MTO Announcements

MTO 2.5 1996

Announcement Menu

  1. Music Theory Society of New York State, Annual Meeting
  2. Society for Seventeenth-Century Music, Fifth Annual Conference
  3. Keele University, Studies in Music Psychology
  4. Amazing Maze: An Infinite Interactive Realtime Composition
  5. Leonardo Music Journal, Volume 5, 1995
  6. GAMUT 1997 Meeting, Call for Papers and Proposals
  7. Indiana Theory Review, Volume 17.1
  8. Music Theory Spectrum, Volume 18.1

Music Theory Society of New York, State Annual Meeting

				Annual Meeting
			Music Theory Society of New York State
		Eastman School of Music of the University of Rochester
			       12-13 April 1997


	The Program Committee invites proposals for papers and presentation 
on any topic.  Areas of particular interest include:

		* Analysis Symposium on Bartk, 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-minutes slots, with about 30 minutes for reading and 
15 minutes for possible response or discussion.

	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

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 14850

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Society for Seventeenth-Century Music, Fifth Annual Conference

                       Fifth Annual Conference
                          April 11-13, 1997
             Florida State University, Tallahassee, Florida

                          CALL FOR PAPERS

The Program Committee solicits proposals on all aspects of
seventeenth-century music and musical culture.  In addition to topics
directly concerned with music history, we welcome those dealing with other
fields (e.g., literature, the visual arts, other performing arts, other
aspects of cultural history) as they relate to music.  Any national focus or
methodology will be welcome.  

We encourage presentations in a variety of formats, such as papers,
lecture-recitals, demonstrations, workshops, seminars, and roundtable
sessions. In general, papers will be limited to 20 minutes (not including
discussion) and lecture-recitals to 45 minutes.  Requests for additional
time will be considered but must be justified in the proposal.

Only one abstract will be considered from any individual, and 1996
presenters should not submit proposals for 1997.  Abstracts will remain
anonymous until the final formulation of the program.  The committee will
notify submitters of the results around mid-January.

Guidelines for abstracts:

1. Limit the length to no more than two pages.

2. For conventional papers, an abstract should include a clear statement of
the issue or issues being explored, the methodology used, and the
conclusions.  For seminars or other less conventional formats, the abstract
should give as much information as possible; we encourage early submission
of such abstracts, so that the committee might have an opportunity to
request additional information.

3. State any anticipated needs for equipment at the end of the abstract.

4. Send five copies: one identified with your name, address, telephone, fax,
and e-mail address (as applicable); and four anonymous.

5. Do not send tapes or other supporting material at this time.

6. Abstracts from outside the United States may be sent by fax (one copy
only) to Lois Rosow at 614-292-1102.

7. Abstracts must be postmarked no later than October 1, 1996.

8. Mail to Lois Rosow, SSCM Program Committee Chair, School of Music, Ohio
State University, 1866 College Road, Columbus, OH 43210-1170.

Program Committee: Robert Holzer (Princeton University); Carol Marsh
(University of North Carolina at Greensboro); Lois Rosow, chair (Ohio State
University); Steven Saunders (Colby College)

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Keele University, Studies in Music Psychology

             Unit for the Study of Musical Skill and Development

                 Opportunities for postgraduate studies in 

                              MUSIC PSYCHOLOGY

                     - coursework leading to MSc  
                     - research leading to MPhil or PhD


Keele University offers international expertise in many core areas of music
psychology, including music cognition and memory, music performance
technique and expression, emotional responses to music, musical expertise,
development of musical skills in children and adults, music teaching and
learning, social psychology of music, perception and cognition of musical
structure, and computer modelling techniques.

The Unit for the Study of Musical Skill and Development currently has three
permanent staff.

