Music Theory Online

A Journal of Criticism, Commentary, Research, and Scholarship


Volume 7, Number 6, December 2001
Copyright İ 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 studentıs 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 hourıs 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 Sydneyıs 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

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: Rocky Mountain Society for Music Theory

2002 Annual Meeting & Call for Papers:

The Rocky Mountain Society for Music Theory is holding its eighth annual meeting at the University of Colorado at Boulder on April 19 and 20, 2002. The meeting will be held with the Rocky Mountain Regional Chapters of the American Musicological Society and the Society for Ethnomusicology.

The program committee invites proposals for posters or presentations concerning any aspect of music theory. Papers on the Well-Tempered Clavier are especially encouraged. Presenters will be given twenty minutes for the reading plus ten minutes for questions.

Proposal Deadline: January 15, 2002

Since proposals are to be reviewed blind, please do not reveal your identity within the proposal itself. Submit five copies of the one to two page proposal along with a cover letter listing name, address, phone, email, affiliation, the title of your proposal, and any special equipment or arrangements required. You may include musical excerpts, examples, graphs or charts. Please mark the envelope containing your proposal with "RMSMT Proposal." Electronic text submissions are encouraged, however please do not burden the process with graphics attachments that may not download correctly.

The program committee:
Jack Boss, University of Oregon
Deron McGee, University of Kansas
Frank Riddick, Oklahoma City University
Keith Waters, University of Colorado at Boulder
Timothy Smith, Northern Arizona University

Proposals can be mailed or emailed (by January 15, 2002) to

Timothy Smith, Program Committee Chair - RMSMT 2002
School of Music
Northern Arizona University
Flagstaff, AZ 86011-6040

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University of Sheffield Messiaen Conference


Sheffield, June 2002


The University of Sheffield is hosting a conference on Olivier Messiaen in 2002 to commemorate the tenth anniversary of the composer's death. The conference will run from Thursday 20 June to Sunday 23 June.

Participants will include:

Julian Anderson, Allen Forte, Madeleine Forte, Peter Hill and Betsy Jolas.

In addition to papers and round table discussions, there will also be two concerts of music by Messiaen, including Visions de l'Amen, La fauvette des jardins and some rarely heard works.

Papers are invited on any aspect of the music, life and influence of Olivier Messiaen and his position within Twentieth Century music. Papers should be 20 minutes in duration (time will be given after each paper for questions).

Proposals should be in the form of an abstract of no more than 250 words. Participants are encouraged to speak in English, but proposals in French are acceptable.

Proposals should be sent to arrive no later than Friday 22 December 2001. Submission via the conference e-mail address ( is preferable. Alternatively, send proposals on disc (rich text format) or hard copy to:

Dr Christopher Dingle
Department of Music,
University of Sheffield
Sheffield S10 2TN

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

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

The programmes will be announced by 31 January 2002 and advertised on the conference website (

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Florida State University Music Theory Forum

The 2002 meeting of The Florida State University Music Theory Forum will be held on March 2, 2002. Proposals for papers are solicited on any topic related to music theory. Submissions for papers should include six copies of an anonymous proposal 2-3 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, phone number, and a list of technical requirements for presenting the paper. All submissions must be postmarked no later than January 15, 2002, and sent to Scott Baker, FSU Theory Forum, School of Music, Florida State University, Tallahassee, Florida 32306-1180. For further information, please see the FSU Music Theory Society website at

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Music Theory Midwest

Music Theory Midwest

2002 Thirteenth Annual Conference

University of Minnesota

17-18 May, 2002; Minneapolis, Minnesota

The featured keynote speaker will be Professor Alexandra Pierce, University of Redlands.

15 January 2002 Postmark deadline, and deadline for electronic submission

This year the program committee would like to encourage individual presentations and special sessions with an interdisciplinary focus:

--interdisciplinary approaches within music theory (e.g., Schenkerian analysis and neo-Riemannian theory; post-tonal and narrative


--interdisciplinary approaches within music (e.g., analysis and performance, history of theory and music hermeneutics) --interdisciplinary approaches combining music theory with other fields (e.g., architecture and musical form, psychoanalysis and music interpretation).

