Music Theory Online

The Online Journal of the Society for Music Theory


Volume 6, Number 1  January 2000
Copyright � 2000 Society for Music Theory

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New Journal: The Journal of Technology in Music Learning

Announcing a New Refereed Research Journal: The Journal of Technology in Music Learning.

The Journal of Technology in Music Learning is dedicated to the publication of scholarly articles in the field of music learning which investigate applications of instructional technology.

Authors are invited to submit full-length manuscripts of reports of original research, evaluative reviews of research, and theoretical papers based upon research. Research Notes are also welcomed: brief reports of research in progress, replications, commentaries on trends in technology-related music learning research, and descriptions of research methodology and instrumentation.

Submission of Manuscripts
Authors submitting manuscripts for review must send four copies, each copy containing all figures and tables, and an abstract of not more than 200 words to the Editor, Kimberly C. Walls, Dept. of Curriculum & Teaching, Auburn University, AL 36849. To facilitate a blind review, neither the author's name or other identifying information should appear on the abstract or the manuscript. Manuscripts will not be returned to the author.

Quantitative research manuscripts must conform to the conventions of the Publication Manual of the American Psychological Association (Fourth Edition, 1994). Non-quantitative articles must conform to either APA style or The Chicago Manual of Style (14th edition, 1993, endnotes format). A reasonable article length is 20 pages; Research Notes should not exceed 8 pages. Each figure or table must fit within a page size of 4 1/2 by 7 1/2 inches maximum. Figures must be camera-ready copy. Color graphics, other multimedia components, or lengthy appendices which are in a cross-platform format suitable for the Internet (such as HTML, QuickTime, JPEG) may be submitted for review on a Zip disk along with the manuscript. References to the additional media must be included in the manuscript. The additional media will be posted on the Journal web site if the manuscript is accepted. When the manuscript has been accepted for publication, an electronic copy of the manuscript will be required. For further information on style and format, please contact the Editor.

The publisher reserves the right to edit all articles accepted for publication. Galley proofs will be sent to author for corrections and minor changes only.

Manuscripts are accepted for review with the understanding that the same work has not been and will not be published nor is presently submitted elsewhere. All copyright to a manuscript accepted for publication, including the right to reproduce the article in all forms and media, shall be assigned exclusively to the journal, The Journal of Technology in Music Learning. Reasonable requests will be accepted from authors for permission to reproduce their contributions to the journal. Authors are responsible for obtaining their own copyright clearance on illustrations, figures, lengthy quotes, or other media in their submissions.

Subscription Information
The Journal of Technology in Music Learning is published biannually. Individual subscription rates are $27 in the United States and $33 in other countries. Address all inquires concerning back issues and subscription requests to The Journal of Technology in Music Learning, Center for Music Research, Florida State University, Tallahassee, FL 32306-1180, USA.

Editor: Kimberly C. Walls, Auburn University

Managing Editor: Jack Taylor, Florida State University

Editorial Review Board:
Nancy H. Barry, Auburn University
John J. Deal, Florida State University
Sara L. Hagen, Valley City State University
Maud Hickey, Northwestern University
Kimberly A. McCord, Western Connecticut State University
Katherine Norman, University of North Dakota
Sam Reese, University of Illinois
C. Floyd Richmond, West Chester University
Rosemary C. Watkins, University of Texas at San Antonio
Peter R. Webster, Northwestern University
David Brian Williams, Illinois State University
Robert H. Woody, Ball State University

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Publication Announcement: Integral, v. 11

We are pleased to announce that Integral Volume 11 is now available. Our newest volume contains articles by David Lefkowitz, David Lewin, Joseph Straus, and Dmitri Tymoczko, and reviews by Gretchen Horlacher, Harald Krebs, and by David Neumeyer and Julian Hook.

This year has already seen the appearance of our Volume 10, and plans for the production of our vols. 12-13 are well underway. Below, we list the complete contents of Volumes 11-13. The price per volume for individuals within the U.S. and Canada is $14.00. Through December 1999, individuals are also offered the complete vols. 1-11 for $84.00.

Orders may be e-mailed to Don Traut at; prepayment is not required.

Please refer to the Integral website for complete back-issue contents, subscription information, submission guidelines, or to place an order on-line.

