Music Theory Online
A Journal of Criticism, Commentary, Research, and Scholarship
Music Theory OnlineA Journal of Criticism, Commentary, Research, and Scholarship |
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Volume 7, Number 1, January 2001
Copyright © 2001
Society for Music Theory
Call for Papers: University of Western Ontario Graduate Student Symposium in Music 2001
The program committee for the Second Annual Graduate Student Symposium in Music at the University of Western Ontario, London, Ontario, Canada is pleased to invite submissions from graduate students of proposals for our Graduate Student Symposium to be held during the first weekend in June, 2001 (Saturday and Sunday, June 2nd and 3rd). For a description of last year's symposium, visit www.music.uwo.ca/graduate/grad-whats_new.html; to see abstracts of papers read, visit www.music.uwo.ca/graduate/grad-symposium_june_2000.html.
The committee is seeking submissions in all areas of music scholarship, including: ethnomusicology, music education, musicology, music psychology, and music theory. Abstracts of an interdisciplinary nature are also encouraged. Those wishing to read a paper should submit six copies of an abstract (maximum 500 words, excluding illustrations). In addition, we are pleased to invite submissions of proposals for lecture-recitals and mini-recitals, which will take place in the faculty's Von Kuster Hall. Those wishing to present a lecture-recital should send six copies of an abstract (300-500 words) and three copies of a cassette tape or CD with excerpts from the proposed program. Those wishing to present a mini-recital should send six copies of a program (with timings) and three copies of a cassette tape or CD with excerpts from the proposed program. Lecture-recitals and mini-recitals must be limited to forty minutes. Please indicate clearly whether your proposal is for a lecture-recital or for a mini-recital. Those wishing to have their tapes or CDs returned should include a stamped, self-addressed envelope.
Send proposals and abstracts to:
Attention: Robert Wouda
Graduate Student Symposium in Music 2001
Faculty of Music, University of Western Ontario
Talbot College Room 210
London, Ontario
CANADA
N6A 3K3
Submissions and inquiries may also be sent through email to:
Please have the subject line read: Graduate Student Symposium.
The author's name should appear only on the cover letter, along with the title of the paper, a return address (include an email address if possible), and a telephone number. The deadline for the receipt of proposals is Monday, April 9, 2001. All submissions received before and up to the deadline will be acknowledged.Conference Announcement: University of Tennessee at Chattanooga 3rd biennial Contemporary Music Symposium
The University of Tennessee at Chattanooga announces its 3rd biennial Contemporary Music Symposium. Events include:
All events take place from February 1-3 in the Fine Arts Center of the University of Tennessee at Chattanooga. Please see the Symposium web pages for details, history of the symposia, sound clips and pictures.
http://www.utc.edu/musidept/music/symposium/
E-mail inquiries are welcome.
New Journal Issue: Musiktheorie 3/2000
Here are the contents of Musiktheorie, Heft 3/2000
QUELLENTEXTE
BEITRAG
DISKUSSION
BESPRECHUNGEN
New Journal Issue: Perspectives of New Music, 37/1
Here are the contents of Perspectives of New Music 37, no. 1 (Winter 1999).
WILLIAM ALBRIGHT IN MEMORIAM
A SEVENTIETH-BIRTHDAY FESTSCHRIFT FOR KARLHEINZ STOCKHAUSEN (part three)
COLLOQUY AND REVIEW
Conference Announcement: Study Day on Improvisation at University of London
Study Day on Improvisation, Saturday 24 February 2001
Royal Musical Association and Society for Music Analysis
Room 001, Wettons Terrace, Royal Holloway, University of London
09.30-10.00 Coffee and Registration (Undergraduate Common Room, Wettons Terrace, Royal Holloway)
10.00-10.10 Welcome and Introduction to the Study Day
John Rink (Royal Holloway, University of London)
10.15-11.00 Keynote Paper 1: Beyond Improvisation
Nicholas Cook (University of Southampton)
11.00-11.30 'Singing on the Book' and Conventions for Unwritten
Counterpoint in the Fifteenth Century
Margaret Bent (All Souls College, Oxford)
11.30-12.00 Coffee (Undergraduate Common Room, Wettons Terrace)
12.30-12.45 Keynote Paper 2:
Psychological Processes and Aesthetic Principles in Improvisation
Eric Clarke (University of Sheffield)
12.45-14.15 Lunch (Crossland Suite, Founder's Building)
14.15-14.45 Between a Rock and a Hard Place: The Ambiguity of Creation
and Re-Creation in Performing Roger Redgate's Graffiti
Stephen Cottrell (University of Middlesex)
14.45-15.30 Keynote Paper 3:
'Who knows who's improvising?' Ethnomusicological and Related
Perspectives
Richard Widdess (School of Oriental and African Studies)
15.30-16.00 Jazz Recipes
Steve Larson (University of Oregon)
16.00-16.30 Tea (Undergraduate Common Room, Wettons Terrace)
to Picture Gallery, Founder's Building
16.45-17.25 Improvised, but not Improvisatory? The Nature of Melodic
Variation in Central Javanese Gamelan Music
Marc Perlman (Brown University)
17.30-18.15 Concert of Improvised Music
Cari Burdett (Royal Academy of Music)
Call for Papers: Society for Music Perception and Cognition Meeting
The Society for Music Perception and Cognition (SMPC) invites you to submit a proposal for the forthcoming meeting of the Society, SMPC2001. The meeting will be held August 9-11, 2001, at Queen's University, Kingston, Ontario, Canada.
