Music Theory Online

A Journal of Criticism, Commentary, Research, and Scholarship


Volume 7, Number 5, October 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: 7th International Conference on Music Perception & Cognition

7th International Conference on Music Perception & Cognition ­ ICMPC7
Sydney, July 17-21, 2002
School of Music and Music Education
University of New South Wales
Sydney, Australia

ICMPC7 is the world conference on music psychology and related disciplines. See the new ICMPC7 web site for details:

The 2002 Sydney conference follows meetings of the music perception and cognition research community in Kyoto, Japan (1989), Los Angeles, USA (1992), Liège, Belgium (1994), Montréal, Canada (1996), Seoul, South Korea (1998) and Keele, UK (2000). ICMPC7 will be sponsored by the Asia-Pacific Society for the Cognitive Sciences of Music (APSCOM) and hosted jointly by the Australian Music and Psychology Society (AMPS), the University of New South Wales and the Macarthur Auditory Research Centre Sydney (MARCS). ICMPC7 will include the first formal meeting of the Asia-Pacific Society for the Cognitive Sciences of Music (APSCOM).

The venue for ICMPC7 is the School of Music and Music Education at the University of New South Wales ( The conference venue is a short bus trip to the centre of Sydney with its beautiful harbour, Opera House, and diversity of cultural life. The beaches and cafes of Coogee and Bondi are also nearby.

Conference Aims
The focus of ICMPC7 is inter-disciplinary presentations, discussion and dissemination of new research relating to music perception and cognition. The conference will have relevance for university and industry researchers and graduate students working in all areas of psychology and music including the following:
Psychology: psychophysics, developmental psychology, speech and language, neuropsychology, artificial intelligence, computer technology.
Music: music education, music performance, musicology, composition, music therapy, ethnomusicology, music technology.

ICMPC7 Scientific Committee
Denis Burnham (Chair), Ron Brooker, Jane Davidson, Diana Deutsch, Alf Gabrielsson, Robert Gjerdingen, Gary McPherson, Stephen Malloch, Kengo Ohgushi, Richard Parncutt, Kate Stevens, Sandra Trehub, Robert Walker, Sarah Wilson.

Keynote Speakers

1. Professor Shin-ichiro Iwamiya, Department of Acoustic Design, Kyushu Institute of Design: Multimodal Communication by Music and Motion Picture
2. Professor Carol Krumhansl, Department of Psychology, Cornell University: Music as Cognition: Mental Maps and Models
3. A/Professor Gary McPherson, School of Music & Music Education, University of New South Wales: From Child to Musician: Skill development During the First Three Years of Learning an Instrument
4. Dr Jeffrey Pressing, School of Psychology, University of Melbourne: Keynote Performance Lecture: Improvisation and Referential Control of Musical Behaviour

Call for papers distributed by web and email: July 2001
Submissions for conference due: November 15 2001
Notification of acceptance: January 15 2002
Final, revised papers for Proceedings due: March 1 2002
Early registration payment due: April 15 2002
Conference dates: July 17­July 21 2002

Submissions are invited for:
1. Spoken papers
2. Poster papers
3. Demonstration papers
4. Symposia
The deadline for submissions to ICMPC7 is November 15, 2001. The conference language is English and spoken papers, posters, conference proceedings and publications will all be in English.

Conference Themes
Submissions relating to all areas of psychology and music noted in the Conference aim are welcome. In addition, proposal for symposia, in which two or more researchers present papers on a special interest area are also encouraged. Possible symposia proposals might include, for example:

Spoken papers will be allocated 30 minutes, consisting of 20 minutes for presentation and 8 minutes for questions and discussion (allowing 2 minutes for change-over and set-up). Full text of papers will appear in the Proceedings of the conference.

Poster and demonstration papers will appear in the conference program, abstract book, and proceedings and will have designated time-slots assigned to them. For demonstrations of software or equipment authors will be responsible for ensuring that the necessary equipment is available, and their submission should include a full description of the equipment and facilities required.

Symposia will consist of a set of integrated spoken papers related to a theme. We are interested in encouraging symposia at ICMPC7 particularly on new intersections of research interests. The total time allowed for a symposium will be 2 hours, consisting of four 25-minute papers and a discussion (although variations will be considered). Symposium convenors are asked to coordinate submission of papers including an abstract for the entire symposium stating the rationale for the topic, the aims of the symposium, and the set of speakers proposed. A discussant may also be proposed.

Submission Procedure
All submissions for spoken papers, posters, demonstration papers and symposia must include a submission form and a structured abstract OR four-page paper that conforms to the instructions below.

1. Submission Form
A separate form must accompany each submission and include the full contact details of the first author (i.e. full name, affiliation, postal address for correspondence, email address, phone number, fax number). Authors should also indicate on the submission form a general theme under which the paper might be grouped. This can be taken from the list of conference themes above or a new theme may be proposed.

The submission form can be downloaded or you can request a paper copy by writing to Kate Stevens, ICMPC7, MARCS, University of Western Sydney-Bankstown, Locked Bag 1797, South Penrith 1797, NSW Australia, or send an email to, giving your full postal address.

All submissions must be typed. Either structured abstracts (250-300 words in length) OR papers up to four pages in length can be submitted for possible inclusion in ICMPC7. Abstracts and papers will be blind reviewed in the normal way. The Conference Proceedings will distinguish between those papers that were reviewed and accepted on the basis of a structured abstract and those where the full paper was reviewed.

