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M U S I C T H E O R Y O N L I N E
A Publication of the
Society for Music Theory
Copyright (c) 2000 Society for Music Theory
+-------------------------------------------------------------+
| Volume 6, Number 3 August, 2000 ISSN: 1067-3040 |
+-------------------------------------------------------------+
All queries to: mto-editor@smt.ucsb.edu or to
mto-manager@smt.ucsb.edu
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ANNOUNCEMENTS
Conference Announcement and Call for Papers: Second Biennial
International Conference on Twentieth-Century Music
New Online SMT and Regional Society Calendar
Online Resources Available: TMIWeb Italian Music Treatises
New Journal Issue: Music Theory Society of New York State, vol.
23-4.
General Announcement: One-Time Special Sale Price on Back-Issues
of Integral
Call for Proposals: International Samuel Barber Symposium
Programming Language GPL Distribution Available: OpenMusic
Conference Announcement: OXMAC 2000
Call for Presentations: Eleventh Annual Pacific Northwest
Graduate Music Students Conference
New Website: PDC Special Sessions
New Journal Issue: The Journal of Music Theory Pedagogy, vol. 11
Event Announcement: Summer School of Music AND Philosophy:
Figura, numero e suono. Il costruzionismo musicale tra mondo
delle idee e universo della sonorialita
New music theory website:
Conference Announcement: Gustav Mahler and the Twentieth Century
Conference Announcement: Developing the Musical Ear: A
Conference on the Teaching of Ear Training at the College
Level
Symposium Announcement: Ircam
Conference Announcement: The Society for Seventeenth-Century
Music
New Journal: Moussikos Loghos
Call for Proposals: IMS 2002
Call for Papers: Society of Composers Region V Conference
________________________________________________________________
Conference Announcement and Call for Papers: Second Biennial
International Conference on Twentieth-Century Music
Department of Music, Goldsmiths, University of London
Thursday 28 June - Sunday 1 July 2001
Keynote Speakers to include Professor Richard Middleton
(University of Newcastle)
This conference will address the widest possible spectrum of
musicological endeavours which pertain to the music of the last
century, and to the one indisputably under way by the time the
conference itself takes place.
Papers, and proposals for sessions containing no more than four
separate papers, are invited on any twentieth-century musical
subject; a wide range of approaches and methodologies, as well as
repertoires, is encouraged. Subjects drawn from the wide field
commonly called "popular musics" will be as welcome as well as
those from the "cultivated" traditions. Methodologies drawing on
the disciplines of sociology, anthropology and cultural theory
will be embraced alongside those based on earlier models of
musicological practice. Goldsmiths' eminence in the fields of
fine art and various dimensions of cultural studies will also be
exploited to augment the efforts of scholars working in more
traditional musical contexts. Papers from practitioners
(composers, performers, improvisers...) as well as scholars are
warmly welcomed. Papers from postgraduate students will also be
given serious consideration.
Areas currently under review as the subject of particular
sessions include:
The Writing of Twentieth-Century Musical History
Composition in Contemporary Russia
The Musical Significance of John Cage
The Heritage of Musical Minimalism
The Impact of the Internet on Musical Practice and Listening
Strategies.
Suggestions for other topics are warmly welcomed. (Electronic
versions of this list will be updated and modified as new
proposals are submitted.)
PRACTICAL CRITERIA:
Individual presentations should be no more than twenty minutes in
duration.
Proposals for papers should be submitted in the form of a title
followed by an abstract of no more than 300 words.
Proposals for sessions should be submitted in the form of an
overall title followed by titles of individual papers, plus
abstracts and indications of personnel wherever possible.
Both the above must be submitted in the form of an e-mail or an
e-mail attachment.
Deadline for all proposals: Friday 8 December 2000
Details of fees, etc. and registration deadline will be announced
in the autumn.
Conference Organiser:
Keith Potter
Department of Music
Goldsmiths, University of London
New Cross, London SE14 6NW
tel. 020 7919 7649 or 020 7919 7663.
(Please use electronic communication wherever possible.)
