Music Theory Online

A Journal of Criticism, Commentary, Research, and Scholarship


Volume 7, Number 3, May 2001
Copyright © 2001 Society for Music Theory

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Calls for Papers

Conference Announcements

Journal-Related Announcements

Other Announcements

Calls for Papers

Call for Papers: College Music Society Annual Meeting

September 26-29, 2002 -- Hyatt Regency Crown Center Hotel -- Kansas City, Missouri Held in conjunction with the 2002 National Conference of the Association for Technology in Music Instruction (ATMI)

General Program Content

The 2002 Program Committee of The College Music Society welcomes proposals for papers, panels, discussions, performances, lecture-recitals, clinics, demonstrations, workshops, a poster session, and other types of presentations that relate to all fields of college music, including teaching, learning, research, outreach, communication, and other areas of concern to the college music professional. Papers are generally limited to twenty minutes, lecture-recitals and performances to forty minutes. Panels and demonstrations may take up to one hour. The poster session offers the opportunity to share experience through an informal, interactive, brief presentation as conference attendees visit multiple poster sites in a room set aside for this purpose. The Program Committee solicits the broadest representation of our profession and its interests, and particularly invites proposals from adjunct faculty, community college faculty, graduate students, and retired faculty. Proposals must be postmarked by January 7, 2002.

Proposals may deal with any aspect of college music teaching. The Program Committee specifically requests proposals concerning interdisciplinary approaches and teaching enhancement. Also encouraged are proposals concerning: advocacy; arts partnerships among educational institutions, communities, and businesses; cultural, generational, and gender diversity; extramusical contextual issues (e.g., political, economic); music and film; and proposals that will illuminate musical influences, cultural and sociological contexts, and cross-cultural teaching and learning as exemplified through Kansas City jazz, musics of Civil War South and North as they met at the east-west border between Missouri and Kansas, and musics of European and native peoples of present-day Kansas City and the Central Plains. Special topics might include musics of the westward European expansion and of Native Americans, both displaced from the east as well as native to the plains. Proposals may also relate to specific disciplines and areas of interest--composition, cultural diversity, ethnomusicology/world music, mentoring, music education, music in general studies, music theory, musicology, performance, student issues, and women/gender studies--as detailed as follows.

Guidelines for Submitting Proposals

Names of proposed panel participants are furnished to the Program Committee. Otherwise, the Program Committee will conduct a blind review of proposals. Please note that where technology is the central subject matter, proposals may be referred to the ATMI Program Committee. For the poster session, presenters will prepare a poster-like presentation that can be displayed from a small table area in the middle of a room, and may bring a battery-operated CD player or cassette recorder (with headphones), or computer laptop for the presentation. (No projection equipment or electrical power will be provided for the poster session.) Scores and presentations of works by CMS composers are to be submitted in response to a separately published Call for Scores.

Each proposer may submit one proposal, which includes:

*Part A--one copy of the Proposal Cover Sheet.

*Part B--one copy of a list of all persons involved in the presentation, even if the list contains only the proposer's name. Names other than the proposer's should include institutional affiliations (where applicable), addresses, and phone numbers.

*Part C--four copies of a one-page, double-spaced, typewritten abstract of approximately 250 words. Goals, methodology, and conclusion(s) should be clearly stated (see special note opposite). The proposer's name should not appear on this page, unless it appears as a panel moderator or panelist, nor should complete texts of proposed presentations be submitted.

*Part D--four copies of a list of equipment needed for the presentation. The proposer's name should not appear on this page. The Society cannot provide computers for presentations. Video projection equipment will be available for those who need it and can furnish their own computers.

*Part E--four copies of supporting materials, including one-page vitae. Except for panel participants, the proposer's name is not to appear on any of the supporting materials. A complete proposal for a lecture-recital or performance must be accompanied by four (4) compact discs or cassette tapes containing a recording of the work or works to be performed and indication of the length in minutes of the proposed piece(s). Except for proposed panel members, names should not appear (they may be hidden with heavy marker) on any supporting materials, including one-page vitae, cassette or video tapes, compact discs, brochures, and reviews.

