Fifth International 'Conference on Narrative
SELF AND OTHER
The Fifth International Conference on Narrative
October 18 - 20, 1996
Department of Communication
University of Kentucky
The University of Kentucky Department of Communication invites your
submissions to the Fifth International Conference on Narrative, to be
held Friday, October 18, to Sunday, October 20, in Lexington,
Kentucky.
The theme of this year's conference, SELF AND OTHER, suggests topics
addressing the diverse ways in which narrative helps us construe individual,
social and cultural identities. As in previous years, we would like to bring
together scholars from a wide range of disciplines, including education, psychology,
literatures and languages, communication, linguistics, anthropology, sociology,
folklore, social work, medicine, art history, history, women's studies and all others
interested in narrative. Theoretical and methodological contributions of all
persuasions are as welcome as studies of narrative in context. The conference
language is English; data sessions should be conducted in the most appropriate language.
The International Conference on Narrative is a highly productive
working event. Five presentation formats are offered; please indicate
your preference on the title page of your submission.
(1) Research papers will be scheduled for panel sessions; panels
are most suitable for theoretical or programmatic topics that do not
require the sharing of extensive data sets. Presentations will be
limited to 20 minutes. Please mark your submission 'Panel.'
(2) Posters will be set up and remain on display for the duration
of the conference. This format allows the presentation of larger
amounts of research data and provides a more individual setting for
discussion without time constraints. Please mark your submission
'Poster.'
(3) Participants who travel with major data sets they intend to
share in a small-group setting may wish to reserve the special meeting
room available for this purpose. The room will be scheduled for no
more than two hours per individual. The number of data sessions is
limited and early submission of your proposal is suggested. Please
mark your submission 'Data session.'
(4) Following the great success of this format at last year's
conference, three round-table discussions will be organized that focus
respectively on theoretical, methodological, and ethical issues
described by the conference theme. Up to six programmatic statements
of no more than five minutes will be followed by a round-table
discussion with participation from the audience. Please mark your
submission accordingly.
(5) Submissions are also invited for contributions to a special
preconference panel discussion on THE USES OF NARRATIVE IN
EDUCATION. Up to ten five-minute statements from on-site and off-site
participants will be followed by discussion. Preconference
participation is responsible for local networking and making their own
subscription arrangements. Call Sprint at 800-669-1235 for more
information. The University of Kentucky site ID is LEUKA; in case you
have any questions, your contact person is Gerald Ginter
(606-257-7797). There is no fee for this special event, but
registration is required. If this presentation format is successful,
its use will be extended in subsequent years. Please mark your
submission 'Preconference.' Special Events
THURSDAY 5:30 - 8:00 (EST)
THE USES OF NARRATIVE IN EDUCATION
A Distance Learning Preconference Using Compressed Video
FRIDAY AFTERNOON
KEYNOTE ADDRESS
Jerome S. Bruner
School of Law and Department of Psychology, New York University
Registration
The prepaid conference registration fee of $40.00 ($20.00 for students
and the unwaged) provides admission and refreshments. A recommended
catering package providing box lunches on Friday and Saturday can be
added for $20.00; catering packages must be ordered by October 15
(606-257-3621). The prepaid subscription to the volume of conference
proceedings is $25.00. After September 15, 1996, the regular
registration fee will be $50.00, the student registration $25.00.
Submissions
Submissions are restricted to extended abstracts not exceeding 1000
words; they must be accompanied by a briefer abstract of no more than
50 words, which will be included in the program. Please also provide
your e-mail address; this information will be listed in the program to
facilitate preconference discussion between panel members.
Please send two copies of your submission to the conference chair:
Joachim Knuf, Conference Chair
Department of Communication
127 Grehan Building
University of Kentucky
Lexington, KY 40506-0042
(606) 257-7805 % E-mail: jknuf@ukcc.uky.edu
The postmarked deadline for submissions is May 31, 1996. Please
include a stamped, self-addressed postcard if you would like
notification that your submission has been received. Confirmation
letters, a provisional program, and registration and hotel information
will be mailed to participants before June 15; international
participants will be notified also by e-mail.