Special sessions devoted to a single work, illustrating a variety of analytical and interpretive approaches, are also encouraged. Composers deserving of special attention in 2002 include John Cage and Olivier Messiaen, on the tenth anniversary of their deaths. As always, papers on any of music theory's traditional and newer topics are welcome, including offerings in all areas pertaining to analysis, research, and pedagogy.


Individual presentations should be 20 minutes in length. The proposal should include a cover letter giving the author's name, email address, and paper title, along with a description of any special equipment required, and an abstract. The abstract is limited to 500 words and should be anonymous. For regular submission, mail the cover letter and five copies of the abstract, postmarked no later than 15 January 2002,

to: Eleanor Trawick
Program Chair, MTMW 2002
School of Music
Ball State University
Muncie, Indiana 47306-0410


As an alternative to the above, MTMW has an online electronic submissions process. Only one copy of the abstract is necessary. Go to Online Submissions:


Proposals for special sessions or formats are also encouraged. These are exempt from the word limit, will not be read blind, and should include the names of the organizer and all participants. Special sessions must be "special" in the sense that they could not be put together by the program committee out of individually submitted papers. Anyone wishing to propose a special session is advised to contact the program chair via e-mail well in advance of the proposal deadline at this address:


As always, the Arthur J. Komar Award for best student paper will be presented at the conclusion of the meeting. Student presenters who wish to be considered for this award must identify this in their letters. A member is considered a "student" until the receipt of a terminal degree, or the acceptance of a full-time position. Additonal information about the Komar Award can be found at:


You should receive notification of the program committee's decision in early spring when the preliminary program schedule is completed. If your proposal is accepted, you will be required to submit an electronic version of your abstract (if you have not already done so). The program committee may request that your proposal be presented in a format other than a traditional 20 minute paper. If at any time you learn that you will be unable to attend the MTMW 2002 meeting (17-18 May) please notify the program committee chair as soon as possible to withdraw your proposal from consideration. Please do not wait until after you receive notification, as this delay could cause additional complications in the entire program.


Chair, Eleanor Trawick, Ball State University,
Marion Guck, University of Michigan,
Shersten Johnson, University of Wisconsin,
Frank Samarotto, Indiana University,
Robert Hatten (ex officio), Indiana University,
Michael Cherlin, University of Minnesota,

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Symposium of World Musics

Symposium of World Musics
School of Music
Texas Tech University

March 6 - 8, 2002


In the new millennium, the rise of global culture has led to a vastly increased awareness and appreciation of the world's indigenous musics. Indigenous musics move with great flexibility across political, ethnic, linguistic, and geographical boundaries. In the 21st century, therefore, education in the world's musics enhances the student's global awareness.

The Symposium of World Musics provides exciting opportunities for scholars, performers, and students of the world's indigenous musics to share research, performances, and discussion over the course of three days. The symposium will include individual and panel presentations, lecture-demonstrations, and daytime and evening performances of indigenous musics and related genres (dance, theater, video) on the campus of Texas Tech University, in Lubbock, Texas. Evening concerts featuring notable artists will be open to the community at large.

The School of Music at Texas Tech University serves as a center of musical art and culture the South Plains, enrolling over 440 undergraduate and graduate students and granting advanced degrees in all applied instruments, conducting, composition, music education, history and literature, and music theory. Lubbock, the home town of legendary musicians like Buddy Holly, the Crickets, and the Flatlanders, is a city of 200,000 with great arts, music, and nightlife.

Proposals are welcome concerning any topic related to indigenous music. Presentations should be of interest to a general music audience. We seek submissions in five formats:

1. Papers - Please send a proposal or entire paper. Presentations should last 25 minutes with 5 minutes allowed for questions. Include a list of equipment needed for the presentation.

2. Lecture-demonstrations - Please send a proposal or entire paper. Presentations should last 50 minutes with 10 minutes allowed for questions. Include a list of equipment needed for the presentation.

3. Performances - Please send a video (1 inch Beta format preferred), repertoire, and any relevant documentation such as press kit or bio.