2a. Structured Abstract
Abstracts will be between 250 and 300 words in length. The abstract must be typed and should not include references. Abstracts should begin with a title in ALL CAPITAL LETTERS, followed by the names and affiliation of all authors. Abstracts should be structured with headings. For empirical papers, the headings will include 1. Background 2. Aims 3. Method 4. Results 5. Conclusions. 6. Topic Areas. For theoretical/review papers, headings will include 1. Background 2. Aims 3. Main Contribution 4. Implications. 5. Topic Areas. Authors should indicate at the bottom of each abstract up to five key words specifying the most important topics or content of the paper.

2b. Four-Page Paper
Paper submissions up to four pages in length are required for researchers who wish to submit a more detailed document for review. The structure of the four-page paper is to be the same as the structured abstract but with the inclusion of additional detail in each section.

The four-page paper must be typed and can include references. Papers should begin with a title in ALL CAPITAL LETTERS, followed by the names and affiliation of all authors. Full papers should be structured with headings. For empirical papers, the headings will include 1. Background
2. Aims
3. Method
4. Results
5. Conclusions.
6. Topic Areas.
For theoretical/review papers, headings will include
1. Background
2. Aims
3. Main Contribution
4. Implications.
5. Topic Areas.
Authors should indicate at the bottom of each paper up to five key words specifying the most important topics or content of the paper (these will be used to assist in reviewing and streaming of papers).

Suggested Topic Areas
Music education; Rhythm, meter and timing; Music performance;
Memory and music; Absolute pitch; Music development;
Perception and psychophysics; Emotion in music;
Music, meaning and language; Computational models
Ethnomusicology; Music and neuroscience
Aesthetic perception and response

Spoken papers, posters, conference proceedings and publications will be in English.

Refereeing and the Conference Publication
Structured abstract and full paper submissions to ICMPC7 will be blind-reviewed by members of the ICMPC7 Scientific Committee assisted by the Scientific Advisory Board. Papers accepted for inclusion in the conference will be published in the Conference Proceedings.

To keep costs manageable and for ease of distribution, the Conference Proceedings will be produced as a CD-ROM complete with ISBN. The collation of files and production of the CD-ROM will be the responsibility of an Australia based company: Causal Publishers. Details of the procedure and format for submitting final papers to Causal.

Structured Abstracts and Four-Page Paper submissions for 7th ICMPC must be received by November 15, 2001. Notification of acceptance will be made by January 15, 2002 and revised and final papers for inclusion in the Proceedings will be due March 1, 2002.

Where to Send Submissions
Abstracts can be sent by electronic mail to If electronic submission is not possible, sending an abstract or paper as a word processor file in rich text format or as a Microsoft Word file on a floppy disk or as an e-mail attachment file is acceptable providing a submission form accompanies it. Submission forms and computer disks should be sent to ICMPC7 Conference Secretariat, MARCS, University of Western Sydney - Bankstown, Locked Bag 1797, South Penrith 1797, NSW, Australia.


Registration Fees (in Australian dollars)

Full-Time Student* Other
Payment before 15/4/02** AUS$250 AUS$400
Payment after 15/4/02 AUS$350 AUS$500

* Students need to provide evidence of their status as a full-time student when they register for the conference. A current student identification card showing full-time student status or a certified letter from the student¹s Head of School confirming their full-time student status will be required.

** To receive the discount for early registration, the registration form and payment must be post/date-marked and faxed, airmailed, or emailed on or before April 15, 2002.

There are no registration fee discounts for part-attendance, since the fee represents the fixed costs of the conference (e.g. administration, publications, room and equipment hire).

NB: The registration fee includes:

Additional Costs

Payments should be made in full to the Australian Music & Psychology Society in Australian dollars as a cheque drawn on an Australian bank or an International Money Order. Payments can also be made by credit card (VISA and MASTERCARD only). Credit card details may be faxed, posted or emailed.

Accommodation and the conference dinner must be paid for at the same time as registration. Receipts will be available to delegates on arrival. Delegates are advised to take out adequate cancellation insurance, since refunds cannot be guaranteed. Where a refund is possible the organisers retain the right to make a cancellation charge.


On-Campus Budget College Accommodation Single room college accommodation on the campus of the University of New South Wales is available (AUS$70.00 per night bed and breakfast, share bathroom facilities) and can be booked when registering for the conference. The number of college rooms is limited and allocation will be on a first come, first served basis.

4 nights accommodation (Wednesday-Saturday inclusive) @ AUS$70.00 per person per night = AUS$280


Off-Campus Accommodation Information

Sydney is located on the east coast of Australia. By air, Melbourne and Brisbane are each an hour¹s flight away. The conference venue, the University of New South Wales, is located in the suburb of Kensington seven kilometres from the centre of the city of Sydney. This venue is situated conveniently between the airport and city and also close to some of Sydney¹s most famous beaches.

Weather in July
Although July is mid-winter for us, it is an ideal time to travel to the Red Centre or far north areas of the country. Winter in Sydney averages a cool but pleasant 16 deg. C (day) to 8 deg. C (night). While Sydney winters are relatively mild, the city is not built around cold weather! Visitors from colder climates have reported feeling the cold in Sydney. However, it does not snow in Sydney or fall below freezing. Please bring warm clothes including a sweater and jacket.