Evan Jones and Jocelyn Neal, co-editors (vols. 10-11)

Volume 11

Volume 12

Volume 13

Conference Announcement: Indiana University Graduate Theory Association Biennial Symposium

The Indiana University Graduate Theory Association cordially invites you to the 11th Biennial Symposium for Research in Music Theory. The Symposium will be held February 25 and 26, 2000, at the Leo R. Dowling International Center in Bloomington, IN. 

Highlights of the Symposium include:

Events begin with registration at 6:30 PM Friday night, and conclude with a reception honoring our guests and presenters from 4:30-5:30 PM Saturday.

Fees are $10 for students, and $15 for faculty, payable at registration. Registration can be found through our website: 

Housing information and opera tickets can be reserved while registering. Any questions or comments should be directed to David Thurmaier, GTA President ( We hope to see many people there!

Call For Submissions: Popular Music Issue, Indiana Theory Review

Indiana Theory Review is planning a special issue devoted to the topic of popular music. We wish to encourage all submissions related to this topic. We are especially interested in papers that analyze popular music or that address issues of analysis in popular music. Submissions received by April 1, 2000, will receive first priority.

Guidelines for contributors are available at

Please direct e-mail inquiries to

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Content Listing: Dutch Journal of Music Theory, v. 4, n. 3

Here is the contents of the Dutch Journal of Music Theory (Tijdschrift voor Muziektheorie)

TvM Vol. 4, nr. 3 (November 1999)

Michel Khalifa, The flesh-spirit antithesis in two Bach motets [in Dutch]

Rudolf Rasch, The Musical Circle IV: a general theory [in English]

Dutch Society of Music Theory--Inaugural Conference
Amsterdam, 12-13 February 1999
Michiel Schuijer, Introduction

Mark Delaere, On the pros and cons of music theory for musical analysis [in Dutch]

Ludwig Holtmeier, Music theory between art and science [in English]

Nicholas Cook, Performing rewriting and rewriting performance: The first movement of Brahms' Piano Trio, Op. 8 [in English]

Paul Scheepers, What incoherence? A response to Nicholas Cook [in English]

Hans Maas, Do performers need verbal analysis? A response to Nicholas Cook [in English]

Barbara London, Jazz theory education in the USA: From our perspective [in English]

Klaus Korner, Die Violinsonaten von Johannes Brahms: Studien, reviewed by Martijn Hooning

The pranks of Bylsma, The Fencing Master, reviewed by Anthony Fiumara

Lionel Pike, Hexachords in Late-Renaissance Music, reviewed by Joep van Buchem

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Website Availability, 26th International Computer Music Conference (ICMC 2000)

The World Wide Web Site of the 26th International Computer Music Conference (ICMC 2000) is now online:

In the name of the entire ICMC 2000 organization team, I invite you to Berlin for the 26th ICMC next August.

With sincere best wishes,

Peter Castine

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Call for papers: Journal SEAMUS v. 15, n. 1

Call for papers
Journal SEAMUS invites submissions for Vol. 15, no. 1 of the journal.

Journal SEAMUS is the official publication of the Society for Electro-Acoustic Music in the United States, Inc. The Society is devoted to the support and development of electro-acoustic music. The editors encourage contributions from all members of the electro-acoustic music community, including composers, theorists, musicologists, and aestheticians. Areas of interest include the aesthetics, theory, technology, and history of electro-acoustic music in the United States.

Manuscripts must be submitted electronically, either by email or on disk. Articles generally are of 2,000 to 6,000 words. Microsoft Word 6.0 is the preferred format; if another word processor is used, files should be saved in either RTF or text formats. Manuscripts should be written according to the Chicago Manual of Style. Footnotes should be numbered consecutively and gathered at the end of the manuscript, and graphs, charts, and musical examples should be sent as separate attachments for ease of layout. Please include a brief biography (60 words or less). Electronic submissions should be sent to Articles should be received no later than February 1, 2000 for possible inclusion in this edition; articles received after that time may be considered for future editions. Manuscripts on disk, books, compact discs, tapes, and videos submitted for review should be sent to the Editor at:

Will Rice/Journal SEAMUS
Electronic Music Studios
The University of Texas at Austin
Austin, TX 78712

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Call for Papers: 2nd Symposium on Systems Research in the Arts, Baden-Baden

The 2nd Symposium on Systems Research in the Arts
"Music, Environmental Design, and the Choreography of Space"
to be held in conjunction with the
12th International Conference on Systems Research, Informatics, and Cybernetics

Papers are invited for the 2nd Symposium on Systems Research in the Arts, to be held in conjunction with the 12th International Conference on Systems Research, Informatics, and Cybernetics July 31-August 5 in Baden-Baden, Germany. The study of systems within the scope of traditional arts-related theory, or the application of general systems methodologies to the analysis of music, architecture, interior design, dance, theatre, and the visual arts are areas of particular interest.

