Announcement Menu

1. Milton Babbitt Symposium
2. Digital Soundscapes Computer Music Workshops in Crested Butte
3. Alamire Foundation Congress on Chant and Polyphony
4. Research Studentships: University of Limerick
5. Oerebro Chamber Music Festival: Kammarmusikpriset 1998
6. Tenth International Conference on Nineteenth-Century Music: University of Bristol
7. Tijdschrift voor Muziektheorie--New Issue
8. New German Mailing List for Musicology
9. The School and Schooling of Stefan Wolpe: Cross Currents in Jazz and New Music
10. The Mannes College of Music Schenker Symposium: March 1999
11. International Alliance for Women in Music (IAWM)

• Current Table of Contents
• MTO home page
• Email the MTO Editor about errors in these announcements

Milton Babbitt Symposium

          On Saturday, May  2,  1998, the Music Division of  the Library of
          Congress  will  be sponsoring a  symposium  in  honor  of  Milton
          Babbitt.  Mr. Babbitt is donating his papers to  the Library, and
          this symposium is being planned to celebrate that gift as well as
          his close association with  the Music Division for  the  past  30
          years.

          The program will  cover  a  wide  variety  of  topics inspired by
          Milton Babbitt's life and work.  The speakers will be
          
               Milton Babbitt
               Joseph Dubiel
               Allen Forte
               Marion Guck
               Andrew Mead
               Robert Morris
               Joseph Straus

          Robert  Taub  will  perform  Reflections  (1974)  for  piano  and
          synthesized tape, and Richard Lalli will sing Mr. Babbitt's early
          Theatrical Songs accompanied by  Mr. Forte.  Specific titles  and
          abstracts of  the seven papers will be published as soon as  they
          are all available.

          The symposium  will  be  held  in  the  Coolidge Auditorium where
          several  of   Mr.  Babbitt's  works  have  been  premiered.   The
          Auditorium is located in the Jefferson Building of the Library of
          Congress across  from  the  Capitol Building.  The symposium will
          begin at 10:00 am  and  end  at around 5:00 pm  with about 1  1/2
          hours for lunch.  Since the symposium is being underwritten by  a
          grant from  the Krasnoff Gift Fund, there will  be  no attendance
          fee.

          Travel: The Library is located one block  from  the Capitol South
          Metrorail station  and  six  blocks  from  Union  Station.   From
          National Airport you  may wish to take the Metrorail, about a  20
          minute  ride.  Shuttle service  is available from  Dulles Airport
          and Baltimore-Washington Airport.   Limited on-street parking  is
          available.

          Accomodations: Rates  and locations of  some hotels are listed on
          the  Library's  website: http://lcweb.loc.gov (click  on  General
          Information --  About the Library -- Visiting the Library --  How
          to  Get  to  the Library and  Where  to Stay).   For  a  copy  of
          "Inexpensive Hotels  and Housing  in  the Washington, D.C.  Area"
          contact  Stephen  Soderberg.   Due  to   a  very  convenient  and
          efficient Metrorail, most area motels/hotels are  an easy commute
          to Capitol Hill.

          Please contact Stephen Soderberg as soon  as possible to  make  a
          reservation.

          Stephen Soderberg, Symposium Coordinator
          Music Division
          Library of Congress
          101 Independence Avenue SE
          Washington, DC  20540

          email: ssod@loc.gov
          phone: 202-707-1051
          fax:   202-707-0621

Back to Announcement Menu

The Center for Experimental Music and Intermedia (CEMI) at the
University of North Texas is offering four computer music workshops
in scenic Crested Butte, Colorado.  Enjoy intensive workshops in
Csound, KYMA, MAX, and Algorithmic Composition amidst the beauty of
the Rocky Mountains.  The workshops offered include:

Software Synthesis With Csound---July 13-17
     Jon Christopher Nelson, Instructor

Real-Time Synthesis With KYMA---July 18-21
     Phil Winsor, Instructor

Interactive MIDI Programming With MAX---July 23-26,
     Jon Christopher Nelson, Instructor

Algorithmic Composition Workshop---July 27-31
     Phil Winsor, Instructor

Each workshop will be limited to 15 participants to ensure adequate
access to the computer music workstations.  The workshop fees are
$750 for one workshop, $1400 for two workshops, $1900 for three
workshops, and $2250 for all four workshops.  Reduced rate housing
and partial scholarships may be available for students.  For
additional workshop information please point your browser to our web
site at

          http://www.music.unt.edu/CEMI/cb

To apply, either fill out the form in our web site or send a letter
of intent including your name, address, phone, fax, email, and a
brief biographical statement including educational background and
computer experience to:

Jon Christopher Nelson, Director
Center for Experimental Music and Intermedia
UNT College of Music
Denton, TX 76203
ph. (940) 369-7531
jnelson@sndart.cemi.unt.edu
http://www.music.unt.edu/CEMI

Preference will be given to those applicants who submit this initial
registration information by March 1, 1998.