Manuscripts completed by January 31, 1997, will be reviewed for
inclusion in the conference proceedings. 1994 and 1995 proceedings are
available at $27.50 each.
An e-mail listserve has been set up to facilitate conference
organization. Mail the message "sub narrate firstname lastname" to
listserv@ukcc.uky.edu to receive conference mailings.
The Indiana University Graduate Theory Association wishes to announce
that the Ninth Biennial Symposium of Research in Music Theory has
been postponed from March 29-30, 1996 to September 27-28, 1996. We
have set July 1, 1996 as the new submission deadline, and encourage
all interested students and faculty to participate. Following is the
original call for papers modified to reflect the new dates:
CALL FOR PAPERS
The Ninth Biennial Symposium of Research in Music Theory sponsored by the
Graduate Theory Association of Indiana University will be held from Friday,
September 27 to Saturday, Sep. 28, 1996 in Bloomington, Indiana. The program
committee invites proposals for papers on all subjects pertaining to
music theory. Please prepare five copies of each proposal according to
the following guidelines:
Proposals should be at least three but not more than five
pages of double-spaced text; diagrams and musical examples
are not included in these limits.
Each of the five copies should include the title and
duration (as read aloud) of the paper, but not the author's
name.
Include a cover letter indicating the title of the paper and
the name, address, E-mail address, and phone number of the author.
Papers will be placed in 40-minute time slots, with 30 minutes
allowed for presentation and 10 minutes for questions and discussion.
Send proposals or requests for further information to:
1996 Symposium
Graduate Theory Association
Indiana University School of Music
Bloomington, IN 47405
TEL: (812) 855-5716; FAX: (812) 855-4936
E-mail: PBUDELIE@NICKEL.INDIANA.EDU
All proposals must be postmarked no later than July 1, 1996.
Student submissions are encouraged.
Thank you, and we hope to see you in September!
Sincerely,
Patrick J. Budelier
President, IU Graduate Theory Association
MUSIC THEORY SOCIETY OF NEW YORK STATE
ANNUAL MEETING
Eastman School of Music of the
University of Rochester
12-13 April 1997
CALL FOR PAPERS
The Program Committee invites proposals for papers and presentation
on any topic. Areas of particular interest include:
Analysis Symposium on Bartok, Violin Sonata No. 1 (1921)
Analysis of Opera
Linear Analysis
Counterpoint
Papers given at national conferences or previously published will not
be considered. Any number of proposals may be submitted by an
individual, but no more than one will be accepted. Most papers will
be placed in 45-minute slots, with about 30 minutes for reading and 15
Paper submission should include:
1. Six copies of a proposal of at least three but no more than five
double-spaced pages of text. Each copy should include the title
of the paper and its duration as read aloud, but not the author's name
2. An abstract of 200-250 words, suitable for publication.
3. A cover letter listing the title of the paper and the name, address,
telephone number, and e-mail address (if applicable) of the author.
Proposals should be sent to
Elizabeth West Marvin, MTSNYS Program Chair
Eastman School of Music
26 Gibbs Street
Rochester, NY 14604
POSTMARK DEADLINE IS 1 OCTOBER 1996
Members of the MTSNYS 1997 Program Committee are Elizabeth W. Marvin,
Chair (Eastman School of Music); Mark Anson-Cartwright (CUNY), Joseph
Dubiel (Columbia University), John Hanson (Binghamton University,
SUNY), Marie Rolf (Eastman School of Music), and Robert Wason (Eastman
School of Music).