For more information on the Conference, please visit Details relevant to the Arts Symposium, including proposal requirements, an overview of the 1999 session, and additional contact information are available at

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Dissertation Prize Competition: Society for American Music

The Society for American Music announces its annual Dissertation Prize Competition. The dissertation may be on any topic relating to American music. It must be in English and the doctorate must have been awarded between 1 January and 31 December 1999. The competition is not limited to dissertations in musicology or ethnomusicology, but is open to dissertations in any field.

American music is interpreted in all its historical and contemporary styles and contexts, including, but not limited to art and popular musics, the musics of ethnic groups and minorities, and the full range of activities associated with music. "America" is understood here to embrace North America (Canada, the United States, and Mexico), including Central America and the Caribbean, and aspects of its cultures elsewhere in the world.

Candidates should send three copies of the following by March 1, 2000:

One of the three copies may be on a floppy disk in IBM format, using WP5.1 or ASCII.

Send your submission, with a cover letter, to:
Catherine Parsons Smith
Department of Music 226
University of Nevada, Reno
Reno, NV 89557-0049

Inquiries to:
O: 775 784-6145
F: 775 784-6896

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Publication Announcement: STM-Online, v. 2, n. 1

The second issue of the Swedish Musicological Society's online publication STM-Online is now available:

STM-Online (ISSN 1403_5715) is the electronic sister publication of the Swedish Journal of Musicology (Svensk Tidskrift for Musikforskning [STM]) and will be published once or twice a year. We want the publication to reflect a wide variety of perspectives from many disciplines within the musicological field, but our primary interest is in articles related to Swedish or Nordic music.

We encourage scholarly texts and essays--in Swedish, Danish, Norwegian, English, or German--that take advantage of the Internet medium and integrate text, sound, and graphics. However, we also welcome traditional text-based manuscripts. The texts will be evaluated by anonymous peer-review.

The deadline for manuscripts for the next issue is March 1, 2000.



Conference Reports

The Home Page of the Swedish Musicological Society,, is also fairly new and includes an email index of its members, as well as a page with useful Internet links related to musicological research in Sweden and Scandinavia.

Per F. Broman
Jordan College of Fine Arts
Butler University
4600 Sunset Ave.
Indianapolis, IN 46208-3485
Ph.: (317) 940-8806
Fax: (317) 940-9658

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Call for Program Participation: ATMI 2000


"Being technology literate compares to being an artist who chooses from an ever-increasing selections of colors to convey his or her perception of what information is most demanding. To be technology literate is to be encumbered by the knowledge of obsolescence, overwhelmed by the dynamics of the present, but yet infatuated by the potential of the technology of the future. Being technology literate is to be on a slippery slope. To be technology literate is to be able to communicate to all in a language whose vocabulary appears to the infrequent user to have no basis in history and whose grammar defies explanation."

[Dr. Harvey Long, Technology in Education Consultant (retired), T.H.E. Journal, Vol. 27, No. 3, October, 1999.]

The ATMI 2000 PROGRAM COMMITTEE invites the submission of proposals for the 2000 Conference of the Association for Technology in Music Instruction.

Rocky J. Reuter, Chair (Capital University)
Ann Blombach (The Ohio State University)
Judith Bowman (Duquesne University)
Timothy Koozin (University of North Dakota)

The concurrent national conferences of ATMI and CMS will be held in Toronto from November 1-5, 2000, as part of a "mega-meeting" that will include fifteen cooperating societies engaged in musical research and the teaching of music in the United States and Canada:


CONFERENCE THEME: Musical Intersections


* Complete Proposal Form included at the end of this announcement.

