MTO Announcements

MTO 2.7 1996

Announcement Menu

  1. Music Theory South East--Call for Papers
  2. Sandra Pinegar--Database of 13th century treatises
  3. Music of Japan Today III--Call for Papers
  4. Realtime Composition Library for MAX
  5. AMS South-Central Chapter--Call for Papers
  6. South Central Society for Music Theory--Home Page Announcement
  7. South Central Society for Music Theory--Call for Papers
  8. Feminist Theory and Music 4--Call for Papers
  9. The Mendelssohns at the Millenium--Conference Announcement
  10. West Coast Conference of Music Theory and Analysis--Call for Papers
  11. Texas Society for Music Theory--Call for Papers
  12. Tijdschrift voor Muziektheorie--New Issue

Music Theory South East--Call for Papers
Call for Papers
Music Theory South East
Sixth Annual Meeting Winthrop University, Rock Hill, SC March 14 and 15, 1997
Proposals are solicited on any theory-related topic. These may include papers (approximately 30 minutes in length), panel discussions, or special interest sessions. Proposals for panel discussions should include a list of participants. Submissions must include: 1) seven copies of a proposal approximately 3-4 pages in length, with the author's name omitted; 2) an abstract of approximately 250-300 words, suitable for publication, with the author's name omitted; and 3) a cover letter giving the title of the proposal, the author's name, address (including e-mail address, if available), telephone number, and specification of technical requirements. Submissions should be postmarked no later than December 1, 1996, and should be sent to: Thomas Huener, Program Chair School of Music East Carolina University Greenville, NC 27858 phone: 919 328-1247 e-mail: The Program Committe for the 1997 meeting includes Thomas Huener, Ann Hawkins (University of South Florida), Severine Neff (UNC-Chapel Hill), Renee McCachren (Catawba College), and Rob Cunningham (student, Florida State University ). Officers of MTSE for 1995-96 include: President: Renee McCachren, Catawba College Treasurer: Paul Wilson, University of Miami Secretary: J. Kent Williams, University of North Carolina-Greensboro Members-at-Large of Executive Committee: Thomas Huener, East Carolina University Bruce Thompson, Winthrop University Music Theory SouthEast includes the geographical region of Virginia, North Carolina, South Carolina, Georgia, Florida, Alabama, and Mississippi. Membership is open to interested persons from all regions of the country. To join, contact Paul Wilson at the University of Miami (305) 284-4866; Dues are $10 for faculty and $5 for student members. J. Kent Williams School of Music UNC-Greensboro Greensboro, NC 27412-5001 Phone: (910) 334-5468 Fax: (910) 334-5497 E-mail:
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Sandra Pinegar--Database of 13th century treatises
I would like everyone to know  about a new hypertextual
database in progress.  It deals only with 13th-century
theoretical treatises, but the transcriptions are my own from
the original manuscripts.  Entitled THEMA, its web address
is (lowercase).  
This project is
an extended part of my 1991 dissertation on 13th-c theory.
I hope you will find the hypertextual aspects intriguing.
THEMA is cross-ref'd to the TML project.  It is a site that
will no doubt remain "under construction" for some time.
Some proofing remains to be done and an abundance of
links to be set up.  Any comments you may wish to make to
contribute to this project will be warmly received and
graciously acknowledged. 

Thank you - Sandra Pinegar
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Music of Japan Today III--Call for Papers
EVENT: "Music of Japan Today III:  Tradition and Innovation"

HOST: Hamilton College
Clinton, NY

DATE: April 5-6, 1997


Guest composers:  Toshiro Mayuzumi, Harue Kunieda, P.Q. Phan

[web page with further information at:]

Theme of the symposium:

Western art music has been a part of widespread cultural life for
a relatively short time in Japan.  Much music in Western-style
written by Japanese composers has been created through stylistic
imitation and adaptation of nineteenth-century styles from
Europe.  It is only in the last forty-five years that some
Japanese composers have become more individualistic; concerned
with reflecting philosophical and musical elements from their own
culture, they have begun to discover and develop their own music.
The most successful of this music represents a powerful
cross-fertilization of aesthetics and musical characteristics
from both East and West.  This new Japanese music is reflective
of a variety of aspects of contemporary Japanese society, all of
which are deeply rooted in a national aesthetic, psychology, and
culture that has evolved over many years.

