New Discussion List for Analysis of Classical Music
I am introducing a new discussion list dedicated to the analysis of classical music. The focus is on very practical analysis that aids in understanding of the music for composers and improvising musicians. This list is an offshoot of the discussion-L list at http://www.justjazz.com There will be specific music selections being discussed at any given time , much as in a reading club, although list members may bring up other pieces. Having particular selections being discussed allows everyone to have the same music at hand. The first selections will be the Chopin Waltzes. It will be assumed that those in the discussion have the music being discussed. I will be posting the basic chord progressions and my analysis as a kickoff for the various discsussions. The marked up music will be posted in PDF format. For example, see http://www.justjazz.com/chopinw1.pdf. To subscribe, send email to listserver@justjazz.com. The body of the message should be: subscribe classical-theory-L The website http://www.justjazz.com will be augmented to support this new list. To post to the list, send mail to classical-theory-L@justjazz.com. I look forward to seeing you on the list. The current discussion list at justjazz.com has already become very popular in the few months it has been in existence. We already have over 200 active members spread out across more than 25 countries. In addition many non members read the archived mail at the website. Reed Kotler http://www.reedkotler.com
a conference
race, culture, nationalism,
gender, class,
empire, post-coloniality
Department of Music
University of Leeds
in association with
Critical Musicology Journal
11th-12th July 1997
A Call for Papers
Proposals for 20-min. papers to:
Steve Sweeney-Turner
David Cooper
Department of Music, University of Leeds, Leeds LS2 9JT, England;
e-mail: s.sweeney-turner@leeds.ac.uk; tel.: +44 (0)113-233-2582;
d.g.cooper@leeds.ac.uk; tel.: +44 (0)113-233-2578.
Deadline for Proposals: 25th April 1997
Info. on: http://www.leeds.ac.uk/music/Info/CMJ/Conf/ethnic.html
_________________________________________________________
Air do slainte,
Dr. Steve Sweeney-Turner
Research Fellow
Department of Music
University of Leeds
LS6 9JT
England.
Tel.: +44 (0)113-233-2582
Mob.: +44 (0)374-868415
Fax.: +44 (0)113-233-2586
Visit the preview page for the upcoming launch of
Critical Musicology Journal at:
http://www.leeds.ac.uk/music/Info/CMJ/cmj.html
The biennial meeting of the American Bach Society will take place at Yale University in New Haven, Connecticut, on April 24-26, 1998. The theme of the conference is "J. S. Bach and the musical instruments of his time." The Society invites proposals for papers. A one-page, double-spaced abstract should be sent by October 15, 1997, to Prof. Kerala J. Snyder, Eastman School of Music, 26 Gibbs Street, Rochester, NY 14604. Papers on all aspects of Bach research are welcome, although special consideration will be given to those that deal with the theme of the conference. Daniel Melamed
The Conservatory of Music at Oberlin College invites you to
participate in the twelfth annual series of workshops in electronic
and computer music, June 15-29, 1997. The workshops are designed for
high school and college students, teachers, professional musicians,
and hobbyists. These workshops are for anyone who wants to enrich
their understanding of new music media.