Programme Committee:
Chair: Keith Potter (Goldsmiths, University of London)
Christopher Mark (University of Surrey)
Roger Redgate (Goldsmiths, University of London)
Arnold Whittall (King's College, University of London)
_________________________________________________________________
New Online SMT and Regional Society Calendar
An announcement was made recently on the smt-list about a new
addition to our array of electronic services: an online SMT and
Regional Society Calendar, which will carry entries for national
and international music theory events. Visitors to our Web site
may have already seen it. There is a link to it in the sidebar
menu of our home page, under the heading Online Resources. Its
Web address is .
Submissions for inclusion on the calendar should be sent by
e-mail to Mary Arlin , SMT Newsletter Editor.
Events submitted for the Newsletter by sponsoring organizations
will be included automatically in the online calendar.
In order to keep up to date with events, it is possible to
subscribe to the calendar. Follow the link at the bottom of the
calendar page to subscribe, sign up, and you will receive email
updates for each added and modified event.
Mary I. Arlin
SMT Newsletter Editor
_________________________________________________________________
Online Resources Available: TMIWeb Italian Music Treatises
TmiWeb is the web edition of Thesaurus musicarum italicarum
(TMI), an electronic corpus of Italian music treatises written
before c. 1750. TmiWeb has been under construction since the
beginning of this year, and is now ready for preview. You are
invited to visit TmiWeb at
(yes, I have permission to use this domain name), and to give
feedback by means of the online questionnaire or otherwise.
Treatises are SGML-encoded using TEI markup (with a few, legal,
modifications). Currently, texts of some fifteen music treatises
dating from 1520-1640 are available on TmiWeb; not all of them
have been fully marked up, and part of the music examples must
still be added. TmiWeb also contains Bernardino Baldi's *Cronica
de Matematici* (written c. 1600, published 1707), a collection
of short biographies of mathematicians from between 600 BC. and
the end of the 16th century, among whom there are many
musicians.
As compared to the CD-ROM edition of TMI, TmiWeb offers more
basic functionality; there is no direct access to digital
facsimiles. TmiWeb uses DynaWeb 4.2 to convert SGML documents to
HTML pages and to provide search and linking functions. The
entire corpus can be searched for words and markup; Italian
language support allows "expanded" searching for word forms,
synonyms, and related terms. TmiWeb is heavily hyperlinked:
sources often refer to each other and to works in other
languages or about other subjects, some of which are available
elsewhere on the Internet. Personal names are marked up as
; these tags are implemented as
hyperlinks to a file with bibliographical data.
While work on TmiWeb's search and linking functions is almost
done, please note that the layout of the documents is still
experimental and may display a number of oddities. The TmiWeb
server will be disconnected for a couple of days during the
second half of August, while the department moves to its new
location.
I am looking forward to your virtual visit to TmiWeb, and am
most grateful for any feedback.
Frans Wiering
Project manager TMI
_________________________________________________________________
New Journal Issue: Music Theory Society of New York State, Vol.
23-4.
Dear Colleagues,
The Music Theory Society of New York State is pleased to
announce the impending publication of vol. 23-4, a double issue
edited by Taylor A. Greer. In preparation for mailing the
journal, we would like to have as many current addresses (as
opposed to 1997 and 1998 ones) as possible.
I have updated many addresses, but perhaps not all, and maybe
not yours! If you were (or think you were) a 1997 and/or 1998
member of MTSNYS, please go to
and check the mailing address I have on record for you. If the
address is incorrect, please click on the mailto link at the top
of the page to send me your correct address. If your name does
not appear there, it means that I have no record of your
membership for both years. Also, please note that joint
memberships are listed under a single member's name; remember
that joint members receive one copy of the journal.
If you see an incorrect address for a friend, would you please
let that person know to contact me? Thanks.
Please email corrections to me by July 28.
Best wishes,
Daniel Harrison
Secretary, Music Theory Society of New York State
University of Rochester
College Music Department and Eastman School of Music
_________________________________________________________________
General Announcement: One-Time Special Sale Price on Back-Issues
of Integral
The staff of Integral, the journal published by the graduate
students of the Department of Music Theory, Eastman School of
Music, University of Rochester, is offering a special price on
back issues of our publication. Individual issues are available
for $7 a piece; the whole set (vols. 1/1987 - 11/1998) is $60.
Contents of each issue are available on our website. Interested
individuals should email all requests to David Sommerville
or fill out an electronic
order form at our site
.