Professor John Sloboda (pianist, choral conductor):
            music cognition, emotion, performance, skill

Dr Richard Parncutt (pianist, music theorist):
            music perception, harmony, tonality, rhythm

Dr Susan O'Neill (flautist, music teacher):
            musical development, social psychology, education 

              >>>>  MSc in Music Psychology   <<<<<< The MSc in Music Psychology will be offered for the first time in the 1996/97 academic year. It takes one year full-time, or two to three years part-time. The course aims: to acquaint students with the main areas of contemporary research in music psychology; to enable students to reflect critically on relevant areas of professional practice music performance, music teaching, broadcasting and recording, music therapy in the light of psychological knowledge; and to equip students with the skills necessary to design, execute, and report empirical psychological investigations in an area of music psychology relevant to their individual background, skills and interests. The course is open to graduates with a first or a second class degree in psychology, music, or education with music as a specialism. Other relevant subject areas and qualifications (e.g., sociology, linguistics, electronics, acoustics, music technology, education, neuroscience) may be considered where the work undertaken has relevance to music, particularly where the student can point to relevant professional or recreational experience such as a significant involvement in music performance. All students take the following four modules: Contemporary issues in music psychology research Options* Project design Project execution *There are four options, of which each student takes two: Research methods in psychology Elements of musical structure Issues in education Music Perception The course is assessed through coursework, dissertation, and verbal presentation of research results. There are no examinations. The length of written work for each full module is approximately 9,000 words. An external examiner attends the final research presentations. The course has a dedicated seminar/resources room for on-campus study and meetings. Students have full access to departmental and university computing facilities for word processing, statistical analysis, on-line control of experiments, and access to the internet. The Department of Psychology is supported by four expert technical staff, specialising in computing, electronic, audio-visual and mechanical design requirements. Keele is a campus university with over 6,000 students. It is located in a peaceful, spacious rural setting amidst woods and lakes on the western outskirts of the ancient market town of Newcastle-under-Lyme and the Six Towns of the Potteries. It is the UK's leading interdisciplinary university, with undergraduates undertaking a more varied mix of subjects than is usual in most other universities. Cultural life at the university includes weekly classical concerts by national and international performers, and numerous amateur musical events. The campus has good sporting facilities, a day nursery, and medical, counselling and career services. The campus halls of residence include specially reserved blocks for postgraduate students. By car, Keele is one hour from both Birmingham and Manchester, and three hours from London. By public transport, Keele is 20 minutes by bus from the railway station of Stoke-on-Trent. Trains from Stoke to London Euston take two hours, and run hourly on weekdays. Subject to approval, fees for the 1996/97 session are as follows: UK/EU students 622.50 pounds sterling per module non-EU students 1506.25 pounds sterling per module Students with good undergraduate results may obtain funding for full-time study from various foundations and public funding bodies. Initial enquiries regarding graduate teaching assistantships and ESRC research studentships should be made by February of each year. For further information on the MSc prior to making a formal application, please contact the course director, Professor John Sloboda, or one of the other team members: tel email John Sloboda +44 1782 583387
Richard Parncutt      +44 1782 583392
Susan O'Neill         +44 1782 584261      s.a.o'

or write to:

Unit for the Study of Musical Skill and Development
Department of Psychology
Keele University
Keele, Staffordshire ST5 5BG
Fax +44 1782 583387

For application forms and further information about admissions, contact:

Postgraduate Admissions
Department of Academic Affairs
Keele University
Keele, Staffordshire ST5 5BG
Tel +44 1782 584002
Fax +44 1782 632343

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Amazing Maze: An Infinite Interactive Realtime Composition

                           AMAZING MAZE (1996 ff.)

              an infinite interactive realtime composition for
           sampled sound particles and optional Live-Performer(s)

                             by Karlheinz Essl

can be downloaded from algo.comp ftp-server

This freeware program comes as a binhexed StuffIt archive (2 MB) containing
a runtime version of MAX (MAXplay 3.0), a huge library of compositional
software routines (RTC-lib) and a resource file composed of 45 instrumental
sound particles (16bit, 22 kHz, mono).

System & Software Requirement

   * Apple Macintosh Computer with at least 8 MB of RAM, System 7.x
   * SoundManager 3.x installed

NB: The program plays directly through the sound output of the Macintosh
and does not need any additional hardware.