The workshops are Macintosh based and the topics we cover
include:
sequencing (Vision, MusicShop, Performer)
music printing (Finale)
synthesizer programming (Galaxy)
sampling (Sound Designer, Alchemy, TurboSynth)
alternate MIDI controllers
algorithmic composition (MAX)
For more information about the Workshops in Electronic and
Computer Music, contact:
Office of Outreach Programs
Conservatory of Music, Oberlin College
Oberlin, OH 44074
(216-775-8044)
Email: anna.hoffmann@qmgate.cc.oberlin.edu
or have a look at our web page at:
http://timara.con.oberlin.edu/dept/wrkshp.htm
26th - 27th May, 1997 P�le Universitaire L�onard de Vinci PARIS - LA DEFENSE - FRANCE TOPICS SEMIOTICS OF TEXT : Suzanne Bertrand-Gastaldy, University of Montreal Computers are increasingly used to assist text analysis for cognitive, literary, anthropological, sociological, documentary, etc. research. The workshop will focus on actual realisations, on the possibilities and limits of methodologies and existing tools to take into account the complex and multidimensional nature of texts, allowing multiple points of views for a variety of user needs. Issues such as desirable features of text analysis software, robustness and conviviality of implantations, interaction between corpora and users, constraints that actual tools put upon kinds of analyses and coding choices, the ability to elaborate models of electronic analytical tools suited to different semiotic theories, semiotical foundations of markup languages are examples of possible debates. SEMIOMETHODOLOGY : Claude Vogel, L�onard de Vinci University Several genres are currently under investigation for semiotic studies : electronic mail, news, corporate information, Web publishing. The flood of full text is overflowing semantic analysis, and this major paradigm break leads us to reconsider our approach of text processing. The size of these new corpora, the lack of consistency of information, the physical scattering of the basic units of texts, make the classical documentary solutions very uncomfortable. Instead, the semiotic based analysis seems to be a highly compelling perspective. It is focused on chronology; it provides a way to build transitive narratives throughout large amounts of data, and it does not require the understanding of the details of each local grammatical sentence in order for a global plot to be elaborated. This promising trend may give a second wind to ethnomethodology. For this reason, it is more appropriate to use the term "semiomethodology" when evoking this attempt to rationalize the computational approach of the symbolic dynamics which underlie collaborative production. ORGANIZATIONAL SEMIOTICS : Kathleen Carley, Carnegie Mellon University Organizational semiotics is the semiotics of organizations and organizational dimensions of textual semiotics. The objective of this workshop is to define the boundaries of this new specialty. Specifically, we will address the issue of : "How can semiotic analysis of interpersonal and corporate exchanges be used to reveal, evaluate, and contrast the underlying organizational logics and changes in these logics over time ?" Recent advances in textual analysis are facilitating this endeavor and creating new opportunities for understanding organizational behavior. Critical issues in the area of organizational semiotics include : 1) how to quickly and reliably analyze large quantities of texts, 2) how to reduce textual data to an empirical form that can be combined with other types of data and analyzed statistically, 3) how to identify corporate texts (those representing the "view" of the organization as an entity) and address issues of authorship, and 4) how to identify institutional constraints on the production and maintenance of corporate texts. New and innovative computational methods for empirically analyzing texts are being developed to address these and related concerns. These techniques have the potential to move textual analysis beyond counting words or locating a few themes or concepts. This section will focus on the issues involved in performing organizational semiotics with particular attention to the new computationally based techniques for facilitating organizational analysis that increase the ease, speed or reliability of coding texts and generate information that can be analyzed statistically. BIOSEMIOTICS : Jean-Claude Heudin, L�onard de Vinci University Recently, algorithms and architectures based on models derived from biological systems have been receiving an increasing amount of interest. This section will explore how such new approaches and techniques could be used for managing large amount of information exchanges on Internet or Intranet. Topics of particular interest include, but are not limited to, applications of agent-based systems, autonomous and evolving agents, genetic algorithms and programming, neural networks, cellular automata etc. to text stream analysis and in the more general framework of semiotics analysis. SUBMISSION OF PAPERS Send four copies of an abstract (approximately 500 words) in english or email it to : Ir�ne Ludman - IWCS'97 P�le Universitaire L�onard de Vinci 92916 PARIS-LA DEFENSE-CEDEX, FRANCE Phone: (33) 01 41 16 73 05 Fax : (33) 01 41 16 73 35 Email : irene.ludmann@devinci.fr DEADLINES Submission of abstracts by 1st April 1997 Acceptance notification to authors by 15th April 1997 Submission of full papers by 12th May 1997 ORGANIZING COMMITTEE Claude Vogel (chairman) Suzanne Bertrand-Gastaldy Kathleen Carley Jean-Claude Heudin PROGRAM COMMITTE Pierre Boudon (canada) Guillaume Deffuant (France) Evelyne Lutton (France) Joe Porac (USA) Carl Roberts (USA) J. Sebeok (Canada) Peter Stockinger (France) Bill Turner (France) For more information please visit the following Web page : http://www.devinci.fr/home/actua.htm
The Association for Technology in Music Instruction is pleased to announce
the 1997 Call for Participation for the annual conference in Cleveland. As
in the past, topics dealing with technological applications for music
theory and pedagogy are very welcome.
koozin@badlands.nodak.edu
ATMI Program Chair
CALL FOR PROGRAM PARTICIPATION
The National Conference of the
Association for Technology in Music Instruction
The Conference Committee of ATMI invites the submission of proposals for
papers, panels, software demonstrations, and an electronic poster session
to be presented at the 1997 ATMI Conference. This meeting will be held
jointly with the College Music Society and will take place November 13-16
in Cleveland, Ohio.