Submitted by
Mary I. Arlin, President MTSNYS
School of Music
Ithaca College
Ithaca, NY 14859
arlin@ithaca.edu
Stanford University CCRMA Summer Workshops 1996
-----------------------------------------------
>>>> Computer-Assisted Research in Musicology <<<< August 19 August 30, 1996 General Fee: $800, Student Fee: $600 Two weeks instruction. Limited to 15 participants. Instructor: David Huron The workshop is offered in cooperation with the Center for Computer Assisted Research in the Humanities, Stanford University This course provides a comprehensive introduction to computer-assisted research in musicology and ethnomusicology using the Humdrum Toolkit. Participants will learn to manipulate computer-based scores, tablatures, and other documents in order to solve a wide variety of musicological problems. By way of example, participants will learn to characterize patterns of orchestration in Beethoven symphonies, examine harmonic progressions in Bach chorale harmonizations, and investigate text/melody relationships in Gregorian chant. Thousands of full scores will be available for processing on-line including repertoires from various cultures, periods, and genres. The course will be of particular value to scholars contemplating graduate- level or advanced music research projects. All software and documentation from the workshop (including a sizable score database) are free to take. The software is available for UNIX, DOS, OS/2 and Windows-95 (some restrictions apply). Familiarity with the `emacs' or `vi' text editors is recommended, limited knowledge of UNIX is helpful. ADDITIONAL INFORMATION Housing costs are not included in the course fee. Campus housing is available for the summer workshops through the Stanford University Conference Office. Information on lodgings in Stanford/Palo Alto vicinity will be sent to the spring workshop participants. No academic credit is offered for participation in the workshops. FOR APPLICATIONS OR INFORMATION ON OTHER CCRMA WORKSHOPS: * Digital Signal Processing for Audio * Introduction to Psychoacoustics and Psychophysics: * Audio & Haptic Components of Virtual Reality Design * Introduction to Algorithmic Composition * Advanced Projects in Algorithmic Composition * May'96 Three-day Intensive DSP Workshop PLEASE CONTACT: Alex Igoudin http://ccrma-www.stanford.edu/ E-mail: aledin@ccrma.Stanford.EDU
Phone: (415) 723-4971 Fax: (415) 723-8468
Center for Computer Research in Music and Acoustics (CCRMA) Summer Workshops
Department of Music / Stanford University / Stanford, CA 94305-8180, USA.
Composition/Computer Music Technology Workshop at Brevard Music Center Brevard Music Center, a summer festival located in the Blue Ridge Mountains of Western North Carolina, is offering a 4-week course in composition/computer music technology. Designed for the young composition student, the Composition/Computer Music Technology program offers private composition lessons as well as hands-on experience with composition/arranging software programs such as Finale Allergo and Performer. Classroom instruction includes orchestration, transcription/arranging techniques and 20th century analysis. Lab time is scheduled each day for students to work on individual projects. Additionally, Elliot Del Borgo, the Center's 1996 Composer-in-Residence, will be available to work with composition students for a week during the program. Qualified candidates will be between the ages of 16-22. To apply, student must submit a completed application and a score (and preferably a recording) of an original composition. For an application, or for more information, contact Lynn Johnson at Dalcroze@aol.com or call (704) 884-2975, 8:00 AM - 4:30 PM, EST, weekdays. College credit may be available to current college students. Program dates: June 26-July 26, 1996 Deadline: June 1, 1996 Tuition, Room, Board: $1,450 Brevard Music Center; PO Box 312; Brevard, NC 28712
Subject: LEXIKON-SONATE - now available as standalone program for Macintosh
LEXIKON-SONATE (1992-96) - an infinite and interactive realtime composition
environment - is now available as a standalone program.
It only requires an Apple Macintosh computer; an external MIDI-equipment is
not necessary, but can optionally be added. Thanks to QuickTime the musical
output is directly played throuh the loudspeaker of the computer.
System Requirements...
======================
* Apple Macintosh (8 MB RAM min.), System 7.x
* QuickTime 2.x
* optional: MIDI-interface with a MIDI-instrument (piano sound)
Downloading...
==============
http://www.neoism.org/neoism/squares/lexicon.html
About...
========
LEXIKON-SONATE is a interactive piece for MIDI-controlled player piano
which is composed and performed by computer software in real time. The
underlying program was written by Essl in MAX (Zicarelli and Puckette,
1990-1995 Opcode Systems Inc./ IRCAM), an interactive graphical programming
environment for multimedia, music, and MIDI, running on a Macintosh
computer. It draws from a large library of musical functions, compositional
techniques, and algorithmic strategies which Essl has developed over the
past few years: the "Real Time Composition Library" for MAX.
LEXIKON-SONATE consists of 24 music-generation modules which are related in
a very complex way as a musical HyperText. Each module generates a specific
characteristic musical output as a result of the compositional strategy
that has been applied. A module represents an abstract model of a specific
musical behaviour. It does not contain any pre-organized musical material,
but a formal description of it and the methods how it is being processed.