A complete proposal, including one copy of the Proposal Cover Sheet, one copy of the list of all persons involved (even if only the proposer), four copies of the abstract, four copies of the list of a/v equipment needed (even if none), and four copies of supporting materials, including compact discs or cassette or video tapes (where appropriate), must be submitted in order to receive consideration. Incomplete proposals (including single copies of abstracts or cassette tapes), faxed proposals, proposals that do not adhere to the above guidelines and proposals postmarked after the deadline are unlikely to be reviewed. All proposals must be postmarked by January 7, 2002. Do not fax proposals.

Please send proposals to:

2002 Call for Program Participation
The College Music Society
202 West Spruce Street
Missoula MT 59802

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Conference Announcements

Conference Announcement: William Poland Lecture in Music Theory at Ohio State University

The Ohio State University School of Music Theory and Composition present:

The Twelfth William Poland Lecture in Music Theory

"Absolute Pitch Perception and the Pedagogy of Relative Pitch"

Elizabeth W. Marvin Associate Professor of Music Theory, Acting Dean of Academic Affairs Eastman School of Music, University of Rochester

Friday, May 18, 2001 Room 177 Weigel Hall 3:30 p.m. The Ohio State University Columbus, OH

Since 1990, the Division of Music Theory and Composition has hosted the distinguished William Poland Lecture in the spring of the year. This year the lecture also acts as part of MusicCog/2001 - A Workshop Symposium in Music Cognition, which will take place at the Ohio State University May 18-20.

More information is available at, or contact Elizabeth Sayrs at

Abstract This paper takes as its point of departure comments made by music cognition researcher Ken'ichi Miyazaki, who hypothesizes that early acquisition of absolute pitch (AP) actually suppresses children's ability to learn relative pitch, since it is much easier for them simply to rely upon their AP ability.  Miyazaki thus recommends a kind of "remedial" ear training program for AP listeners to learn relative-pitch skills. This paper proposes such a program for music majors with AP.  It reviews what we know from music cognition research about AP listeners' abilities and inabilities, then describes pedagogical activities for aural skills classes that develop relative-pitch (RP) listening strategies.  These activities are appropriate for all students--not just AP listeners--but are particularly designed to address AP weaknesses:  they avoid pitch naming whenever possible, substitute functional rather than absolute labels for all musical elements, de-emphasize piano timbres, develop improvisation skills based on functional tasks, and focus on facility in all keys including those with "black-note" tonics.

ELIZABETH WEST MARVIN, President-Elect of the Society for Music Theory, is Associate Professor of Music Theory and Acting Dean of Academic Affairs at the Eastman School of Music of the University of Rochester.  She has served as Chair (or Co-Chair) of the Theory Department at Eastman for five years, during which time she has overseen major curricular changes in both the undergraduate and graduate theory curricula.  Recently appointed Affiliate Faculty member in the voice department at Eastman, she continues to perform actively in the Rochester area.  Professor Marvin's diverse research interests include the areas of music cognition, music theory pedagogy, theory and analysis of atonal music, contour theory, history of theory, and analysis and performance.   Her article "The Perception of Rhythm in Non-Tonal Music," published in Music Theory Spectrum 13 (1991), was awarded the Society for Music Theory Young Scholar Award.  Marvin's work has appeared in numerous other music journals, including the Journal of Music Theory, Journal of Music Theory Pedagogy, and Music Perception;  in addition, she has co-authored  articles in The American Journal of Human Genetics,  The Journal of the Acoustical Society of America, and the International Journal of Neuroscience.  Dr. Marvin is currently preparing an undergraduate theory textbook and accompanying aural skills volume for W. W. Norton with Jane Clendinning and Joel Phillips. 

William Poland (1919-1987) William Poland, Professor Emeritus of Music at The Ohio State University, died March 8, 1987, at the age of 67. He served as a faculty member in the School of Music from 1949 until his death and as Associate Dean of The Ohio State University Graduate School from 1975 to 1984. The university awarded him the Alumni Award for Distinguished Teaching in 1971 and the Distinguished Service Award in 1987.

As a graduate student, Professor Poland was a founding member of the Columbus Symphony Orchestra, serving as its principal oboe player from 1950 until 1960 and as a program annotator for six years. He earned the first doctorate from Ohio State's School of Music.

Although his primary research area was music theory, many of his scholarly contributions were interdisciplinary in nature; his work included music analysis, music nomenclature, psychology of music, computer applications in music research, statistics, and pedagogy. His innovative approaches to problem solving, his insistence on clarity and completeness of thought and expression, the breadth and depth of his intellect, and his consummate musicianship profoundly influenced students and colleagues alike.