4. Programs for school-age children (K-12)

5. Videos for a Video Room, which will run continuously over the course of the Symposium

Please send proposals and supporting materials to:

Dr. Guy Capuzzo
Symposium of World Musics Committee
School of Music
Texas Tech University
Box 42033
Lubbock, TX 79409 Email:

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SMT Pop Music Interest Group

The selection committee for the SMT Pop Music Interest Group invites individual proposals for a special session to be submitted for consideration by the 2002 SMT Program Committee. This meeting will mark the 25th anniversary of the Society for Music Theory, and will be held in Columbus, Ohio, October 31 to November 3, 2002, in conjunction with the American Musicological Society meetings.

Papers dealing with any aspect of the analysis of popular music are welcome, and submissions from graduate students, recent Ph.D. graduates, and non-tenured faculty members are especially encouraged.

Proposals should be 500-750 words in length and sent via e-mail to Rebecca Leydon at Please attach files as Word documents; musical examples may sent as .jpeg, .pdf, .tiff, or as Finale attachments.

Proposals will be distributed to the committee without names, for blind review. Please provide a cover letter in the email message, stating the title of the paper, name, the status (graduate student, non-tenured faculty, etc.) and institutional affiliation (if any) of the author.

The deadline for proposals is 15 January 2002.

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SMT/AMS Special Session: Women and Jazz


Committee on the Status of Women/SMT-Jazz Interest Group 2002

The CSW and SMT-Jz are organizing a joint Special Session at the 2002 AMS-SMT national conference in Columbus, Ohio (Thursday, October 31 through Sunday, November 3).

The topic of the Special Session will be Women in Jazz: Roles and Voices. We encourage presentations that treat:

1) Experiencing and conceptualizing jazz, with respect to women's roles or voices

2) Issues of gender, sexuality, and/or the body in jazz

3) Composition and/or improvisation: the work of women jazz composers and performers

Presentations are limited to 20 minutes in order to accommodate 5 papers and a response.

Proposal length: 300-500 words.

Deadline: January 1, 2002

To apply, email your proposal to Prof. Nancy Rogers (, who will send anonymous versions to the subcommittee. Proposals may be sent in the body of the email or as attachments in MS Word; musical examples may be sent as .jpeg, .pdf, .tiff, or as Finale attachments. Please provide a cover letter at the beginning of the email message, stating the title of the paper, name, the status (graduate student, non-tenured faculty, etc.) and institutional affiliation (if any) of the author.

The joint subcommittee for this session will be chaired by Janna Saslaw (CSW and SMT-jz). Committee members are Steven Block (SMT-jz), Teresa Davidian (CSW), David Marcus (SMT-jz), and Leigh Van Handel (CSW).

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SMT Pedagogy Interest Group

The Pedagogy Interest Group of the Society for Music Theory plans to propose a special presentation session for the 2002 meeting in Columbus, Ohio (Oct. 31 - Nov. 3). We hope to put together a hands-on demonstration of innovative and highly successful approaches to teaching analysis and theory of music from the past century. We welcome submissions that deal with any aspect of this important, but often neglected, pedagogical pursuit (formalist approaches, non-formalist approaches, pcset-based analysis, non-pc-based analysis, written skills, aural skills...). Each of our participants will be afforded at least 30 minutes in front of a small class of undergraduates; at least a small portion of that time should be devoted to a discussion of methodology. Following the presentations, an open discussion will take place with session attendees and, if feasible, a panel composed of well-known pedagogues.

Proposals should be no longer than 750 words and should follow the Society's official guidelines ( Please describe what you would do with your 30-minute time allocation, and clearly state the goals and professed strengths of your approach. Where possible, please offer evidence of success in achieving those goals. Subcommittee members must receive proposals by January 1, 2002. Please feel free to contact me if you have any questions.

Those interested in participating should send their proposal to Michael Buchler at (plain e-mail text as well as MS Word and Adobe Acrobat formats are welcome). While we would prefer electronic submissions, if you would rather send your proposal in print form, please mail four copies to:

Prof. Michael Buchler
Indiana University School of Music
1201 East Third Street
Bloomington, Indiana 47405

The 2002 pedagogy program subcommittee consists of Michael Buchler, Ted Mathews (Agnes Scott College), Allyn Reilly (Ohio University), and Nancy Rogers (Lawrence University).