The objectives of SMPC are to further the scientific and scholarly understanding of music from a broad range of disciplines, including music theory, psychology, psychophysics, linguistics, neurology, neurophysiology, ethology, ethnomusicology, artificial intelligence, computer technology, physics and engineering; to facilitate cooperation among scholars and scientists who are engaged in research in this interdisciplinary field; and to advance education and public understanding of knowledge gained. Topics relevant to all of the above disciplines will be considered, but topics that are especially encouraged include performance and expertise, neural substrates of music, development and education, music cognition and music theory, pitch (including absolute pitch) and rhythm perception, music and emotion, and cross-cultural investigations.
The deadline for submission of abstracts is April 1, 2001. Paper and poster submissions, as well as proposals for symposia, are welcomed.
Expected length of a spoken presentation, plus questions, will be 20-30 minutes (depending on the number of accepted submissions). For paper and poster presentations, please submit a single page abstract of a minimum of 300 words by e-mail (preferred) or hard copy to the Program Chair. For a symposium proposal, please submit such an abstract for each paper and a covering statement outlining the overall rationale and organization. All abstracts will be assessed by the program committee for clarity and detail of the aims, method and conclusions, as well as the suitability of the topic for the society.
The Program Chair for SMPC2001 is Dr. W. F. Thompson, Department of Psychology, Atkinson Faculty of Liberal
and Professonal Studies, York University, Toronto, Ontario M6N 1M5, Canada, phone (416-736-2100 ext. 66463), e-mail smpc2001@yorku.ca
Include the following in your proposal:
Queen's University is located in Kingston on Lake Ontario, about half way between Toronto and Montreal, 250 km to each. Toronto Pearson International Airport (YYZ) and Montreal-Dorval (YUL) are the closest international airports. There is frequent bus and train service from both cities as well as flights from Toronto-Pearson Airport to Kingston (YGK) on Air Canada. By car, Kingston is reached by Highway 401 from Toronto or Montreal and by I-81 North from Syracuse, NY. Driving time is approximately 3 hours from Toronto, 3 hours from Montreal, and 2 hours from Syracuse.
Kingston is the gateway to the Thousand Islands in the St. Lawrence river, a popular tourist resort with many water-front activities. The Society banquet will be held at historic Fort Henry, occupied by British forces in the nineteenth century. The banquet will be offered in the tradition of British officers during the reign of Queen Victoria.
Further information about travel, university residence and hotel accommodation, registration, and society membership is available at the website http://psyc.queensu.ca/~smpc/
Alternatively, you may contact the incoming President of the Society, Professor L. L. Cuddy, Department of Psychology, Queen's University, Kingston, Ontario, Canada, K7L 3N6, email smpc@psyc.queensu.ca.
Call for Papers: Conference of the Association for Technology in Music Instruction
The image of a computer as an automated teacher is not one that fits the
image of empowered learners taking on self-defined projects in design. It is
more in line with the ideas expressed that the role for a computer be one of
an environment-surrogate rather than a person-surrogate. Computer-based
micro-worlds for design are places where learners can explore phenomena
and learn to perceive their underlying structure.
G. Balzano
The ATMI 2001 PROGRAM COMMITTEE invites the submission of proposals for the 2001 Conference of the Association for Technology in Music Instruction.
Tom Hughes, Chair (Texas Tech University)
Ann Blombach (The Ohio State University)
Judith Bowman (Duquesne University)
Mark Lochstampfor (Capital University)
CONFERENCE INFORMATION:
The concurrent national conferences of ATMI and CMS will be held in Santa Fe, NM, November 15th through the 18th.
CONFERENCE THEME: New Directions for a New Millenium
PRELIMINARY CONFERENCE INFORMATION:
PROPOSAL SUBMISSION DEADLINE: February 15, 2001.
Complete Proposal Form included at the end of this announcement.
CONFERENCE SESSIONS:
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.
New this year will be informal debriefing sessions following the formal
presentations to allow more detailed questions/explanations of topics.
These will follow the usual electronic poster session format.
Also new this year will be a Conference Proceedings Index, which will point
to presenter's sites to provide a centralized access to conference topics.
PRESENTATION TOPICS:
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:
PRESENTATION FORMATS:
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: For these sessions, it should be assumed that the presenter would be working with a group using laptop computers, as at the Toronto conference.
ELECTRONIC POSTER SESSION(S): The conference will host at least one computer-based poster session, in which multiple 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.