Useful Travel Guides
Tourism NSW:
Guide to Australia:

Australian Travel Agents and Tour Organisers Thomas Cook: Flight Centre: Harvey World Travel:

Air travel within Australia Ansett: Qantas:

ICMPC7 Local Organising Committee
Kate Stevens, ICMPC7 Chair
Gary McPherson, Deputy Chair; Denis Burnham, Deputy Chair
Myung-Sook Auh, Ron Brooker, Densil Cabrera, Dorottya Fabian, Phil Harris, Ian Irvine, Peter Keller, Stephen Malloch, Jeffrey Pressing, James Renwick, Colin Schoknecht, Emery Schubert, Michael Tyler, Robert Walker, Sarah Wilson

All ICMPC7 correspondence to:
MARCS (Attn: Kate Stevens)
University of Western Sydney / Bankstown
Locked Bag 1797
South Penrith NSW 1797
Tel: (+612) 9772 6324
Fax: (+612) 9772 6736

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Call for Papers: Third International Conference "Composing Principles: Continuity and Innovation in Contemporary Music"

Lithuanian Academy of Music
Lithuanian Composers' Union

Lithuanian Academy of Music
Gedimino pr. 42, 2001 Vilnius, Lithuania
Tel (+370 2) 618492; fax (+370 2) 226982

Lithuanian Composers' Union
Mickeviciaus 29, 2600 Vilnius, Lithuania
Tel (+370 2) 726986; fax (+370 2) 220939

Vilnius, Lithuania

The First Call
Third International Conference "Composing Principles: Continuity and Innovation in Contemporary Music"

Lithuanian Composers' Union
October 19-21, 2002

The conference envisages to discuss the following issues:
1. The conception of a composing principle, its relationship with kindred composing terms (system, technique, composition, form, etc.).
2. The differentiation of the newest music (2nd half of the 20th c.)with respect to composing principles (Modernism, Avant-garde, = Postavant-garde, etc.)
3. The exploitation of composing concepts and terms in the newest music: the re-interpretation of traditional and (melody, harmony, polyphony, etc.) the introduction of new ones.
4. The dialogue of composing principles within a historical and geographical plane. The echoes of composing principles practiced in the old and new epochs (Archaic, Antique, Middle Ages, Renaissance and New Ages) in contemporary music.
5. The possibilities of the classification of avant-garde and postavant-garde music with respect to style, genre, technique, etc. The material of the conference - papers, summaries, dicusions will be published, taking into consideration the requirements set for prestigious scientific publications.
We kindly invite you to the conference and look forward to your ideas concerning the problematics of the conference and the theme of your report. We look for your preliminary concert to participate in the conference until September 5, 2001.
The deadline for your final proposition (your full name, address, title of the papers) is December 31, 2001. Anyway, we do hope for your reply as soon as possible.

Summary (up to 3-5 pages) is expected until March 1, 2002. The organizers would like to timely get a summary, enabling the participants to get ready for thorough discussions.

We inform you that the 12th Baltic Music Festival will be held on October 15-25, 2002. Those wishing will have the possibility to go to concerts free of charge.
The organisers will provide the accomodation for the conference participants.
The updated information will follow in our second call in September.

For more information call the conference coordinator Mr. Antanas = Kucinskas: e-mail

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Call for Papers and Conference Announcement: European Society for the Cognitive Sciences of Music


First Announcement

To celebrate its 10th anniversary, ESCOM organises from 5 to 8 April 2002 at the Unversity of Liege (City center buildings), a conference around MUSICAL CREATIVITY.

Organisers : Marc Melen and Irene Deliege

Collaborations : Unite de Recherche en Psychologie de la Musique Universite de Liege, Arts et Sciences de la Musique Centre de Recherches et de Formation Musicales de Wallonie

Founded in 1991, ESCOM has made constant efforts in order to promote the Cognitive Sciences of Music through the organisation of conferences (namely, triennial conferences, ICMPC in rotation with the asian and american societies), publications (books but also the journal MUSICAE SCIENTIAE), symposiums, Masterclasses, etc. Thus, among ESCOM's initiatives, creativity has always been a major priority. For this reason, it is quite natural that we wished to focus the 10th anniversary meeting on that topic. We think that conference as an interdisciplinary event, and we invite researchers working on musical creativity but also on other types of creativity to present and discuss their ideas, their results, etc. The University of Liege, ESCOM's birthplace, looks forward to welcoming you for that event.

The programme will involve four types of contributions:

The official languages of the conference are English and French. A simultaneous translation will be organised for the keynotes and the symposia.

********* Keynote speakers *********

Eric Clarke (University of Sheffield): creativity in musical performance

Nicholas Cook (University of Southampton): philosophy and musicology of creativity

Colin Martindale (University of Maine): neurobiology of creativity

Peter Todd (Max Planck Institute, Berlin): artificial intelligence of musical creativity

Peter Webster (Northwestern University): psychopedagogy of musical creativity

Tony Wigram (University of Aalborg): creativity in music therapy

********* CALL FOR PAPERS *********

The themes of the individual contributions, oral papers or posters, are free. However, the following topics will be priviledged:


The contributions not immediately related to musical creativity, but likely to shed light on this domain are also welcomed.

Deadline for submissions: 15 October 2001
Notification of evaluation: 15 November 2001

Authors are invited to submit an abstract of 300 words maximum, presenting clearly the aim of the research, the method and the results obtained. They will provide also: type of presentation, equipment needed, affiliation, address, phone and fax number, e-mail. As for the presentation type, the organisers will respect the authors' wish as much as possible. However, they reserve the right to change the type of presentation. The submissions and notifications will be done EXCLUSIVELY by e-mail at the following address:

********* 10th ANNIVERSARY AWARD *********

MUSICAE SCIENTIAE will publish a special issue presenting particularly outstanding individual oral presentations or posters. Awarded candidates will be asked to submit their final draft by end October 2002. The papers will be submitted to the usual peer-review process. A diploma of the 10th anniversary will be attributed to the selected candidates after publication of their paper.