All requests must be received by 10/1/00.
Sincerely,
David Sommerville
Subscriptions Manager, Integral
Eastman School of Music
_________________________________________________________________
Call for Proposals: International Samuel Barber Symposium
Virginia Commonwealth University announces a Call for Papers for
presentation at an International Samuel Barber Symposium to be
held in Richmond, Virginia, March 22-24, 2001. Proposals are
now being accepted for papers and lecture demonstrations on
topics related to the life, work and influence of Samuel Barber.
The duration of presentations may be either 20 or 35 minutes.
Send 3 copies of a 250 word abstract of the proposal accompanied
by a short biographical sketch by October 1, 2000, via
conventional mail or facsimile to:
Mr. John Patykula
International Samuel Barber Symposium
Department of Music
Virginia Commonwealth University
922 Park Avenue, Richmond VA 23284-2004, USA.
Questions about the Symposium may be directed to Mr. Patykula at:
+1-804/828-8008; Fax
+1-804/827-0230;
.
_________________________________________________________________
Programming Language GPL Distribution Available: OpenMusic
OpenMusic (OM) is a fully visual programming language based on
CommonLisp / CLOS. OM is icon oriented, uses extensively drag
and drop and graphical editors, and has built-in visual control
structures that interface with Lisp ones, such as loop. Existing
Lisp/CLos code is easily reused. Above the OpenMusic kernel,
live the OpenMusic Projects. A project is a specialized set of
classes and methods directly written in Lisp, accessible and
visualisable in the OM environment. Using the Basic Project, OM
may be used as a general purpose functional/object/visual
programming language. Using the Music Project it can be used as
a convenient environment for music composition.
OpenMusic sources are available under the GNU Public License
(GPL).
Right now, a working OM environment can be compiled only on the
Macintosh using Digitool MCL compiler.
Making the OpenMusic sources available through GPL should
result soon in new versions compiled with Open Sources Common
Lisp compilers, specially on unix/linux environments.
The OM distribution is available at :
and
in the software download section.
_________________________________________________________________
Conference Announcement: OXMAC 2000
You are warmly invited to attend OXMAC 2000, an international
conference on music analysis which will take place at St Peter's
College, Oxford from lunchtime on Friday 22 September to
lunchtime on Sunday 24 September 2000. A keynote address will be
given by Professor Nicolas Meeus (Universite de Paris-Sorbonne);
for a full programme and booking details, please go to
_________________________________________________________________
Call for Presentations: Eleventh Annual Pacific Northwest
Graduate Music Students Conference
Saturday, October 7, 2000
University of Washington
Seattle, WA
This annual conference is hosted alternately by the University
of Washington, the University of Victoria, and the University of
British Columbia. Graduate students from across the U.S. and
Canada are invited to submit proposals for presentations on any
music-related topic (including musicology, music theory,
ethnomusicology, performance practice, music education, etc.).
Proposals for lecture recitals and works-in-progress are
welcome. Presentations will be limited to 20-25 minutes,
followed by a brief discussion period.
Submission deadline for proposals is August 25, 2000, with
notification of acceptance no later than September 7, 2000.
Both written and e-mail abstracts (of approximately 250 words)
are acceptable. Proposals and/or requests for further
information may be directed to Brandon Derfler, Co-ordinator,
at either of the following addresses:
Eleventh Pacific Northwest Music Graduate Students Conference
c/o Brandon Derfler
School of Music
Box 353450
University of Washington
Seattle, WA 98105-3450
USA
E-mail:
_________________________________________________________________
New Website: PDC Special Sessions
I am pleased to announce the launching of a new website by the
SMT Professional Development Committee. The site, created by
committee member Ciro Scotto, contains texts of many of the
talks given at PDC Special Sessions over the years, copies of
handouts, and useful links to other professional development
sites. Visit the site for suggestions about job searching,
getting published, giving papers at conferences, getting tenure,
etc. We have tried to provide information that will be helpful
to music theorists at every stage of their careers.
We will get a link to the SMT homepage soon, but for now you may
point your browser to:
Ideas or suggestions are welcome. You may address them to me or
to Ciro Scotto at: .