Back to Announcement Menu

In November 1998 the Alamire Foundation will hold a congress on
chant and polyphony.

The main topic for the 5th International Colloquium is the relation
between chant and polyphony (Middle Ages - 20th C.).

Possible items include:
-chant as a basis of polyphonic composition/improvisation (e.g. cantare
super librum)
-notated performance practices in manuscripts and prints (e.g. ornaments in
chant under influence of polyphony)
-performance praxis of chant and polyphony (e.g. alternatimpraxis
organ-chant and polyphony-chant; the use (accompaniment) of instruments like
organ, serpent, ophicleide, double bass)
-the relation between chant and liturgy
-historiography of chant
-...

This congress will take place at the Katholieke Universiteit in
Leuven (Belgium) on Friday 20 and Saturday 21 November 1998.
Proposals (abstracts:  max.  40 lines) are due by May 1, 1998 and
should be send to

Christophe Libberecht, Congress Coordinator, 
Alamire Foundation, Katholieke Universiteit Leuven
Mgr. Ladeuzeplein 21, 3000 Leuven (Belgium).

A definitive program will be sent by September 1, 1998.

Christophe Libberecht
Alamire Foundation

Jo Santy
Holsbeeksesteenweg 122
3010 Kessel-Lo
016/25 34 02
jsanty@onyx.arts.kuleuven.ac.be
fax 016 32 46 91

Back to Announcement Menu

Centre for Computational Musicology and Computer Music
Department of Computer Science and Informations Systems
University of Limerick, Limerick, Ireland 

Research studentships leading to a PhD. in: 
Computational Musicology, Computer  Music or Cognitive Musicology

Applications are invited from students interested in working towards
a doctorate in the area of Computer Music, Computational Musicology
or Cognitive Musicology.Initially students will register for a
Master's by Research and subsequently re-register for a Doctorate.
The research interests of faculty involved are:

Paschall de Paor:  Aesthetic models in computer music; Historical
computer music; Computer music composition; Music
composition/performance systems.

Niall Griffith :  using neural networks and related machine learning
techniques (Fuzzy Logic, GA's, Reinforcement Learning) in models
that are able to learn about musical structure and that can use what
has been learned to adapt to novel performance situations.
Modelling universals in musical parameters and descriptors.

Donncha O'Maidin:  The use of music notation systems, MIDI and non
MIDI-based sound synthesis.  The use of musical corpora and software
tools in testing theories about musical processes.  Polyphonic Score
Processing, the problems associated with the representation of
general polyphony.

Limerick is musically very active with the Irish World Music Centre
and the Centre for Computational Musicology and Computer Music.  The
CCMCM offers a Masters in Music Technology.  Projects include a
collaboration with members of the Irish World Music Centre and the
Interaction Design Centre at UL in designing and implementing a
"wired" dance floor that can track, represent and analyse dance
steps.  This project is ongoing and involves the floor as
performance medium, a compositional and analystical tool and a
choreographic aid.  The centre is running a two day workshop on
computer support for the compositional process in March.  IThe CCMC
is currently initiating a port the Composers' Desktop Project to the
Macintosh platform.  The CCMCM concerts presents a series of
computer music concerts including the work/research of postgraduate
students.  It collaborates over research seminars in CSIS and IWMC,
and is visited by leading practitioners such as Trevor Wishart
(Computer Music Composition, Composition Systems Design and
Programming)

Applicants should have a 2.1 honours degree in a relevant subject
(e.g.  Music, Cognitive Science, Computer Science, Psychology),
though experience and other qulifications will be taken into
account.  Practical programming skills, where appropriate, are an
advantage.

If you are curious then please visit the following web sites at

http://www.csis.ul.ie          /* Dept. of CSIS home page
http://www.csis.ul.ie/ccmcm    /* Centre for Computational Musicology
                                  and Computer Music
http://www.ul.ie/~pal/litefoot /* LiteFoot dance floor home page

Contact:

Paschall De Paor,email: paschall.depaor@ul.ie
                 Tel. : +353 61 202782
Niall Griffith,  email: niall.griffith@ul.ie
                 Tel. : +353 61 202785
Donncha O'Maidin,email: donncha.omaidin@ul.ie
                 Tel. : +353 61 202705
Dept. Fax: +353 61 330876

Back to Announcement Menu

Composition Competition for women composers from the Nordic Countries

Oerebro Chamber Music Festival has been recognised as one of
Scandinavia's foremost chamber music festivals since its inception
in 1993.  Its exciting programmes have featured famous artists from
Sweden and around the world.