PAPERS, PANELS and WORKSHOPS: Topics dealing with all aspects of technology
in music instruction are welcome. Especially encouraged are papers and
presentations that focus on:
1) Music Instructional Applications of the Internet
2) Interactive Distance Learning
3) Multimedia: Integrating Video, Graphics, Text, and Music
3) Creative Pedagogies and Technological Tools for Music Learning and
Composition
5) Research on the Effectiveness of Music Technology
6) Using Technology in the Music Studio (Music Performance)
SOFTWARE DEMONSTRATIONS: Also encouraged are presentations that focus on
newly authored software from all aspects of the music curriculum.
Especially welcomed are applications that take an innovative approach to
music teaching and learning. Proposals should include a complete
description of the software's design and its use in the teaching
environment.
ELECTRONIC POSTER SESSION: For the first time, the conference will host a
computer-based poster session, in which presenters show material
collectively in a large display area. Especially encouraged are "hands-on"
presentations of research, new interactive music lab software, work in
progress, and examples of student work. Proposals should include a complete
ydescription of the material to be presented. Graphic images or actual
software samples may be included with a proposal submission, but should be
clearly described in the text of the proposal. Poster session participants
should supply portable computers and any other devices needed to present
their material.
SUBMISSION GUIDELINES: All proposals will be submitted for blind review and
authors are encouraged to exclude references to individuals or institutions
that might compromise this process. Proposals for papers should include
clear statements of theoretical background, methodology, and conclusions.
Panel proposals should include a complete description of the content to be
covered, panelists and their affiliation, and confirmation of panelists'
participation. Proposals should be no more than 2,000 words in length and
should include a detailed listing of required equipment and operating
system(s).
Individuals whose proposals are accepted must be members of ATMI to present
at the 1997 conference. Abstracts for accepted proposals will be published
on the ATMI website, with links to other sites as desired.
Deadline for submission is April 25, 1997.
E-mail submissions are especially encouraged and can be sent to:
koozin@badlands.nodak.edu
Notification of receipt will be sent as soon as e-mail submissions are received.
To submit proposals by regular mail, send five copies of each proposal to:
Timothy Koozin
ATMI Program Chair
Department of Music
University of North Dakota
Grand Forks, ND 58202
Dr. Tim Koozin
Department of Music
University of North Dakota
koozin@badlands.nodak.edu
HOST: French Schubert Society University of Paris I (Panth'eon-Sorbonne) University of Paris IV (Sorbonne) DATE: 13-15 October 1997 DESCRIPTION: The French Schubert Society, together with the Universities of Paris I (Panth'eon-Sorbonne) and Paris IV (Sorbonne), with the support of the Austrian Cultural Institute and the patronage of the International Music Council (UNESCO), organizes an international conference for the Bicentenary of Schubert in 1997. The conference will take place on 13-15 October in the Sorbonne, under the title The Evolution in Schubert's Instrumental Style: from Sources to Analysis Schubert's reputation as a composer was for a long time based on his Lieder, the instrumental works suffering from the comparison with his great contemporary, Beethoven. Over the last decades, however, a growing number of musicologists have taken an interest in this important part of Schubert's output, which evidences a striking originality of thought. The conference will provide an opportunity to bring together researchers from all over the world to present their work in this field, with emphasis on Schubert's stylistic evolution and special reference to his approach to form. Papers should be no longer than 20 minutes, to be followed by 10 minutes debate. The following topics of discussion are suggested: 1) Musical Analysis, including a comparison of analytical approaches. 2) Source Studes : history and analysis. 3) Forum : from sources to analysis, with reference to the *Reliquie* Sonata in C major (D840). Proposals for papers (in the form of a one-page abstract with a short curriculum vitae) should be sent by 2 May to the Chairman of the Advisory Borad, REGISTRATION DEADLINE: PAPER/PROPOSAL DEADLINE: 2 May 1997 COST AND PAYMENT OPTIONS: TRAVEL AND HOTEL INFORMATION: CONTACT: Xavier Hascher (Colloque international Schubert) Institut d'esth'etique et des sciences de l'art Universit'e de Paris I Panth'eon-Sorbonne 162 rue Saint-Charles, F-75740 PARIS cedex 15 Tel. & Fax +33 1 45 58 09 06
CFP, Conference announcement
The annual meeting of SMPC will be held in Cambridge July 31-August
3 at MIT. Thematic sessions will include the following topics
(among others): acoustics and psychoacoustics; pitch; timbre;
structure; perception and cognition of melody, harmony, rhythm, and
meter; encoding of musical expression; studies of performance and
improvisation; music and neuropsychology; machine modeling;
cross-cultural perception of music. The Society also welcomes
proposals for tutorial sessions on key topics.
