International Symposium on Iannis Xenakis
We would like to communicate an announcement for an International Symposium entirely dedicated to the musical, architectural and theoretical work of the Greek-French composer Iannis Xenakis, to be held in February 1988 in Paris, France. The call for papers is published under the address: http://www.inf.fu-berlin.de/~phoffman/presences/call.html A text version of the call is appended below. The organizers will be very grateful for any help in promoting this first international meeting of researchers interested in Xenakian studies by public announcement.SYMPOSIUM "PRESENCES OF IANNIS XENAKIS" Call for papers The Documentation Center for Contemporary Music (CDMC, Paris) is organizing a symposium dedicated to the musical, architectural and theoretical work of Iannis Xenakis. This symposium will take place in the beginning of February 1998 in parallel with Radio France's festival Presences, which, from January 29 to February 14, 1998, will pay tribute to Iannis Xenakis. The main themes of the symposium are:
Xenakis' sources
Xenakis' scientific and philosophical aspects
Xenakis' theories
methodological problems in the analysis of Xenakis' works
Xenakis' electroacoustic music
public reception of Xenakis' work
Xenakis' influence; Xenakis and his contemporaries
music and architecture
the latest works of Xenakis (since 1980)
questions on the musical interpretation of Xenakis' work
The symposium will be under the direction of Marianne Lyon and Makis Solomos. The members of the organizing committee are: Pierre-Albert Castanet, Jean-Marc Chouvel, Peter Hoffmann, Mihu Iliescu, Sharon Kanach, Marianne Lyon, Marie-H�l�ne Serra, Makis Solomos. Official languages: French and English. If you are interested in presenting a paper, please send an abstract (600 words maximum) to the CDMC, by fax or letter, with the specification "Colloque Xenakis", before October 20, 1997. Please add a brief resume (CV) and a list of your publications.CDMC, Colloque Xenakis 16, Place de la Fontaine aux Lions 75019 Paris France fax: 33/(0)1 47 15 49 89 Information:
the exact dates of the symposium will be specified in September as well as all practical details
there are no registration fees
Marianne Lyon, Makis Solomos From: Peter Hoffmann: phoffman@inf.fu-berlin.de
Sound System / System Sound
call for contributions - call for participation [27.8.-1.9.97]
luxus cont. at the Hybrid WorkSpace, documenta x, Germany
http://www.documenta.de/workspace
[august/september 97]
- 'contd' - electronic magazine - issue 2
*participate / reply / forward / redirect*
Guy Deborg suggested the 'spectacle' to be a synonym for product and
process of the cultural industry. Well, that should also go for
'sound', an essential carrier for pop in an otherwise visual dominated
cultural production.
At the outside, since 'techno' (being generally held as a synonym for
music using sound generating devices) reached the cultural mainstream,
John Cage's efforts to deconstruct the boundaries between music and
noise suddenly and technically materialised. *Music* has been expanded
and covers the complete audible spectrum and subsequently broadens
traditional notions of production and definition. On top of the wave
of sampled and electronically generated sounds, self-referential and
*ill-coded* sounds made their way from clubs of the inner city through
personal stereos into art academies as an accepted alternative to the
visual and textual.
At the same time sound enters the cross-fire of scientific and
economic strategies: industrial norm of *noise pollution*, sound
ecology, and professional sound design (also a vital part of research
and design departments in the car industry).
*SOUND SYSTEM / SYSTEM SOUND* is open for *any* contribution, thought
and question dealing with the economy and ecology of sound. changes in
the current economy of listening, principles of sound generation, and
the perception of social and technological micro and macro systems are
all possible angles.
+ "what does reference actually mean?"
Use and attribution of sound are under question. "What does
reference actually mean?" And what can be deduced or extracted from
it? The application of samples and loops has developed to a level
which allows it to be used as a category by which to describe
agreements and differences in pop-culture: 'bring da noise?'. At the
same time: how does sound imply possibility and coercion of social
interaction? ("this stuff is everywhere!")
+ "around the world"
Visualisation in video clips and software surfaces are trademarks of
cultural notation. Measurable and negotiable perception oscillates
between the concrete (Top 40) and the abstract (pattern recognition).
How does noise blend into HI-FI, and: "how is sound organised?". To
what extent are cultural agreements already built into gadget design?
And how are machine sounds turned into hummable and danceable codes
(303/404/707/808)?
+ "data object"
Can strategies of cultural production derive from concepts of negative
interaction, distortion or acoustic deception? You may now think about
a musical 'data object' in terms of analogue and digital. Or: how do
conventions constitute themselves in media (cd/ improvisation/ live
stream...)? The air conditioning system on tape says home and refers
to sound design and principles: under what conditions is sound used
functionally (muzak, classic, ultrasound, infrasound)?