Scientific Committee: Irene Deliege (University of Liege)
Alf Gabrielsson (Uppsala University)
Michel Imberty (Paris-X Nanterre)
Marc Melen (University of Liege)
Andrzej Rakowski (Chopin Academy of Music Warsaw)
John Sloboda (Keele University)

********* BOOKING FORM *********

First name(s)


Adresse for correspondence


********* REGISTRATION *********

The registration includes the book of abstracts, the proceedings, morning and afternoon tea/coffee breaks, lunches. A gala dinner (40 EU) will be organised. After 15 January 2002, the registration fee will be increased by 25 EU .

********* REGISTRATION FEE *********

Registration before 15/01/02 Amount (complete)

Full Members 175 EU Student Members 125 EU Student Non-Members 150 EU Non-Members 225 EU

Registration after 15/01/02

Full Members 200 EU Student Members 150 EU Student Non-Members 175 EU Non-Members 250 EU Gala Dinner 40 EU


********* PAYMENT *********

Only CREDIT CARD payments are authorised.

Type of card (tick one)/Cardholder's Address

American Express

Cardholder's name

Card number

Expiry date



Please return this form, along with payment to Marc Melen at the address below. Further information concerning the conference, the conference venue, the registration, etc. can be obtained from Marc Melen or from the ESCOM Web site:

********* For BOOKING and PAYMENT ********* Marc Melen C/O Marie-Isabelle Collart CRFMW Place du Vingt Aout 16 B-4000 Liege Telephone : + 32/(0)4/223 22 98 Fax : + 32/(0)4/222 06 68 E-mail :

********* For further INFORMATION ********* Marc Melen Unit de Recherche en Psychologie de la Musique Service d'Arts et Sciences de la Musique Place du Vingt Aout 7 (A1) B-4000 Liege Telephone : + 32/(0) /366 32 36 Fax : + 32/(0)4/366 51 84 E-mail :

********* LODGING *********

The participants are invited to book their room by taking contact directly with the hotels. A list of possible hotels is available on the ESCOM Web site:

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Call for Papers: International Machaut Society at Kalamazoo

Following are brief descriptions of the three sessions that will be sponsored by the International Machaut Society at the next meeting of the International Congress on Medieval Studies (Kalamazoo, 2-5 May 2002). Paper proposals should be sent no later than 15 September 2001 to:

Alice V. Clark
College of Music
Loyola University New Orleans
Campus Box 8
6363 St. Charles Avenue
New Orleans, LA 70118
fax: 504/865-2852

For further information on each session, you may also contact the individuals listed below.

Machaut and his Intellectual Milieu (Nicole Lassahn,
This session is meant as a forum for investigation of Machaut's interaction - broadly conceived -- with his context(s) and contemporaries. For example, we would welcome comparative work on Machaut and other authors and musicians from his time, particularly Chaucer, Vitry, and Froissart. Papers might also explore questions of literary and musical sources and influences, including either his influence on others, or his adaptation of his own sources. Papers might also investigate political questions and court contexts or issues of patronage. "Intellectual milieu" might also provide a means for talking about Machaut's audience: his readership, audiences and venues for performance of his musical compositions, and issues of manuscript transmission.

Teaching Machaut (Margaret Hasselman,, and Janice C. Zinser,
For this session, we welcome papers addressing how you have successfully taught Machaut, especially the Remede de Fortune. We are interested in papers focussing on musical or literary aspects or both, emphasizing new approaches. We are particularly interested in approaches that 1) are useful in an interdisciplinary setting, or 2) use various multimedia materials, such as the NEH-Mt. Holyoke Medieval Lyric materials. Papers should be between 15 and 20 minutes in length.

Machaut and Dissonance (Kevin N. Moll,
This session proposes to explore the concept of "dissonance" in the oeuvre of Machaut and his close contemporaries. In Western music generally, the function of dissonance has been to create harmonic tension or motion, and its resolution has been a constant element of style, typically constituting a cornerstone of harmonic theory and practice in various periods. One of the most intriguing aspects of the Ars nova repertoire, however, is precisely that its practical conception of dissonance treatment has proved to be notoriously intransigent to account for, and this is especially true in the music of Machaut himself. By extension, dissonance can also refer to the lack of harmony in non-musical spheres (e.g., poetic structure or content), again presumably requiring (though perhaps not always successfully achieving) resolution. We therefore encourage considerations of all aspects of Machaut's treatment of dissonance, musical and otherwise.

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Call for Papers: South Central Society for Music Theory Annual Meeting

Louisiana State University, Baton Rouge, LA 22-23 February 2002

CALL FOR PAPERS Postmark Deadline: Oct. 31, 2001.

The Program Committee for the 2002 meeting of the SCSMT invites proposals concerning any aspect of music theory or analysis. Presentations should be limited to 20 minutes, to allow 10 minutes for questions and comments.

Propsals should include:
1. Five copies of a double-spaced proposal, 2-4 pages in length, plus any examples or figures that are essential. Each copy should indicate the title of the paper. The author's name, as well as any identifying footnotes or captions should be eliminated.
2. An abstract of 150-200 words, suitable for publication.
3. A cover letter that indicates the title of the paper, author's name and affiliation (if any), telephone number, and e-mail address.