POST-PRESENTATION DEMONSTRATIONS: Presenters will be encouraged to present their research in two stages for this conference: the formal presentation of the results of their work, and an informal session where the details or 'nuts-and-bolts' of their work can be demonstrated. All presenters should be prepared for the two-tiered mode that was suggested at our Toronto business meeting.
NORMAL CONFERENCE EQUIPMENT:
As in the past, the ATMI room will be equipped with a VCR, 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 and a MIDI Interface (USB?) will be available.
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 telephone lines. If actual connection is *essential* to your proposal, this must be indicated in the Specialized Equipment/Software portion of the proposal form.
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.
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 expected 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.)
SUBMISSION GUIDELINES
ALL proposals must include the following:
Completed Proposal Form (included at the end of this e-mail)
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 precede 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.
PROPOSAL SUBMISSION DEADLINE: February 15, 2001.
SUBMISSION FORMAT:
E-mail all proposals to t.hughes@ttu.edu and include the word 'proposal' in the subject line.
(Hard-copy will NOT be accepted unless materials absolutely cannot be
submitted/read electronically!)
MIDI Performance recordings should be sent to:
Dr. T. Hughes
ATMI 2001 Program Chair
Texas Tech University
Box 42033
Lubbock, TX 79409-2033
NOTIFICATION:
Proposal Receipt will be acknowledged by return e-mail within three days.
Programming Decisions will be announced by March 1, 2001. 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 t.hughes@ttu.edu. Include the word "proposal" in the subject line. NOTE: Do *not* quote or include any preceding text!
PROPOSAL FORM -- Must be completed for *each* ATMI 2001 session proposal:
1) Proposal Author(s) and Institutional Affiliation(s):
2) Proposal Title:
3) Intended Audience (delete all but one):
General (little or no experience)
Novice (minimal experience)
Intermediate (uses many apps., doesn't write code) advanced (very
experienced, may incl. programming)
4) Presentation Topic (delete all but one):
Music Technology Curricular/Programmatic Interests Multimedia
Creative Pedagogies/Technological Tools
Performance
Digital Audio
Research on the Effectiveness of Music Technology Student-Created
Projects
OnLine Music Instruction...
Is Internet Connection Desired (delete one):
Yes
No
Is Internet Connection Required (delete one):
Yes
No
5) Presentation Format (delete all but one):
ELECTRONIC POSTER SESSION
PAPER
DEMONSTRATION
TRAINING SESSION/WORKSHOP
Must be appropriate for participants using lap-top computers (either Wintel
or Mac OS).
PANEL
Panel Participants and Institutional Affiliation:
MIDI PERFORMANCE (complete if appropriate/known):
Group Name:
Performers:
Instrumentation:
Repertoire:
Equipment I cannot provide:
Other:
OTHER (be specific):
6) Presentation Description (2000 word limit!):
7) Single-Paragraph ABSTRACT suitable for inclusion in program:
8) Requested Presentation Period (delete all but one):
30 minutes
45 minutes
60 minutes
75 minutes
90 minutes
Other (explain):
10) Specialized Equipment/Software that I *cannot* provide:
None
Internet connection is *essential* to my presentation
Other (be specific):
11) Due to *unavoidable* conflict I absolutely *cannot* present on the
following date(s):
No Conflicts Exist
November 1
November 2
November 3
November 4
November 5
Explain unavoidable conflict:
12) List all other non-ATMI proposals that you are submitting for the Santa Fe 2001 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:
Office:
Home:
Other:
16) All phone numbers at which you can be reached:
Office:
Home:
Other:
* INCOMPLETE PROPOSALS will *not* be reviewed.
* SUBMISSION DEADLINE: February 15, 2001.
* E-mail to t.hughes@ttu.edu
Include the word 'Proposal' in the subject line.
Conference Announcement: Symposium on Music & Logic
19th of January 2001, 10.00 am
Ghent University
IPEM - Dept. of Musicology
Rozier 44, second floor, Room 225
B-9000 Ghent, Belgium
Sponsored by: The Fund for Scientific Research -- Belgium (Flanders)
Organized by: Prof. Dr. Marc Leman (IPEM, Ghent University)
Speakers (start at 10.00 h):
The abstracts of the lectures are available on the website: http://www.ipem.rug.ac.be/nfwo/meeting12.html
Registration: Attendance to the Symposium is free but places are limited and registration is absolutely necessary (for lunch reservation).
Fill out the registration form at
http://www.ipem.rug.ac.be/nfwo/meeting12.html
or e-mail to:
benn.deceuninck@rug.ac.be
or contact:
IPEM - Dept. of Musicology
Tel: +32 9 2644126
The Music Cognition Group (MCG) brings together members of SMT with interests in theoretical and experimental work in music perception and cognition. A website (http://smtmcg.acs.unt.edu/) and an electronic discussion list help the members stay in touch, share ideas, and organize session proposals for SMT conferences. Thanks to Phil Baczewski for creating both of these helpful resources.