+ etc.
Since spring 1997 luxus cont. has quarterly been editing the
electronic magazine 'contd' in the world wide web. The project
situates itself as a structurally open module, planned for the minimum
duration of one year. In 1998 a book is planned as a re-edited
compilation of the texts that have been submitted to 'contd'. Given
the continuation of 'contd' the publication should be perceived as an
interim balance sheet for the off-line-public.
'contd' consists of three passages:
Themenpark, Panoramabus, Luxusliner
*Themenpark* (theme park) hosts texts generated, developed or
installed on the basis of a predetermined theme. These contributions
are more 'intense' in form and size and generally more 'discursive'
than texts of the following passages. More info about the structure:
http://www.b.shuttle.de/art-bag/contd/cv/ the other sections
*luxusliner* and *panoramabus* are thematically open.
The topic of *themenpark* in issue 2 is 'SOUND SYSTEM / SYSTEM SOUND'
and is closely tied to the presence of luxus cont. and guests at the
Hybrid WorkSpace at documenta x. The web pages of luxus cont. at the
WorkSpace are open for any contribution between info and discourse,
manifesto and dismissal, text, sound and pictures. Contributions are
open to the public throughout this time and editorial and circular
feedback will assist to eventually close the deadline and publish the
issue under: http://www.b.shuttle.de/art-bag/contd
'contd' is open to text, sound and picture material.
"no system without noise" (niklas l.)
'contd': http://www.b.shuttle.de/art-bag/contd
hws: http://www.documenta.de/workspace
newsgroup : theme_follows_function
http://www.icf.de/hws-bin/discuss/list?grp=workspace.theme_follows_function
27.8.-1.9 please contact the Hybrid WorkSpace at dx:
fon 0561/1088890
fax 0561/1088891
before that:
t:+49.30.4622831 f:+49.30.4622831
t:+44.171.6134743 f:+44.171.6134052
e-mails always: luxus@contrib.de
The copyright of texts published digitally by 'contd' remains with the
authors. (see also: http://www.b.shuttle.de/art-bag/contd/cv). At the
moment texts in German, English, French, and Swedish language can be
taken on. Important: we are currently not able to pay any fees.
[luxus cont.] [
[ ] [luxus@contrib.de
[ ] [electronic magazine : 'contd'
[ ] [http://www.b.shuttle.de/art-bag/contd/
[ ] [
[ ] [gerichtstrasse 86
[ ] [d-13347 berlin
[ ] [tel/fax:+49.30.4622831
[ ] +
[ ] [22 walton house
[ ] [old nichol street
[ ] [gb-london e2 7et
[ ] [tel +44.171.7296014
[ ] [fax +44.171.6134052
* martin conrads * gerichtstr.86 * 13347 berlin *
* tel/fax +49.30.4622831*
http://www.b.shuttle.de/art-bag/contd
http://www.b.shuttle.de/art-bag/convex_tv
22,Walton House - http://www.documenta.de/workspace
Old Nichol Street - workspace@documenta.de
London E2 7ET - tel: +49.561.108890
tel: +44.171.7296014 - fax: +49.561.108889
fax: +44.171.6134052 -
Joint Meeting of Georgia Association of Music Theorists/Music Theory SouthEast
Call for Papers Georgia State University Atlanta, Georgia March 13-14, 1998 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 sent to: Ron Squibbs, Program Chair GaMUT/Music Theory Southeast Meeting School of Music Georgia State University P.O. Box 4097 Atlanta, GA 30302-4097 e-mail: musrjs@panther.gsu.edu (Ronald J. Squibbs) DEADLINE FOR RECEIPT OF PROPOSALS: November 14, 1997 Program Committees: GaMUT: Ron Squibbs, chair (Georgia State University), Nick Demos (Georgia State University), Rudy Volkman (Paine College) Kristin Wendland (Morris Brown College), ex officio. Music Theory SouthEast: Severine Neff, chair (University of North Carolina at Chapel Hill), Eddie Bass (University of North Carolina at Greensboro) Gabe Fankhauser (doctoral student, Florida State University ), Mark Parker (Bob Jones University), John C. Nelson (Georgia State University) ex officio, Renee McCachren (Catawba College), ex officio. Kristin F. Wendland, Ph.D. Music Department Morris Brown College 643 Martin Luther King Dr. Atlanta, GA 30312 Office phone: (404) 220-0045 Home phone: (404) 622-4891 Fax: (404) 220-0261 e-mail: kristin.wendland@mindspring.com
[1] Music Theory Online (MTO) as a whole is Copyright � 1997, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in MTO are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.
in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR].
It was authored by [FULL NAME, EMAIL ADDRESS],
with whose written permission it is reprinted here.