Hamilton College will host a third two-day symposium of
performances, lecture-recitals, panel discussions, and paper
presentations on topics that concern new Japanese music from the
widest possible range of disciplines and expertise.  Two
composers of international stature from Japan will be present at
the symposium, in addition to special guest composer P.Q.  Phan

Performances during the symposium will include a broad range of
works for different genres (solo instrument, chamber music,
orchestra) by Mayuzumi, Kunieda, and Phan, as well as Toru
Takemitsu, Joji Yuasa, and others.  They will include the
premiere of a new work for orchestra by Kunieda.  The performers
for these concerts will include members of the Syracuse Society
for New Music, and faculty and students of Hamilton College.

Call for papers or lecture/recitals:

Papers -
abstracts of no more than 300 words on any topic relating to the 
theme of the symposium.  The review committee will take special 
interest in proposals that address:

1) music and ideas of the guest  composers.  Interdisciplinary 
topics are welcomed, including (but not limited to) those that 
discuss Mayuzumi's opera *Kinkakuji* (Mishima).

2) concepts of time and space in the cultures and traditional 
arts of Japan from perspectives (any or all) of (but not 
limited to) the following disciplines: Comparative Literature, 
Religion, Japanese Language, Philosophy, History, Asian 
Studies, Theatre, Art History, Architecture, Music.

Lecture/recitals -
30 minutes
cassette tape of performance and short abstract (200 words)

The Review Committee welcomes a cassette tape submission by solo 
performers for a performance of a solo work of Mayuzumi or a 
solo work of Takemitsu (to commemorate his recent death).  
Winners will receive a $250 honorarium and performance 
opportunity at the April 6 concert. (for information about 
availability of scores, please contact E. Michael Richards)

Submissions postmarked on or before FEBRUARY 1, 1997 and sent 
to one of the two Directors:

E. Michael Richards
Associate Professor of Music
Department of Music
Hamilton College
Clinton, NY  13323
phone = 315-859-4353
email =

Kazuko Tanosaki
Lecturer in Music
89 Dewey Ave.
Fairport, NY  14450
fax = 716-425-8525

Music of Japan Today III:  Tradition and Innovation
(as well as symposia I and II)
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Realtime Composition Library for MAX
new version of "Realtime Composition Library for MAX" released

This software library for algorithmic composition runs under 
the MAX programming environment (c OPCODE) on a Macintosh. It 
has been uploaded as a self-extracting binary StuffIt archive 
(1.6 MB: freeware) to:

The RTC-lib is a collection of patches for MAX which offers the possibility
to experiment with a number of compositional techniques, such as serial
procedures, permutations and controlled randomness. Most of these objects
are geared towards straightforward processing of data. By using these
specialized objects together in a patch, programming becomes much more
clear and easy. Many functions that are often useful in algorithmic
composition are provided witthis library - therefore the composer could
concentrate rather on the composition than the programming aspects.

More informations, online documentation and release notes can be found at:

This new distribution comes with several compositional examples which
demonstrate the use of the RTC-Lib with the different multimedia components
of the Macintosh. Please note that all these patches can be played without
any additional hardware, just from the Macintosh itself.
* LEXIKON-SONATE (1992 ff.) - vs. 1.4
          interactive realtime composition for computer-controlled piano

          - using MIDI resp. Quicktime GM Synthesizer
* LEXICON-ORACLE (1996) - vs. 1.1
          infinite text installation revealing the mysteries of
          "Lexikon-Sonate" - using SpeechManager / PlainTalk
* AMAZING MAZE (1996) - vs. 1.5
          interactive realtime composition for sampled sound particles and
          live performer/s - using SoundManager
* INTERFERENCES (1996) - vs. 1.0
          interactive realtime composition for percussion sounds
          - using General MIDI Percussion Instruments of Quicktime 2.5

Cheers - and happy MAXin'
Dr. Karlheinz Essl
 SAMT - Studio for Advanced Music & Media Technology
 Bruckner-Konservatorium Linz / Austria

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AMS South-Central Chapter--Call for Papers
Below is a call for participation in the 1997 annual meeting of the 
South-Central Chapter, American Musicological Society.  We invite you 
to send us your best papers.