SMT members can subscribe themselves to the electronic discussion list, called smtmcg, by sending e-mail to listserv@unt.edu with the following line as the message:
subscribe smtmcg FIRST LAST
(FIRST and LAST here represent their name).
Steve Larson, chair
Music Cognition Group
New Journal Issue: Journal of Music in China, 2/2
Vol.2 no.2 (Fall 2000) of the Journal of Music in China has been released in December 2000.
Journal of Music in China (ISSN 1092-1710) is a composite periodical published twice a year in spring and fall by Music in China, Inc., in cooperation with ten Chinese academic musical journals. The current aim of the journal is to connect Chinese music scholarship with the outside world by breaking down the language barrier. To this end, English translations of original Chinese articles are published to allow the better exploration, discovery, study, and understanding of the music in China. Meanwhile, we also publish original English articles on Chinese music or comparative study with Chinese music. All original articles published in this journal are subject to peer-review.
We strongly encourage music libraries and other related nonprofit scholarly institutes to order (via e-mail) a complimentary copy of one issue for review. Individual readers please contact the editorial via e-mail for subscription. Our e-mail address is editor@musicinchina.org.]
COMMENTS ON THE JOURNAL OF MUSIC IN CHINA
"The Journal of Music in China is a most welcome addition to periodicals in the field of Chinese (ethno-) musicology. One of its merits is that it offers Western readers such vivid insights into Chinese scholars' views on their native music traditions." - Frank Kouwenhoven and Antoinet Schimmelpenninck, Editors, CHIME, the Netherlands.
"What makes this journal interesting seems to lie in its unique approach on two aspects: 1) advocating the native perspective of Chinese scholarship through translating articles previously published in Chinese by some prominent native scholars; and 2) promoting the contemporary Chinese music composition focusing on 'the analyses and reviews of Chinese composers' musical works as well as biographical sketches about their life, thinking, and activities...' (Editor's Foreword, 1)." - Li Wei, Music Department, University of Central Florida.
"The journal is an excellent resource not only for Chinese music scholars but also for university level music courses for musicologists and ethnomusicologists and also use as college texts in theater, anthropology, folklore, history, and philosophy, to name a few." - Cynthia Kimberlin, Executive Director, Music Research Institute (MRI), California.
FEATURED ARTICLES IN VOL. 2 NO. 2
The Gamelan Slendro Scales Re-evaluated/ by Ying Youqin
This article re-evaluates the theory of ethnic equal temperament and
Hornbostel's Blasquintentheorie from the perspective of acoustic psychology
through the statistic and comparative study of the measured Indonesian slendro
scales listed by Kunst.
Embodiment of Universal Sagacity: Making forms, Deployments, and Cultural Features of Manchu Shaman Musical Instruments/ by Liu Guiteng
This report describes the membranophones, idiophones, and cordophones used by
Manchu shamans in both countryside and court sacrifices, and in various
deployments and playing patterns. It is demonstrated that Manchu musical
instruments are the embodiment of the shaman concept of universal sagacity.
Bouyei Love Song: Traditional Practices and Relationships with Bouyei Marital Systems/ by Li Jichang
Bouyei love songs comprise two singing practices, each with its different
function: songs for direct courtship by the young people at large, known as
"nangsao," and songs for objective narration of stories by balladeers.
This paper observes the expressive characteristics and social functions of
"nangsao" by analyzing selected Bouyei love songs, with an emphasis on
the relationships between their traditional singing practices and marital
systems.
Spiralling Chinese Cyclic Theory and Modal Jazz Practice Across Millenia:
Proposed Sources and New Perceptions for John Coltrane's Late Musical
Conceptions/ by Hafez Modirzadeh
Parallels are made between several ancient Chinese music theories and John
Coltrane's enigmatic diagram of 1960 in order to propose an original
cross-cultural perspective on Coltrane's later musical periods, as well as a
more integrated understanding of non-linear (or cyclic) modal practices in
general.
Appendices: Featured Articles in Previous Issues
General Announcement: New Online Journal
I am pleased to announce the set-off of EUNOMIOS (http://www.eunomios.org), an open online journal for theory, analysis, and semiotics of music. EUNOMIOS will be hosting contributions in any language, with no editing or peer review. All papers are freely available for reading and downloading. Submissions will appear as soon as they are received, the only delay being the time required to get them ready for publication on the web. Promptness makes EUNOMIOS particularly suitable for preprints, early versions, drafts of works yet to be published elsewhere. The site also hosts a forum for debating questions raised in the articles or, more generally, arguments related to its topics.
EUNOMIOS is the web heir of the Italian-speaking journal _Eunomio_, which issued 24 numbers from 1986 to 1999 and whose complete table of contents is available online.
For its début, EUNOMIOS gathers articles by Victor A. Grauer (who first gave us the idea of an open online journal), John Paynter, Fulvio Delli Pizzi, Paolo Rosato, and Michele Ignelzi.