Oerebro Chamber Music Festival celebrates five years of music making
in 1998 with a festival dedicated to women composers.  1998 is also
the 900th anniversary of the birth of Hildegard of Bingen.  She has
become something of a cult figure for Early Music enthusiasts,
feminists and the New Age movement.  1998 also sees the 70th
anniversary of the death of Valborg Aulin, one of a very few
important Swedish composers associated with Oerebro.

Women composers have not been generally encouraged in their work
through the ages.  Even today the works of women composers are not
performed publicly to the same extent as those by male composers.
This is despite the fact that women composers are to be found in all
periods, many of them important ones.  Today there are many good,
young, women composers who are very active, but who have even
greater difficulty than their male colleagues in getting their work
performed.

Oerebro Chamber Music Society aims therefore to focus even more on
women composers by organising a competition for women composers in
the Nordic countries in 1998.

String Quartet Competition for Women Composers of the Nordic
Countries Kammarmusikpriset 1998

We invite all women composers resident in the Nordic Countries to
take part in the Kammarmusikpriset 1998.  A String Quartet, 10 to 25
minutes in duration, newly composed or written not earlier than 1st
January 1993.  The last date of application is 1st May 1998.

The jury will be chosen in co-operation with Nordisk Komponistrad.
The jury will chose four works to go to the finals which will take
place during Oerebro Chamber Music Festival in August 1998.  The
finals will be before an audience in Oerebro Concert Hall.  All
finalists will be awarded prizes.  The first prize winner chosen by
the jury will, apart from a prize cheque, receive a commission to
write a work to be premiered at Oerebro Chamber Music Festival 1999.
An audience prize will also be awarded.

This gives an opportunity of being performed publicly not just to
the winner but to several other composers as well.  The audience
will be able to participate actively by voting for their own
favourite, something which we believe will create a greater interest
for both contemporary music and women composers.

We hope that this initiative will inspire women composers and create
interest for their work from the general public.

If you would like to know more, write to 

Oerebro Kammarmusikfoerening
Oerebro Konserthus
Box 335
701 46 OEREBRO
SWEDEN

Home page http://www.srk.se/orebro/festspel
E-mail: orefestspel@swipnet.se

or call Sissel Aarhaug on tel. +46 (0)706 408811

Back to Announcement Menu

University of Bristol
16-19 July 1998

Information Sheet

The Music Department of the University of Bristol will host the 10th
International Conference on Nineteenth-Century Music from 16 to 19
July 1998.  The main sessions will take place in the Victoria Rooms,
home of the University's Department of Music, close to the
attractive Clifton area of Bristol.

Programme:  The conference will begin at lunchtime on Thursday 16
July and end after lunch on Sunday 19 July.  There will be sessions
on the following topics:  19th-century music criticism; the New
German school; Meyerbeer; sacred tropes in secular music; mediating
music:  creating, collecting and publishing in 19th-century France;
performance studies and nineteenth-century music; women and music;
New Wagner criticism; Verdi and censorship; music and ideas; music
and society; Liszt.  Professor Charles Rosen will deliver the
keynote lecture, and there will be a special round-table session,
'How should philosophers approach musical meaning?'  with Andrew
Bowie, Lydia Goehr, Peter Kivy, and Roger Scruton.  The conference
dinner (speaker Professor Arnold Whittall) will be preceded by a
reception hosted by Cambridge University Press.  There will be a
lecture-recital on the songs of Fanny Hensel by Suzanne Summerville,
and a piano recital by Professor Charles Rosen.  There will be a
book display (Friday-Sunday) organized by Rosemary Dooley.

Accommodation:  100 single study-bedrooms are reserved at Clifton
Hill House (72 with wash basins, 28 without), approximately ten
minutes' walk from the conference venue.  In addition 30 single
rooms are available in local hotels (with private facilities).  The
hotel accommodation will be allocated on a first-come, first-served
basis, as will the 'superior' study bedrooms in Clifton Hill House.
Dinner will be provided at Clifton Hill House, except the Conference
Dinner, which will be in the Victoria Rooms; vegetarian menus are
available.  A finger buffet lunch, morning coffee and afternoon tea
will be provided daily in the Victoria Rooms.  Early booking is
advisable for residential attendance, as space is strictly limited
to the above numbers.  We will, however, try (but cannot guarantee)
to arrange supplementary hotel accommodation if and when the 130
allocated places have been filled.  Clifton Hill House will need to
have final numbers by 1 June 1998.  Please note that 'Conference
Package' bookings, which benefit from a discounted registration fee,
will be given first priority.  For all bookings, payment should be
received in full by 1 July 1998.  Details of how to book appear at
the end of this leaflet.