To those students who attend colleges or universities in the South-
Central Chapter (Kentucky, Tennessee, Georgia), please note that you are 
eligible to participate in the Rey Longyear Student Paper Competition.

Stephen Shearon
Middle Tennessee State University

Annual Meeting
April 11-12, 1997
Middle Tennessee State University
The Program Committee of the South-Central Chapter of the American Musicological Society invites all interested persons to submit paper proposals for inclusion in the chapter's 1997 Annual Meeting, to be held on the campus of Middle Tennessee State University in Murfreesboro on Friday and Saturday, April 11 and 12, 1997. You may send abstracts of your papers to the Program Chair: Professor Stephen Crist Department of Music Emory University Atlanta, GA 30322 FAX: (404) 727-0074 E-MAIL: If applying by mail, send three copies of each abstract, postmarked no later than January 13, 1997. If submitting by FAX or e-mail, send only one copy on or before January 15, 1997. Abstracts should be prepared in a manner suitable for direct publication in the _Abstracts of Papers_ booklet. The title should appear at the top of the page, the author's name and institutional affiliation or city of residence at the bottom. To facilitate evaluation, please make your methods and conclusions as explicit as possible. Plan your paper not to exceed 25 minutes. Student abstracts should be accompanied by a brief letter of support from a faculty member. Students in the South-Central Chapter may earn a cash award by participating in the Rey M. Longyear Student Paper Competition. This award, in memory of Professor Rey M. Longyear, a long-time faculty member at the the University of Kentucky, currently awards a prize of $100. (See guidelines below.) Please post this announcement, and feel free to circulate it to colleagues and students who may not yet be members of the South-Central Chapter. We look forward to greeting you on the campus of Middle Tennessee State University this spring. Stephen Shearon, President GUIDELINES THE REY LONGYEAR STUDENT PAPER COMPETITION in memory of Professor Rey M. Longyear 1. Only undergraduate and graduate students attending a South-Central Chapter college or university are eligible to take part in the competition. 2. Those wishing to enter the competition should submit an abstract of the paper they would like to read to the Chair of the Program Committee by January 13, 1997 if applying my mail, by January 15, 1997 if applying by FAX or e-mail. (See the instructions and address above.) Please note: at this time do not send the paper itself; send only an abstract. 3. Any paper accepted for inclusion on the program is eligible for consideration for this prize. 4. After acceptance, the complete text of the paper, together with copies of any supporting materials to be presented with it (for example, handout, cassette copy of musical examples, list of slides to be shown) should be submitted, in three copies, to the Program Committee Chair (address above) by March 15, 1997. 5. The submission should be accompanied by a statement from the student's academic adviser affirming the applicant's student status. 6. The Program Committee of the South-Central Chapter shall determine the winner of the competition, evaluating the submissions as papers to be read at the chapter meeting rather than as articles to be published. (Notes, bibliography, and other scholarly apparatus will not be a prime consideration of the evaluation.) 7. The competition winner will be announced, and the prize awarded, at the annual chapter meeting. The current amount of the prize is $100. 8. If in the opinion of the Program Committee the papers submitted are inadequate in number or quality, the competition will not take place that year. 9. Identities of the authors of papers not winning the competition will not be revealed by the Program Committee. As always, students in the South-Central Chapter are invited to submit abstracts for the meeting whether or not they intend to participate in the Student Paper Competition.
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South Central Society for Music Theory--Home Page Announcement
The South Central Society for Music Theory would like to announce
the formation of the SCSMT Home Page on the World Wide Web.  This
site contains information about the society, its conferences,
abstracts from the 1996 meeting, and links to other music theory
resources on the internet.  The SCSMT Home Page also contains
information about the new SCSMT Student Award, and a Call for
Papers for the 1997 Conference at the University of Mississippi,
March 21-22.