_________________________________________________________________
New Journal Issue: The Journal of Music Theory Pedagogy, vol. 11
The Journal of Music Theory Pedagogy has resumed publication
with the recent issuance of Vol. 11 (1997). Volume 12 (1998)
will appear soon and Volume 13 (1999) will come out before the
end of the calendar year. Subsequent volumes will appear
annually.
Articles are solicited on any topic related to the pedagogy of
music theory and aural skills. In addition, to presenting their
work in traditional printed format, authors may prepare and post
interactive multimedia documents to supplement their articles
and/or depict salient points. The editorial staff of the journal
will consult with authors who are interested in developing such
documents.
The contents of all published volumes and information for
prospective authors can be found on the JMTP web site
.
Please consider making a contribution to JMTP.
J. Kent Williams, Editor
_________________________________________________________________
Event Announcement: Summer School of Music AND Philosophy :
Figura, numero e suono. Il costruzionismo musicale tra mondo
delle idee e universo della sonorialita
HOST: SONUS EDIZIONI
DATE: Sept. 2-7 2000
DESCRIPTION:
This year the summer school of music and philosophy deals the
musical constructionism with the participation of famous
scholars. The event occurs in the sea beauty of Maratea in the
South-Italy
The conferences are in Italian.
At the same time it happens the Maratea Musica Festival with
pieces of madrigale, Schubert, Maderna, Ives, etc.
Participation at the concerts is free.
Information and program are available on the web site
REGISTRATION DEADLINE: 07/31/2000
COST AND PAYMENT OPTIONS:
Summer School registration fee: lit. 50.000 (± 30 $)
Postal current account number 10272854 registered in Sonus
Edizioni Musicali - Via del Popolo, 131 - 85100 Potenza (Italy)
n. 20 scholarships (lit. 400.000) are available (information on
the web site)
TRAVEL AND HOTEL INFORMATION:
Sonus Edizioni doesn't attend to travels and hotel reservations.
Ask information at:
APT Piazza del Gesł, 32 - 85040 Maratea (Potenza), Italy
Tel. +39-973-876908
CONTACT:
SONUS EDIZIONI
Via del Popolo 131, 85100 Potenza, Italy
Tel. +39-971-37457 (in Italian)
Fax +39-971-26878
Email
Web
_________________________________________________________________
New music theory website:
DATE: 6/14/2000
DESCRIPTION:
Hello, I would like to announce my new music theory website at
It includes beginning lessons and two interactive trainers (one
for naming notes on the staff and the other for improving the
recognition of heard intervals).
Thanks!
Ricci Adams
ricci@musictheory.net
_________________________________________________________________
Conference Announcement: Gustav Mahler and the Twentieth Century
GUSTAV MAHLER AND THE TWENTIETH CENTURY: 24 MARCH 2001
The Music Department in the School of Performing Arts,
University of Surrey, will host a one-day conference 'Gustav
Mahler and the Twentieth-Century'. A group of invited specialists
will present papers on aspects of the interpretation, influence,
and cultural context of Mahler's music. Programme and booking
details will be available in due course from:
Dr. Stephen Downes
University of Surrey
School of Performing Arts
Guildford, GU2 7XH, UK
tel.+44 (0)1483 876533
fax +44 (0)1483 876501;
.
_________________________________________________________________
Conference Announcement: Developing the Musical Ear: A
Conference on the Teaching of Ear Training at the College
Level
DEVELOPING THE MUSICAL EAR:
A CONFERENCE ON THE TEACHING OF EAR TRAINING AT THE COLLEGE LEVEL
Mannes College of Music
150 West 85th Street
New York, New York 10024
SATURDAY, SEPTEMBER 9, 2000
Ear Training is the foundation for all musical development. It
encompasses a broad range of instruction from the most elementary
to the furthest possibilities of development and improvement of
the ear.
The teaching of Ear Training is often mistakenly relegated to a
subordinate position in music curricula. The conference will
address this concern and will explore a wide range of teaching
methods and philosophies in this vital field. We anticipate a
lively exchange of ideas and techniques. The conference program
is given below, followed by a registration form (to print out and
mail).