Your visit, feedback, and -- obviously -- contribution will be highly appreciated!
Call for Papers: Society for Music Theory Annual Meeting
Society for Music Theory 2001 Call for Papers
The 24th Annual Meeting of the Society for Music Theory will be held in Philadelphia, Pennsylvania from Wednesday, November 8 to Sunday, November 11, 2001. Note that for the Philadelphia meeting the Executive Board of the Society in conjunction with the Program Committee has set the maximum length for proposals at 750 words, a reduction from the 1000 word limit set for last year's submissions. Supplementary materials such as musical examples, diagrams, bibliographies, should be made as concise as possible (and will not be counted in the word limit). The Program Committee hopes this change will stimulate a greater number of submissions on a wide range of topics. As usual, proposals will be judged on the significance of the research and the appropriateness of the topic for oral presentation. The meeting in Philadelphia will present several opportunities that will be of special interest to participants. Screening rooms will be available for individual presentations or for a special session concerning music and film. To support demonstrations of new teaching technologies, lecture rooms will be equipped with computing facilities. There will be two concerts: a performance by the Cassatt Quartet of Bartok¹s Third String Quartet (using performance materials from the Philadelphia premier) and an evening concert featuring George Rochberg¹s Third String Quartet and George Crumb¹s ³Celestial Mechanics² (Makrokosmos IV) and A Little Suite for Christmas, 1979 A.D. There are plans to have Professors Rochberg and Crumb in attendance. Proposals engaging the music of these composers will be welcome. Proposals for papers, poster sessions, and special sessions must conform to the following the guidelines.
** Papers**
Submissions for papers must include:
1) A proposal of no more than 750 words - including footnotes - double-spaced and using a standard font. Proposals will be read for clarity, originality, and appropriateness for oral presentation. Although there is no single correct format, the Program Committee will look favorably on proposals that include a clear statement of the paper's original contribution to scholarship in relation to prior research and specific evidence of results, illustrated by musical examples or diagrams if necessary. Supplementary materials such as musical examples, diagrams, bibliographies, should be made as concise as possible (and will not be counted in the word limit).
2) Seven copies of the proposal must be submitted. Each copy should include the title of the paper but not the author's name.
3) Two copies of an abstract of approximately 200 words, suitable for publication in the conference program. Of the two copies, one should be a hard copy, and one digital - e.g., via e-mail to music@sas.upenn.edu. The Program Committee reserves the right to edit abstracts.
4) A covering letter listing the title of the paper and the name, address, telephone number, and e-mail address, as well as the rank and institutional affiliation (if any) of the author. Since covering letters will not be seen by the Committee until consideration of proposals has been completed, do not confine to the covering letter any information essential to the Committee's deliberations.
Papers previously published or presented at other national/international conferences will not be considered. Most papers will be placed in 45-minute time slots, with about 30 minutes for reading and 15 minutes for response or discussion. The Committee may request that favorably received submissions for papers be presented as poster sessions.
** Poster Sessions**
Proposals for poster sessions should follow the guidelines for the submission of papers, except that examples of the graphic materials to be posted must be included.
** Special Sessions**
Proposals for special sessions and events of unusual format (such as analysis symposia) are welcomed. Proposals should follow the guidelines for paper proposals, except that they need not be submitted anonymously. Proposals should be as precise as possible with regard to space and time required, participants, format, and equipment needed. Sessions requiring special equipment must itemize those requirements and will be accepted contingent on the cost being reasonable. Note that special sessions must be "special" in the sense that they could not be put together by the Program Committee. A group of individual papers or presentations on a given topic does not necessarily constitute a special session. Instead, such papers should be proposed separately and anonymously with a recommendation that, if accepted, they be placed together in an individual session. Anyone wishing to propose a special session is advised to contact the Chair well in advance of the proposal deadline.
Anyone who is not a current member of the SMT Program Committee may propose a paper or special session. Any number of proposals may be submitted by an individual, but no more than one will be accepted. An individual may present a paper and participate in a special session (i.e., as presenter, chair, or respondent). The Committee welcomes proposals in any area of music theory.
Send proposals to: Christopher Hasty, Department of Music, University of Pennsylvania, 201 South 34th Street, Philadelphia, PA 19104. Those concerned about receipt should send proposals by courier or registered mail.
Postmark Deadline: 1 February 2001
Program Committee: Poundie Burstein ( CUNY), Thomas Christensen (University of Chicago: ex officio), Lora Dobos (Ohio State University), Sarah Fuller (SUNY at Stony Brook), Christopher Hasty (University of Pennsylvania: Chair), Martha Hyde (SUNY at Buffalo), Brian Hyer (University of Wisconsin, Madison)
The second issue of Analitica. Online Journal of Musical Studies - published by the Group for Music Analysis and Theory (G.A.T.M.) in collaboration with the State University of Bologna, Department of Music - is available at www.muspe.unibo.it/gatm.