For further information, please contact Professor Jim Samson
(Conference Director), Department of Music, University of Bristol,
Victoria Rooms, Queens Road, Bristol BS8 1SA, U.K.  Telephone:  + 44
117 9545028; fax:  + 44 117 9545027; e-mail:  t.j.samson@bris.ac.uk

PROGRAMME  (as of 4 February 1998)

THURSDAY 16 JULY

11.30-         Registration

13.00-14.00    Lunch

14.15-14.30    Introduction

14.30-18.00    Session 1: 19th-century music criticism
Chair:  Dr Katharine Ellis (Royal Holloway College, London)
Dr Cristina Bashford (Oxford Brookes University):  'History of
criticism or history of culture?  The English musical press as a
historiographical tool'

Dr Stuart Campbell (University of Glasgow): 'The reception of Russian music
in the British Isles: the evidence of The Musical Times, 1850-1900'

16.00-16.30    Tea

Professor Janet L. Johnson (University of Southern California): 'Stendhal,
Rossini, and the Parisian homme de lettres: an "ecole des journalistes"'
Dr Richard Langham-Smith (University of Exeter): 'The Midi interface in
turn-of-the-century French music criticism: themes of decentralisation and
regionalism'

14.30-1800    Session 2: The New German school
Chair: Professor Detlef Altenberg (University of Regensburg)
Professor Detlef Altenberg (University of Regensburg): 'Introduction: the 
New German school---a fiction of Franz Liszt?'
Dr Gerhard Winkler (Eisenstadt/Austria): 'Richard Wagner and the New Geman
school'
Professor James Deaville (McMaster University): 'The controversy surrounding
Liszt's conception of programme music'

16.00-16.30    Tea

Professor Martin Zenck (Bamberg): 'Classicism versus the New German school'
Dr Walter Werbeck (Detmold/Paderborn): 'Richard Strauss and the symphonic
style of the New German school'

18.30.19.30    Dinner

20.00-21.30    Keynote lecture: Professor Charles Rosen


FRIDAY 17 JULY

8.00-9.00       Breakfast

9.30-13.00     Session 3: Meyerbeer: the last two decades
Chair: Professor Mark Everist (University of Southampton)
Professor Gabriela Cruz (Princeton University): 'Myth and drama in the 
genre of "L'Africaine"'
Professor Sieghart Duhring (University of Bayreuth): Italian influence on
"L'Africaine"'
Dr Karen Henson (University of Oxford): 'The 1877 revival of "L'Africaine"'

11.00-11.30    Coffee

Dr Robert Letellier (Cambridge): 'Meyerbeer and the comic spirit: miniature
variations on grand themes'
Professor Sabine Henze-Duhrung (University of Marpurg): '"L'=E9toile du 
nord": from draft to print'
Dr Gabriella Dideriksen (London): '"L'=E9toile du nord" in London: 1855 and
1864'

9.30-13.00     Session 4: Sacred tropes in secular music
Chair: Professor James Deaville (McMaster University)
Dr Crawford Howie (University of Manchester): '"One chord of music like the
sound of a great amen"'
Dr Cornelia Szab-Knotik (Musikhochschule Wien): 'Changing aspects of 
sacred and secular: Liszt's "Legend of St. Elisabeth" in the repertory of 
the K.K. Hof-Operntheater in Vienna'
Professor James Parsons (Southwest Missouri State University): '"Sacred 
words" and "magic tones": the trope of the sacred in the Finale of Beethoven's 
Choral Symphony'

11.00-11.30    Coffee

Professor Denise Gallo (The John Hopkins University): 'Pacini's Giudetta:
operatic elements in oratorio'
Dr Francesco Izzo (New York University): 'Prayers in nineteenth-century 
Italian art song'
Dr Willem Erauw (University of Ghent): 'Why and how musical practice became
a secular religion'

13.00.14.00    Lunch

14.30-17.30    Round Table: How should philosophers approach musical 
meaning?
Chair: Professor Robert Pascall (University of Nottingham)
Professor Andrew Bowie (Anglia Polytechnic University)
Professor Lydia Goehr (Columbia University)
Professor Peter Kivy (Rutgers University)
Professor Roger Scruton

