may usefully be considered within othermusical genres and historical periods.

Particular areas of interest might include:

Proposals should be sent, in the form of an abstract of no more than 250words, preferably by email to:
Dr. Catherine Parsonage, Research Fellow, Leeds College of Music, 3 QuarryHill, Leeds LS2 7PD, UK. Tel: +44 113 222 3485

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Call for Papers: Bowling Green State University Annual New Music & Art Festival

Bowling Green State University Annual New Music & Art Festival

The MidAmerican Center for Contemporary Music at Bowling Green StateUniversity is issuing a call for papers to be presented at their 24thAnnual New Music & Art Festival to be held 16-18 October 2003, featuringguest composer Bright Sheng. Papers on any aspect of music since 1945are welcomed. Applicants must submit a signed cover letter and fouranonymous copies of a 200-word abstract or a complete paper. Presentations will be limited to 20-25 minutes. The Center provides asmall honorarium to assist presenters with travel expenses.

Send abstracts or papers to the attention of William E. Lake, College ofMusical Arts, Bowling Green State University, Bowling Green, Ohio43403-0290 (419/372-0522; Entries must bepostmarked by March 14, 2003.

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Call for Papers: International Congress for Music Theory, Basle, Switzerland

International Congress for Music Theory, Basle, Switzerland


The 3rd congress of the "Deutsche Gesellschaft fźr Musiktheorie" will be held at the Music-Academy of Basle, Switzerlandfrom October 10th through 12th, 2003.The general subject "Theoriebildung an ihren Grenzen; Neue und Alte Musik" (Theory at its limits: New Music and Early Music) will be dealt with in the context of the following themes:

1. Theorien der Musik des 20. Jahrhunderts: ihre Konzepte, ihre Vermittlung, ihr Verhţltnnis zur Komposition(Theories of the Music of the 20th century: concepts, relationship to composition, use in teaching.)

2. Die Musikalische Wirklichkeit des 15. und 16. Jahrhunderts versus Kontrapunkt im Unterricht(Counterpoint of the 15th and 16th century: historic reality versus textbook teaching)

3. Tonalitţt in Schuberts spţten Werken(Tonality in Schubert's late works.)

The congress is co-directed by Markus Jans, John MacKeown, Angelika Moths and Balz Trźmpy

All papers are to be presented in German, and are strictly limited to 20 minutes. The deadline for abstracts (of max. 500 words) is May 18th 2003

Mail address:
Angelika Moths
Schola Cantorum Basiliensis
Kennwort "Kongress 03"
Postfach 232
CH - 4003 B a s e l

e-mail address:
Angelika Moths

Telephone:0041-61-383 27 21

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Conference Announcements

Conference Announcement: South Central Society for Music Theory

The South Central Society for Music Theory announces its 20th annualmeeting, February 21-22, at the University of Alabama in Tuscaloosa, AL.The program follows. Further information, including local arrangements,may be found on the conference website, at

University of Alabama, Tuscaloosa

Friday, February 21, 2003

9:00-9:10 Opening remarks

9:10-10:30, Paper Session 1

Norman Carey (Eastman School of Music): Cascading Diminished Sevenths inBach, Chopin, and Jobim

Stephen Peles (University of Alabama): Infertile Intervals and CriminalCats: Aspects of the Scientific Context of Schenker's Biology

10:40-12:00, Paper Session 2

Aaminah Durrani (Louisiana State University): Ritornello Sections in theFourth Movement of Alfred Schnittke's String Quartet No. 4: Texture as aCompositional Resource

Philip Stoecker (CUNY Graduate Center): Cyclic Wedges and ConvergencePoints

12:00-2:00, Lunch

2:00-4:00, Paper Session 3

Rebecca Jemian (Ithaca College): Levels of Form: Folding the Small intothe Large

Irna Priore (North Carolina School of the Arts): ParadigmaticStructures: A Comparison of Beethoven Piano Sonatas op. 101 and 109(first movements) through the "Continuous 5\^"

Evan Jones (Florida State University): Pervasive Fluency: A ContrapuntalModel of the "Effect of Being Passing" in Tonal Music

4:10-5:30, Paper Session 4

Shelia Forrester (Mississippi State University): Substitute Neumes andTransposed Mirrors: Stalking the Melodic Motive in Hildegard's Ave Maria

Leon W. Couch III (Texas A&M University): Fugue as Musical-rhetoricalProof in the North German Toccata

Saturday, Febraury 22

9:00-11:00, Paper Session 5

Patrick Tuck (Louisiana State University): What's So Funny? A Study ofIrony in Three Comic Songs by Hugo Wolf