The idea of autopoiesis - material organizing itself due to certain
constraints - plays an important rule. By using a lot of different random
generators which are controlling each other (which - according to serial
thinking - form a scale between a completely deterministic and a completely
chaotic behaviour), new variants of the same model are generated. Variants
that may differ dramatically from each other, though they are always
perceptable as "inheritances" of the given structural model.
More information about LEXIKON-SONATE can be found on the World-Wide Web
under the following URL:
http://www.ping.at/users/essl/works/Lexikon-Sonate.html
__________________________________________________________________________
Dr. Karlheinz Essl
SAMT - Studio for Advanced Music Technology / Bruckner Conservatory Linz
E-Mail: essl@ping.at
WWW: http://www.ping.at/users/essl/index.html
__________________________________________________________________________
Computer Music Journal 20th Anniversary Special Issue:
The State of the Art
Computer Music Journal's 20th anniversary special issue on "The State of
the Art" has appeared! The table of contents, "About This Issue"
description, and CD index are included below. There is more information on
our world-wide web site.
One can order this issue, or the Computer Music Journal Volume CD, by
contacting MIT Press at telephone (+1-617) 253-2889; fax (+1-627) 258-6779;
electronic mail journals-orders@mit.edu; or on the world-wide web at the URL
http://www-mitpress.mit.edu/Computer-Music-Journal/.
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Computer Music Journal 20:1--Spring, 1996
Title: 20th Anniversary Issue: The State of the Art
Front Cover: "The Dance Around the Golden Calf" by Anders Ribbung
Back Cover: Images from "When Timbre Comes Apart" by Joran Rudi and Roget Nordby
Contents
----------------------------------
About This Issue
Editor's Notes--Stephen Travis Pope
Letters
Announcements
News
----------------------------------
Interview
An Interview with Paul Lansky--Joshua Cody
----------------------------------
History of Computer Music
Dreams of Computer Music-Then and Now--F. Richard Moore
----------------------------------
The State of the Art in Computer Music
That was Then-This is Now--Laurie Spiegel
"Freedom and Precision of Control"--Johannes Goebel
Computer Music, Coming and Going--John R. Pierce
A Perspective on Computer Music--Roger B. Dannenberg
Recent Developments in Computer Sound Analysis and Synthesis--Xavier Rodet
----------------------------------
Composition and Performance in the 1990s
Real-time Performance Interaction with a Computer-Controlled Acoustic
Piano--Jean-Claude Risset and Scott Van Duyne
----------------------------------
Performance Rules
The KTH Rule System for Singing Synthesis--Gunilla Berndtsson
----------------------------------
Synthesis and Transformation
Spectral Mutation in Soundhack--Larry Polansky and Tom Erbe
----------------------------------
Reviews
Events
JIM' 95: Journees d'Informatique Musicale, April 7-8, 1995, Paris,
France--Francois Pachet
ACM SIGGRAPH 95, 6-11 August 1995, Los Angeles Convention Center, Los
Angeles, California--Robert J. Owens
Michael Alcorn, Nicky Hind, Peer Landa, Jorge Sad, alt.music.out: Center
for Computer Research in Music and Acoustics (CCRMA) Summer Concert,
Stanford, California USA, 20 July 1995--Anna Sofie Christiansen
Publications
Trevor Wishart: Audible Design--T. X. Monda and Miller Puckette
Jerome Markowitz: Triumphs and Trials of an Organ Builder--L. S. DePaul
Recordings
Earl Howard: Pele's Tears--R. R. von Rhein
Marc Battier, Henri Chopin: Transparence-an audiopoem--Larry Wendt
Wreckin' Ball: The Hub-Live Computer Network Music with guest artists Alvin
Curran & The Rova Saxophone Quartet--Jonatas Manzolli
Christopher K. Koenigsberg: Brains-Audiophile Computer Music--Donna McCabe
Rainer Buerck and Frank Schweitzer: Beyond the Physical Scope--Lotte Heppner
Products
Bliss Paint for the Apple Macintosh--Neil Leonard III
----------------------------------
New Product Announcements
CD Program Notes
Instructions to Contributors
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About This Issue
This is the 20th anniversary issue of "Computer Music Journal" and it covers
a broad range of activity within the field. The editor's note is a "mission
statement" for the Journal; reader comment is invited.