AMAZING MAZE is realtime composition environment for Apple Macintosh
computers. It is represented by a computer program which generates music by
manipulating sampled instrumental sound particles according to certain
compositional strategies. These are carried out in 6 so called "modules":

   * nuages:  generates clouds of an accelerando/ritardando rhythm with
              crescendo/decrescendo dynamic envelope

   * pulse:   creates an even rhythmic pulsation

   * brown:   applies brownian movement algorithms on different musical

   * complex: synthesizes a complex rhythm with chord qualities

   * chords:  produces chords of different densities

   * ferm:    generates fermatas which will globally stop the stream of

The compositional algorithms of the modules are programmed in MAX (an
interactive graphical programming environment) by taking advantage of my
"Real Time Composition Library" (RTC-lib). This collection of software
modules offers the possibility to experiment with a number of compositional
techniques, such as serial procedures, permutations and controlled
randomness. More information about the RTC-lib can be found on the
World-Wide Web under the URL:


The sounds used in AMAZING MAZE have been taken from instrumental
recordings of flute, bass clarinet, prepared piano, and percussion which I
did with musicians of the Ensemble "Klangforum" (Vienna) in 1992. The same
sound material was used for the creation of the electronic part of
"Entsagung" (1991-93) for ensemble and interactive live electronics, which
was commissioned by IRCAM (Paris).

A variety of interfaces allows different interactions with this music
machine which allows its usage as an electronic improvisation device
(alone, or together with instrumental live performers).

More informations about AMAZING MAZE can be found at:


Dr. Karlheinz Essl
SAMT - Studio for Advanced Music & Media Technology
Bruckner-Konservatorium Linz (Austria)

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Leonardo Music Journal, Volume 5, 1995

LEONARDO MUSIC JOURNAL Volume 5, 1995--*Now Available*

". . . really interesting . . . marvelous. . . ."  
__CMJ New Music Report__

     Published annually by The MIT Press for Leonardo/
     International Society for the Arts, Sciences and 
     Technology (ISAST), Volume 6 forthcoming
     100-120 pp. per issue, 8 1/2 x 11, illustrated
     Founded: 1968
     ISSN 0961-1215

Roger F. Malina, Executive Editor

LEONARDO MUSIC JOURNAL (LMJ)  is the companion annual to the high-
tech arts bimonthly, LEONARDO.  Both journals are official 
publications of Leonardo/ISAST.  Each yearly issue of LMJ comes 
with a compact disc.  LMJ features the latest in music, multimedia 
art, sound science and technology.  Institutional subscribers to 
LEONARDO receive LMJ as part of a yearly subscription. Individuals 
may choose to include LMJ with their subscription to LEONARDO.  TO 
ORDER, see below.


Table of Contents

An Unheard-of Organology
By Douglas Kahn

Chromatic Notation of Music: Transforming Bach and Webern into Color and Light
By Brigitte Burgmer

Orchestrating the Chimera: Music Hybrids, Technology and the Development of a 
"Maximalist" Musical Style
By David A. Jaffe

Acoustic and Virtual Space as a Dynamic Element of Music
By Pauline Oliveros

More than Just Notes: Psychoacoustics and Composition
By Robert HP Platz

Reflections on Collaborative Process and Compositional Revolution
By Diane Thome

Thresholds of Confidence: An Analysis of Statistical Methods for
Composition. Part I: Theory
By Charles Ames

The History of Electroacoustic Music in the Czech and Slovak 
By Libor Zajicek

A Hierarchical Theory of Aesthetic Perception: Scales in the 
Visual Arts
By Pavel B. Ivanov

Inventing Images: Constructing and Contesting Gender in Thinking 
about Electroacoustic Music
By Andra McCartney

Curated by Marc Battier with Mamoru Fujieda, Hinoharu Matsumoto 
and Kazuo Uehara

CD Introduction and Contributors' Notes

Reviews: Book, Compact Discs, Materials Received

1995 Index: LEONARDO Volume 28 and LEONARDO MUSIC JOURNAL Volume 5 


LEONARDO MUSIC JOURNAL 1996 Subscription Prices

*Subscriptions are for the volume year only.  Prices subject to 
change without notice.  Prepayment required.*

Individual (to LEONARDO)
(w/companion volume LMJ)            $ 65.00

Institution (to LEONARDO)
(w/companion volume LMJ)            $320.00

Outside U.S.A. add $22.00 postage and handling. Canadians add 
additional 7% GST.

TO ORDER, contact:

Circulation Department
MIT PRESS JOURNALS   55 Hayward Street
Cambridge, MA   02142-1399  USA
(617) 253-2889 (TEL)/(617) 577-1545 (FAX)

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GAMUT 1997 Meeting, Call for Papers and Proposals

EVENT: GAMUT 1997 Meeting/Call for Papers and Proposals

HOST: University of Georgia, Athens, GA

DATE: February 21-22, 1997

The Georgia Association of Music Theorists (GAMUT) will hold its
annual meeting at the University of Georgia School of Music February
21-22, 1997.  Gary Wittlich (Indiana University) will give the keynote
address on music technology in the 21st century.