The index for this issue is as follows:
Subscription to Analitica
There is no cost to subscribe to Analitica. You must simply fill out a form to subscribe (or cancel your subscription) to this review. In order to subscribe to Analitica by e-mail, you must simply send the form that you will find at the following web site: http://www.mclink.it/personal/MC7341/contatti.html. The message doesn't have to contain anything in the "subject" field, the text must however say the following: "subscribe". You will receive a message of confirmation for your subscription and a welcoming message. To cancel a subscription you must send a message with the following word: "unsubscribe". Subscribers will be informed by e-mail each time the new issue of the review is available on line, together with the index and the announcements.
Requests for information
The form that you will find at the web site http://www.mclink.it/personal/MC7341/contatti.html may also be used to ask the editor or the directors of the review for information.
Conference Announcement and Call for Papers: Eighth Brazilian Symposium
http://www.cin.ufpe.br/~sbcm2001
The Eighth Brazilian Symposium will be held in Fortaleza, the capital of Ceara state, from 31 July to 03 August, 2001. The Brazilian Symposia are organized by NUCOM, the computer music branch of the Brazilian Computing Society (SBC) and take place within the Annual SBC Congress. There are key-note speeches by renowned researchers, paper sections, music papers, tutorials and demonstrations. Researchers, composers, educators, manufacturers and all concerned with the interplay between music and technology are invited to submit work.
The general Chair of SBCM2001:
Geber Ramalho
Universidade Federal de Pernanbuco
Email: glr@cin.ufpe.br.
Important dates
06 March 2001: closing date for submitting music papers
03 April 2001: closing date for submission of papers
24 April 2001: notification of acceptance of works
10 May 2001: closing date for submitting the final version of the papers
Submission of papers
Papers Chair:
Eduardo Reck Miranda
Sony Computer Science Lab Paris
Email: miranda@csl.sony.fr
Topics of interest include, but are not necessarily restricted to:
Complete papers reporting ongoing or concluded research should be submitted (abstracts or incomplete papers will not be accepted). Note that there are two different categories of papers, both of which will be published in the proceedings.
The categories are as follows:
a) Research papers: These papers should report concluded scientific and/or technical research results or systems. They must be written in English and should not exceed 8 pages;
b) Discussion papers: These papers will discuss ongoing research work. They may be written in Portuguese, Spanish or English and should not exceed 6 pages.
Please state clearly in a covering front page:
Since the reviewing process is anonymous, the heading of the first page of the paper should contain only the title. You are kindly requested not to reveal your identity in your paper (avoid self reference etc.). Preferred format for submission are RTF, EPS or PDF. Should a prospective participant need to submit a paper saved in a format other than RTF, PDF or EPS, please check with the papers Chair.
How to submit (in order of preference):
[1] Place your paper in a public domain area of your network and send an Email informing the URL or FTP address to E. Miranda [miranda@csl.sony.fr] Please write ³SBCM Submission² in the subject of your Email.
[2] Send your paper as a file attachment to an Email to E. Miranda. [miranda@csl.sony.fr]. Compressed files are preferred (most standard compression schemes for Unix, Mac OS or Windows are accepted).
As with previous symposia, a selection of Research papers will be considered for publication in international journals, as appropriate.
Committee of papers
Aluizio Arcela,, Universidade de Brasilia, Brazil
Peter Beyls, St Lukas Art School, Belgium
Marcio Brandao, University of Edinburgh, UK
Furio Damiani, Universidade Estadual de Campinas, Brazil
Roger Dannenberg, Carnegie Mellon University, USA
Giselle Ferreira, Open University, UK
Francesco Giomi, Centro Tempo Reale, Italy
Luis Jure, Universidad de la Republica, Uruguay
Fabio Kon, University of Illinois at Urbana-Champaign, USA
Victor Lazzarini, National University of Ireland, Ireland
Pablo di Liscia, Universidad de Quilmes, Argentina
Mikhail Malt, Ircam, France
Jonatas Manzolli, Universidade Estadual de Campinas, Brazil
Alan Marsden, University of Lancaster, UK
Dennis Miller, Northeastern University, USA
Giovanni De Poli, University of Padova, Italy
Geber Ramalho, Universidade Federal de Pernambuco, Brazil
Stephen Travis Pope, University of California, Santa Barbara, USA
Petri Toiviainen, University of Jyvaskyla, Finland
Alvise Vidolin, Venice Music Conservatory B. Marcello, Italy
Marcelo M. Wanderley, Ircam, France
Geraint Wiggins, City University, UK
Submission of music papers
Music papers Chair:
Didier Guigue
Universidade Federal da Paraiba
Email: dguigue@openline.com.br
Composers are invited to submit music papers. A music paper is a composition accompanied by a Discussion paper (see above) presenting the compositional procedures and the role of the computer in the compositional process. These papers plus the compositions will be refereed by a dedicated committee and will appear in the proceedings. The music papers will be presented in two concert sessions of 3 papers each. Each composer will have 30 minutes in total, for audition, communication and discussion. More details about the music paper sections as well as instructions for submission can be obtained directly from the music papers Chair: [dguigue@openline.com.br]. More information on submitting a tutorial proposal or a demo section will published on the Web. Please watch the symposium¹s Web site for up-to-date information: http://www.cin.ufpe.br/~sbcm2001
Conference Announcement: Fifth European Music Analysis Conference
Fifth European Music Analysis Conference
BRISTOL 2002
Following the conferences in Colmar (F), Trento (I), Montpellier (F) and Rotterdam (NL), the 5th European Music Analysis Conference will take place at the Department of Music, University of Bristol (GB), 4-7 April 2002. Conference themes and a general call for papers will be announced in Summer 2001. There will be three official conference languages: English, French and German. The Conference is organised in association with the British Society for Music Analysis, the journal _Music Analysis_ (Blackwell Publishers) and the University of Bristol.