Joe Brumbeloe and Martin Steffen (University of Southern Mississippi):Two Views of Chromaticism and the Dominant

Jeffrey Perry (Louisiana State University): Monody as Motive: TheUnaccompanied Schubert

11:15-12:00 Business Meeting

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Conference Announcement: Institute onTransformational Theory and Analysis-The Institute For Advanced StudiesIn Music Theory


Applications for the 2003 summer Institute on Transformational Theory andAnalysis are invited through March 1 via the website of The Institute forAdvanced Studies in Music Theory at site contains anelectronic application form, detailed session descriptions, faculty bios,selection criteria, and applicable policies and procedures.

This is a unique opportunity for outstanding scholars from around the worldto gather together as an interactive community and explore the concepts,techniques, development, significance, and future of transformational theoryand analysis over a 4-day period in a sustained and collegial manner. Thereare no proposals or papers. Instead, each member of the Institute prepares inadvance and actively participates in two intensive workshops guided by afaculty of experts, and three plenary sessions of the entire membership. Anoverview of the curriculum is provided below.

A. Plenary Sessions (all members participate in each):

1. THE EVOLUTION AND CONTEXT OF TRANSFORMATIONAL THEORY. A comprehensiveexamination of the origins, development, and historical context oftransformational theory, its tonal and post-tonal precursors, influence andinteraction with other theoretical approaches, and the analytical concerns itaddresses and/or provokes.

2. TRANSFORMATIONAL CONSIDERATIONS IN SCHOENBERG'S OP. 23, NO. 3. Detaileddiscussion of David Lewin’s analysis of Schoenberg's piano piece,focusing onthematic transformations among forms of the piece's basic pentachord, whichare idiomatic for this work and how they fit together into a single system,and what morals and caveats can be drawn regarding the methodology oftransformational analysis.

3. THE SCOPE AND LIMITATIONS OF TRANSFORMATIONAL THEORY. A candid in-depthassessment of the strengths and weaknesses of transformational theory and itscontribution and future in our discipline. What are its most useful tools,how can they most effectively be applied and expanded? What are its musicallimitations and potentialities?

B. Morning Workshops (members participate in one of three):

1. NEO-RIEMANNIAN TRANSFORMATIONS IN PARSIFAL: RICHARD COHN. An introductionand review of basic neo-Riemannian transformational concepts and tools withapplication to Wagner’s influential opera. Analytical writings from aneo-Riemannian standpoint trace several stages of the approach's development;others position neo-Riemannian theory vis-a-vis Schenkerian and tonalpitch-space perspectives on late Romantic repertoires.

2. TOPICS IN TRANSFORMATIONAL THEORY: ROBERT MORRIS. (a) Precursors ofTransformational Theory: how key issues in the classic formulations of serialand atonal theory are reflected and extended by transformational theory, (b)IFUNC: the nature and properties of the interval function between two pcsetsintroduced by Lewin in 1959-60, (c) Transformation Theory and Indian Music:how transformations highlight crucial phonological and syntactic differencesbetween Western and Indian music.

3. VOICE LEADING AND TRANSFORMATION: JOSEPH STRAUS. A transformationalapproach to atonal voice leading using music by Schoenberg, Webern, andStravinsky as a testing ground for contrasting theoretical methodologies.Shifting analytic attention from musical objects to the processes that relatethem opens a new perspective to the linear connections among atonal harmoniesbeyond structural identification and comparison.

C. Afternoon Workshops (members participate in one of three):

1. TRANSFORMATIONAL PATHWAYS INTO (POST-)TONAL FRONTIERS: EDWARD GOLLIN.Examination of how transformational theory can generate hybrid analyticapproaches to mediate between traditional tonal and set-theoretical analyses,by adopting neo-Riemannian attitudes regarding the interrelatedness ofstructure and function of harmonic materials, but applying them innon-triadic and non-trichordal contexts.

2. K-NET TECHNOLOGY AND INTUITION: HENRY KLUMPENHOUWER. Introduction andexploration of the technological range of K-nets and the styles of musicalintuition they can represent and extend, with particular attention to graphand network structure, inner and outer automorphisms of the T/I group, anddeeper level K-net relations regarding GIS-structure, transposition, intervalpreservation, and inversion.