In the opening article, Joshua Cody speaks with Paul Lansky, who is widely
respected as a composer of instrumental and electroacoustic music, and also
as a software developer for his cmix language. They discuss a number of
interesting musical and technical topics. The accompanying CD begins with Mr.
Lansky's recent composition "Word Color."
The history of computer music and a "snapshot" of the current state of the
art, science, and engineering discipline is given F. Richard Moore, long a
contributor to "Computer Music Journal" and active member of its editorial
advisory board. The article, "Dreams of Computer Music-Then and Now," is
presented in terms of several generations of dreams and realities for the
practitioners of computer music.
Over the four issues of Volume 20, "Computer Music Journal" will publish a
series of survey or overview articles under the title of "The State of the
Art." The first installment includes five short contributions by noted
authorities writing on their respective areas of expertise. Under the title
"That was Then-This is Now" Laurie Spiegel--arguably the grande dame of computer
music--presents several interesting premises about the new philosophy of
electroacoustic music production and presentation. Johannes Goebel discusses
our level of success in meeting the promise of digital music in his note on
"Freedom and Precision of Control." John R. Pierce--one of the founders of the
field--also addresses the original promise and potential of new instruments. A
more technical "Perspective on Computer Music" is given by Roger B. Dannenberg,
and Xavier Rodet has written up his assesment of "Recent Developments in
Computer Sound Analysis and Synthesis."
One of the most exciting areas of computer application in music is real-time
performance interaction and "interactive composition." In their in-depth
article, Jean-Claude Risset and Scott Van Duyne introduce and evaluate their
work using Max with a computer-controlled acoustic piano in Risset's work
"Duet for 1 Pianist."
The KTH rule system for singing synthesis is a new system of performance
rules for life-like computer interpretation of musical scores using a
custom-designed speech synthesizer. The system is based on work at the KTH in
Stockholm over the last 20 years. Gunilla Berndtsson describes the hardware
and software used in several generations of the system, and presents the new
singing rules and their use in musical contexts.
The topic of synthesis and transformation is addressed by Larry Polansky and
Tom Erbe in their article on "Spectral Mutation in Soundhack." They describe
extensions to Erbe's popular Soundhack program that implement various modes
of cross-synthesis and spectral morphing.
The reviews include several events, publications, recordings, and products.
Frequent Journal reviewer Robert J. Owens writes up the 1995 ACM SIGGRAPH
conference and Anna Sofie Christiansen discusses the CCRMA 1995 summer
concert. Under the publications, T. X. Monda and Miller Puckette present two
different views on Trevor Wishart's important new work "Audible Design."
There are also five (!) recording reviews.
A wide range of hardware and software new product announcements closes the
main text of the issue.
This is followed by the extensive program notes for "Computer Music Journal's"
20th Anniversary compact disc, which includes compositions and extended
musical examples that tie in to the articles in this issue. The CD are Paul
Lansky, Lejaren Hiller and Leonard Isaacson, Jean-Claude Risset, Emmanuel
Ghent, Laurie Spiegel, John Chowning, Jean-Claude Risset, Larry Polansky and
Tom Erbe, Gunilla Berndtsson, and Gerald Bennett.
Front cover. The front cover bears the title "The Dance Around the Golden
Calf" and was composed by the Swedish visual artist Anders Ribbung based on
photographic sources from photographer Annika von Hausswolff and with
post-processing by Stephen Travis Pope. This image also appeared on the cover
of the classic CD Welcome to LuckPeople Center by LPC on the MNW label.
Back cover: The images on the back cover are 3-D spectral plots from the
work When Timbre Comes Apart (1992-95) by Jeran Rudi (music) and Roger O.