Proposals may be submitted by e-mail, in a single Adobe Acrobat (.pdf) file only. Please include all fonts in the .pdf file.

Papers given at national conferences or previously published will not be considered. Any number of proposals may be submitted by an individual, but no more than one will be accepted. Proposals from people not currently members of SCSMT are welcome, but membership at the time of the conference is required of all presenters.

The SCSMT encourages students to submit proposals for the outstanding student paper/presentation. Full-time students may be eligible for the $100 SCSMT Student Award. To be considered, please indicate full-time student status in the cover letter; candidates will be required to submit a hard copy of the full paper prior to the conference.

Proposals should be submitted to:
Kevin Swinden, SCSMT Program Chair
Department of Music
116 Meek Hall
University of Mississippi
University, MS 38677-1848


Visit the SCSMT homepage at:

Members of the SCSMT 2002 Program Committee are Kevin Swinden, Chair (University of Mississippi); Janna Saslaw (Loyola); Mark McFarland (Southeastern Louisiana University); Burt Levy (University of Mississippi); Keith Salley (Tulane University). Local arrangements will be handled by Robert Peck (Louisiana State University).

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Call for Papers: Indiana Graduate Theory Association Biennial Symposium

The Indiana University Graduate Theory Association's Twelfth Biennial Music Theory Symposium will be held February 8-9, 2002, on the Bloomington campus of Indiana University. The keynote speaker for this year's conference is Dr. Jonathan Kramer, Professor of music theory and composition at Columbia University.

The Program Committee welcomes paper proposals on all topics in music theory. Student submissions are especially encouraged. Proposals should be no more than 500 words (excluding diagrams and examples). Please send five (5) copies of your proposal along with a cover letter containing your name. Your name should not appear on the proposal copies. Papers will be scheduled for thirty-five minutes each, with twenty-five minutes allotted for reading, and ten for questions and discussion. Proposals must be postmarked by November 24, 2001.

Proposals should be sent to:

Stan Kleppinger, President
Graduate Theory Association 2002 Symposium
Indiana University School of Music
Bloomington, IN 47405

Updated information on the Symposium may be found at our Website:

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Call for Papers: Annual Meeting of the Music Theory Society of New York State

Annual Meeting of the Music Theory Society of New York State
Columbia University, 13-14 April 2002

(Note: this call was originally sent out last spring; it is sent out here as a reminder, now that the deadline for proposal submissions is approaching.)

The Program Committee for the year 2002 meeting of the Music Theory Society of New York State (MTSNYS) invites proposals for short presentations (20 minutes) or long presentations (30 minutes) concerning any aspect of music theory or analysis.

Paper submissions should include:

1. Seven copies of a proposal of at least two but no more than four double-spaced pages of text. Each copy should include the title of the paper and its duration as read aloud, but not the author's name.
2. An abstract of 150-200 words, suitable for publication.
4. A cover letter listing the title of the paper and the name, address, telephone number, and e-mail address of the author.

Proposals should be sent to:

Joseph Dubiel, MTSNYS Program Chair
Department of Music
607 Dodge Hall
Columbia University
New York, NY 10027


Papers given at national conferences or previously published will not be considered.
Any number of proposals may be submitted by an individual, but no more than one will be accepted.
Proposals from people not currently members of MTSNYS are welcome, but membership at the time of the conference is required of all presenters.

Members of the MTSNYS 2001 Program Committee are Joseph Dubiel, Chair (Columbia University); George Fisher (New York University); Ellie Hisama (Brooklyn College, CUNY); Jonathan Kramer (Columbia University); Elizabeth Kotzakidou Pace (Columbia University); and Martin Scherzinger (Eastman School of Music).

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Call for Papers: West Coast Conference of Music Theory and Analysis

Announcing the Eleventh West Coast Conference of Music Theory and Analysis on Friday, Saturday, and Sunday, April 26-28, 2002
at the MacLaurin Building, The University of Victoria
Victoria, B.C., Canada

Keynote Speaker: William Caplin, McGill University

Call for Papers

The WCCMTA program committee invites proposals for posters, short talks (15 minutes), or long talks (30 minutes). Areas of special interest for this conference will be 1) musical form, and 2) analysis of 19th-century music; topics concerning any aspect of music theory, however, are welcome. Proposals should be between one and two pages long. Authors should indicate whether proposals 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 for the Best Student Presentation at that conference--a set of back issues of MUSIC THEORY SPECTRUM--will be offered at the conclusion of the conference; please encourage all interested students to submit proposals. Participants from other regions of the world are very welcome, but all presenters are expected to join WCCMTA.

Please MAIL five (5) copies of the proposal (postmark deadline January 15, 2002) to:

Dr. Harald Krebs
School of Music
University of Victoria
Box 1700
Victoria, B.C.
Canada V8W 2Y2

or E-MAIL the proposal to by January 31, 2002

or FAX the proposal (attn. Harald Krebs) to (250) 721-6597 by January 31, 2002.