Please visit us at the following URL:

Robert Peck
Louisiana Tech University
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South Central Society for Music Theory--Call for Papers
South Central Society for Music Theory
University of Mississippi
21-22 March 1997
The South Central Society for Music Theory will have its annual meeting March 21-22, 1997, at the University of Mississippi in Oxford, MS. The Program Committee invites papers which deal with any aspect of music theory, its analysis, history, and pedagogy. Papers should be approximately 30 minutes in length. Proposals for panels should include a list of panelists.
Please submit 4 copies of a 1-2 page abstract with the author's name omitted. Identify the proposal title, author's name, address, phone number, e-mail address (if applicable) and any equipment needs for the presentation in the cover letter. Full-time students may be eligible for the $100 SCSMT Student Award. To be considered, please indicate full-time student status in the cover letter; candidates will be required to submit a hard copy of the full paper prior to the conference. Proposals should be postmarked no later than December 1, 1996. Presenters will be notified around January 15, 1997. Send to: Professor Robert Peck SCSMT Conference 820 Ponder Street Ruston, LA 71270 The program committee consists of the following people: Robert Peck (Chair), Andrew Fox, Linda Shipley, and Matthew Champagne.
The South Central Society for Music Theory consists of the following states: Alabama, Arkansas, Kentucky, Louisiana, Mississippi, Missouri, and Tennessee. People from all regions of the country are invited to submit proposals and to become members of SCSMT. For more information on SCSMT, please view our Website: Robert Peck Louisiana Tech University
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Feminist Theory and Music 4--Call for Papers
Feminist Theory and Music 4
Charlottesville VA June 5 - 8 1997
The Program Committee invites proposals for Feminist Theory and Music 4, an interdisciplinary conference to be held on the grounds of the University of Virginia in Charlottesville, VA, June 5-8, 1997. This is the fourth in a series of biannual conferences on feminist studies of music (Minneapolis, 1991; Rochester, 1993; Riverside, 1995). All proposals that consider music in relation to feminism, women's studies, gender studies, and lesbian/gay/queer studies are welcome. There are no restrictions on kinds of music, approaches and methods, or academic field of the presenter. We particularly encourage submissions that highlight one or more of the following concerns: (1) the relationship of race, ethnicity and/or class to feminist thinking about music; (2) the use of ethnomusicological methods for such thinking, or the implication of feminist theory for ethnomusicological research; (3) music-making by women in contemporary life, including the work of living women composers; (4) gender concerns in relation to avant-garde musics such as electronic music and performance art. As at previous conferences, we will welcome offerings on current popular music and the history of European art music. While we expect that many presentations will take the form of 20-minute scholarly papers, we are open to other uses of the 20-minute time, including presentations that are innovative in format (for instance, presentations that involve performance, collaboration, interaction, or forms of discourse that are not traditional in academic settings). Proposals should be at most 250 words, stating the goal or argument of the presentation, explaining its contribution to feminist studies of music, and identifying any unusual aspects of format or presentation. Proposals may be submitted electronically or in hard copies. We cannot accept proposals by fax. We strongly encourage electronic submission by sending email to Email submissions must be sent by midnight February 1, 1997. Email submissions should include the author's name, address, and phone number (these will be deleted when the message is sent to the Program Committee). Email submissions will be acknowledged by email reply. If you prefer you may submit hard copies by mailing 15 copies of a 1-page proposal to Fred E. Maus, Feminist Theory and Music, Department of Music, University of Virginia, Charlottesville VA 22903. The postmark deadline for submission of hard copies is February 1, 1997. Enclose a cover letter giving the author's name, address, and