15.45-16.15    Tea

18.30-19.30    Reception hosted by Cambridge University Press

19.30-21.00    Conference dinner. Speaker: Professor Arnold Whittall


SATURDAY 18 JULY

8.00-9.00        Breakfast

9.15-12.45      Session 5: Mediating music: creating, collecting and 
publishing in 19th-century France
Chair: Dr Annegret Fauser (City University, London)
Dr Katharine Ellis (Royal Holloway College, London): 'The "Chefs-d'oeuvre
classiques de l'opera francais" and the re-creation of France's 
operatic heritage'
Dr Annegret Fauser (City University, London) 'World exhibition-World music?
Musical politics in 1889 Paris'

10.45-11.15     Coffee

Dr Andrea Musk (Oxford University): 'Regional music as national music?
Reconciling the internal exotic'
Dr Clair Rowden (City University, London): '"Herodiade": anticlerical, 
imperial or republican opera?

9.15-12-45      Session 6: Performance studies and 19th-century music:
historical and modern practices
Chair: Dr John Rink (Royal Holloway College, London)
Dr Bernard Harrison (University of Lancaster): 'The revision of Clementi's
Op.2 and the transformation of piano performance style'
Dr Peter Johnson (Birmingham Conservatoire): 'Truths and enigmas: Beethoven's
Lento assai (Op.135/iii) in performance'

10-45-11-15    Coffee

Ms Elaine Goodman (Royal Holloway College, London): '1 + 1 = 2? The 
ensemble performance of Chopin's Cello Sonata'
Professor Anatole Leikin (University of California, Santa Cruz): 'Granados's
recordings of his "Danzas Espanolas": Implications for today's performers'

9.15-12.45      Session 7: Women and music
Chair:  Professor Helen Greenwald (New England Conservatory)
Ms Sevin H. Yaraman (City University of New York): 'Opera, women, and playing
with the waltz'
Professor Naomi Andre (University of Michigan): 'Power, judgment and ritual:
Amneris and the subversion of convention in Aida, act four, scene one'

10.45-11.15    Coffee

Professor Harald Krebs (University of Victoria): 'Josephine Lang and the
Schumanns'
Professor Juanita Karpf (University of Georgia): 'Art music and activist
discourse: the case of the African American musician Amelia Tilghman'

12.45-13.45    Lunch

13-45-14.30    Lecture-recital: Professor Suzanne Summerville (University of
Alaska Fairbanks): '"There be none of beauty's daughters": the songs of 
Fanny Hensel'

14.45-18.15    Session 8: New Wagner criticism
Chair: Professor Thomas Grey  (Stanford University)
Professor Thomas Grey (Stanford University): 'Music as natural language and
the perception of evil in the Ring'
Professor Lydia Goehr (Columbia University): 'Wagnerian endings: uneasy
thoughts about redemption, utopia, and millennium'

16.15-16.45    Tea

Professor John Deathridge (King's College, London): 'Wagner and Mendelssohn'
Professor Mary Ann Smart (University of California, Berkeley): 'Mimomania:
allegory and embodiment in "Die Walkure", Act,1'

14.45-18.15    Session 9: Verdi and censorship
Chair: Professor Roberta Marvin (University of Iowa)
Professor Martin Chusid (New York University): 'Local censorship and Verdi's
operas: evidence from the Verdi Archive'
Professor David Rosen (Cornell University): 'The peregrinations of Verdi's
and Somma's "Gustavo III"'

16.15-16.45    Tea

Dr Linda Fairtile (New York Public Library): 'All politics are local:
variations in the censorship of two Verdian librettos'
Professor Roberta Marvin (University of Iowa): 'The censorship of Verdi's
operas in Victorian London'

18.30-19.30    Dinner

20.00-22.00    Piano Recital: Charles Rosen


SUNDAY 19 JULY

8.00-9.00        Breakfast

9.30-13.00      Session 10: Music and ideas
Chair: Dr. Jonathan Cross (University of Bristol)
Professor Judith Norman (Trinity University, San Antonio): 'Nietzsche and the
spirit of music'
Dr Kevin O'Regan (University of East Anglia): 'Wackenroder and the doctrine
of the soul'
Dr Stephen Downes (University of Surrey): 'Kierkegaard, a kiss, and Schuman's
Fantasy'

11.15-11.45    Coffee

Dr Marcia Lebow (Pacific Palisades, California): 'Marian Evans,
cryptomusicologist'
Dr Bennett Zon (University of Hull): 'Creation/evolution: the conjugations
of British historicism'