The conference will offer a variety of presentation formats, including papers, panels, demonstrations, training sessions/workshops, electronic poster sessions, and performance involving technology software/hardware. In addition, the intended audience will be identified (e.g., general, novice, intermediate, or advanced) with regard to prior music technology experiences or comfort level.

Proposals dealing with any aspect of technology in music instruction and/or MIDI performance are welcome. The Association is particularly interested in presentations that focus on:

The Association strongly encourages students to present their own projects, though a faculty ATMI member may submit the official proposal.


MIDI PERFORMANCE: The Association renews its efforts to present musical performances focusing on the use of MIDI and/or other music technologies. The proposal should include specific information regarding the ensemble and its relation to curricular goals. Encouraged are solo, chamber, or ensemble performance proposals, demonstrations of unique MIDI instruments, or performance-related compositional activities involving music technology. (If you know of performers, ensembles, or presenters that meet this description, please forward this message to the appropriate person!) NOTES: ATMI cannot provide funding/compensation for the travel or lodging of any performers. At least one person involved in the presentation (e.g., director, performer, composer) must be an ATMI member.

PAPERS AND PANELS: Traditional academic papers and panels dealing with music technology in any manner are welcome.

DEMONSTRATIONS: Appropriate are demonstrations 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.

TRAINING SESSIONS/WORKSHOPS: People looking for practical ways to expand their skills often attend ATMI sessions. The Program Committee would like to serve this constituency by offering short training sessions tailored to novice and intermediate skill levels. Submissions in this category should focus on the presenter's level of experience and background. NOTE: Though details remain unknown at this time, it is possible that a hands-on computer lab may be available in Toronto. Your proposal should include what would be required in the lab if you are proposing a hands-on training session or workshop. (For example, a Demonstration session on a particular software program could be followed by a hands-on Workshop using that software. The presenter will be responsible for loading necessary software on the available computers.)

ELECTRONIC POSTER SESSION(S): The conference will host at least one computer-based poster session, in which presenters will show material in a large display area concurrently. Especially encouraged are one-on-one or small-group presentations or demonstrations of research, interactive music lab software, work in progress, and examples of student work. Proposals should include a complete description of the material to be presented. If appropriate, graphic images or actual software samples may be included with a proposal submission, but should be clearly described in the text of the proposal. NOTE: Poster session participants must supply all necessary presentation hardware and software.

NORMAL CONFERENCE EQUIPMENT: As in the past, the ATMI room will be equipped with a Windows-based CPU, a Power Macintosh, a video player, two data projectors, a moderate sound system and wireless microphones (suitable for voice, pre-recorded audio, and synthesizer amplification; may not be suitable for MIDI performance ensembles). At least one synthesizer, a MIDI Interface, and a ZIP Drive are normally available. (As discussed above, a separate computer lab *may* be available, but details regarding this are undecided as of this time.)

All INTERNET-BASED PRESENTATIONS should be designed to run locally (i.e., without actual connection to the Internet) due to the unpredictability of conference facility phone lines. If actual connection is *essential* to your proposal, this must be indicated in the "Specialized Equipment/Software" portion of the proposal form. A recent version of Microsoft PowerPoint will be provided on both platforms.

Details regarding specific hardware configurations and installed software installed will be available immediately prior to the convention. However, you should be prepared to provide whatever non-standard software and/or hardware is required for your presentation.

All specialized software, plugins, extensions, fonts, and other unique resources not normally included in current Windows or Macintosh operating systems must be provided by the presenter. ATMI members who can supply (i.e., bring with them) any of the equipment listed here are highly encouraged to contact the Program Chair. This will help to defer the rising cost of equipment rental.

Presenters are welcome to supply their own laptop computers, which must be appropriately configured to work with data projectors. Consult your local dealer if you are unsure about compatibility issues. In particular, Macintosh CPUs must have appropriate Mirroring (older OS) or Multiscan (newer OS) options available in the Monitors Control Panel. (NOTE: monitor options may not appear unless a data projector is connected to the CPU.)

ALL proposals must include the following:

* completed Proposal Form (included at the end of this announcement)

In addition...

PAPER, PRESENTATION, and DEMONSTRATION proposals must be submitted for blind review. The proposal must exclude references to individuals and/or institutions within the Proposal Description that would compromise this process. Proposals for papers should include clear statements of background, methodology, content to be covered, and conclusions. Demonstration proposals may be accompanied by a Training Session/Workshop proposal. Prior to submission to the Program Committee, these proposals will be edited by the Program Chair as

needed to allow for blind review.