As Associate Dean of the Graduate School, Poland's development of a university-wide program review process earned national and international recognition. At the time of his death, he served as curator of the Norman Cazden Collection, a rich resource of research materials donated to the Ohio State University School of Music by Professor Cazden's family in recognition of Cazden's high esteem for Professor Poland.

A memorial fund has been established in Professor Poland's name to benefit music theory at Ohio State. Contributions may be made through The Ohio State University Development Fund.

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Conference Announcement and Call for Papers: Conference on Russian Music

EVENT: Icebreaker: New Music from Russia, a festival of contemporary Russian music, and an International Conference on Russian Music "Russian Associations for Contemporary Music: Past and Present"

HOST: Seattle Chamber Players
Benaroya Hall, Seattle

DATE: Friday, February 8–Sunday, February 10, 2002

Seattle Chamber Players presents Icebreaker: New Music from Russia a festival of contemporary Russian music and an International Conference on Russian Music Russian Associations for Contemporary Music: Past and Present

Benaroya Hall, Seattle

Friday, February 8–Sunday, February 10, 2002

Special guests:

Lydia Kavina, theremin
Alexander Ivashkin, cello
Svetlana Savenko, soprano
Ivan Sokolov, piano
Nikolai Korndorf, conductor
Columbia Boys and Girls Choir

Featured in the festival will be music composed by the post-perestroika generation of Russian composers/musicians whose work has rarely been heard in the United States. The invited composers are all associated with the Russian Association of Contemporary Music II, including Victor Ekimovsky, Vladimir Nikolayev, Aleksander Vustin, Vladimir Martynov, Vladimir Tarnopolsky and Ivan Sokolov, all of Moscow, plus Nikolai Korndorf of Vancouver. (The original ACM existed in Russian in the 1920s and included D. Shostakovich, A. Mosolov, N. Roslavets and others but was banned in the early 1930s; the present ACM was organized by Edison Denisov in 1990). Two of the composers (V. Ekimovsky and V. Martynov) have offered to compose new works for the Seattle Chamber Players, and these pieces will receive their world premieres at the festival. Music of other Russian and Russian-emigré composers (A. Knaifel, D. Smirnov, E. Firsova, V. Shoot, A. Raskatov, E. Podgaits, O. Raeva and others) will be also performed in the four festival concerts, and in most cases will receive their American premieres.

Lydia Kavina, grand-niece of Leon Theremin and the leading theremin player of today, will perform a historical retrospective program of Russian music for thereminovox ranging from one of the first compositions for this instrument, The First Airphonic Suite by Joseph Schillinger, ACM-I member, to 19 Pique for thereminovox and string quartet by ACM-II member Vladimir Nikolayev. Her concert will mark a bridge between the two Russian avant-garde music associations.

An important feature of the festival will be the inclusion of internationally-prominent musicologists who will present a number of sessions that will give context and meaning to the large number of new compositions that will be heard.

The papers will be given by leading Russian, American, German, British, Italian and Israeli specialists on Russian music of the twentieth century, including Professor Richard Taruskin (USA), Professor Margarita Mazo, Professor Elliot Antokoletz, Professor Anatole Leikin and Lou Pine (USA), Professor Alexander Ivashkin (UK), Professor Svetlana Savenko and Professor Inna Barsova (Moscow State Conservatory, Russia), Elizabeth Wilson (Italy), United Kingdom participants Gerard McBurney (Royal Academy of Music), Dr. Rosamund Bartlett and Dr. Marina Frolova-Walker (Cambridge University), Professor Marina Ritzarev and Dr. Alona Sagee (Bar-Ilan University, Israel), and others.

In addition, the festival will be complemented with an exhibition of Seattle-based contemporary Russian artist Yury Degtjar and the showing of Russian animated cartoons with music of ACM-II composers (A. Schnittke, S. Gubaidulina, V. Ekimovsky, V. Martynov, A. Raskatov and others).