Conference Announcements

Conference for the Music Theory Society of New York State Rescheduled

The 2002 Annual Conference for the Music Theory Society of New York State (MTSNYS), originally planned for the weekend of April 13-14 2002, has been rescheduled. The conference will now take place on Saturday and Sunday, April 27-28 2002 at Columbia University.

If you have questions regarding the conference or would like your name to be added to the MTSNYS mailing list, feel free to contact me at the address below.

Poundie Burstein
Secretary, MTSNYS

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Mannes Summer Institute in Schenkerian Theory



Director: Wayne Alpern

Faculty: William Rothstein (chair), Carl Schachter (plenary speaker), Matthew Brown, Charles Burkhart, Nicholas Cook, David Gagne, Frank Samarotto, Hedi Siegel, Robert Snarrenberg

A. Opening Panel Discussion


Moderator: Hedi Siegel

Panelists: Nicholas Cook, Frank Samarotto, Carl Schachter

The opening panel discussion will assess the history, struggle, and development of Schenkerian theory, from its modest origins to its current ubiquity--all as a background for more controversial inquiries about what it actually is or should be today, and what it might become or risks becoming in the future. Now spanning several generations, musicians working in the discipline have grown from a small community of specialists to a vast group of students, teachers, analysts, performers, historians, and scholars working from multiple perspectives. This development has occurred in a changing theoretical climate to which Schenkerians have responded, explicitly or implicitly, in a variety of ways.

We will consider these various responses, as well as what reactions the Schenkerian enterprise might itself provoke in the music theory of the future. Certainly we stand at a time of fruitful opportunity: the increasing availability of Schenker's writings in translation and the accessibility of his unpublished papers has vastly expanded and refined our sense of Schenker's method. There also seems to be no end to the expansion of the scope and range of Schenkerian research. Need this, however, provoke battles over propriety and orthodoxy? Should we look for precedents as justification? Or must revision or restructuring be immediately embraced as the way of the future? Can or should the Schenkerian community agree as to what is revision and what is orthodoxy? To what degree does even the notion of a "Schenkerian community" remain viable and relevant?

An open discussion of these broader issues seems desirable--indeed necessary--for the continued vibrancy, relevance, and health of a discipline that has elicited such strong commitments and reactions. The panelists' aim will be to spark a vigorous debate over the growth and future development of Schenkerian studies, setting the stage for the detailed investigations of the Institute as a whole.

B. Plenary Presentations


Instructor: Carl Schachter

Each of these sessions will be devoted to the analysis of a single piece of music, concentrating on the special and in some cases unique features of each particular work. We will explore the relative merits of analytic readings that are comparatively straightforward versus those that are more recherche. The more obvious interpretations are those that tend to assign structural priority to elements specially emphasized in the foreground, or that seem to conform closely to stylistic or structural norms. Very often these readings are to be preferred--but not always. Since these sessions will involve all participants, there will be a considerable amount of lecturing, but with as much questioning, discussion, and debate as the format will allow.

Session 1: Schubert, "Der Neugierige" from Die Schöne Müllerin. Analyzing this song allows for, indeed requires, a kind of Schenkerian implication/realization approach. That is, awareness of a path not taken near the beginning of the song becomes crucial for the understanding of the work as a whole.

Session 2: Mozart, Piano and Violin Sonata, K. 481, 2nd movement. This is one of Mozart's greatest slow movements, composed as a very free rondo. We will compare conflicting interpretations that result from hearing key areas as primary carriers of harmonic structure, versus those taking large-scale voice-leading structures as primary. The remarkable "false reprise" in A major is the most prominent feature that might evoke these conflicting analyses--but it is not the only one.

Session 3: Beethoven, Piano Sonata, op. 53 ("Waldstein"), 1st movement. Most experienced Schenkerians have worked on this piece, but it is also extremely important for those relatively new to the approach. This is because its structure pushes the limits of Schenker's theory, specifically in regard to what he called "Diatonie." In a brief but somewhat garbled passage in Free Composition, Schenker calls attention to one of its distinctive features, but by no means the most crucial one. The relation of tonal structure to sonata form, particularly in the recapitulation and coda, is also most unusual--as are some of the motivic elements, whose recognition strongly influences how one reads the voice leading of several important sections and passages.