TRAINING SESSION/WORKSHOP proposals must be submitted for blind review. Authors must exclude references to individuals or institutions within the body of the proposal that might compromise this process. The presenter may also propose a Demonstration session to proceed the Training Session/Workshop. A detailed list of software CPU requirements and all other equipment required to present the session as proposed. Prior to submission to the Program Committee, these proposals will be edited by the Program Chair as needed to allow for blind review.

PANEL proposals must clearly describe the purpose of the presentation and should list the proposed participants and their qualifications in relation to the presentation topic.

MIDI PERFORMANCE proposals should include the name of the primary contact person (performer or director); a description of the proposed performance, a recording of recent performances, a statement describing the purpose/mission of the performance medium and its relationship to music education, and any other relevant information. If ATMI is expected to provide any equipment other than that described above, a detailed list must be submitted.



E-mail all proposals to

(Hard-copy will NOT be accepted unless materials absolutely cannot be submitted/read electronically!)

MIDI Performance recordings should be sent to:

Dr. Rocky J. Reuter
ATMI 2000 Program Chair
Conservatory of Music
Capital University
Columbus, OH 43209-2394

Proposal Receipt will be acknowledged by return e-mail within three days.
Programming Decisions will be announced by March 1, 2000.
NOTE: with the exception of student or professional performers, presenters must be fully_paid members of ATMI at least one month prior to the conference.)

Complete and E-mail the form below to

NOTE: Do *not* quote or include any preceding text!


PROPOSAL FORM -- Must be completed for *each* ATMI 2000 session proposal:
(copy and past into e-mail)

1) Proposal Author(s) and Institutional Affiliation(s):

2) Proposal Title:

 3) Intended Audience (delete all but one):

4) Presentation Topic (delete all but one):

5) Presentation Format (delete all but one):

 6) Presentation Description (2000 word limit!):

7) Single-Paragraph ABSTRACT suitable for inclusion in program:

8) Requested Presentation Period (delete all but one):

9) Computer Platform Request (delete all but one):

NOTE: Poster Session Presenters *must* provide own equipment

10) Specialized Equipment/Software that I *cannot* provide:

11) Due to *unavoidable* conflict I absolutely *cannot* present on the following date(s):

12) List all other non_ATMI proposals that you are submitting for the Toronto 2000 meeting:

13) Other information that may be helpful to the Program Committee:

14) BRIEF biography (of each participant, performer, or ensemble):

15) All e-mail addresses that you regularly access:

16) All phone numbers at which you can be reached:

* INCOMPLETE PROPOSALS will *not* be reviewed.

* SUBMISSION DEADLINE: February 1, 2000.

E-mail to

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Call for Papers: "Thwarted Voices--Franz Schreker and his pupils in Berlin (1920_1933)"

Call for Papers
International Conference: "Thwarted Voices - Franz Schreker and his pupils in Berlin (1920_1933)"

Organized by

The Jewish Music Heritage Trust,
School of African and Oriental Studies (SOAS)
University of London
Thornhaugh Street
Russell Square
London WC1H 0XG

Sunday 2nd July and Monday 3rd July, 2000.

Abstracts for proposed papers should be sent to:

Erik Levi, Senior Lecturer in Music
Royal Holloway, University of London
Egham, Surrey TW20 0EX
United Kingdom
Fax +44-(0)1784-439441

no later than 31st March 2000.

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Conference Announcement/Call for Papers: 9th Biennial Conference on Baroque Music


The above conference will take place in Trinity College Dublin (Ireland) from Wednesday July 12th to Sunday July 16th 2000.

Full details of the conference arrangements can be accessed via the website, which includes the call for papers:

(The Call for papers is also attached below.)

Details of accommodation and travel options are being finalized and will be posted on the web pages shortly.

Please reply to Martin Adams

Dr. Martin Adams
Senior Lecturer in Music
Trinity College
Dublin 2
Tel: +353 1 608 1326
Fax: +353 1 670 9509

The School of Music at Trinity College Dublin, Ireland, will be hosting the 9th Biennial Conference on Baroque Music from Wednesday 12 July to Sunday 16 July 2000, inclusive.