The deadline for abstracts is April 1, 1997. They should be mailed
to Connie Van Rheenen, SMPC Conference Registrar, MIT Media
Laboratory, Room E15-486, 20 Ames Street, Cambridge, MA 02139. The
conference phone number is 617-253-2727. The e-mail address is
cvr@media.mit.edu. Other
relevant information--hotels, dormitory rooms, registration fees,
etc.--may be found on the web at http://sound.media.mit.edu.smpc.
Authors should plan presentations of 20 minutes, including the
question-and-answer period. Abstracts should be formatted in Times
Roman font and submitted in both hard copy and diskette using either
Micosoft Word or Word Perfect. The title of the paper should
appear in 16-point bold, centered on one or two lines, with the
author's name following in 12-point bold, also centered. The text
of the abstract should be in normal type. Abstracts should be one
page only, single spaced, with one-inch margins all around.
Paragraphs should be separated by one additional space, but not
indented. In the cover letter, authors should include their
professional title (if any), institutional affiliation (if any),
postal address, e-mail address, telephone number, and equipment
needs.
Robert F. Judd
Each summer, the Stanford University Center for Computer Research
in Music and Acoustics (CCRMA, pronounced "Karma") sponsors workshops on
various topics. This summer, we are pleased to offer the following workshop
which may be of interest to members of the SMT-list. Please pass this along
to students and colleagues who may also be interested.
----------------------------
Computers in Music Scholarship
(Music Theory, Analysis, History, Ethnomusicology)
June 16 - June 27, 1997
Two weeks instruction. Limited to 15 participants.
Instructors:
David Huron
Andreas Kornstaedt
The workshop is offered in cooperation with the Center for Computer
Assisted Research in the Humanities (CCARH) at Stanford University.
This course provides a comprehensive introduction to
computer-assisted music research using the Humdrum Toolkit.
Participants will learn to manipulate computer-based scores,
tablatures, and other documents in order to solve a wide variety
of analytic problems. By way of example, participants will learn
to characterize common patterns of orchestration in Beethoven
symphonies, examine harmony and voice-leading in Bach chorales,
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. The seminar staff will provide
individual advice on participants' own research projects.
All software and documentation from the workshop (including a
sizeable 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.
--------------------------
For more information on this or other workshops available during
CCRMA's summer session, and for registration information, point your web
browser to:
or contact Alex Igoudin
Leigh VanHandel
CCRMA, Stanford University
Call for papers
We invite you to submit proposals for
Vienna 1897 - Cultural and Historical Profiles of
Early Viennese Modernism
which will take place in Vienna, November 13 - November 15 1997.
The meeting is intended to provide a varied approach to Viennese culture, as
exemplified by different events and phenomena, which took place in 1897.
This year shows impulses toward the development of early modernity (such as
the establishment of the "Secession", Mahler's appointment to Vienna's
Hofoper) as well as manifestations of growing social and political decay in
Austrian society, which are connected to the rise of anti-liberal,
nationalist and populist political and cultural concepts.
The meeting attempts to give a picture of those various and often
contradictory phenomena, combining and discussing results of current
historical, sociological and cultural research.
If you can contribute to following general issues, we would be very glad to
consider your proposal (note the enclosed format). The papers should be at
most 45 minutes in length, in order to allow for subsequent general
discussion. The papers will be published, therefore we need a computer-disc
contining Your paper (please give informations concerning Your software). If
Your paper is not in German or English, please send it by September, so that
a translation can be made and provided to the meeting's participants.