PROGRAM
8:30 - 9:00 REGISTRATION
Coffee or Tea
9:00 WELCOME
Joel Lester, Dean, Mannes College of Music
9:05 - 10:15 RHYTHM AND HYPERMETER
Carl Schachter, Mannes, moderator
9:05 - 9:40
Numeric Rhythmical Articulation: A Longy Legacy
Christopher Stone, Mannes College of Music
9:40 - 10:15
It's About Time: Hypermeter in Aural Skills Training
Gary S. Karpinski, University of Massachusetts-Amherst
10:15 - 10:25 BREAK
10:25 - 12:10 PITCH AND SOLMIZATION
Elizabeth Aaron, Mannes, moderator
10:25 - 11:00
What's the Use? Practical Applications of Fixed-do
Robert Fertitta, SUNY-Purchase
11:00 - 11:35
The Thinking Ear
Drora Pershing, Queens College, CUNY
11:35 - 12:10
Absolute and Relative Pitch: The Best of Both Worlds?
Donna Doyle, Graduate Center, CUNY
12:10 - 1:40 LUNCH BREAK
1:45 - 2:55 ADVANCED APPLICATIONS
David Gagne, Queens College, moderator
1:45 - 2:20
Memory, Improvisation and Species Counterpoint:
Their Role in Advanced Ear Training
Ford Lallerstedt, Curtis Institute of Music
2:20 - 2:55
Similarities and Continuities:
Stravinsky, Schoenberg and the Goals of Ear Training
Michael L. Friedmann, Yale University
3:00 - 4:30 ROUND-TABLE DISCUSSION
Robert Cuckson, Mannes, moderator
Members of the Mannes Techniques of Music Department;
Mary Anthony Cox, The Juilliard School; and others
WINE AND CHEESE RECEPTION TO FOLLOW
.............................................................
REGISTRATION FORM
Developing the Musical Ear
Saturday, September 9, 2000
Name____________________________________________________
Address_________________________________________________
________________________________________________________
City____________________________________________________
State___________________________________Zip_____________
________________________________________________________
Telephone (Day)_________________________________________
(Evening)_____________________________________
Fax_____________________________________________________
E-mail__________________________________________________
Academic Affiliation____________________________________
________________________________________________________
____I shall attend the conference ($15) ____students ($5)
Enclosed is my check/money order for a total of $_________
payable to Mannes College of Music.
Please print out this form and send it along with
your payment to:
Elizabeth Aaron, Conference Chair
Mannes College of Music
150 West 85th Street
New York, New York 10024
Telephone: 212-580-0210, ext. 278
PLEASE REPLY BY AUGUST 11, 2000
Further conference information is available at
Additional inquiries may be posted via e-mail at
_________________________________________________________________
Symposium Announcement: Ircam
Dear Audiophiles,
Ircam is organizing a symposium on Space, gathering talks and
demos from Acousticians, Composers and Architects. They will
present an historical overview of their respective field, and
will underline the challenges introduced by the latest
technologies. It will be held on the 9/10th of June, during
Ircam's musical festival AGORA. More info at:
Entrance is free, and most talks will be given in French.
Olivier Warusfel
Head of Room Acoustics Team - Ircam
_________________________________________________________________
Conference Announcement: The Society for Seventeenth-Century
Music
The Society for Seventeenth-Century Music will hold its ninth
annual Conference 19-22 April 2001 at Franklin & Marshall College
in Lancaster, Pennsylvania. Proposals on all aspects of
seventeenth-century music and music culture are welcome,
including papers dealing with other fields as they relate to
music. In view of the location and the possibility of visits to
the reconstructed Anabaptist cloisters in nearby Ephrata, the
program committee also encourages proposals on Colonial American
and Germanic topics. A prize will be awarded for the best paper
presented by a student. Presentations may take a variety of
formats, including papers, lecture-recitals, workshops involving
group participation, and roundtable discussions. Papers will be
limited to 20 minutes and lecture-recitals to 45 minutes. It is
the policy of the Society to require a year's hiatus before
presenters at the previous meeting may be considered for another
presentation. Five copies (four anonymous and one identified with
name, address, telephone, fax, and e-mail address) of an abstract
of not more than 350 words, postmarked by 1 October 2000, should
be sent to:
Gregory Barnett
School of Music
Voxman Music Building
Box 1006
University of Iowa
Iowa City, Iowa 52242-1795.
Abstracts from outside the United States and Canada may be sent
by fax (one copy only) 319/335-2637. Tapes (audio or visual)
supporting proposals for lecture-recitals are welcome.