Proposals are invited for:

1. Individual papers of 20 minutes duration (after each paper, ten minutes will be allowed for discussion)

2. Sessions involving three or four papers on a specified area, given by different individuals and lasting not more than one-and-a-half hours including discussion

3. Round-table sessions of one-and-a-half hours, including discussion

Proposals in any area of Baroque music are welcome.

The organizers anticipate that individual papers (1 above) and some sessions with multiple participants (2 and 3 above) will be presented in two or three simultaneous strands, grouped by subject areas. Those areas will be determined largely by the nature of the proposals received.

Any individual may submit ONE proposal. Proposals must be submitted as an abstract of not more than 250 words (individual papers), or not more than 350 words (group sessions).

Acceptance of a proposal will be at the discretion of the organizers.

The abstract should be preceded by information under the following headings: NAME, INSTITUTION, POSTAL ADDRESS, PHONE, FAX, E-MAIL ADDRESS.

Abstracts may be
1. e-mailed to: Martin Adams Attachments (in any word-processing format) are preferred for the text of abstracts, but please back up the attachment with a plain-text version in the main e-mail.

2. by post to: Dr. Martin Adams, Baroque Music Conference, School of Music, Trinity College, Dublin 2, Ireland. (But please send also an e-mail copy as soon as possible - see 1 above.)

The deadline for the receipt of abstracts is 22 February 2000.

Dr. Martin Adams
Conference Organising Committee (Chair)

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Conference Announcement: 4th Annual Midwest Graduate Music Consortium

Midwest Graduate Music Consortium
Fourth Annual Meeting
The University of Wisconsin
Madison, Wisconsin
April 7-8, 2000

The Midwest Graduate Music Consortium is a joint venture organized by graduate students from The University of Wisconsin at Madison and The University of Chicago that allows graduate students in various fields of music to come together and share ideas on a vast array of topics. The 2000 meeting will be held on the campus of the University of Wisconsin-Madison, and will include paper sessions, and a concert of new music. The keynote speaker will be Jerrold Levinson, Professor of Philosophy at the University of Maryland, College Park and author of "Music, Art, and Metaphysics", "The Pleasures of Aesthetics", and most recently, "Music in the Moment".

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Call for Papers: Symposium 2000, McGill University Music Graduate Society

Call for Papers
Music Graduate Society
McGill University
March 4th-5th, 2000

The McGill Music Graduate Society requests the submission of abstracts for its annual conference. In addition to inviting abstracts on any aspect of musical scholarship (be it music theory, musicology, ethnomusicology, music education, composition, computer applications, or sound recording technology), the committee strongly encourages proposals for lecture-recitals and performances. Presentations in a non-traditional format are also welcome.

Proposals should be submitted by January 20th, 2000. Submission of abstracts by email is strongly encouraged. Proposals sent by regular mail should include 4 copies of the abstract. The author's name should appear on the cover letter but not the abstract, since proposals are judged anonymously. Please send proposals of no more than 250 words, double-spaced, to:

Symposium 2000 Committee
c/o Music Graduate Society
McGill Faculty of Music
555 Sherbrooke Street West
Montreal, PQ
H3A 1E3
FAX: (514) 398-8061

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Invitation to Participate: SMT Committee on the Status of Women Special Session

The Committee on the Status of Women of the Society for Music Theory invites participation in our annual special session at the 23rd Annual Meeting of the Society for Music Theory in Toronto from Wednesday, November 1 to Sunday, November 5, 2000.

We especially welcome work in two related areas.

1) How have feminist theories and gender studies influenced and/or changed your scholarship and/or teaching in the field of music theory?

2) How have changes in feminist theories and gender studies in the past decade(s) (for example, contesting the category of "woman" or emphasizing the material body), affected your work and/or teaching in music theory? We anticipate a range of responses to these issues, from pedagogical and analytic strategies to different ways of envisioning music theory as a discipline. Participation from theorists at all career stages, including graduate students, is encouraged.

Proposals for participation should be no longer than a single page (excluding musical examples, if any), and include a cover letter with identifying information. Papers, presentations, discussions, or alternative formats may be as long or short as necessary; please include an estimate of time needed. Proposals should be sent to Elizabeth Sayrs, Chair, Committee on the Status of Women.