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Call for Papers: Music Theory Southeast Annual Meeting

Music Theory Southeast
Eleventh Annual Meeting

Call for Papers (Reminder)

January 31-February 2, 2002
Florida State University
Tallahassee, Florida

The 2002 meeting of Music Theory Southeast will be held in conjunction with the International Ernst von Dohnányi Festival. Proposals for papers, special sessions, or panel discussions are solicited on any topic related to music theory. Submissions for papers should include five copies of an anonymous proposal 3-4 pages in length, an anonymous abstract of 250-300 words, and a cover letter providing the title of the proposal, the author's name, address, e-mail address, and phone number. A $100 prize will be awarded to the author of the best student paper presented at the 2002 meeting. Interested students should identify themselves in the cover letter and should submit a completed copy of the presentation along with the proposal and abstract. Submissions for special sessions or panel discussions should not be anonymous, but should include a proposal, an abstract, and a list of participants. All submissions must be postmarked no later than October 15, 2001, and sent to Renee McCachren, MTSE Program Chair, Department of Music, Catawba College, Salisbury, North Carolina 28144. For further information, please see the MTSE website:

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Call for Papers: Midwest Graduate Music Consortium

MIDWEST GRADUATE MUSIC CONSORTIUM Sixth Annual Meeting 22-23 February 2002, The University of Wisconsin.

The Midwest Graduate Music Consortium is a joint venture organized by graduate students from The University of Wisconsin at Madison, The University of Chicago, and Northwestern University that allows graduate students and advanced undergraduates in various fields of music to come together and share ideas on a vast array of topics. The 2002 meeting will be held on the campus of The University of Wisconsin, and will include paper sessions, a concert of new music, and a keynote address.

CALL FOR PAPERS. The program committee invites all graduate and advanced undergraduate students to submit proposals for papers related to music theory, analysis, ethnomusicology, history, or any other topic concerning the study and practice of music. Work in progress is strongly encouraged. We ask that proposals are typed, double-spaced, and fall within a 500-word limit (from which diagrams and musical examples are, of course, excluded). Any number of proposals (or scores) may be submitted by an individual, though no more than one will be accepted. The presentation will have to fit into a thirty minute time slot; therefore, papers should be about twenty minutes in length, allowing time for a brief introduction and follow-up questions.

CALL FOR SCORES. The program committee invites all composers currently engaged in graduate or advanced undergraduate study to submit compositions for consideration in the programming of a concert of new chamber music which will take place on Friday, 22 February 2001. Performances will be given by musicians from the University of Wisconsin community, which includes players on all major instruments. No restrictions are placed on instrumentation or duration; however, shorter works for smaller ensembles that do not call for exotic instruments are more likely to be programmed. Composers who are able to provide their own players should indicate so in their cover letters.

SUBMISSIONS. Please send five copies of your proposal or score (composers, please see below), omitting your name (or any other identifying marks), along with a cover letter providing your name, mailing address(es), telephone number(s), email address(es), institutional affiliation, and title of the proposed paper or composition to: Jill T. Brasky, MGMC Program Chair The University of Wisconsin School of Music, 4534 Mosse Humanities Building Madison, WI 53703. Proposals must be received with a postmark of no later than 1 December 2001. Email submissions for papers will also be accepted. Please send submissions as a Microsoft Word attachment to Composers: Only one of your five copies needs to be a high-quality bound score. You may include a recording of the proposed composition, but this is not required. Material will be returned to you if you enclose a pre-paid addressed envelope. If you have any questions, please contact Jill Brasky at the address above or via email at, or Gurminder Bhogal at the University of Chicago,

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Call for Papers: GAMMA-UT

GAMMA-UT is a graduate student organization of music theorists, ethno/musicologists, and composers at the University of Texas at Austin.

GAMMA-UT announces its second annual conference,to be held on Saturday, February 23, 2002 at the University of Texas at Austin. Scholars from the areas of music theory, musicology, and ethnomusicology will meet to share their research.

GAMMA-UT is soliciting student papers in the areas of music theory, musicology, and ethnomusicology. Papers may deal with any aspect of music research and analysis, including music outside the canon (nonwestern music, popular music, film music, etc.).

Prospective presenters should submit a proposal of no more than 300 words by December 10, 2001 via the proposal submission page at:

Applicants will be notified of the program committee's decision as soon as possible after the deadline.

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Conference Announcements

Conference Announcement: Teaching Music Theory Through the Ear: A Workshop for High School Music Theory Teachers

New England Conservatory of Music and St. Mark's School are pleased to announce Teaching Music Theory Through the Ear: A Workshop for High School Music Theory Teachers. The workshop will be held at St. Mark's School in Southborough, MA on Saturday, October 20, 2001 beginning at 8:30 am. This day-long forum will explore ways of bringing "life" to traditional music theory topics taught in the classroom-fundamentals, harmony and part-writing, analysis, and ear training. Broadly speaking, the goal will be to demonstrate how music theory connects with the real-life activities of musicians as listeners and performers. More specifically, our primary focus will be on the ear as a pedagogical tool; in particular, we will explore ways of introducing theoretical concepts through the ear. An important corollary of this will be our emphasis on musical literature. We believe that listening attentively to real music can often provide an effective introduction to theoretical concepts; this is true even at the level of musical fundamentals.

Roger Graybill, Katarina Miljkovic and Deborah Stein, all faculty members inthe New England Conservatory theory department will be leading the sessions:
a) teaching fundamentals through the ear,
b) teaching harmony and part writing through the ear, and
c) teaching analysis through the ear.

The workshop is open to all interested teachers and musicians. Please register by October 5, 2001. A certificate for PDP's is offered. A $20 fee covers the cost of materials and lunch. To register and for further information, please contact Tom Berryman, Music Director at St. Mark's School.
work phone 508-786-6331
St. Mark's School is located in Southborough, MA within a ten minute drive of the Mass Pike and Interstate 495.