3. TRANSFORMATIONAL APPROACHES TO CONTEMPORARY MUSIC: JOHN ROEDER.Application of transformational techniques to contemporary compositionalstyles—modernist, minimalist, mystic, eclectic-postmodern, spectral,neo-tonal. Music by Part, Carter, Reich, Ades, Torke, and others is often notorganized around set-classes and emphasizes rhythm over pitch. What are theanalytical objects of interest and transformations that relate them?

The Institute for Advanced Studies in Music Theory is a privately funded,nonprofit, scholarly think tank dedicated to innovative scholarship throughcollaborative learning. It conducts annual summer programs of high-levelparticipatory workshops for distinguished music scholars, guided by rotatingfaculties of peers drawn from the international academic community. Priortopics were Historical Music Theory (2001) and Schenkerian Theory andAnalysis (2002); future topics are Musical Form (2004) and Rhythm andTemporality (2005).

The application deadline for this year's Institute is March 1, 2003. Tuitionis free, meals are provided (including reception and banquet), and low cost,tax free, group rate housing is available. Direct all inquires to WayneAlpern, Director,

Wayne Alpern, Director Institute for Advanced Studies in Music Theory

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The Music ofArnold Schoenberg's Middle Period: from Romanticism to Dodecaphony

Yale Summer Programs will again offer a five-week course in Moedling,Austria on the atonal music of Arnold Schoenberg, entitled The Music ofArnold Schoenberg's Middle Period: from Romanticism to Dodecaphony. Theinstructor is Allen Forte, Yale Department of Music. Dates of the courseare June 2 - July 4, 2003.

The course is given in collaboration with the Arnold Schoenberg Centerin Vienna, which is the major repository of Schoenberg's sketches andmanuscripts, as well as other materials of signal importance to hislife. Very reasonably priced student housing in Moedling or in Vienna isarranged by the Center, which also obtains concert tickets and providesother assistance. The Vienna concert and opera seasons continue throughJune, and the many other cultural resources of the city are easilyaccessible in central Vienna.

The class meetings are held in the Arnold Schoenberg Haus in Moedling,where the composer resided from 1918 until 1926. Some student housing isavailable in the Schoenberg Haus, as well as in local residences,including the former Webern Haus, in close proximity to the SchoenbergHaus. Moedling, about 20 minutes from central Vienna by fast train, is acharming small town (founded about 900 A.D), with a rich musicalheritage. It was a favored summer residence for Beethoven, and theHafner house on the Hauptstrasse in which he resided is but a short walkfrom the Schoenberg Haus.

The format of the course, which is conducted in English, is that of theYale College seminar. One college credit is awarded upon successfulcompletion. Because enrollment is limited,interested persons areencouraged to apply early. Application forms may be obtained bytelephoning Yale Summer Programs at 203-432-2430, by fax at203-432-2434, or from the YSP website: For furtherinformation, send an email message to

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2003 Texas Society for Music Theory Conference

The program for the 2003 Texas Society for Music Theory is now availableon the TSMT web site: conference will beheld at Texas Christian University in Fort Worth, Texas on February21-22. Conference information and a printable registration form are alsoposted on the TSMT web page.
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2003 Southeastern Section Meeting of the American MathematicalSociety

The 2003 Southeastern Section Meeting of the American MathematicalSociety will be hosting a special session on Mathematical Techniques inMusical Analysis. The conference will take place March 14-16, on thecampus of Louisiana State University, in Baton Rouge, LA. The programfor the special session appears below (the full conference program maybe found at

As a forum for dialogue between these two disciplines, this promises tobe a very stimulating and exciting event. Anyone interested in musicand math topics is more than welcome to attend. Registration is $60 fornon-AMS members, $40 for AMS members, and $5 forstudents/unemployed/emeritus. Further information on housing, travel,etc., can be found at Foradditional information, please contact me at or225-578-6830.

Robert W. Peck ( and Judith L. Baxter(,Co-organizers Schedule of Talks (* = presenter)

Friday, 14 March, 2:15-5:05 p.m.
Dean Ronald Ross, (Louisiana State University, College of Music andDramatic Arts). Opening remarks.
Robert W. Peck* (Louisiana State University). Introduction to theSpecial Session: An Overview of Mathematical Techniques in MusicalAnalysis.
Stephen Soderberg* (Library of Congress). The Impossible Coin Toss.
Jack M. Douthett* (TVI Community College). Dinner Tables, the IsingModel, and the Piano Keyboard.
Panayotis Mavromatis* (Eastman School of Music). Minimal DescriptionLength: An Information-Theoretic Approach to Music Model Building.
Jonathan Wild* (Harvard University). Tessellating the Chromatic.