Nordby (graphics). The work was realized at the University of Oslo in Norway
under the auspices of the Norwegian Network for Technology, Acoustics and
Music (NoTAM). The sounds were realized using Apple Macintosh and Silicon
Graphics Inc., Indy computers, and the Symbolic Sound, Inc. Kyma system. The
visual idea was based on using a sonogram as the data set for rendering. 4-D
curves were drawn manually to describe the camera placement relative to the
spectrum, and its movement along the time axis. The notation included camera
angle, focus and which characteristics the material in the rendering model
should have. The camera choreography chosen with the intention of augmenting
the musical development, either by focusing on the strong sounding parts of
the spectrum, or by showing connecting elements. More complete program notes,
as well as additional images, can be found on the world-wide web at the URL
http://www.notam.uio.no/~joranru. A video tape of the entire piece can be
purchased from the composer by sending electronic mail to joranru@notam.uio.no.
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CD Contents
------------------------------
To accompany the article "An Interview with Paul Lansky" by Joshua Cody
1 Paul Lansky--Word Color
12:45
To accompany the article "Dreams of Computer Music-Then and Now" by F.
Richard Moore
2 Lejaren Hiller and Leonard Isaacson--The ILLIAC Suite
(1957, excerpt-2nd movement)
2:58
3 Jean-Claude Risset--Computer Suite for Little Boy (1968, excerpt)
3:20
4 Emmanuel Ghent--Phosphones (1970-71, excerpt)
1:38
5 Laurie Spiegel--The Orient Express (1974, excerpt)
4:47
6 Laurie Spiegel--Improvisation on the Alles Machine (1977, excerpt)
3:00
7 Laurie Spiegel--Harmonia Mundi (1977, excerpt)
2:20
8 John Chowning--Turenas (1972)
8:40
To accompany the article "Real-time Performance Interaction with a
Computer-Controlled Acoustic Piano" by Jean-Claude Risset and Scott Van Duyne
9 Examples illustrating the MIDI feedback effect
0:12
10 Examples demonstrating that the time lag between excitation and
response depends upon loudness
0:18
11 Excerpt of "Doubles" from Jean-Claude Risset's "Duet for One Pianist"
0:16
12 Beginning of Anton Webern's "Variations" opus 27 nr 2
0:10
13 Beginning of "Extensions" from "Duet for One Pianist"
0:34
14 "Fractal" Chord
0:38
15 Stretching Factor
0:16
16 Excerpt of "Resonances" from "Duet for One Pianist"
1:00
17 "Kaleidoscope"
1:44
18 Excerpt of "Metronomes" from "Duet for One Pianist"
1:40
To accompany the article "Spectral Mutation in Soundhack" by Larry Polansky
and Tom Erbe
19 "Study: ba ba birthday have you any star" (Larry Polansky)
1:43
20 Electro-acoustic mutation examples (Larry Polansky)
1:26
21 Mutation examples of recorded (LP) excerpts (Tom Erbe)
2:11
22 Mutations of children's voices (Larry Polansky)
1:04
23 Mutations of time-stretched children's voices (Larry Polansky)
1:18
24 Original sounds used with PAST (Christopher Langmead)
0:24
25 PAST morphs (Christopher Langmead)
0:30
To accompany the article "The KTH Rule System for Singing Synthesis" by
Gunilla Berndtsson
26 "Kyrie"
0:32
27 Gerald Bennett--Limmericks
3:08
28 Brigitte Robindore--Comme etrangers et voyageurs sur la terre (1992, excerpt)
2:08
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For more information, see http://www-mitpress.mit.edu/Computer-Music-Journal/
___Stephen Travis Pope, Editor--Computer Music Journal, MIT Press
___Research Director--Center for Research in Electronic Art Technology (CREATE)
___Department of Music, U. of California Santa Barbara (UCSB)
___stp@create.ucsb.edu, http://www.create.ucsb.edu/~stp/
Please note that our department web page URL has been changed (without prior warning): http://www.sun.rhbnc.ac.uk/Music instead of http://www.rhbnc.ac.uk/Music before all sub-directories. This will affect the following well-used links in particular: 1997 IMS Conference CFP: http://www.sun.rhbnc.ac.uk/Music/Conferences/IMS/ List of music departments worldwide: http://www.sun.rhbnc.ac.uk/Music/Links/musdepts.html Dissertation abstracts: http://www.sun.rhbnc.ac.uk/Music/Archive/Disserts/ Syllabi for women's studies in music: http://www.sun.rhbnc.ac.uk/Music/Archive/Women/ Royal Holloway Yellow Pages: http://www.sun.rhbnc.ac.uk/Music/Links/ Geoffrey Chew Music Department, Royal Holloway College (University of London) Internet: chew@sun.rhbnc.ac.uk World Wide Web: http://www.sun.rhbnc.ac.uk/~uhwm006/