_________________________________________________________________
New Journal: Moussikos Loghos
Announcing a New Refereed Research Journal: Moussikos Loghos
(ISSN: 1108-6963)
Moussikos Loghos is an initiative of the Music Department of the
Ionian University (Corfu) and is dedicated to the publication of
musicological articles by Greek musicologists as well as of
articles on Ancient Greek, Byzantine and Modern Greek art music
and music in the Balkan and the Mediterranean countries. Included
are also congress reports, reviews and information on new
publications.
Submission of Manuscripts
Both greek-speaking authors and authors writing on Greek music
are invited to submit articles, reports, reviews and research
notes. Authors submitting manuscripts for review must send three
copies, each copy containing all figures, tables and music
examples and an abstract of not more than 200 words to the Editor,
Panos Vlagopoulos, Asklepiou 6, Athens 106 80 - Greece.
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.
Copyright
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, Moussikos Loghos. 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
Moussikos Loghos is published biannually (first issue: Spring
2000). International subscription rates are $30. Address all
inquires concerning back issues and subscription requests to:
Moussikos Loghos
Nefeli Publications
Asklepiou 6, Athens 10680
tel: +301 3639962, fax: +301 3623093
e-mail: .
Editor: Panos Vlagopoulos (Music Library Lilian Voudouri)
Editorial Board: Irmgard Lerch-Kalavrytinou (President: Ionian
University), Christoph Stroux (Music Library Lilian Voudouri),
Charis Xanthoudhakis (Ionian University), Panos Vlagopoulos
(Music Library Lilian Voudouri).
Editorial Review Board: Michael Christoforides (University of
Melbourne), Demetrios Giannou (University of Thessaloniki),
Apostolos Kostios (University of Athens), Egert Poehlmann
(University of Erlangen), Diane Touliatos (University of
Missouri - St. Louis), Gerasimos Solomos (University of
Montpellier), Gerda Wolfram (University of Vienna).
Content Listing of Moussikos Loghos, no. 1 (Spring 2000):
Articles
Linos Benakis, The Theory of Music (Harmonika) in Byzantium
Katherina Michopoulou, Louis Couperin's Unmeasured Preludes:
Notation and Aspects of Interpretation
Christina Papaeliou, The Origins of Musical Activity in
Mother-Infant Communication
Anastasia Siopsi, 'Hellenism' in Manolis Kalomiris's Music:
Myth and Germanic Tradition in his Opera 'The Mother's Ring'
Charis Xanthoudhakis, A French Sixth in the Italian Seventeenth
Century
Nikos Papademetriou, Music Analysis: Different Approaches -
Different Practices
Hommages to Composers Michalis Adamis and Giannis A. Papaioannou
_________________________________________________________________
Call for proposals: IMS 2002
The International Musicological Society will hold its 17th
international Congress at the Maria Theresia College of the
Catholic University in Leuven, Belgium, from 1 to 7 August 2002.
The Congress will offer symposia on eight broad themes, as
explained in detail on the IMS website
and on flyers available on request from the Secretary General of
the IMS (fax: (41)-1-923-1027; e-mail: imsba@swissonline.ch ):
1. Hearing - Performing - Writing
2. The Dynamics of Change in Music
3. Who Owns Music?
4. Musica Belgica
5. Musical Migrations
6. Form and Invention
7. Instruments of Music: From Archeology to New Technologies
8. Sources
Each symposium will include multiple sessions, papers and poster
presentations on subtopics that will be determined by the
proposals received. The program committee hereby calls for
proposals addressing the themes of the symposia, although topics
outside of the eight themes will also be considered. Proposals
(in Spanish, Italian, German, French or English) should be
submitted by 3 April 2001, following the guidelines below. The
committee particularly invites contributions from younger
scholars and from scholars outside of western Europe and North
America. Participants need not be members of the IMS, but all are
expected to register for the conference.
All proposals must include the title of the proposal, the
symposium theme to which it belongs, and the name and address of
the session organizer or author, indicating whether the proposal
is an "IMS Session", "IMS Paper" or "IMS Poster presentation."