phone number and the title of the proposal. The proposal itself should not reveal the author's identity. Enclose a stamped, self-addressed postcard if you want acknowledgment of receipt. We welcome requests that a room and time be set aside for a study group, meeting of an organization, or other gathering. We will consider proposals for longer papers, panel discussions, or "special sessions" devoted to a single topic, though the possibilities for scheduling such sessions are limited. Proposals for events other than 20-minute presentations may be up to 400 words in length and may identify the participants if appropriate for evaluation of the proposal. Submit electronically or in hard copies as described above. Program committee for FTM4: Paul Attinello, Suzanne Cusick (co-chair), Linda Dusman, Rita Felski, Sophie Fuller, Kyra Gaunt, Ellie Hisama, Ellen Koskoff, Roberta Lamb, Fred Maus (co-chair), Martha Mockus, Eva Rieger, Carolina Robertson, Deborah Wong, Elizabeth Wood. Fred Everett Maus--Department of Music, University of Virginia, Charlottesville VA 22903 Dept phone: (804) 924-3052, Home phone: (804) 974-6039, Fax to dept: (804) 924-6033, e-mail:
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The Mendelssohns at the Millenium--Conference Announcement
(Bloomington, Illinois)
A four-day international conference dedicated to new scholarly and musical explorations of the lives and works of Felix Mendelssohn Bartholdy and Fanny Hensel in commemoration of the sesquicentennial of their deaths in 1847 DATES: 6-9 MARCH 1997 (Thurs.-Sun.) PLACE: Illinois Wesleyan University (Bloomington, Illinois) COMPONENTS: 1) Four concerts, featuring world premieres of twenty-four works by Felix Mendelssohn and Fanny Hensel 2) Twenty-two papers presented by international Mendelssohn/Hensel scholars from the U.S., France, Germany, and Great Britain, and Italy PRESENTERS AND PAPER TOPICS: David Brodbeck (University of Pennsylvania): Brahms's Mendelssohn Camilla Cai (Kenyon College): Composing seen through a woman's lens: Texture in Hensel's and Mendelssohn's music Michael Cooper (Illinois Wesleyan University): Mendelssohn's "revision sickness" and the problem of the _Fassung letzter Hand_. Wolfgang Dinglinger (Freie Universitaet Berlin): Mendelssohn's "Reformation" Symphony, Op. 107: Further considerations concerning its program Christoph Hellmundt (Saechsische Akademie der Wissenschaften Leipzig): "Indessen wollte ich mich bei Ihnen gern gefaellig beweisen": On some occasional works, with an unknown composition by Felix Mendelssohn Bartholdy Monika Hennemann (Universitaet Wiesbaden): Mendelssohn as dramatist: the operas Hans-Guenter Klein (Staatsbibliothek zu Berlin--Preussischer Kulturbesitz): The early works of Felix and Fanny Mendelssohn Bartholdy: Observations on differences and commonalities in the compositional development, as revealed in the extant autographs Friedhelm Krummacher (Universitaet Kiel): Mendelssohn and the generic tradition of the string quartet Wm. A. Little (University of Virginia): Felix Mendelssohn Bartholdy as organist and his position in the European organ world of the first half of the nineteenth century Julie Prandi (Illinois Wesleyan University): Kindred spirits: Mendelssohn and Goethe, _Die erste Walpurgisnacht_ Christian Martin Schmidt (Freie Universitaet Berlin): On the significance of the music for _A Midsummer Night's Dream_ Thomas Schmidt-Beste (Universitaet Heidelberg): Just how "Scottish" is the "Scottish" Symphony? Thoughts on poetic content and form in Mendelssohn's Op. 56 Douglass Seaton (Florida State University): The cycles of Mendelssohn's songs Suzanne Summerville (University of Alaska at Fairbanks): Christmas eve, moon songs, and a shepherdess: Fanny Hensel's settings of texts by Mueller, Hoelty, and Florian Franc,oise Tillard (Paris): Fanny Hensel and Felix Mendelssohn Bartholdy as standards of a "bourgeois" perfection R. Larry Todd (Duke University): On stylistic commonalities in the music of Felix Mendelssohn and Fanny Hensel Peter Ward Jones (Bodleian Library, Oxford): Mendelssohn's first composition Ralf Wehner (Saechsische Akademie der Wissenschaften Leipzig): "It seems to have been lost": On lost and recovered Mendelssohn sources Marian Wilson (Cornell College): Childhood, domesticity, and patriarchy: Gender and the biography of Felix Mendelssohn Bartholdy Pietro Zappala (Universita' di Pavia): Between errors and variants: The compositional process of the young Mendelssohn as seen in selected works FOR FURTHER INFORMATION, CONTACT: Prof. Michael Cooper--School of Music P.O. Box 2900, Illinois Wesleyan University, Bloomington, Illinois, 61702-2900