Saturday, 15 March, 8:00-10:50 a.m.
Thomas Noll* (Technical University Berlin). A Mathematical Model forTone Apperception.
Adrian P. Childs* (University of Georgia). Structural andTransformational Properties of All-Interval Tetrachords.
Clifton D. Callender* (Florida State University). Continuous functionsand musical spaces.
David L. Clampitt* (Yale University). Number Theory and Music Theory:Recent Extensions in Music Theory of the Three Gap Theorem.
Norman A. Carey* (Eastman School of Music). The Coherence Index inWell-Formed and Pair-Wise Well-Formed Scales.

Saturday, 15 March, 2:30-5:20 p.m.
Richard Cohn* (University of Chicago). Principles for Reducing LPRSentences to Canonical Form.
Edward Gollin* (Harvard University). On Some Group-PresentationalConceptions of Tonality in the Nineteenth Century.
Jonathan H. Kochavi* (SUNY Buffalo). An Algebraic Classification ofContextually Defined Musical Inversions.
Julian L. Hook* (Penn State University). Uniform TriadicTransformations: A Wreath Product in Music Theory.
Michael H. Buchler* (Florida State University). Notions of Equivalenceand Similarity in Atonal Music Theory.

Sunday, 16 March, 8:00-8:50 a.m.
Richard R. Randall* (Eastman School of Music). Music, Models, and theRelative Complexity of Analysis.
Ian Quinn* (University of Chicago). Chord Quality and General Harmony.

Sunday, 16 March, 10:00-11:50 a.m.
Eytan Agmon* (Bar-Ilan University). Numbers and the Western Tone-System:Beyond Psychoacoustics.
John Rahn* (University of Washington). Some Recent Developments inMathematics Applied to Music Theory.
Robert D. Morris and Ciro G. Scotto* (Eastman School of Music). Aspectsof Saturation and Ordering in Twelve-Tone Music.

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2003 Annual Meeting of the Society for Music Theory South East

The 2003 Annual Meeting of the Society for Music Theory South East willbe held at Davidson College in Davidson, NC on March 14-15. Details ofthe program as well as local arrangements information may be found onthe MTSE homepage:

A printable registration form may be obtained via e-mail from MarkParker (, MTSE Secretary. Specific questions concerninglocal arrangements not already covered on the MTSE homepage should beaddressed to Mauro Botelho (, local arrangementscoordinator.


SESSION I (Fri Mar 14, 2-5 pm)

1. Nancy Rogers (FSU), "Some Correlations between Solfege Expertise andPitch Memory." 2. Juan Chattah (FSU), "Understanding and Defying FilmMusic Conventions: A New Model for Analysis." - break - 3. CatherineLosada (CUNY), "Chromatic Saturation and the Significant Gap as UnifyingDevices in Berio's Sinfonia." 4. Roxane Prevost (SUNY Buffalo),"Metrical Ambiguities in Ursula Mamlok's 'Panta Rhei' (1981)."

Dinner (Fri Mar 14, 6:00 pm)

SESSION II (Sat Mar 15, 9 am-12 pm)

1. Gretchen C. Foley (University of Nebraska), "Arrays and K-Nets: TransformationalRelationships within Perle's Twelve-Tone Tonality." 2. Michael Berry(CUNY), "A Modular Space Approach to Voice Leading in Atonal Music." -break - 3. Robert T. Kelley (FSU), "Charting Enharmonicism on theJust-Intonation Tonnetz: A Practical Approach to Neo-RiemannianAnalysis." 4. Adam Ricci (Eastman), "Harmonic Sequences with Three- (ormore) Chord Patterns: Theory and Practice."

Lunch (Sat Mar 15, 12:00-1:00 pm) Business Meeting (Sat Mar 15,1:00-2:00 pm)

SESSION III (Sat Mar 15, 2-5 pm)

1. Eugene Montague (UCF), "Metrical Dissonance and Moving to Music." 2.Don Traut (UNC-Greensboro), "Recurring Accent Patterns in Rock Music." -break - 3. James S. MacKay (Loyola), "Musical Proportion and FormalFunction in Classical Sonata Form: Three Case Studies from Late Haydnand Early Beethoven." 4. Andrew Kizas (U Western Ontario), "HeinrichSchenker and the Organicism Debate: Unpacking Schenker's Place in theGermanic Philosophical Tradition."