Proposals may be submitted via electronic mail (as a letter, not
an attachment), by regular mail or by fax (in a readable typeface
on single sides of paper in A4 or 8.5 x 11-inch format with at
least 3 cm. margins). Only one submission per author will be
considered, and all proposals will be treated confidentially.
Proposals for SESSIONS must describe the desired length and
format of the session and its importance in fewer than 400 words,
provide the name and address of the organizer and a list of
committed participants, and include a separate abstract
(following the guidelines for individual papers) for each of
their contributions. Preference will be given to sessions with an
interdisciplinary and international panel of speakers.
Proposals for individual PAPERS must take the form of an abstract
that describes the research findings and their significance as
fully as possible. Individual papers are limited to 20 minutes
and will be followed by time for questions and discussion.
Abstracts must not exceed 250 words.
POSTER presentations should be designed to be displayed for at
least three hours on three consecutive days, with the project
coordinator or a member of the research team in attendance.
Authors are responsible for ensuring that the necessary equipment
is available. Proposals must include a description of the
research project for display, not to exceed 250 words, and
provide, separately, a detailed, complete list of the materials
for display and of the equipment and facilities needed. The
program committee guarantees venues in the main building of the
conference, in proximity to session spaces.
All proposals must be submitted by 3 April 2001 to the chair
of the program committee:
Prof. Barbara Haggh: IMS 2002
School of Music, University of Maryland
C. Smith Performing Arts Center, 3110-C
College Park, Maryland 20742, USA
department fax: 301-314-9504
IMS 2002 Description of the Symposia
In view of the increasing range and variety of scholarship on
music, the 17th Congress of the International Musicological
Society, to be held 1-7 August 2002, in Leuven, Belgium, will
present eight symposia on broad themes introduced below. The
symposia will replace the single theme and related round-tables
that have characterized recent congresses. The program committee
has sent out a call for proposals for complete sessions,
individual papers, and poster presentations related to the eight
themes, from which the symposia will be composed. (For this call,
see .) The number of sessions to be
held within each symposium is not fixed, nor must the content of
a session, paper, or poster presentation reflect the themes only
as represented here, which are intended as points of departure.
Symposium 1 : Hearing - Performing - Writing
How we create music in our minds (as we hear), in the minds of
others (as we perform), or in written or non-written
representations of music (notation, chieronomy) are processes
addressed by systematic and historical musicology, along with
many other disciplines outside musicology that examine
communication and cognition. This symposium encourages research
into listening as well as hearing, interpretation and
performance, and the reading and invention of music writing, as
these activities involve repertories, listeners, and executants
from a wide range of times and places.
Symposium 2 : The Dynamics of Change in Music
Change and continuity are constants in human culture. Discussions
and explanations of change may evoke the chronological (style
periods, stages in composers' or performers' careers),
geographical (influence, acculturation, alienation), philological
(syncretism, contamination), teleological (notions of progress or
of cause and effect), biological (growth or decay), or
hierarchical (the coexistence of different rates of change and
strata of change at one time). In recognition of the complexity
of our evolving musical world, this symposium solicits
contributions addressing the epistemology of change.
Symposium 3 : Who Owns Music?
The lives and careers of musicians suppose a reification of
musical phenomena as is attested by concepts of authorship,
patronage, copyright, and other, still broader aspects of the
place of music in the human economy. Here we examine how and for
what purpose people and institutions commission, acquire, inherit
and discard music, and maintain, control, legislate, or exchange
it.
Symposium 4 : Musica Belgica
A meeting place of European cultures, the area that is now
Belgium has always been a site of musical exchange and
creativity. If it seems impossible to define a Belgian musical
identity, it is no less true that traditions, privileged moments,
and periods of uncertainty have existed. The histories of
medieval music theory and of Renaissance polyphony in the region
are best known, but the many manuscript and local archival
studies now require complementary research situating their
histories in a European context and in the broader history of
culture. The examination of issues in modern history, such as the
history of opera, the historiography of music in the 19th
century, and contemporary composition and performance can benefit
from a dialogue between musicologists and historians of diverse
disciplines and methodological interests.
Symposium 5 : Musical Migrations
Music is movement, musicians are rarely sedentary, and musical
objects (scores, instruments, repertories) often move with them.