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Conference Announcement: The Pople Tonalities Project

TP2: The Pople Tonalities Project

Saturday, 27 October 2001

A Study Day at the University of Reading in association with the SMA

When people speak of 'the breakdown of tonality' in the early twentieth century, just what sort of tonality do they mean? For 'tonality' seems to mean something different in, say, middle-period Debussy than it does in late Wagner-and different again in late Mahler, early Schoenberg, Rachmaninov, Sibelius, Strauss, Vaughan Williams, Gershwin and so forth. Treating these musics as special cases risks destroying the working link between theory and analysis: is it tonality, or tonal analysis, that breaks down here?

Anthony Pople's Tonalities project aims to provide a theoretical framework capable of handling a wide diversity of tonal systems, by offering an approach which is based on explicit definitions and procedures but is also highly configurable. It draws on a range of tonal theories, including recent neo-Riemannian theory, and also finds inspiration in set-class theory, including Fortean genera theory. It can operate effectively both at the traditional boundary of tonality and atonality, and on Bach chorales.

To cut through the complexity of this framework, Pople has developed a user-friendly software system that analyses musical passages in terms of a tonal system defined by the user from a range of detailed options. The study day will include a demonstration of this software, together with a 'hands-on' opportunity to use it. There will also be talks on the theory itself, and a round-table discussion of the project by eminent theorists and analysts.

Anthony Pople is Professor of Music at the University of Nottingham, having previously held chairs at the universities of Lancaster and Southampton. A former editor of Music Analysis, his many publications include short monographs on Berg's Violin Concerto and Messiaen's Quatuor pour la fin du Temps. A book on his Tonalities project is to be published by Cambridge University Press.

Provisional Programme

10.30 Coffee

11.00 Anthony Pople (University of Nottingham)
An introduction to the Tonalities project

12.00 Discussion

Delegates I Delegates II

12.30 Hands-on session

12.45 Lunch

13.15 Lunch

13.30 Hands-on session

14.15 Anthony Pople (University of Nottingham)
Further details

14.45 Roundtable chaired by
Nicholas Cook (University of Southampton)
Contributors to include:
Richard Cohn (University of Chicago),
Jonathan Dunsby (University of Reading) and
Michael Russ (University of Ulster).

16.15 Tea and disperse


The Music Department at The University of Reading is at 35 Upper Redlands Road, Reading, RG1 5JE. Delegates may access details of how to locate the department via

In order to ensure that a realistic number of mentors are available, delegates will be divided into two groups for the hands-on sessions. Depending on eventual numbers, these sessions will be either at the department or at a nearby computer suite.

Although we do not intend to turn anyone away, it would be extremely helpful if you would book your attendance by Monday 8 October 2001 (; this will facilitate planning of the 'hands-on' sessions and catering. Please let us know if you have any special needs.

The event is free to SMA members. Non-members are welcome to attend at a fee of £10 (payable on the day) to include registration and coffee, light lunch and tea: if you wish to join the SMA please contact the Administrator, Matthew Riley (

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Conference Announcement: Musical Improvisation, Description, Notation, 1570-1620

19-21 April 2002
The British Academy, 10 Carlton House Terrace,
London SW1Y 5AH

International Conference, sponsored by the Royal Musical Association, The British Academy, and the University of Southampton/University of Texas at Austin Early Music Exchange

*Musical Improvisation, Description, Notation, 1570-1620*

Presenters: Jeanice Brooks, John Butt, Tim Carter, Nicholas Cook, Harris Crist, Andrew Dell'Antonio, Susan Jackson, Elizabeth Kenny, Anne MacNeil, Anthony Newcomb, Deborah Roberts, Laurie Stras, Richard Wistreich.

Events will include performance presentations, round tables, formal papers, and a concert by Musica Secreta (dir. Deborah Roberts).

For information please contact Jeanice Brooks ( Conference website (including registration forms and booking information) forthcoming.

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Conference Announcement: Symposium on "Stochastic Modeling of Music"

14th Meeting of the FWO Research Society on Foundations of Music Research Monday 22th of October 2001, 9 a.m. Ghent University


Rens Bod
Institute for Logic, Language and Computation, University of Amsterdam, NL and School of Computing, University of Leeds, UK
Stochastic Models of Melodic Analysis: Challenging the Gestalt Principles

Anssi Klapuri
Tampere University of Technology, Finland
Automatic Transcription of Music

Christopher Raphael
Department of Mathematics and Statistics, University of Massachusetts at Amherst, U.S
Music Plus One

Zoltán Juhász
Research Institute for Technical Science and Materials Science, University of Budapest, Hungary
Relations Between Structure, Long-term Stability and Short-term Variability of Hungarian Folk Music

Practical Information
Contact: Univ. Ghent, IPEM - Dept. of Musicology Tel: +32 9 2644126
Ghent University
IPEM-Dept. of Musicology
Prof. Marc Leman
Rozier 44, second floor, Room C.2.25
B-9000 Ghent, Belgium

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Conference Announcement: Mannes Institute for Advanced Studies in Music Theory


2002 Institute in Schenkerian Theory and Analysis

Mannes College of Music, New York City

June 27-30, 2002

The Mannes Institute for Advanced Studies in Music Theory is pleased to announce its second annual summer Institute on the topic of Schenkerian Theory and Analysis. The Institute will take place at Mannes College of Music in New York City from June 27-30, 2002. This is a four-day program of continuing education for professional music theorists addressing practical skills and techniques of Schenkerian analysis, theoretical and historical issues, pedagogical strategies, and the current state of the discipline--conducted through an intensive series of plenary sessions, analytic workshops, conceptual study groups, and panel discussions, led by a diverse and distinguished faculty of Schenkerian practitioners and scholars.