9.30-13.00     Session 11: Music and society
Chair: Dr John Irving (University of Bristol))
Dr Friedemann Kawohl (Berlin): 'Musical copyright and the Prussian Copyright
Act of 1837'
Dr Elizabeth Way (University of South Florida): 'German nationalism and the
Czech String Quartet in Vienna, 1893-1910'
Mr Thomas Olsson (University of Lund):  'Music and musicians in Malm 
1775-1850'

11.15-11.45    Coffee

Professor Marie-Claire Mussat (University of Rennes): 'La pratique musicale
prive en province dans la seconde moitif du XIX siecle: l'exemple
de l'Ouest de la France'
Professor Katharine K. Preston (The College of William and Mary): 'Opera 
on two sides of the Atlantic'

9.30-13.00     Session 12: Liszt
Chair: Dr Adrian Beaumont (University of Bristol)
Professor Anna H. Harwell Celenza (Michigan State University): 'Death
transfigured: the origins of Franz Liszt's "Totentanz"'
Dr Galia Hanoch (University of Tel Aviv): 'Franz Liszt's "La lugubre gondola":
continuing the musical dialogue beyond the lament'
Dr Marta Grabcz (University of Human Sciences of Strasbourg): 'Common
narrative structures in music and literature: a semiostylistic
investigation in the arts of the nineteenth century (Liszt and Goethe)'

11.15-11.45    Coffee

Mr Alex Rehding (University of Cambridge): 'Liszt reminiscing: the Tristan
quotation in "Ich moechte hingehn"'
Dr David Butler Cannata (Temple University, Philadelphia): 'Mephisto 
incognito'

13.00-14.00    Lunch and depart

Concerning Booking, contact:

Professor Jim Samson, 10th
International Conference on Nineteenth-Century Music, Department of Music,
University of Bristol, Victoria Rooms, Queens Road, Bristol, BS8 1SA, U.K.

Or write to:

Margaret Peirson mutjs@mail.bris.ac.uk

Back to Announcement Menu

Vol. 3/1 of the Dutch journal "Tijdschrift voor Muziektheorie" has
appeared in the first week of February. Below are the contents of this
issue, with English abstracts of the main articles.

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
1071 RX AMSTERDAM
Holland
telephone: + 31 20 6628669,
fax      : + 31 20 6721358,
e-mail   : tvm@sca.ahk.nl

For information on subscription, contact the publisher:

Donemus--Paulus Potterstraat 16,
1071 CZ AMSTERDAM,
Holland

Telephone: + 31 20 6764436,
Fax      : + 31 20 6733588,
e-mail   : donemus@pi.net


Volume 3 number 1
February 1998

Contents

Articles


     Konrad Boehmer
     Die Dritte Revolution der Musik: Vom Konzert zur Disko?
     (The third Musical Revolution: From Concert to Dance
     Club?)
     [in German]

     The productive dialectic both of art music (whose promise
     of happiness lies in the view it casts beyond itself) and of
     consumption music (whose hedonism promises the
     happiness of the moment) now threatens to become
     stymied by the hegemony of total musical marketization.
     Not only does this paralyse compositional thinking, it also
     heralds a musical revolution, a terza prattica, whose
     material substratum is electricity. The author traces
     historical developments from early polyphony to today!s
     musical global economy. The information flows of the latter
     do more to foster oblivion than to stimulate new musical
     meanings. Without furnishing aesthetical or compositional
     recipes, the author calls for critical reflection on how music
     composition relates to world reality. The very antithesis
     between the two opens a multitude of compositional
     perspectives.

     Rein Laul
     Schaken met Beethoven
     Beethovens vormtechniek als schaakstrategie
     (Playing Chess with Beethoven.
     Beethoven's Form Technique as a Chess Strategy)
     [in Dutch]

     At a superficial level, composing can be compared to playing chess. But
     sometimes the similarities extend further than one might
     think. This article captures the exceptional nature of certain
     moments in the music of Beethoven by analysing these as
     concrete situations or events that might occur on a
     chessboard.

     Henry Klumpenhouwer
     Network Analyses and Webern's Opus 27/III
     [in English]

     In Anglo-American music theory, the analysis of atonal
     music over the last 25 years has been dominated by Forte
     Set Theory. This essay presents a fairly recently developed
     alternative methodological construct called Klumpenhouwer
     Networks, and argues for its analytical usefulness. In
     particular, the essay demonstrates how the Network model
     is able to extend many more meaningful relationships than
     Set Theory can, pointing out analytic possibilities arising out
     of this ability. The first twelve measures of the last
     movement of Webern's Piano Variations (opus 27) provide
     the context for this discussion to take place. The essay
     presents two different interpretations of the musical excerpt,
     both developed within the framework of Network Analysis.