These migratory movements cause superficial and radical
transformations: the symbolic dimension of the musical event is
more fully revealed, while the materiality of musical entities
and objects is correspondingly reinforced. Complex values may
inform judgements such as "fruitful synthesis," "stylistic
corruption," or even "cultural annihilation".
Symposium 6 : Form and Invention
"Form and invention" is a binary concept that represents many
varieties of opposition and reciprocity. Although it derives from
western classical rhetoric, it may profitably illuminate a wide
range of music and in turn be enriched by its application. For
Renaissance and Baroque music, it signified the choice and
elaboration (inventio) of common figures (topoi) and their
arrangement (dispositio) in persuasive oratory. Later writers
reduced the processes of invention to the working out of a formal
idea, while to composers and the public, "invention" came to
suggest original creation, 'ex nihilo,' as it were. Such
competing meanings of the terms still inform the neo-classical
repertory of the last century. The symposium invites
investigation of the presence of "form and invention" across a
multiplicity of repertories and traditions and among a wealth of
more recent paradigms for composition, listening, analysis, and
improvisation.
Symposium 7 : Instruments of Music: From Archeology to New
Technologies
Musical instruments range from clapping hands to computers
running on interactive software, from imaginative fancies to
mass-produced souvenirs or pint-sized violins. This symposium
seeks new contributions to organology, particularly encouraging
explorations of phenomena that cross cultural and stylistic
boundaries, such as the need for instruments that extend the
abilities of the human musical body, or the accordance of
spiritual or secular meanings to instruments of music and the
sounds they produce. This forum might also investigate how
instruments are valued and interpreted in different cultures,
places, times or functions, and why some instruments fail, but
others are adopted and succeed.
Symposium 8: Sources
The study of sources, whether written, oral, or virtual, ensures
the link between our generations and the past and its
achievements. We continue to develop the presentation of sources
in scores, recordings, and edited documents that range in format
from print to digitized multimedia. Technology now pretends and
aspires to make everything from the past instantly available on
screen and through loudspeakers, yet substitutes for primary
sources inevitably distort them in some way.
This prompts us to examine how all of the tools and media
involved in the collection, transmission, and retrieval of
musical knowledge (catalogues raisonnes, critical editions,
composers' homepages on the World Wide Web, and others) influence
our relationship to our sources and to the ways in which we use
them.
_________________________________________________________________
Call for Papers: Society of Composers Region V Conference
Society of Composers, Inc.
REGION V CONFERENCE
Ball State University
Ernesto Pellegrini, Host
Feb. 8-10, 2001
Deadline: Sep. 1, 2000 (postmark)
Papers may be submitted on any aspect of music since 1945,
compositional technique, or the teaching of composition.
Presentations will be limited to 20-25 minutes. Submissions for
papers must include: 1) anonymous proposal of 2-4 double-spaced
pages of text (excluding references and musical examples); 2)
abstract of no more than 200 words; 3) cover letter listing the
title of the paper and the author's name, address, telephone,
e-mail and institutional (if any) as well as SCI affiliations; 4)
list of any equipment needed; 5) SASE. Send paper proposals to:
SCI Region V Conference,
c/o Eleanor F. Trawick,
School of Music,
Ball State University,
Muncie, IN 47306-0410,
e-mail .
Composers are invited to submit up to two works for any of the
following forces (including sub-groups): 1) standard ww quintet;
2) standard brass quintet; 3) any combination of the above with
the following additional players: alto sax, pf, gtr, harp, vn,
va, vc, db, and perc; 4) typical wind ensemble; 5) French horn;
6) Sax quartet; 7) Piano, oboe and bassoon in any combination.
Composers able to provide their own performers are encouraged to
submit as well. Electroacoustic works in combination with
instruments will also be considered. Send scores, CDs or
cassettes if available, brief bio including SCI regional
affiliation, SASE, a stamped self-addressed postcard for
acknowledgment of receipt of materials, contact information
(address, phone, e-mail, fax), brief program note for each piece,
duration of pieces, indication of whether you will provide your
own performers. Send all score submissions to:
SCI Region V Conference,
c/o Ernesto Pellegrini,
Ball State University,
Muncie, IN 47306-0410,
tel. (765) 285-5405,
fax (765)285-5401,
e-mail .
All selected participants are expected to attend the conference
and be SCI members in good standing.
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