Apres les Congres a Colmar (F), Trento (I), Montpellier (F) et Rotterdam (NL), le 5eme Congres Europeen d'Analyse Musicale aura lieu au departement de musique de l'Universite de Bristol (G.-B.) du 4 avril jusqu'au 7 avril 2002. Les themes des seances et un appel a communication seront annonces en ete 2001. Il y aura trois langues officielles: l'anglais, le francais et l'allemand. Le congres est organise avec la collaboration de la Societe Britannique d'Analyse Musicale (SMA), la revue _Music Analysis_ (Blackwell Publishers) et l'Universite de Bristol.
Nach den Konferenzen in Colmar (F), Trento (I), Montpellier (F) und Rotterdam (NL) wird die 5th European Music Analysis Conference vom Department of Music der University of Bristol (GB), vom 4.-7. April 2002 ausgerichtet werden. Die Konferenzthemen und ein allgemeiner call for papers werden spaetestens im Sommer 2001 veroeffentlicht. Die offiziellen Kongresssprachen sind Englisch, Franzoesisch und Deutsch. Die Konferenz wird von der British Society for Music Analysis, der Zeitschrift _Music Analysis_ (Blackwell Publishers) und der University of Bristol organisiert.
Jonathan Cross
Conference Director
Department of Music
University of Bristol
J.G.E.Cross@bristol.ac.uk
Please reply to:
J.G.E.Cross@bris.ac.uk
Call for Papers: International Musicological Colloquium Brno 2001
INTERNATIONAL MUSICOLOGICAL COLLOQUIUM BRNO 2001
SOCIALIST REALISM AND MUSIC: ANTIMODERNISMS AND AVANT-GARDES
OCTOBER 1-3, 2001
The Institute of Musicology at the Masaryk University Brno (Czech Republic) will host the annual musicological colloquium, that will examine the rather dubious term socialist realism in its relationship to music. On this occasion, a rather broad scope of topics should be addressed: the origins of socialist realism in the context of art and literature, the doctrine of socialist realism in the aesthetics of music and its developments in various countries, the mechanisms by which the doctrine was transmitted, and its native sources and ingredients, socialist realism and the left avant-garde, socialist realism and various anti-modernisms in20th century music (Third Reich era, Hollywood aesthetics etc.), musical style and socialist realism, the institutional background of socialist realism in musical life.
Both interdisciplinary approaches (especially literary criticism, history of art and social sciences) and papers in various branches of musicology (history, sociology, aesthetics, semiotics, analysis etc.) are welcome. Comparative approaches to this topic are especially welcome. All prospective participants should submit by May 30, 2001 a 300-word abstract, a brief curriculum vitae, and their postal and e-mail addresses.
The presentation of a paper should not exceed 30 minutes. Papers are accepted in English, German, and French. There are no interpreting facilities available in the conference rooms.
The active participants will be offered accommodation in an international hotel free of charge.
More information will be available progressively on the web page of the Institute of Musicology of the Masaryk University Brno: http://www.phil.muni.cz/music/ under the heading Kolokvium.
Paper abstracts or questions may be directed to:
Institute of Musicology
Masaryk University Brno
Arne Novaka 1
CZ 660 88 Brno
Phone and fax: +420 5 41121434
E-mail: music@phil.muni.cz
Prof. PhDr. Jiøí Fukaè, CSc.
Chair of the Board of the Colloquium
PhDr. Petr Macek, Ph.D.
Secretary of the Colloquium
PhDr. Mikulá¹ Bek, Ph.D.
Head of the Institute of Musicology
Masaryk University Brno
Call for Papers: Leeds International Jazz Education Conference
The annual Leeds International Jazz Education Conference welcomes delegates from around the world to participate in a range of practical sessions, research presentations, workshops and performances. The 2001 conference will feature contributions from a range of jazz professionals including saxophonist Joe Temperley, trombonist Annie Whitehead, Barry Kernfeld, editor of the New Grove Dictionary of Jazz and Richard Cook, co-author of the Penguin Guide to Jazz on CD.