C. Analytic Workshops


Instructor: Charles Burkhart

This workshop will feature a hands-on, how-to-do-it approach in which the participants and instructor will work out graphs together, giving priority to the discussion of analytical, theoretical, and notational issues as they arise. Our focus will first be on common paradigms and standard techniques of Schenkerian analysis, and then on the degree to which they can be extended, or modified, and still be useful.

First, we will consider Verdi, "Addio del passato" from La traviata, addressing choice of initial tone, interruption, mixture at the first level, the problem of repetition, #IV, and non-structural tonics, and Chopin, E-flat major Prelude, op. 28, no. 19, addressing problems of register, substitution, three-part form, and the tonal meaning of inversional symmetry. Next, we will consider frequently encountered middleground paradigms of sonata form, focusing on Mozart, 35th Symphony ("Haffner"), second movement, and Beethoven, C Minor Piano Sonata, op. 10, no. 1, first movement, with attention to Schenker's own analyses, his concept of rhythmic expansion ("Dehnung"), and Oster's alternate paradigm of an initial-tone 5 over an "inner-voice" 3-2 descent in the exposition.

Finally, we will consider what Schenker's method can reveal about several excerpts from Wagner's Tristan and Isolde, a work mostly lacking the closed monotonal forms the method was designed to explicate, and explore the complex nature of prolongation in "triadic post-tonality."


Instructor: William Rothstein

Each of these sessions will focus on a different aspect of Schenkerian analytic technique, approached as a distinctive form of musical syntax. Our repertoire will include Mozart variations, a Handel chaconne, and music of Bach and Brahms.

Session 1: Reading and Writing Graphs. This session will be devoted to the grammar and syntax of Schenkerian graphing. Constructing a correct graph will be seen to rest on principles of voice leading derived from thoroughbass (C.P.E. Bach) and species counterpoint (Fux), along with a few principles of harmonic progression and melodic "good continuation." Examples of correct and incorrect graphing will be discussed; occasional violations of "the rules" in Schenker's own graphs will also be addressed.

Session 2: Diminution, Invertible Counterpoint, and Variation Technique. How can a basic structure be varied? And how can those variations be traced back to their (often implicit) models? 18th-century variation technique, as found in variations and other genres, will be used to explore these issues. Emphasis will be on "reading" the musical foreground and comparing related passages to each other.

Session 3: Voice-leading Structure and Form. Certain formal patterns often correspond to recurrent patterns of middleground voice leading, which might be regarded as default analyses. This session will focus on pieces in which the musical surface itself suggests alternatives to a default analysis, indicating that form and voice-leading structure ("outer form" vs. "inner

form") stand in a complex relation to each other.


Instructor: Frank Samarotto

Schenker's remarkable legacy consists of not only a rich and fascinating theoretical apparatus, but also a dauntingly complex body of analyses, whose reconsideration presents both problems and opportunities. His elusive mode of presentation is barrier enough, but one must then begin to disentangle what an analysis illustrates about the theory from what it illuminates about the piece, and, ultimately, whether either is carried through in a sound and insightful way. Even when Schenker is thoroughly persuasive, we are left with

questions: Is our own alternative analysis possible (or desirable)? Is more than one "correct" analysis imaginable?

We will attempt to refine our analytical skills by using a number of Schenker's own analyses, published and unpublished, as starting points. In so doing, we will consider ways in which Schenker's method addresses the available alternatives in such matters as form and voice leading, choice of Urlinie, motivic parallelism, and even character and musical meaning. Our repertoire of analyses includes Brahms, Waltz op. 39, no. 1--reconstructing a detailed foreground from Schenker's middleground in order to reconcile all levels; Bach, Allemande from French Suite in E major--examining the relation of form and rhetoric to background structure; Beethoven, Sonata in G major, op. 14, no. 2--assessing Schenker's problematic reading of the development and its rationale; and Brahms, Rhapsody in B minor, op. 79, no. 1--considering whether its extravagant harmonic and formal structure is adequately represented by Schenker's unpublished analysis in the Oster Collection.