CALL FOR PAPERS VII. PACIFIC NORTHWEST MUSIC GRADUATE STUDENTS' CONFERENCE 28-29 September 1996 University of British Columbia Vancouver, B.C. Canada This annual conference is hosted alternately by the University of British Columbia, the University of Victoria, and the University of Washington. Graduate students from across Canada and the U.S. are invited to submit proposals for papers on any music-related topic (including musicology, theory, ethnomusicology, performance practice, composition, music cognition and perception, etc.). Lecture recitals and works-in-progress are welcome. Presentations will be limited to 25-30 minutes, followed by a brief discussion. Submission deadline for proposals is 15 July 1996, with notification of acceptance by 15 August 1996. Please submit proposals (approx. 250 words) along with e-mail address (if available) to: Melinda Boyd, Coordinator VII. Pacific Northwest Music Graduate Students' Conference c/o School of Music University of British Columbia 6361 Memorial Road Vancouver, B.C. Canada V6T 1Z2 For further information, contact Melinda Boyd via e-mail mjean@unixg.ubc.ca or by regular mail.
GAMUT Journal
Call for Articles for Volume 7 (Fall 1996)
Articles should be postmarked by Friday, May 31 to be considered for
the Fall 1996 issue.
GAMUT welcomes articles dealing with all aspects of music theory,
including pedagogy, analysis, history, and book reviews. Contributors
should submit three 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 should be camera-ready.
Copyright privileges, if required for publication, should be secured
in advance.
Editorial Committee for Volume 7, 1996
Joseph Auner
David Bernstein
Severine Neff
Frank Samarotto
Susan Tepping
Membership in the Georgia Association of Music Theorists includes a
subscription to the GAMUT Journal. Annual dues are $25 for regular
members, $30 for dual members (two members at same address, one copy
of mailings) and $15 for students and retired faculty.
Address inquiries for subscriptions, manuscripts, proposals for
reviews, or any other responses and communications to:
Kristin Wendland
Music Department
Morris Brown College
643 Martin Luther King Drive
Atlanta, GA 30314
(404) 220-0045
ir002842@interramp.com
After May 10:
643 Delmar Ave. SE
Atlanta, GA 30312
(404) 622-4891
Kristin F. Wendland, Ph.D.
Music Department
Morris Brown College
Office Phone: (404) 220-0045
Fax: (404) 220-0261
e-mail: ir002842@interramp.com
3rd congress of Music Theory
Friday 10 May to Sunday 12 May 1996
Vienna
Time in Music - Music in Time
PARTICIPANTS
Prof. Dr. Clemens Kuehn (Schubert)
Mag. A. Huber ("Lied ohne Worte")
Prof.Dr.G. Gruber (composed time - interpr. time - time analyzed)
Dr. Heinz von Loesch ("Final gerichtete Zeit bei Beethoven?")
Prof.Dr. Marie Agnes Dittrich (Mozart-Salieri)
Prof.Mag. Diether de la Motte (Dream, Sleep and Death. - Schumann songs)
Mag. Thomas Dezsy (Movement or Rhythm?)
Dr. Barbara Berthelmes (New Art in space/time/movement)
Prof. Dr. Wolfgang Auhagen (Determinanten des Tempoempfindens)
Prof. Werner Schulze (time in motion - Motion in time)
Prof. Dr. Helge de la Motte (Zeitschichten Berlioz-Messiaen)
Prof. Dr. Guenter Roetter (psych. time perception in music)
The texts will appear in a book later this year. Also the collection of essential essays by Prof. Dither de la Motte will be available this
year. If there is interest, I could arrange texts of this congress
to be sent via email.
Thomas Dezsy, MA
Vienna, Institute of Music Theory
Musikhochschule Wien
email: zOoN@ping.at
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