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West Coast Conference of Music Theory and Analysis--Call for Papers
West Coast Conference of Music Theory and Analysis
Sixth Annual Meeting
The Department of Music, University of California, Santa Barbara, announces the Sixth Annual West Coast Conference of Music Theory and Analysis, to be held at UC Santa Barbara, Music Building, April 11-13, 1997. Featured is a special session on meter, rhythm, and time, with guest speakers Diana Deutsch (UC San Diego), Christopher Hasty (Univ. of Pennsylvania), Martha Hyde (SUNY Buffalo), Harold Krebs (Univ. of Victoria), Fred Lerdahl (Columbia Univ.), and John Roeder (Univ. of British Columbia). The Program Committee invites submissions on topics in music theory and analysis. Those who wish to propose papers and topics for sessions should send an abstract no later than January 17, 1997, to: Pieter C. van den Toorn--Dept. of Music University of California, Santa Barbara Santa Barbara, CA 93106-6070 Program Committee: Steve Larson (Univ. of Oregon) John McGinness (UC Riverside) Lee Rothfarb (UC Santa Barbara) Pieter van den Toorn (UC Santa Barbara)
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Texas Society for Music Theory--Call for Papers
Nineteenth Annual Meeting
February 28-March 1, 1997
Texas Christian University
Keynote speaker, Gary Karpinski
(University of Massachusetts)
The Texas Society for Music Theory will hold its annual meeting this spring in Fort Worth at Texas Christian University, with Blaise Ferrandino coordinating local arrangements. This will be a joint meeting with the South Central Chapter of the College Music Society. Our keynote speaker will be Gary Karpinski, of the University of Massachusetts. The Society invites the submission of scholarly papers on any aspect of music theory, including but not limited to: analysis, pedagogy, history of theory, and the relationship between theory and performance. Topics may include any facet of music theory and music of any style, period, or region. Submissions will be reviewed anonymously, by a selection committee. The Herbert Colvin Award is a cash prize given for a student presentation displaying scholarly excellence as judged by an awards panel. This year's meeting will feature a special session devoted to technology in music theory and teaching. Possibilities include (but are not limited to) traditional-format papers, paper-demon- strations, poster session presentations, workshops, and panel discussions (the panel should be formed prior to submission). Submissions in this area should specify the presentation format. Please submit FIVE COPIES of a detailed proposal of 3 to 5 double-spaced typed pages, omitting your name. In a cover letter include the title of your paper, your name, telephone number (and e-mail address if possible), any technical or equipment requirements, and indicate if you are a student. These materials must be mailed (POSTMARK DEADLINE) by December 2, 1996. (N.B.: this is earlier than in the past!) Please send them to: John Snyder, TSMT President Moores School of Music, University of Houston, Houston, TX 77204-4893 e-mail: (note that proposals including musical examples or figures cannot be sent by e-mail.) Submitters will be notified of selection in mid-January and, if programmed, will be asked to submit an abstract by February 3 for publication in the Proceedings. Student presenters wishing to be considered for the Colvin Award also must send two copies of the complete paper to the judging panel by February 17. The program will be announced in February, with registration and travel information. TSMT Executive Board John Snyder, President Don McManus, Secretary; Jim Bennighof, Treasurer Douglass Green David Hooten Karen McBee Timothy McKinney Blaise Ferrandino, Meeting Host Representative
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Tijdschrift voor Muziektheorie--New Issue
Vol. 1/3 of the Dutch journal "Tijdschrift voor Muziektheorie" will appear
around november 1st. This is the third and last issue of 1996. To inform
you, here are the contents of the main parts of all three issues. The
articles are in Dutch and English. For convenience, we have furnished
English translations of the Dutch titles.