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The International Society for the Study of Time

The International Society for the Study of Time announces its TwelfthTriennial Conference:

Time and Memory, Clare College, Cambridge, UK

July25-31, 2004

The International Society for the Study of Time (ISST)encourages the interdisciplinary study of time in all its aspects.Founded by J.T. Fraser, the ISST has held its triennial conferencessince 1966 in locations across the globe. The volumes in The Study ofTime series comprise collected papers from the conferences. The ISSTalso disseminates work through the associated publication KronoScope:Journal for the Study of Time (Brill). The unique character ofintellectual exchange at ISST Conferences is vested incross-disciplinary discussions spurred by participants from around theworld and representing many different areas of specialization. TheSociety seeks always to hold its conferences in a location of memorablebeauty and resonance. The 2004 Conference at Cambridge University willbe based within the Old Court of Clare College, founded in 1326 andlocated in the center of the City, immediately beside the world-famousKing's College Chapel. Clare's 300-year old drooping stone bridge acrossthe river Cam is one of the iconic landmarks of the Cambridge "backs."Delegates will take their meals in Clare's 17th century dining Hall andstay in recently-modernized accommodations in the College's nearbyMemorial Court. The conference program will include a free day forsight-seeing in Cambridge with its many ancient colleges, chapels andlibraries, and its magnificent Fitzwilliam Museum of Fine Art. The freeday will conclude with a guided evening excursion to nearby ElyCathedral, a landmark in English medieval architecture whose famousGothic lantern has for centuries provided a beacon for travellers in theCambridgeshire fens.

Call For Papers

The theme of the Society's twelfthconference is Time and Memory. Memory plays an important role in fieldsacross the disciplinary spectrum as well as several strands ofcontemporary life and culture. In the face of rapid change in thecosmological, ecological, geopolitical, technological, cultural andindividual landscapes, the topic of memory takes on special urgency.New understandings of memory emerge in fields ranging from neuroscienceand evolutionary biology to geology and cosmology. Technological formsof memory raise pressing social and political issues, amid shifts in ourcollective means and modes of memory. Competing accounts of history andpersonal identity foreground the role of narrative in shaping humanmemory. The Society therefore solicits contributions to the study ofTime and Memory understood in its widest sense. Presentation/paperproposals are called for from all fields of scholarly investigation andall forms of creative expression. Diverse formats are welcome:scholarly paper, cross-disciplinary panel discussion, debate,performance/overview of creative work, installations, workshop, poster.All work is to be presented in English. Some possible Themes in thefield of Time and Memory:

Proposals should beapproximately 300 words in length, and include the presenter's field ofspecialization and academic/professional affiliation. Electronicsubmission of proposals is preferred via email to may otherwise be mailed in triplicate to:
Dr. Thomas Weissert, Executive Secretary
P.O. Box 436
Wynnewood, PA 19096, USA

The deadlinefor submission is July 30th, 2002. Conference participants must be ISSTmembers. For membership information and application procedures, visitour website or contact Dr. Weissert at the above address. Membershipincludes subscriptions to the ISST house organ Time's News, the ISSTnewsletter, and the journal KronoScope: Journal for the Study of Time.The Society also seeks session chairs, whose names will be included onthe printed program.

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The City University of New York - Graduate Students in MusicSixth Annual Music Symposium

Please join us on April 5, 2003 from 9am-6pm for our Sixth Annual GraduateStudent in Music Conference! Our Keynote Speaker is Professor Suzanne Cusick(New York University). The complete program with abstracts can be viewed at

For more information, please contactHeather Laurel Feldman,hfeldman@gc.cuny.eduDirector, Sixth Annual CUNY Graduate Student in Music Conference


Sixth Annual
CUNY Graduate Student in Music Conference
April 5, 2003

CUNY Graduate Center
365 Fifth Ave. (34th and 35th)
New York, New York 10016

9:00 am-10:00 am
Registration and Welcome (with breakfast)

Brahms to Björk: Analytical Approaches
Professor Shaugn O'Donnell, The City College and Graduate Center, CUNY, Moderator

"From Pathos to Bathos and Back: A New Exegesis for the Scherzo of Brahms'sFourth Symphony"
George-Julius Papadopoulos, University of Washington

"Transformational Autobiography in 'Sprich Nicht'"
Jill Brasky, SUNY Buffalo

"Conflicting Analytical Approaches to Late Nineteenth- and EarlyTwentieth-Century Tonal Music: A Meta-Theoretical Study"
Jonathan Pieslak, University of Michigan

"Re-Producing Björk"
Brian Karl, Columbia University

1pm-2pm Lunch (provided!)