Electronic submissions are preferred, either through the submission form on our web page:, or email to

Regular mail to:
Elizabeth Sayrs
School of Music
110 Weigel Hall
1066 College
Ohio State University
Columbus, OH 43210.

Deadline for proposals is February 15, 2000.

Committee members: Steven Bruns, David Loberg Code, Joseph Dubiel, Marianne Kielian_Gilbert, Elizabeth Paley, Janna Saslaw, Elizabeth Sayrs (Chair), and Leigh VanHandel

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Conference Program: "Form and Expression in Renaissance Polyphony," McGill University

Form and Expression in Renaissance Polyphony
Conference at the Faculty of Music, McGill University
February 12-13, 2000



Saturday, February 12
1-3:30 pm: Session 1 (Macey, Cumming, Rivera)
4-6 pm: Concert
7 pm: Dinner

Sunday, February 13
10-12:30: Session 2 (MacKay, Owens, Schubert)
12:30: Lunch

During the sessions, each speaker will discuss his/her piece with reference to form, expression, and contrapuntal technique. On Saturday afternoon the pieces will be performed by VivaVoce, a professional chorus under the direction of Peter Schubert, in a lecture-demonstration during which the speakers will be able to try out the performance implications of their observations. For too long scholars have approached this repertoire gingerly, as at a museum exhibit; our aim is to reveal the music's expressive power - in a word, we hope to talk about the music "as if it were music."

For more information, contact:

Prof. Julie Cumming
(514) 398-4535 x0542

Prof. Peter Schubert
(514) 398-4535 x5645

This conference is supported in part by a grant from the Social Sciences and Humanities Research Council of Canada.

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Conference Announcement/Call for Papers: International Conference on Russian Music: "Russian Avant-garde: past, present, future," Goldsmiths College, Univ. of London (incl. concert program, "Unknown, Forgotten and Remembered; Russian Easter: Day of Russian Music")

Centre for Russian Music

International Conference on Russian Music
"Russian Avant-garde: past, present, future"

Organiser: Alexander Ivashkin
Friday, 28 April to Sunday, 30 April 2000

The Centre for Russian Music, Goldsmiths College, University of London, will host the International Conference on Russian Music. From 28 April to 30 April 2000. The conference will be held at Ian Gulland Lecture Theatre at the Goldsmiths College, University of London, New Cross, South East London (rail/tube New Cross or New Cross Gate).

The papers will be given by leading Russian, American, German and British specialists on Russian Music of the twentieth century, including Prof. Margarita Mazo (USA), Dr. Andreas Wehrmeyer (Akademie der Kunste, Berlin, Germany), Prof. Yuri Kholopov (Moscow Conservatory), Prof. Ludmila Korabel'nikova (Russian State Arts Studies Institute), Prof. Svetlana Savenko (Moscow State Conservatory), Gerard McBurney (RAM), Dr. David Fanning (University of Manchester), Dr. Marina Frolova-Walker (University of Southampton), Dr. Gerald Seaman (St. Anthony College, Oxford), Dr. Daniel Jaffe (Classical CD magazine), and Mrs. Noelle Mann (Prokofiev Archive, Goldsmiths College).

Chairs: Prof. Arnold McMillin (School of Slavonic and East European Studies, University of London); Prof. Alexander Ivashkin (Goldsmiths College).

The Conference will be complemented by the "Day of Russian Music" (Sunday, Russian Easter, 30 April 2000, at the Purcell Room, Southbank Centre), which would include several world premiere performances, round table discussions with the leading Russian composers, writers, musicologists.

Call for Papers
Individual papers should last no more than thirty minutes. Abstracts (limited to 200 words) should be submitted to Prof. Alexander Ivashkin at the address below by 15 February 2000, as should proposals for round tables. The full programme will be announced in late February.

Further information can be obtained from
Prof. Alexander Ivashkin
Director, Centre for Russian Music
Goldsmiths College
University of London
New Cross, London SE14 6NW
tel: +44 20 7919 7646
fax: +44 20 79197644

Fee: L15.00
Goldsmiths staff and students: free
Non-Goldsmiths students and OAP: L5.00

30 April 2000, Purcell Room, South Bank Centre
Unknown, Forgotten and Remembered.
Russian Easter: A Day of Russian Music.