Professor Paul Taub (Cornish College of the Arts, Seattle)
Dr. Marina Frolova-Walker (Cambridge University, UK)
Dr. Elena Dubinets (Moscow Conservatory/Seattle)


The objectives of this festival are to further the scholarly understanding of contemporary Russian music; to facilitate cooperation among scholars and performers who are engaged in research or performing practice in this field; and to advance education and public understanding of Russian music of our time. Presentations may take the form of papers, lecture-demonstrations, panel discussions, or other formats. The suggested length for individual presentations is 20 minutes; panel discussions should last no more than 50 minutes. Proposals should include:

Abstracts (limited to 250 words) should be submitted to Dr. Elena Dubinets at the address below by 1 October 2001, as should proposals for panel discussion. Email proposals are preferred, but hardcopy proposals may be sent to the address below. Applicants will be notified of the program committee’s decision as soon as possible after the deadline. The full program will be announced in December.Print the registration form (below), and then mail it along with the fees and an abstract, if you are going to present a paper, to Dr. Elena Dubinets, Conference Chair (see address above).

_____________cut here______________________


Icebreaker: New Music from Russia
a festival and conference of contemporary Russian music

Daytime phone:
Circle appropriate conference fees, below:
3-days Registration $80, $60 for students
(Before 11/15/2001; includes proceedings and tickets to all concert)
On-Site 3-Days Registration $90, $65 for students

1- day Registration $35, $25 for students
On-Site 1-Day Registration $40, $30 for students

Extra copy of proceedings $10
Enclosed is my total registration payment of $____________
__ By personal check
__ By money order
Make checks or money orders payable to the Seattle Chamber Players

_____________cut here______________________

Tentative Schedule of the Russian Festival and Conference

(Icebreaker: New Music from Russia)

Music of the Members of Association for Contemporary Music-II (ACM-II)

Friday, February 8

Soundbridge Learning Center, Benaroya Hall
9:30-1:00 ongoing registration
10:00-grand opening of the festival. Welcome and introductory remarks.
Opening of the Russian art exhibition in the foyer.
10:15-11:45 conference papers (4)
11:45-12:15 composer’s seminar, V. Ekimovsky
1:00-2:30 conference papers (4)
2:30-3:00 composer’s seminar, N. Korndorf
4:00-5:30 conference papers (4)
5:30-6:00 composer’s seminar, V. Martynov

Nordstrom Recital Hall, Benaroya Hall
8:00 Concert: the Seattle Chamber Players and Lydia Kavina (thereminovox)

Compositions by L. Kavina, I. Schillinger, V. Nikolaev, A. Rovner, V. Martynov plus a composition for string quartet by a winner of the First International Young Composers Competition, Moscow, 2001. (This performance will be done by arrangement between the jury of the competition and the Seattle Chamber Players).

Saturday, February 9
8:30-12:00 ongoing registration
Nordstrom Recital Hall, Benaroya Hall
9:00-11:00 conference papers—keynote speakers
11:00-12:00 round table discussion
2:00 Concert: the Seattle Chamber Players, Svetlana Savenko (soprano) and the Columbia Boys and Girls Choir

Compositions by V. Tarnopolsky, V. Shoot, D. Smirnov, A. Vustin, A. Knaifel, N. Korndorf, V. Ekimovsky and E. Podgaits

4:30 a showing of Russian animated cartoons with music by the ASM-II composers (A. Schnittke, S. Gubaidulina, V. Ekimovsky, A. Raskatov, V. Martynov)

Cornish College of the Arts or Benaroya Hall
7:30 Concert: Paul Taub (flute), Alexander Ivashkin (cello) and Ivan Sokolov (piano)

Compositions for acoustic instruments and audiotape by V. Nikolaev, V. Ekimovsky, N. Korndorf, A. Knaifel and I. Kefalidi.

Sunday, February 10
Soundbridge Learning Center, Benaroya Hall
9:30-12:30 ongoing registration

10:00 -12:30 conference papers
1:30-2:00 Composer's seminar, V. Tarnopolsky
2:00 - 2:50 conference papers (2)
2:50 - 3:20 Composer's seminar, A. Vustin
3:40-4:30 conference papers (2)
4:30-5:00 Composer's seminar, V. Nikolaev

Nordstrom Recital Hall, Benaroya Hall
7:00 Concert: the Seattle Chamber Players, Alexander Ivashkin (cello) and Ivan Sokolov (piano)

Compositions by I. Sokolov, E. Firsova, Y. Kasparov and compositions for cello solo by N. Korndorf, A. Raskatov, F. Karaev, V. Tarnopolsky and O. Raeva written especially for Alexander Ivashkin.