European Repertories
Professor Allan Atlas, CUNY Graduate Center, Moderator

"Into the Woods: Orazio Vecchi's Selva di Varia Ricreatione (1590), theAesthetic of Variety, and the Titling of Italian Music Prints"
Paul Schleuse, The Graduate Center, City University of New York

"An Example of Musical Syncretism: The Emigration of Neapolitan Popular Songto the United States at the Beginning of the 20th Century"
Simona Frasca, University of Naples

"From Alienation to Abnegation: Jenufa and the Metaphysics of Dramatic andMusical Discourse At the Turn of Century"
Matthew M. Werley, Temple University

"Colinde and Communism: Emerging Perspectives in Romanian Ethnomusicologysince the Revolution of 1989"
Sabina Pauta, University of Michigan

***Keynote Speaker***
Professor Suzanne Cusick, New York University

For more information, please contact Heather Laurel Feldman, Director, SixthAnnual CUNY Graduate Student in Music Conference

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Music Theory Society of the Mid-Atlantic

FIRST MEETING of the Music Theory Society of the Mid-Atlantic:
PROGRAM Announced for April 4 & 5 at Peabody Conservatory of Music

The Founding Meeting of the Music Theory Society of the Mid-Atlanticwill be held at the Peabody Conservatory of Music, Baltimore, MD, on Fridayafternoon, April 4th and all day Saturday, April 5th. The Keynote Addresswill be given at the Friday evening Banquet by Robert Gauldin, EastmanSchool of Music, Past-President of the Society for Music Theory. The Awardfor Best Student Paper will also be presented at the Banquet. John Buccheriwill present a Workshop on Teaching Music Theory with discussion. Officersand Board Members will be nominated and elected at the business meeting.Those interested in hosting future meetings are asked to contact PamelaPoulin, Additional information, including abstracts,accommodations, registration form and "Come Early, Stay Late" activities inBaltimore may be found on the MTSMA website,

Friday Evening Banquet Buffet: Chicken & mushroom sauce, vegetable lasagne,boeuf bourguignonne, Caesar salad, vegetable medley, rice pilaf, strawberryshortcake, beverages. $20 including tax and tip.

Saturday Luncheon Buffet: Top round of beef, smoked turkey breast, tossedsalad, roasted re potatoes, string beans almondine, brownies, cookies,beverages. $15 including tax and tip.

(Check http://mtma.shorturl.comfor updated information and abstracts.)

Friday Afternoon and Evening (Goodwin Recital Hall)

12:00 - 1:00 PM: Registration, Refreshments and Conversation (GoodwinRecital Hall Lobby, 21 Mount Vernon Place). Park on first floor ofGarage,walk out entrance to left, walk north on St. Paul, left again ontoMount Vernon Place, Monument Street. Lunch is available at Sacha's,upscale, gourmet cafeteria, 550 Charles St, open M-F only. (Peabody is the600 block of Charles St.)

1:00 - 1:30: A Modular Space Approach to Voice Leading in Atonal Music
Michael Berry (Graduate Center of the City University of New York)
Winner of the Award for Best Graduate Student Paper

1:30 - 2:00: Textual and Musical Analysis of Stravinsky's Full Fadom Five
Jonathan Saggau (New England Conservatory of Music)

2:00 - 2:30: Tchaikovsky and DesirŽe:
A Possible Secret Program for the Bb minor Concerto
Keynote Speaker: Robert Gauldin (Eastman School of Music)

3:00 - 3:30: Refreshments and Conversation

3:30 - 4:30 Open Forum: Designing Good Questions for Class Discussion & Analysis Projects. Bring your ideas for a round table discussion.

5:00 - 6:00 PM: Reception (Bank of America Lounge, Second Floor, NewBuilding; take elevator)

6:00 - 7:30: Inaugural Banquet Celebration (Bank of America Lounge)
Keynote Address: Robert Gauldin, Eastman School of Music
Past-President of the Society for Music Theory
Presentation of the Award for Best Graduate Student Paper to Michael Berry, Graduate Center of the City University of New York

8:00: Baltimore Symphony Orchestra, Center Stage, Charles Theatre, EverymanTheatre, et al. (Tickets are sold out for the Peabody Singers. See Eventson Website.)

Saturday Morning and Afternoon
(Bank of America Lounge, Second Floor, New Building)

Beginning at 8:00 AM: Registration

8:00 - 9:00 AM: Continental Breakfast (Bank of America Lounge: croissants,danishes, juices, coffee and tea). No charge.