Discussion

     Splijt de leeuwerik
     Muziek in het tijdperk van de Herverlichting
     (Split the lark.
     Music in the age of re-enlightenment)
     by Peter Schat
     [in Dutch]

     Set-theorie en de toonklok
     (Set Theory and the Tone Clock)
     by Maarten van Norden
     [in Dutch]

     Kunnen getallen tot muziek leiden?
     Een nabespreking naar aanleiding van het ontstaan van een dubbelconcert
     (Can Numbers Lead to Music?
     Looking Back at the Creation of a Double Concerto)
     by Robin de Raaff
     [in Dutch]

     Muzikale ecologie
     (Musical Ecology)
     by Paul van Emmerik
     [in Dutch]

     Een Nederlander in Dresden.

     Het muziektheorieonderwijs aan de Musikhochschule Carl Maria von
     Weber in Dresden
     (A Dutchman in Dresden. Music Theory Instruction at the Carl
       Maria von Weber College of  Music in Dresden)
     by Patrick van Deurzen
     [in Dutch]

     Congres Docenten Muziekgeschiedenis 1997
     (Music History Teachers' Conference 1997)
     by Gerard van der Leeuw
     [in Dutch]

     Pleidooi voor meer samenwerking tussen theorie en paraktijk aan
       het conservatorium
     (Appeal for Closer Cooperation between Theory and Practice at the
       Conservatory)
     by Clemens Kemme
     [in Dutch]

     Congres Algemeen Theoretische Vakken Lichte Muziek
     (Conference on General Theoretical Courses for Students of Light Music)
     by Ruurd Salverda
     [in Dutch]

Books

     Paul van Emmerik: "Thema's en variaties:
     Systematische tendensen in de compositietechnieken van John Cage"
     by Menno Dekker
     [in Dutch]

Journals

     Musik und Aesthetik
     by Henk Borgdorff
     [in Dutch]

Back to Announcement Menu

This new list is particularly welcomed due to the loss of the MuWi-liste.

NEUE DEUTSCHE MAILING-LISTE FUER MUSIKWISSENSCHAFT
Ab sofort kann eine neue deutsche Mailing-Liste subskribiert werden,
deren Zweck es ist, als Diskussions- und Informations-Forum fuer
MUSIKWISSENSCHAFT zu dienen.

Naehere Informationen koennen unter

http://www.kgw.tu-berlin.de/~fabri/forum/

abgerufen werden. Die Subskription ist von diesem URL aus moeglich.

Subscription is now open.  Visit the URL.

Conctact: HUGO0134@MAILSZRZ.ZRZ.TU-BERLIN.DE

Back to Announcement Menu

Sponsors:
Network for New Music
Temple University Department of Music
Stefan Wolpe Society

The contact number is Network for New Music,
tel 610 827 1848 fax 610 827 1973.

1. Thursday, March 19, 1998, 5:15, Rock Hall
Temple University Saxophone Quartet

Saxophone Quartet No. 1, 1964                John Carisi (1922-92)
Quartet for Saxophones, 1966-67              M. Wm. Karlins (1932)
Blues, 1972                                         M. Wm. Karlins
Doxology, 1976                                   Ron Thomas (1942)
Taylor Series                                        Morris Wright
	sax, pno, synth, computer graphics


2. Thursday, March 19, 7:30, Rock Hall
Temple University Faculty New Music Trio

Piece in Two Parts for Flute and Piano, 1960
					     Stefan Wolpe (1902-72)
In Memory of Stefan Wolpe, 1991, fl, pno. 
					       Raoul Pleskow (1932)
Plus compositions by Emil Berbakov, Heather Frasch, Robert Sbar, 
students of Matthew Greenbaum


3. Friday, March 20, 3:40-5:30 p.m., Rock Hall
Symposium: Wolpe the Teacher

Panel: Ed Levy, Ursula Mamlok, Raoul Pleskow, Howard Rovics, George
Russell, Elie Yarden. 
Moderator: Austin Clarkson


4. Friday, March 20, 8:00 p.m., Rock Hall
Network for New Music Ensemble

Quartet, Op. 22, 1930                       Anton Webern
Quartet (Counterpoise No. 1), 1948           John Carisi
Quartet No. 1, 1950                         Stefan Wolpe
Sonata for Violin and Piano         Ursula Mamlok (1928)
Carmen Duplex, 1996             Matthew Greenbaum (1950)
Music for Violin, Baritone Sax, pno, 1997
				       Ron Thomas (1942)