Proposals are invited for papers on any area of jazz research, with special consideration being given to work focusing on one of the two main conference themes: Jazz and the Media and The Pedagogy of Improvisation. Individual presentations should be no more than twenty minutes in duration. Proposals should take the form of a title followed by an abstract of not more than 200 words. Deadline for submission is 3 March 2001. Decisions will be notified by 12 March 2001.
Abstracts should be addressed to:
Dr Tony Whyton
Programme Manager (HE)
Leeds College of Music
3 Quarry Hill
Leeds LS2 7PD
UK
Or e-mailed to: T.Whyton@lcm.ac.uk
Enquiries: +44-(0)113 222 3436
Call for Papers: Feminist Theory and Music 6
The conference FEMINIST THEORY AND MUSIC 6: CONFLUENCE AND DIVIDE will take place Thursday, July 5, 2001 through Sunday, July 8, 2001 at Boise State University in Boise, Idaho, in conjunction with the Eleventh Meeting of Gender Research in Music Education-International. Theoretical worlds, like the confluence of rivers and divides in the land, are altered by forces impinging on them and the multiple combinations by which they may be experienced and conceived.
The Program Committee of FT&M6 invites proposals for 20-minute presentations on any aspect of musical studies related to feminism, women's studies, gay/lesbian studies, or gender studies. Also welcome are proposals for music performances related to the same areas. Proposals should be about 200 words in length, and must be received by March 26, 2001.
Proposals may be submitted as email messages to FT&M6@boisestate.edu. Though email submission is preferable, a hard copy of the proposal may be sent to:
Elizabeth Gould
Chair, Program Committee, FT&M6
Department of Music
Boise State University
1910 University Dr.
Boise, ID 83725
Proposals submitted by FAX will not be considered.
General Announcement: Society for American Music Dissertation Prize
SOCIETY FOR AMERICAN MUSIC - DISSERTATION PRIZE 2000
DEADLINE: February 28, 2001
The Society for American Music Dissertation Prize is designed to recognize a single dissertation on American music for its exceptional depth, clarity, significance, and overall contribution to the field. "American" is understood here to embrace all of North America, including Central America and the Caribbean, and aspects of its cultures elsewhere in the world.
Dissertations from American Studies, American History, and other fields beyond theory, musicology, and ethnomusicology are welcome as long as the primary focus of the work is a musical topic.
The period of eligibility for the Prize is for doctoral dissertations successfully defended during the previous calendar year. Applicants need not be members of the Society. The submission process is not "blind," there is no limit on the number of submissions from any particular institution, and there is no requirement for nomination by dissertation director(s).
For dissertations successfully defended in 2000, candidates should send three copies of the following, postmarked no later than February 28, 2001: title page and abstract; table of contents, and one sample chapter. Send your submission, together with a cover letter, to:
Cyrilla Barr, Chair
Society for American Music Dissertation Prize
701 Pennsylvania Ave., NW, Suite 1123
Washington, DC 20004.
Tel. (202) 638 1636
Email Cybarr@aol.com.
Homer Rudolf, Professor of Music Emeritus
University of Richmond
Richmond, VA 23173
phone: 804/262-4174 fax: 804/287-6814
New Journal Issue: Dutch Journal of Music Theory
In February the next issue of the Dutch Journal of Music Theory will appear. On the website the English abstracts of the main articles are published.
You also can find there information about subscription, guidelines for authors, etc. The journal publishes articles in Dutch, English and German. For convenience, we have furnished English translations of all titles.
New!
We have provided an index on the web site of all articles and reviews
which were published in TvM during the last five years.
Contents TvM VI/1 (Februari 2001)
Contents
Articles
Discussion
Books
Call for Papers: West Coast Conference of Music Theory and Analysis
Announcing the 10th annual meeting of The West Coast Conference of Music Theory and Analysis (WCCMTA) 14-15 April 2001 at the University of New Mexico in Albuquerque.
The WCCMTA program committee invites proposals for posters, short talks (15 minutes), or long talks (30 minutes) concerning any aspect of music theory. Proposals should be between one and two pages long and should indicate whether they are for a poster, 15-minute, or 30-minute presentation. Since proposals are to be reviewed blind, please list your presentation title, name, and contact information separately; do not reveal your identity within the proposal itself.
A prize (a set of back issues of MUSIC THEORY SPECTRUM), for the Best Student Presentation at that conference, will be offered at the conclusion of the conference -- so please encourage all interested students to submit proposals, too. Participants may come from other regions of the world, but presenters are expected to join WCCMTA.
Proposals should be
MAILED (postmarked by 26 January 2001) to
WCCMTA 2001
University of Oregon
School of Music
1225 University of Oregon
Eugene OR 97403-1225.
EMAILED (on or before 31 January 2001) to wcc2001@darkwing.uoregon.edu
or
FAXED (by 31 January 2001, ATTN: STEVE LARSON) to (541) 346-0723.
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Updated 14 November 2002