Deadline for submission of proposals: March 31, 1997
We will answer definitely by May 1, 1997
General issues:
- Viennese modernity in relation to international modernity
- anti-modernism in politics, society and the arts
- the public for Viennese modernity
- the financing of Viennese modernity: economic and structural backgrounds
- modernity in Vienna's popular culture
- the reception of modernity in documentary sources
- modernity in relation to Wagnerism
- modernity in daily life
- Austria's cultural bureaucracy in relation to modernity
- reforming religion
- reforming science
- the audiences: structures and interests
The meeting will take place at
1037 Wien, Rennweg 8, Abteilung Musikpadagogik, Konzertsaal
For further information please contact
e-mail: musikgeschichte@magnet.at
Institut fur Musikgeschichte
Schubertring 14
A-1010 Wien
Tel. + 43 1 5137600/29 (Fax:/42)Institut fur Musikgeschichte Wien
Schubertring 14
A-1010 Wien
25th Anniversary Meeting
April 12-13, 1997
PRELIMINARY PROGRAM
Saturday, April 12
9:00-9:45 Registration (Cominsky Promenade 2nd floor main building)
9:45-10:00 Welcome and Announcements (Kilbourn Hall)
James Undercofler, Acting Director of the Eastman School of
Music
Mary I. Arlin, President
Elizabeth West Marvin, Program Chair
Steve Laitz, Local Arrangements
10:00-12:30 Session 1 PEDAGOGY (Kilbourn Hall)
Steve Laitz (Eastman School of Music), chair
Marie Rolf (Eastman School of Music), organizer
Bruce Benward (University of Wisconsin, Madison), respondent
"Teaching Music Theory: Past, Present, and Future"
Mary H. Wennerstrom (Indiana University)
"Did you practice?" "Did you do your theory?" Learning Music
Through Analysis,
John Buccheri (Northwestern University)
"The Eight-Stage Tonal Plan: A Temporal Paradigm for
Teaching Tonal Forms"
Michael Rogers (University of Oklahoma)
12:30-1:00 Main Hall Concert The Eastman School of Music's Balinese
Gamelan Anklung, Lila Muni
12:30-1:45 LUNCH
1:45-5:00 Sessions 2A and 2B (concurrent)
Session 2A AMBIGUITY (Kilbourn Hall)
Joseph Dubiel (Columbia University), chair
"Oscillation and Undecidability in Mozart's Sonata in F Major (KV
280), Adagio: A Double Reading (Line Rhythm Motive)"
Martin Scherzinger (Columbia University)
"The Ambiguity Principle: A New Paradigm for Tonality"
Deborah Stein (New England Conservtory of Music)
3:15-3:30 Coffee Break (Cominsky Promenade)
"Poetic and Musical Permutation in Mallarm�, Debussy and Boulez"
Marianne Wheeldon (Yale University)
"The Play Behind the Scenes: On Segmentation and Instrumental
Interaction in Elliott Carter's String Quartet No. 2"
Dora A. Hanninen (University of Michigan)
1:45-3:15 Session 2B SHORT SESSIONS I & II (Howard Hanson Hall)
Short Session I (1:45-3:15) ANALYTICAL INTERPRETATION
Mark Anson-Cartwright (City University of New York), chair
"Inter-Movement Parody in Beethoven,"
L. Poundie Burstein (Mannes College of Music and Hunter
College/Cuny)
"Schubert's Allusions to the Descending Tetrachord"
Su Yin Mak (Eastman School of Music)
3:15-3:30 Coffee Break (Cominsky Promenade)
3:30-5:00 Short Session II (3:15-4:45) TRANSFORMATIONS & EXTENSIONS
Robert Wason (Eastman School of Music), chair
"Modeling Melodic Transformations in Balinese Angklung Gamelan
Music"
Kristin Taavola (University of Colorado at Boulder)
"A Little Bird Swang It in My Ear: A Counterpoint Lesson from
Charlie Parker"
Richard Hermann (University of New Mexico)
5:00-5:30 Business Meeting (Kilbourn Hall)
5:30 Cocktails (cash bar)
6:00 Banquet (L'Operta at the Brasserie)
John Hanson, "Be Apt; Tap Your Resources; Stand Pat"
(Musics on the 25th Anniversary: Past, Present, and Future)
8:00 Opera: Verdi, "Falstaff" (Eastman Theatre) $9.00
Chamber Music: Eastman Virtuosi (Kilbourn Hall) Admission free
Sunday, April 13
8:00-8:30 Coffee & Bagels (Kilbourn Lobby)
8:45-10:45 Sessions 3A and 3B (concurrent)
Session 3A OPERA (Kilbourn Hall)
Elizabeth West Marvin, (Eastman School of Music) chair
"Isolde's Transfiguration and Wagner's Second Thoughts"
Robert Gauldin (Eastman School of Music)