GAMUT invites papers dealing with any aspect of music theory and
proposals for a Friday evening panel session dealing with any aspect
of theory pedagogy to be submitted for the meeting.  Papers should be
30-45 minutes in length, and panel session should be 1 1/2 hours.
Manuscript submissions should be double spaced with 1-inch margins.
Submisions should be postmarked by Monday, December 16, 1996.  Send
four copies with a short abstract to Professor Leonard Ball at the
contact address below.

GAMUT membership fee is $25 and includes a copy of the GAMUT Journal.


Leonard Ball
University of Georgia
School of Music
250 River Road
Athens, GA  30602

Phone:   (706) 542-2800
Fax:     (706) 542-2773

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Indiana Theory Review, Volume 17.1

I am pleased to announce the publication of  vol. 17/1 of the Indiana Theory 
Review.  This issue returns to an eclectic format that features various 
essays on an assortment of topics related to music theory.  The contents 
include the following:

Byron Almen, "Prophets of the Decline: The Worldviews of Heinrich 
Schenker and Oswald Spengler"

Ira Braus, "Dancing to Haydn's Fiddle: A Reply to Floyd Grave's `Metrical 
Dissonance in Haydn'" 

Edward Pearsall, "Multiple Hierarchies: Another Perspective on Prolongation"

Student Forum: Gender Issues in Music Theory

	Lyn Burkett, "Feminist Music Scholarship: An Informal Guide to 
	`Getting It'"

	Barbara White, "Difference or Silence?: Women Composers between 
	Scylla and Charybdis"

Robert Hatten, Review of John Rink, ed., "The Practice of Performance: 
Studies in Musical Interpretation" 

Vol. 17/2 (Fall 1996) will focus on the topic of musical time, with 
essays by David Epstein, Marianne Kielian-Gilbert, Jonathan Kramer, and 
Lewis Rowell, and reviews by Vincent Benitez, Richard Littlefield, and 
Gary Wittlich (Epstein's "Shaping Time").  I am pleased to announce that 
William Tilghman will succeed me as editor of ITR with this particular 
issue as his first assignment.  

ITR always welcomes essays and articles on topics related to music 
theory from potential contributors, especially from students.  Please 
address all inquiries to the information contained in my signature file. 

Vincent Benitez
Editor, Indiana Theory Review
School of Music
Indiana University
Bloomington, IN 47405

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Music Theory Spectrum, Volume 18.1

Music Theory Spectrum
The Journal of the Society for Music Theory
Joel Lester, editor

Contents of Volume 18, No. 1 (Spring, 1996):

Peter Westergaard
Geometries of Sounds in Time

Henry Burnett and Shaugn O'Donnell
Linear Ordering of the Chromatic Aggregate in Classical Symphonic 

Eric McKee
Auxiliary Progressions as a Source of Conflict between Tonal Structure 
and Phrase Structure

Joseph H. Auner
In Schoenberg's Workshop: Aggregates and Referential Collections in 
Die gl,ckliche Hand

Nicholas Cook
Review Essay: Putting the Meaning Back into Music, or Semiotics 
Revisited: Robert Hatten. Musical Meaning in Beethoven: Markedness, 
Correlation, and Interpretation Eero Tarasti. A Theory of Musical 

Richard Kaplan
Review of Daniel Harrison. Harmonic Function in Chromatic Music: 
A Renewed Dualist Theory and an Account of Its Precedents

Music Theory Spectrum is sent to all current members of the 
Society for Music Theory. Regular membership dues: $45 per year, 
$55 for dual members (two members at the same address; one copy 
of mailings), $20 for student members, $30 for dual student members 
(two student members at the same address; one copy of mailings), 
and $30 for emeritus members. Libraries and other institutions 
subscribe at the rate of $48 per year. Kindly add $15 per year for 
subscriptions outside of North America. Applications for membership 
and available back issues may be addressed to

	Cynthia Folio, Treasurer SMT 
	Esther Boyer College of Music
	Temple University 
	Philadelphia, PA 19122 

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