9:00 - 9:30: From Alienation to Abnegation: Jenufa and the Metaphysics of Dramatic and Musical Discourse at the Turn of Century
Matthew M. Werley (Temple University)

9:30 - 10:00: Scriabin's 'Octatonic Ur-Motives': Genesis, Context and Process
Ellon D. Carpenter (Arizona State University)

10:00 - 10:30: Prelude to a New Music: The Principle of Opposition in Charles Griffes's Final Works
Taylor Greer (Pennsylvania State University)

10:30 - 11:00: Refreshments and Conversation

11:00 - 11:30: Voice-Leading Constraints in the Music of Elliott Carter
J. Daniel Jenkins (Eastman School of Music)

11:30 - Noon: Tonnetz Chains and Clusters in Post-Bebop Jazz
Steven Strunk (The Catholic University of America)

Noon - 1:00 PM: Luncheon: Peabody Dining Room

Saturday Afternoon (Bank of America Lounge, Second Floor, New Building)
1:00 - 1:30: Inaugural Business Meeting and Election of Officers

1:30 - 2:00: Conventional Conceptual Metaphors and Music Theory Iconic Models
Richard S. Parks (The University of Western Ontario)

2:00 - 2:30: Schšnberg on Mahler: Op. 19, No. 6
Eric McKee (Pennsylvania State University)

2:30 - 3:00: Six Degrees of Confirmation: Deception, Evasion and Abandonment in Korngold's 'Die tote Stadt'
Edward D. Latham (Temple University)

3:00 - 3:30: The Diminished Seventh Chord as Prolongational Agent in Bach, Chopin and Jobim
Norman Carey (Eastman School of Music)

3:30 - 4:00: Refreshments and Conversation

4:00 - 4:30: Compositional Prototypes in the Piano Music of Ellsworth Milburn
Ellen R. Flint (Wilkes University)

4:30 - 5:00: A Japanese Garden? Western Confluences in Tšru Takemitsu's In An Autumn Garden for Gagaku
Ieda Bispo (Joetsu University, Japan)

Members of the Program Committee: Susan Clermont (The Library ofCongress), Dora Hanninen (University of Maryland at College Park), Edward D.Latham (Temple University), Vicki Stroeher (Marshall University), SoniaVlahcevic (Virginia Commonwealth University) and Pamela L. Poulin (PeabodyConservatory of Music), Chair.

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Theodor W. Adorno: zum 100. Geburtstag

The year 2003 marks the centenary of Adorno's birth. The School of Music at the University of Texas at Austin will celebrate this event with "Theodor W. Adorno: zum 100. Geburtstag," a conference devoted to the rich legacy of Adorno's musical writings. The symposium, which will be held 3-5 April 2003 under the auspices of the newly created Center for American Music, brings together internationally recognized scholars for a discussion of three broad topics: Autonomy and Absolute Music; Mourning and Modernism; and the Culture Industry and the Dialectic of Enlightenment. Participants include Daniel K. L. Chua (Kings College), Lydia Goehr (Columbia University), Berthold Hoeckner (University of Chicago), Brian Hyer (University of Wisconsin at Madison), Richard Leppert (University of Minnesota), Thomas Nelson (Minneapolis), Sanna Pederson (University of Oklahoma), and Larson Powell (Texas A & M). There will be a panel of papers on Thursday afternoon and a series of roundtable discussion on Friday and Saturday. For further information, see the conference website ( or contact Jim Buhler (,K. M. Knittel (, or Susan Jackson (

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Music Theory Midwest

The 14th Annual Conference of Music Theory Midwest will be held on 16-17May, 2002 at Indiana University in Bloomington, IN. The featured keynotespeaker will be John Buccheri, Northwestern University, whose talk isentitled "Deep Learning in the Theory Classroom: Pacing, Bumping, andWaltzes 'in Four.'" For ongoing updates, check the MTMW website at

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Journal-Related Announcements

Theory and Practice 2002

I am pleased to announce the publication of the latest volume of Theoryand Practice (2002).

This issue (the last one under my editorship) contains articles by AdamRicci on Harmonic Sequences; George Fisher and Judy Lochhead onAnalyzing from the Body; Guy Capuzzo on Q-operations in Carter's Scrivoin Vento; Poundie Burstein on Schubert. Also reviews of books by CharlesFisk on Schubert (reviewed by Joseph Kraus): Elliott Carter's CollectedWritings (reviewed by Andy Mead); and Schenker Studies 2 (reviewed byJohn Ferri).