"Urlinie and Urziel: Tonal and Dramatic Closure in Britten's Peter
Grimes"
Edward D. Latham (Yale University)
"I's, V7's and Expressive
Modulations:
Stravinsky's Use of Tonal
Conventions to Project Theatrical Distance"
Chandler Carter (Mannes College and Hofstra University)
8:45-10:45 Session 3B SPACES & PARTITIONING (Howard Hanson Hall)
Neil Minturn (Eastman School of Music), chair
"Graphic Representation of Trichord-Partition Symmetries in
Hexachords"
Jocelyn Neal (Eastman School of Music
"Cross-partitions and voice-leading in twelve-tone music"
Brian Alegant (Oberlin Conservatory of Music)
"Pitch-Space Ordering Types in the Recent Solo Music of Elliott
Carter"
Guy Capuzzo (Eastman School of Music)
10:30-10:45 Coffee & Bagel Break
10:45-11:20 Mini-Concert (Kilbourn Hall
Bart�k, Violin Sonata No. 1
Sylvia Rosenberg, violin
Barry Snyder, piano
11:30-1:30 Sessions 4A and 4B (concurrent)
Session 4A ANALYSIS SYMPOSIUM: Bart�k, Violin Sonata No. 1
(Howard
Hanson Hall)
Marie Rolf (Eastman School of Music), chair
"Formal and Structural Functions in the First Movement of Bart�k's
Violin Sonata No.1"
Charles Morrison (Wilfred Laurier University)
"Modified-Dominants in Bart�k's First Violin Sonata: Compositional
and Historical Evidence"
Paul Buechler (Yale University)
"Bart�k's Sonata No. 1 for Violin and Piano: An Intertextual
Reading"
Michael Klein (University of Texas, Austin)
Session 4B SIMILARITY RELATIONS (Howard Hanson Hall)
Robert Morris (Eastman School of Music), chair
"A Cycle-based System for Relating Pitch-class Sets"
Michael Buchler (University of Iowa)
"The Interval Angle: A Similarity Measure for Pitch Class Sets"
Damon Scott (Eastman School of Music, presenter) and Eric
Isaacson (Indiana University)
"Evolution a Forte-Iori: On Similarity, Relations, Similarity
Relations, and the Taxonomy of the Harmonci Menagerie"
Ian Quinn (Eastman School of Music)
1:30-3:15 Executive Board Luncheon Meeting (Faculty Lounge)
===========================================================================
REGISTRATION -- BANQUET -- HOTEL
REGISTRATION
Individual $20 ($23 after 8 March)
Student $15 ($18 after 8 March)
Banquet $27.50
Make checks payable in US dollars to MTSNYS and remit to
George Fisher
MTSNTS Treasurer
22 Watson Lane
Setauket, NY 11733
BANQUET
The banquet on Saturday evening will begin at 6:00 pm at L'Operta at
the Brasserie, just across the street from the Eastman School of Music.
Dinner will include salad, choice of entr�e (vegetarian, chicken, or fish),
and dessert. Price, including all taxes and gratuity, is $27.50. There
will be an open bar beginning 1t 5:30 and continuing through dinner.
Dinner will conclude at 7:45 so that people may attend the chamber music
concert or *Falstaff.*
HOTEL
The Hyatt Regency Rochester, 125 Main Street, a five-minute walk from
the Eastman School of Music. The special rate secured for the conference
is $79 for either a single or a double. To receive the conference rate,
you must identify yourself as a member of MTSNYS. Room reservations should
be made by 31 March.
Submitted by
Mary I. Arlin, MTSNYS President
School of Music
Ithaca College
Ithaca, NY 14850
e-mail: arlin@ithaca.edu
LEXIKON-SONATE, an infinite interactive realtime composition for
computer-controlled piano, was originally implemented as a computer program
(written in MAX) which used to run only on Apple Macintosh computers:
http://www.ping.at/users/essl/works/Lexikon-Sonate.html
Since recently, this piece is also available on the Web and you can listen
to its completely unforeseeable music online. Please point your browser to:
http://www.ping.at/users/essl/works/lexson-online.html
There are existing two different versions:
* an interactive, form-based CGI-script where you can combine the various
musical structure generators at will;
* a non-interactive Javascript implementation which will play a new version
every time you reload the page (be surprised!);
System Requirements:
A Web browser which is capable of playing different MIDI-files at the same
time; a Javascript-savy browser is obligatory for the Javascript version.