Admission to all talks/seminars/concert including all concerts (3 days): $80
Admission to one day events only: $35
Students: 3 days $60, 1 day $25.

Attendees and presenters may pre-register for the conference by completing the attached registration form and sending it with a check or money order in US funds to Dr. Elena Dubinets (see address below) no later than November 15, 2001. Checks should be endorsed to the Seattle Chamber Players. You will receive acknowledgement of your registration.

Further information can be obtained from:

Dr. Elena Dubinets
1225 151st Ave SE
Bellevue, WA 98007
(425) 401-2942


Dr. Elena Dubinets
1225 151st Ave SE
Bellevue, WA 98007
(425) 401-2942

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Conference Announcement: Pacific Northwest Graduate Music Students Conference

HOST: University of Victoria

DATE: 12-13 October, 2001

Call for Presentations

Twelfth Annual
Pacific Northwest Graduate Music Students Conference

12-13 October 2001

University of Victoria
Victoria, BC

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 minutes, followed by a brief discussion period.



Registration is free. Travel and accommodations are the responsibility of the participants themselves.

Pacific Northwest Music Graduate Students Conference
c/o Steven Cannon
School of Music
University of Victoria
PO Box 1700 STN CSC
Victoria BC V8W 2Y2

Phone: (250) 592-1064
Fax: (250) 721-6597

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Journal-Related Announcements

New Journal Issue: Integral 13

We are pleased to announce the publication of vol. 13 of Integral, the journal published by the graduate students of the Department of Music Theory at the Eastman School of Music, University of Rochester. Subscription and submission information is available online at


David Carson Berry
Dynamic Introductions: The Affective Role of Melodic Ascent and Other Linear Devices in Selected Song Verses of Irving Berlin

David Clampitt
Ramsey Theory, Unary Transformations, and Webern's Op. 5, No. 4

John Doerksen
Comparing Collections of Set Classes: Indexes in Forte's Genera Theory

David Smyth
Beethoven's Last Bagatelle

Joel Galand
Formenlehre Revisited: Review-Essay on William Caplin's Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven

Guy Capuzzo
Review of David Schiff's The Music of Elliott Carter, Second Edition

David Gagne
Review of Carl Schachter's Unfoldings

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General Announcement and Call for Articles: Journal of Musicology

The Journal of Musicology and the University of California Press announce a change in the editorship of the Journal. Marian Green, founding editor and guiding spirit behind the Journal's rise to prominence and sustained success in the past two decades, will continue in an advisory capacity. Starting with Volume 18 no. 3, John Nadas (University of North Carolina--Chapel Hill) will serve as editor, joined by associate editors Floyd Grave (Rutgers University) and Daniel R. Melamed (Indiana University).

As in the past, the Journal invites contributions representing all aspects of the discipline. Guidelines for submission are available on the Journal's Web site, and are also given below. On that page you will also find a list of the new Editorial and Advisory Boards.

The Journal aims to give immediate attention to submissions, the fastest possible decisions, and prompt publication of accepted articles. We welcome inquiries at

Directions to contributors
The Journal of Musicology welcomes articles in all areas of musical scholarship, including history, criticism, analysis, performance practice, and archival research. JM does not regularly publish reviews, but does invite proposals for review essays on important books, music editions and conference reports. The Journal publishes in English, but will consider submissions in any language. In most matters, JM follows A
Manual of Style, 14th ed. (Chicago, 1993).

Submissions may be made in either of two ways:

1) By mail. Please send a word-processing file readable by Microsoft Word for Windows on a 3.5-inch diskette or CD-ROM, accompanied by a complete paper copy that includes any musical examples, diagrams and illustrations. The address for submissions is

D. Melamed
Musicology Department
School of Music
Indiana University, Bloomington, IN 47405 USA
attn: JM Submissions Office

2) By e-mail. Please send a word-processing file readable by Microsoft Word for Windows attached to an e-mail message. Musical examples, diagrams and illustrations may be included as embedded graphics or attached as separate files (in low resolution). The address is

All submissions should include full contact information, including an e-mail address, and a one- or two- paragraph abstract of the submission in electronic form. Questions about procedures for submission may be addressed to For other matters, please write to the editor at

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Other Announcements

General Announcement: Summer Music Course in Austria

The Music of Schoenberg's Middle Period, 1908-1923: From Romanticism to Dodecaphony. A Yale Summer Programs course to be held in Moedling, Austria, from June 4 through July 6, 2001. Instructor: Allen Forte, Yale University.