Mark Anson-Cartwright, Editor Theory and Practice (affiliation: HofstraUniversity)

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First SAGE issue available now. Free online sample at:



The development of intuitive musical understanding: a naturalexperiment-Jeanne Bamberger, Massachusetts Institute of Technology

The role of self-efficacy in a musical performance examination: anexploratory structural equation analysis-John McCormick and GaryMcPherson, University of New South Wales

An investigation of members' roles in wind quintets-Luan Ford and JaneW. Davidson, University of Sheffield

The perception of emotional expression in music: evidence from infants,children and adult- Elizabeth S. Nawrot, Minnesota State University-Moorhead

The effect of music on perceived atmosphere and purchase intentions in arestaurant-Stephanie Wilson, University of New South Wales

Book Reviews
Rowe, Robert, Machine Musicianship, reviewed by JonathanImpett
Miles Tim and John Westcombe (eds), Music and Dyslexia: OpeningNew Doors, reviewed by Katie Overy

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Journal of Musicology 19/3

The Journal of Musicology is pleased to announce the publication ofVolume 19, no. 3 (Summer, 2002) Tim Carter, Two Monteverdi Problems, andWhy They Matter Jennifer Shaw, "New Performance Sources and OldModernist Productions: Die Jakobsleiter in the Age of MechanicalReproduction"

Elizabeth Eva Leach, "Death of a Lover and the Birth of the PolyphonicBallade: Machaut s Notated Ballades 1-5" Maribeth Clark, "The Quadrilleas Embodied Musical Experience in 19th-Century Paris" Abstracts areavailable at

The Journal of Musicology invites written communications from itsreaders about essays in recent issues, which will be published on theJournal's Web pages together with responses from authors and otherreaders. A communication should be of reasonable length (preferablyshort), must be aimed directly at the topic of a specific article, andwill be subject to editing in consultation with its writer. The originalauthor of the article in question will be invited to respond before acommunication is published. Please send communications by e-mail

The Journal welcomes articles in all areas of musical scholarship,including history, criticism, analysis, performance practice, andarchival research. Submissions should be sent in electronic form (withan abstract and complete contact information) tosubmissions@journalofmusicology.orgor to Journal of Musicology Submissions Office,c/o D. Melamed, School of Music, Indiana University, Bloomington, IN47405. Instructions are available at

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Other Announcements

Research to Practice:Creativity and Music Education

I am pleased to announce the publication of Research to Practice:Creativity and Music Education, Timothy Sullivan, Lee Willingham,Editors, published through The Canadian Music Educators Association andThe Ontario Institute for Studies in Education at The University ofToronto.

An international panel of 17 authors examine issues emerging frominnovative applications of creativity to music education.

The price is $30. (can, inc. taxes) or $20. (us, inc. taxes.)

Inquires, please contact Dr. Lee orDr. Timothy

To order: Hushion Publishing House, 34 Armstrong Avenue Georgetown, ONL7G 4R9

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Philip Bret Award

Announcement: The Philip Brett Award

The Philip Brett Award, sponsored by the Gay and Lesbian Study Group ofthe AMS, each year honors exceptional musicological work in the field oftransgender/transexual, bisexual, lesbian, gay studies completed duringthe previous two academic years (ending June 30), in any country and inany language. By "work" is meant a published article, book, edition,annotated translation, conference paper, and other scholarly workaccepted by the award committee that best exemplifies the highestqualities of originality, interpretation, theory, and communication inthis field of study.

The award consists of the sum of $500 and a certificate, and will beannounced at the Annual Meeting of the AMS and conferred at the annualmeeting of the GLSG. The committee will entertain nominations from anyindividual, and scholars are encouraged to nominate their own work.Individuals may receive the award on more than one occasion.

Nominations should include the name of the scholar, a description of thework, and a statement to the effect that the work was completed duringthe previous two academic years. By "completion" is meant thepublication or commitment to publish from an editor in the case ofarticles, books, editions, etc.; delivery at a conference or the like inthe case of a paper. The committee will contact the nominee foradditional material as needed. Self-nominations should include anyunpublished material to be considered and a c.v. Nominations, with fivesets of application materials, should be sent by JULY 1, 2003 to thechair of the Philip Brett Award committee:

Nadine Hubbs, Brett Award Chair
2141 Lane Hall
University of Michigan
Ann Arbor, MI 48109-1290

Questions regarding the award, the nomination process, or any relatedmatter may be directed to Nadine Hubbs at the above address, or bye-mail to to

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Copyright Statement

[1] Music Theory Online (MTO) as a whole is Copyright (c) 2001, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in (MTO) are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.

[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:

This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.

[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.

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prepared by
Stanley V. Kleppinger, editorial assistant
Updated 02 July 2003