Best results have been obtained with Netscape 3.0 (with installed
LiveAudio-PlugIn) on an Apple Macintosh computer with Quicktime 2.5.
Dr. Karlheinz Essl
SAMT - Studio for Advanced Music & Media Technology
Bruckner-Konservatorium Linz / Austria
www: http://www.ping.at/users/essl/index.html
________________________________________________________________________
Visit the MindShipMind - an interactive multimedial Web Oracle
http://www.ping.at/users/essl/works/mindshipmind.html
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Organizing Institutions: Society for research on music performance practice and Supporting Committee of the museum "Schubert and his Friends" at Atzenbrugg Castle in Collaboration with Institute for Musicology at the University of Vienna Institute for Music Analysis at the University of Music and Dramatic Arts Institute for Austrian Music Documentation International Franz Schubert Institute Vienna Festival Patronage: Federal Chancellor Mag. Viktor Klima Federal Minister of Education and Cultural Affairs, Elisabeth Gehrer Federal Minister of Science and Transport, Dr. Caspar Einem Head of the Government of Lower Austria, Dipl.Ing. Dr. Erwin Proell Vienna's City Councillor for Cultural Affairs, Dr. Peter Marboe Rector Prof. Erwin Ortner of the University of Music and Dramatic Arts Lectures by W. Aderhold, E. Badura-Skoda, D. Berke, O. Biba, P. Branscombe, G. Busch, Th. A. Denny, M.-A. Dittrich, I. Duerhammer, W. Duerr, D. Gramit, G. Gruber, G. W. Gruber, P. Guelke, C. Hoeslinger, H.-D. Klein, M. Kohlhaeufl, W. Koschatzky, A. Krause, H. J. Kreutzer, W. Litschauer, E. N. McKay, C. Noedl, W. Obermaier, C. Ottner, G. Scholz, M. Solvik, R. Steblin, W. Steinbeck, T. G. Waidelich, R. Witzmann, E. Worgull, S. Youens Organizing Team: Eva Badura-Skoda, Walburga Litschauer, Carmen Ottner, Gerold W. Gruber Contents of the Lectures: In comparison with other great composers Schubert's life and work was not influenced by exterior events, but primarily by the circle of his friends, that consisted of different artists such as poets, painters and musicians. Schubert regarded himself as a member of a community, the aim of which was the "pure aspiration for the art" (E. v. Bauernfeld). Looking through the literature, which was published during the last few decades, it must however be stated that this particular aspect and its importance for Schubert's development as an artist has only found little attention. On the occasion of the bicentenary of Schubert's birthday the topic of the INTERNATIONAL SCHUBERT CONFERENCE - VIENNA 1997 therefore will be "SCHUBERT AND HIS FRIENDS". Papers and statements will deal with the political, social, literary, philosophical, musical and artistic atmosphere of the period and the manner in which it may have surrounded, influenced and inspired Schubert. Program: 22 May 1997: 6 p.m. final rehearsal of the Opera by Schubert "Des Teufels Lustschloss" 23 May 1997: 9 a.m. - 1 p.m., 2.30 - 6 p.m. lectures (Bank Austria, Festsaal, 1010 Vienna, Renngasse 2) 24 May 1997: 9 a.m. - 1 p.m. lectures (Schottenstift, Praelatensaal, 1010 Vienna, Freyung 6), in the afternoon: First Schubertiade (Concert) at Atzenbrugg Castle, "Heuriger" 25 May 1997: 9 a.m. Schubert-Mass at the Emperor's Chapel, Vienna; 10.30 a.m. Round Table (Schottenstift, Praelatensaal); in the afternoon: Schubert Exhibition at the Historic Museum in Vienna; in the evening: Second Schubertiade at the Theater an der Wien 26 May 1997: 9 a.m. - 1 p.m. lectures (Schottenstift, Praelatensaal), in the afternoon: Round Table and final discussion, "Heuriger" For more information please contact: Asst. Prof. Dr. Gerold W. Gruber Institute for Music Analysis Univerity of Music and Dramatic Arts Lothringerstr. 18 A-1030 Vienna Tel: +43/1/58806153 FAX: +43/1/58806113 e-mail: t0061dab@vm.univie.ac.at
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