5. Saturday, March 21, 3:00-5:00 p.m., Rock Hall
Symposium: Wolpe and Jazz. 

Panel: H. William Karlins, Ed Levy, George Russell, Ron Thomas. 
Moderator: David Carp

6. Saturday, March 21, 8:00 p.m., Rock Hall
Network for New Music Ensemble
Temple University Jazz Ensemble
Tom Lawton Trio

Blues, "Stimmen aus", Marsch, 1929          Stefan Wolpe
Israel, 1949                                 John Carisi
Lydian M-1, 1955                   George Russell (1924)
All about Rosie, 1957                     George Russell
Angkor Wat, 1961                             John Carisi
Moon Taj, 1961                               John Carisi
Roadmaps for Trio, 1997                       Tom Lawton
	sax, tpt, pno

7. Video/film program to be fit when possible.

1. CBS Studio 3, November 1967. BW. 30:00 Stefan Wolpe interview. 
Ron Anderson, tpt, Robert Miller, pno, Don Stewart, Tsax, Raymond
Desroches, perc perform 
Solo Piece for Trumpet, Form for Piano, Quartet No. 1 for tpt,
Tsax, perc, pno.
        
2. "Thinking Twice." Film by Jayne Parker (b. 1957). BW. 10:00.
Katharina Wolpe performing short piano pieces by Stefan Wolpe.

8. Saturday, March 21, 10:00 p.m., Rock Hall
Jam Session: Temple University Jazz Faculty and Wolpe Alumni: 
H. Wm. Karlins, Sy Platt, George Russell, Ron Thomas

Back to Announcement Menu

The Mannes College of Music announces the Third International Schenker
Symposium, to be held Friday through Sunday, March 12-14, 1999. We hope
that this symposium, like those held in 1985 and 1992, will demonstrate
the scope of scholarly and artistic work stimulated by Schenker. Anyone
interested in presenting a paper is cordially invited to submit a proposal
by October 1, 1998. For details, please contact: 

David Loeb
Co-Chairman, Techniques of Music Department
The Mannes College of Music
150 West 85th Street
New York, New York 10024
USA
+1-212-580-0210, ext. 249

E-mail inquiries may be addressed to Hedi Siegel at heshc@cunyvm.cuny.edu

The Mannes College of Music is a division of the New School University.

International Alliance for Women in Music (IAWM)

The International Alliance for Women in Music is pleased to 
announce the 17th IAWM (1998) Search for New Music by Women 
Composers.

* Student Composer Prize
  (for women currently enrolled in school)
  Works for any medium
  First Prize $250.00 * Second Prize $150.00

* Ellen Taaffe Zwilich Prize
  (for women age 21 and under)
  Works for any medium
  First Prize $150.00

* Miriam Gideon Prize
  (for women age 50 and over)
  Works for voice and piano, or voice and small chamber ensemble
  First Prize $300.00 * Second Prize $200.00

Contest Guidelines:
* A composer may submit only one piece.
* The work submitted must be unpublished, have won no prior awards, and
  have no plans to be recorded at the time of entry in the competition.
* Please send a score (not the original) and a cassette tape, if available.
* Submissions are anonymous.  Please do not put your name on either score
  or tape.  Submissions with names on them will be automatically
  disqualified.  All works should be identified with a 6-digit number written
  at the top of the score and on the tape.
* If you want to be considered for the Zwilich Prize, write a "Z" at the
top of the score.
* If you want to be considered for the Gideon Prize, write a "G" at the top
  of the score.
* On a separate piece of paper please write the following: your 6-digit
  number; the title of the submitted work; your name, address and phone
  number; your birth date, if you wish to be considered for the Zwilich or
  Gideon Prize.
* Please place the paper and statement from your composition teacher
  verifying your student status (if you wish to be considered for the Student
  Composer Prize) in an envelope.  Seal the envelope and write your 6-digit
  number on the outside.  Enclose the envelope with your score.
* Please include a self-addressed stamped envelope for the return of
  materials.  All works without return postage will become the property of
  the IAWM.
* Contestants must be IAWM members or be willing to join at the time of
  entry ($40.00 for individuals, $25 for students/seniors).  Please make
  checks payable to: International Alliance for Women in Music (IAWM).

Back to Announcement Menu

Copyright

[1] Music Theory Online (MTO) as a whole is Copyright � 1998, 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
in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR].
It was authored by [FULL NAME, EMAIL ADDRESS],
with whose written permission it is reprinted here.