The Institute will feature three 2 1/2 hour plenary presentations by Carl Schachter analyzing music of Schubert, Mozart, and Beethoven. William Rothstein, serving as chair of this year's faculty, Charles Burkhart, and Frank Samarotto will conduct daily hands-on analytic workshops in practical Schenkerian techniques of graphing and analysis. Matthew Brown, Nicholas Cook, and Robert Snarrenberg will conduct daily in-depth conceptual study groups addressing theoretical, historical, and problematic issues in Schenkerian theory. David Gagne will moderate a plenary panel discussion on Schenkerian pedagogy, and Hedi Siegel will moderate a plenary panel discussion on the state of the discipline--past, present, and future.

The number of participants will be limited to approximately forty professional scholars selected by application. Prior knowledge and training in Schenkerian theory and analysis is desirable, but expertise is not required. Participants will have a broad range of Schenkerian backgrounds, supplemented where appropriate by a record of academic achievement in other areas of music scholarship. The four-day Institute includes daily meals, a reception, banquet, and ample opportunity for collegial interaction.

The Mannes Institute for Advanced Studies in Music Theory is a scholarly organization dedicated to providing advanced studies and training for music theorists and other music professionals through high level workshops conducted by experts investigating different aspects of theory and analysis, musicology, composition, and performance. The Institute was established in 2001 at Mannes College of Music under the direction of its founder, Wayne Alpern, a member of the Mannes theory faculty, with independent funding from private sources.

Continuing Mannes's historic tradition of innovation in music scholarship, the Mannes Institute serves an important academic function by providing a unique opportunity for professional music scholars to gather outside of the conventional conference format for focused interpersonal dialogue, sustained intellectual exchange, and intensive collegial interaction with their peers through an annual summer program in New York City. The Institute presented its inaugural program last June on the topic of Historical Music Theory, with workshops conducted by Thomas Christensen, Ian Bent, Sarah Fuller, Cristle Collins Judd, Joel Lester, and Thomas Mathiesen. The 2003 Institute will be on the subject of Post-Tonal Theory and Analysis featuring another distinguished faculty of experts.

Detailed information about the 2002 Mannes Institute in Schenkerian Theory and Analysis, including full descriptions of plenary presentations, analytic workshops, conceptual study groups, and panel discussions, analytic repertoire and reading lists, faculty bios, and the details of the application procedure and selection criteria will be posted later this fall on the Institute's website at and announced over the SMT list. The electronic application process via the Institute website will occur in early spring. Additional information will be distributed in the SMT conference brochures and packets at the upcoming national meeting in Philadelphia in November, and a representative of the Institute will be present to answer questions.

Preliminary inquiries regarding the Mannes Institute or the 2002 Institute in Schenkerian Theory and Analysis may be addressed to Wayne Alpern, Director of the Mannes Institute for Advanced Studies in Music Theory, by email at, phone at (212) 877-8350, or mail at 150 West 85th Street, New York, NY 10024. The Mannes Institute is part of Mannes College of Music, Joel Lester, Dean, a division of New School University, Bob Kerrey, President.

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Journal-Related Announcements

New Journal Issue: Indiana Theory Review 20/1

Indiana Theory Review is pleased to announce the publication of Volume 20, Number 1 (Spring 1999). After focusing on film music in our most recent volume, we return with this issue to an eclectic format featuring articles on a variety of topics. The contents of the issue are as follows:

Amy Carr-Richardson, "Rotational Symmetry as a Metaphor for the Scherzo of Beethoven's Opus 131"
Steven A. Harper, "Emerging Tonality in Webern's Piece for Violin and Piano, Op.7, No. 1"
Michael Klein, "Texture, Register, and Their Formal Roles in the Music of Witold Lutoslawski"
Martin Scherzinger, "Line, Rhythm, and a Motivic Detail in Mozart's Piano Sonata in F Major (K. 280), Adagio"

Another notable feature of this issue is our new typeface, which represents the first significant change in the appearance of the journal since volume 9. Our subscribers will notice that the new look is not only more aesthetically pleasing but also easier to read, as the page is now less crowded than before.

Our next issue, Volume 20, No. 2 (Fall 1999), will be comprised primarily of reviews, and Volume 21 (Spring/Fall 2000) will be a double issue devoted to popular music. More detailed information about the contents of these issues will be available very shortly at Publication of both issues is slated for this fall.

Indiana Theory Review welcomes articles on any subject that might be of interest to music theorists. Guidelines for contributors are available in the back of each issue and at

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Indiana Theory Review Call for Articles

Indiana Theory Review wishes to announce a special issue entitled "Art Music since 1960." We welcome articles that analyze compositions written since 1960 or articles that discuss theoretical issues pertinent to the analysis of such works. Submissions received by March 1, 2002 will receive first priority.

Guidelines for contributors are available from

Please direct any questions regarding this special call to

Indiana Theory Review accepts articles on all aspects of music theory and analysis on a continuous basis. Indiana Theory Review is a semi-annual journal published by the Graduate Theory Association of the Indiana University School of Music.

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Other Announcements

Other Announcement: New Music Theory Southeast Web Address

The Music Theory Southeast web site has moved. Its new address is:

Information about the 2002 meeting including a Call for Papers is now available at the new address.

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Copyright Statement

[1] Music Theory Online (MTO) as a whole is Copyright (c) 2001, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in (MTO) are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.

[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:

This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.

[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.

prepared by
Stanley V. Kleppinger, editorial assistant
Updated 14 November 2002