11am-1pm - British children play Russian Music (The Purcell School students) - From Glinka to Tarnopolsky:

2pm-3pm: "The 'Trinity'": Schnittke, Denisov, Gubaidulina: World/UK premieres

3:45-4:30 pm: Russian Music in the New Millenium (round table)

5:30-6:30 pm: 'Well_Tempered Cello': Alexander Tcherepnin (1899-1977): late discovery after the centennial celebration.

7:30 pm: Composers and Poets

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Society Announcement: Canadian University Music Society/Societe de musique des universites canadiennes

As one of the constituent societies for Toronto 2000, the Canadian University Music Society (CUMS)/Societe de musique des universites canadiennes (SMUC) invites you to make our acquaintance by visiting our website at A bilingual society, our membership cuts across disciplinary boundaries, encompassing musicologists, theorists, composers and performers. Membership, which costs only C$46 (that's about US$31), is open to all university-based scholars and musicians, regardless of nationality. Included with membership is a subscription to our peer-reviewed journal, "The Canadian University Music Review." You also receive regular newsletters from the Society and the right to participate in our annual conferences (deadline for submission for Toronto 2000 is 15 January). For further information on membership in CUMS/SMUC, including details on past and future conferences and an application form, visit us at

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Meeting Announcement/Call for Abstracts: "The Biological Foundations of Music," Rockefeller University

The Biological Foundations of Music
May 20-22, 2000
The Rockefeller University
New York, NY, USA

A New York Academy of Sciences Conference

Conference Chairs:
Robert J. Zatorre, Montreal Neurological Institute, McGill University
Isabelle Peretz, University of Montreal

Over the last decade, there has been an explosion in research activities on music perception and performance, and their correlates in the human brain. This sudden increase in scientific work on music has been motivated by the idea that music offers a unique opportunity to better understand brain organization. Like language, music is a complex, rule-governed activity that is specific to humans and that exists in all human societies. Similarly, music appears associated with specific brain architecture. Unlike most other high-level functions of the human brain, only a minority of individuals will become proficient musicians through explicit tutoring, although sensitivity to musical structure develops early in life without conscious effort in the large majority of the population. This particularity in the distribution of acquired skills confers to music a privileged role in the study of brain plasticity.

The goal of the conference is to bring together leading scientists working in the area and who are using a wide range of different methodologies from the cognitive sciences and the neurosciences. The conference will favor integration across disciplines and methodologies, by grouping presentations under major themes that are central to the understanding of music as a human brain function. The format of the meeting will involve in-depth presentations from each invited speaker, round-table discussions, and a poster session.


Eckart Altenmuller, Mireille Besson, Jamshed Bharucha, Ian Cross, Carolyn Drake, Tim Griffiths, Andrea Halpern, David Huron, Catherine Liegeois_Chauvel, Christo Pantev, Lawrence Parsons, Alvaro Pascual_Leone, Isabelle Peretz, Severine Samson, Glenn Schellenburg, Gottfried Schlaug, Mari Tervaniemi, Mark Tramo, Sandra Trehub, Robert Zatorre.

A contributed poster session will form an integral part of the conference program and will provide an excellent opportunity for students and other investigators to present their work. Accepted abstracts will be published in a booklet to be distributed to all conference attendees. In addition, selected poster presenters will be invited to submit a short manuscript for publication in the conference proceedings.

The entire abstract, including title, authors, and affiliations must be typed single spaced (10-pt font or larger) and contained within a rectangle measuring 6" across by 4" down (or 15 cm by 10 cm). The abstract must be submitted on plain paper and be camera-ready in order to be included in the abstracts booklet being distributed at the conference. In a separate cover letter, indicate the conference name, the co-author presenting the poster at the meeting, the presenter's complete mailing address, telephone/fax and e-mail. Send camera-ready abstract by mail to:

Sherryl Usmani, Meetings Coordinator, New York Academy of Sciences 2 East 63 St., New York, NY 10021.

Faxed submission will not be accepted.

Science and Technology Meetings Department
New York Academy of Sciences
2 East 63rd Street
New York, NY 10021
Tel: 212.838.0230, ext 324
Fax: 212.838.5640

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This page prepared by
Michael W. Toler, Editorial Assistant
14 November 2002