This five-week credit course, which will be given in the Schoenberg-Haus in the village of Moedling, near Vienna, concentrates on the study of selected works from Schoenberg's post-tonal, pre-12-tone period. It is offered in cooperation with the Arnold Schoenberg Center in Vienna. Prerequisites: basic tonal theory (sophomore level).

The course intersects with the Schoenberg Festival in Vienna, commemorating the fiftieth anniversary of Schoenberg's death, during which many of his works will be performed. Vienna is easily accessible to Moedling by direct train connection of 45 minutes. Inexpensive housing is available in Moedling.

Questions may be addressed to Catalogue and application forms online at, or write to Yale Summer Programs, P.O. Box 208355, New Haven, CT 06520. Tel. 203-432-2430.

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General Announcement: Publication of Presences de Iannis Xenakis

edited by Makis Solomos

Twenty five international specialists -musicologists, performers, composers, architects or philosophers- explore in French and in English the multifaceted universe of Iannis Xenakis. Literature about Xenakis already constitutes an important corpus. From a Ph.D. thesis to an occasional reference, from an analysis of the theories to an aesthetic interpretation, many authors have written about his work since the middle of the 1960s, contributing to the emergence of what could be called "Xenakian studies." Compared with this field, Presences of Iannis Xenakis represents an innovation in that it opens the path to a second generation of commentators, who introduce new problematics and a new style. Contains also two unpublished in French articles of Xenakis and a commented bibliography.

I. SOURCES AND LAST WORKS -Problèmes de composition musicale grecque (Iannis Xenakis) -Du projet bartokien au son. L'évolution du jeune Xenakis (Makis Solomos) -Xenakis et le GRM (François Delalande, Evelyne Gayou) -Formal analysis of the music of Iannis Xenakis by means of sonic events: recent orchestral works (James Harley) -Xenakis et le " destin " musical de l'Occident (Mihu Iliescu) -Notes sur les dernières ouvres de Xenakis (Makis Solomos)

-Boulez-Xenakis : la conjonction des utopies (Ricardo Mandolini) -Clarification on Xenakis: the Cybernetics of Stochastic Music (Agostino Di Scipio) -Théorie des cribles (Benoît Gibson) -Notes on Composing with the UPIC System: The Equipment of Iannis Xenakis (Angelo Bello) -Les Images sonores xenakiennes : actualité de la pensée de Xenakis pour la création musicale aujourd'hui (Jean-Luc Hervé)

-Entre mythe et science : un contenu de vérité (Joëlle Caullier) -Le rôle de l'abstraction chez Iannis Xenakis (Carmen Pardo) -Monde et sons, écoute et inouï (Matthieu Guillot) -Xenakis et la Pédagogie ou les Mythes (Cãndido Limá)

-Nomos alpha de Iannis Xenakis. La matrice disciplinaire et une évaluation contextuelle de l'ouvre (Antonio Lai) -Terretektorh : l'espace et le timbre, le timbre de l'espace (Helena Santana) -A Methodological Problem and a Provisional Solution: An Analysis of Structure and Form in Xenakis's Evryali (Ronald Squibbs) -Iannis Xenakis's Evryali: A Narrative Interpretation (Linda M. Arsenault) -The experience of Time and Psappha (Ellen Flint) -Le souffle et le texte : deux approches formelles convergentes dans N'Shima de Iannis Xenakis (Beatrix Raanan) -XAS pour quatuor de saxophones (Serge Bertocchi) -Analysis through Resynthesis. Gendy3 by Iannis Xenakis (Peter Hoffmann)

-Espaces et sources d'auditions et de spectacles (Iannis Xenakis) -"Morphologies" or the architecture of Xenakis (Elisabeth Sikiaridi) -Architecture of Densities (Philipp Oswalt) -À la recherche de l'espace paramétrisé. Les surfaces réglées comme thème dans l'ouvre de Iannis Xenakis (Sven Sterken)

To order:

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Updated 14 November 2002