VOL. 1/1

Paul Scheepers, "Heinrich Schenker, Geistiges Leben oder Erstarrung in der

Suzanne Konings and Martijn Hooning, "Reeks, getal en structuur in het
eerste deel van Weberns Symfonie op. 21" ["Row, Number and Structure in the
First Movement of Webern's Symphony Op. 21"]

Boudewijn Leeuwenberg, "De ontwikkeling van een thema: van standard tot
original" ["The Development of a Theme: from Standard to Original"]

Eugene Sigaloff, "Food for thought regarding Schiller's Ode to Joy"

Roderik de Man, "Over drie composities voor clavecimbel van G. Ligeti"
[Three Compositions for Harpsichord by G. Ligeti"]

John Rothgeb, "The Tristan Chord: Identity and Origin"

VOL. 1/2

Willem Wander van Nieuwkerk, "Na de avantgarde: muziekgeschiedenis van de
twintigste eeuw - dertig jaar na het boek Ton de Leeuw" ["Beyond the
Avantgarde: Music
History of the Twentieth Century - Thirty Years after the Publication of
Ton de Leeuw's Book"]

Michiel Schuijer, "Leonhard Deutsch and Schoenberg's Harmony" (part I)

Job IJzerman, "Woord-klankrelatie in Hugo Wolfs 'Verborgenheit'" [The
Relationship between Word and Sound in Hugo Wolf's 'Verborgenheit'"]

Patrick van Deurzen, "Tijdsaspecten in het werk van Bernd Alois Zimmermann"
["Aspects of Time in the Works of Bernd Alois Zimmermann"]

Karst de Jong, "Gyorgy Ligeti: 'Lontano'"

VOL. 1/3

Therese de Goede-Klinkhamer, "'Del sonare sopra il basso': over het uitwerken
van vroeg zeventiende-eeuwse bassen" ["Del Sonare Sopra il Basso: On
Realizing Early 17th-Century Continuo Parts"]

Ab Schaap, "Over de harmonie bij Coltrane" ["On Coltrane's Harmony"]

Desiree Staverman, "Diepenbrock's tekstbehandeling in zijn 'Wilhelm
Meister'-liederen ["Diepenbrock's word-setting in his 'Wilhelm Meister'

Eugene Sigaloff, "Harmonic Theory and Practice: Seven Viruses"

Andre Douw, "Lifting the Veils: Analyses of Debussy's '...Voiles' and '...La
Cathedrale Engloutie'"

Stefaan Debevere, "Melodisch Denken in Jazz" ["Melodic Thinking in Jazz"]

Michiel Schuijer, "Leonhard Deutsch and Schoenberg's Harmony" (part II)

The editors of the "Tijdschrift voor Muziektheorie" invite contributions
on a broad range of subjects related to the fields of music theory, music
analysis, or the pedagogy of these disciplines. These contributions should
be sent by e-mail or on a diskette to the editorial office. Books for review
should be sent to the editorial office as well. The address is:

Tijdschrift voor Muziektheorie

Frans van Mierisstraat 72hs
telephone: + 31 20 6628669, 
fax      : + 31 20 6721358, 
e-mail   :

For information on subscription, contact the publisher:

Donemus--Paulus Potterstraat 16, 

Telephone: + 31 20 6764436, 
Fax      : + 31 20 6733588, 
e-mail   :

The editors

Tijdschrift voor Muziektheorie               
Frans van Mierisstraat 72 hs,                      
1071 RX  Amsterdam,                              
tel. +31 (0)20 662 8669,                              
fax +31 (0)20 672 1358,                      

abonnementen en administratie:
Paulus Potterstraat 16, 
 1071 CZ  Amsterdam, 
 tel. +31 (0)20 676 4436, 
 fax +31 (0)20 673 3588, 

Sent to smt-list by:
Henk Borgdorff
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