D. Conceptual Study Groups


Instructor: Matthew Brown

One of Schenker's main achievements was to show how the laws of strict counterpoint are transformed in tonal contexts. The first session will examine this basic idea, which runs throughout all of Schenker's mature writings. We will review the laws of strict counterpoint formulated by Fux where voice leading changes as the voices increase and triads become the most important sonorities, consider Schenker's claim that these laws are transformed in tonal contexts when triads are functionally related, and explore how he modifies familiar laws of tonal harmony. In the second session we will examine how Schenker's prototypes and transformations are related to the laws of tonal voice leading, focusing on the distinction between recursive and non-recursive transformations, and their preservation from one level to another as expressed by his well-known motto: "semper idem sed non eodem modo."

The final session will engage the controversial issue of "dissonant prolongation." Schenker regarded the distinction between consonance and dissonance as sacrosanct: consonances are stable and control a work's underlying contrapuntal motion, dissonances are unstable and play some subordinate or elaborative role. As several commentators have noted, however, Schenker seems to have contradicted his own arguments. We will try to resolve some of these inconsistencies by clarifying certain details of his theory and replacing Schenker's graphs with some analyses of our own.


Instructor: Nicholas Cook

"The Schenker project" implies there was a consistent ideological urge that not only colored Schenker's language but also motivated his work as a whole. Studies of Schenker's intellectual milieu generally have focused on his relationship to contemporary literary, philosophical, and scientific thought, as well as to the music-theoretical tradition, but have avoided engagement with his overtly political views, which are unattractive to present-day commentators, commonplace within their time, and oddly dissonant with his situation as a Galician Jew in Vienna at the height of the Ostjuden immigration.

We shall use Schenker's politics as a point of departure in exploring the broader ideological context that underlay his work, with particular attention

to: (1) currents of Austrian and German conservatism, in light of Schenker's position as an over-assimilating Jew within a context of national cultural renewal; (2) right-wing German discourses of nature appropriating the rhetoric of the "natural" for ideological and political ends, lending a politically-charged dimension to what had been a central music-theoretical concern since Rameau; and (3) a specifically Austrian tradition of understanding music as a representation of social relationships, and a symbolic arena for working through the ethnic, social, and political problems of the time. Reconstructing this way of thinking about (or through) music contributes to an understanding not only of Schenker's project but also of the continuing fascination of music theory today.


Instructor: Robert Snarrenberg

One thing new and fundamental that Schenker offered in his theories and fantasies was the notion that mental prototypes shape musical perception. There is more to music than meets the ears. Indeed, what is, musically, is a product of what is thought and heard. From Schenker's point of view, the effect of what "actually" occurs in music is gauged in terms of what "should" or "might" have happened--which is very much determined by what theory a listener brings to the table, as a matter of either choice or training.

We shall examine ways that linear prototypes shape musical perception: specifically, Schenker's Urlinie-Zug and Bassbrechung, the contrapuntal combination of these prototypes in the Ursatz, and two repertories of linear elaboration prototypes (expanding and diminuting). We begin with Peter Westergaard's definition of monotriadic lines, and extend it to harmonically progressive counterpoint framed in terms of the expanding elaboration of Schenker's linear prototypes. The coordination of global linear structures connects with Schenker's Ursatz, as illustrated in an analysis of Bach's Invention in G Major. Next, we explore the rhythm of diminutional linear elaboration, utilizing and expanding upon Westergaard's theoretical account in terms of pitch and time, and providing participants an opportunity to work with these concepts and evaluate a set of proposed interpretive principles in a musical context. Last, we observe how these linear prototypes shape musical perception, focusing on Brahms, "O kuehler Wald," op. 46, no. 3, with particular attention to interactions between musical and poetic lines.

E. Closing Panel Discussion


Moderator: David Gagne

Panelists: Matthew Brown, Charles Burkhart, William Rothstein, Robert Snarrenberg

Much of Schenker's work as a theorist grew out of pedagogical concerns and is didactic in nature. The student-teacher relationship has always been central to the discipline. Yet because his ideas are subtle, complex, and sometimes obscure, and the context and demands of music education ever-changing, problems often arise in their transmission. The oral tradition established by Schenker's students, notably Salzer and Jonas, remains a central source, yet increasingly other educators lacking first hand contact with this tradition present the subject differently. As the field itself evolves in new directions, so as well does its teaching.

In many ways, we are confronting pedagogical crossroads; the challenges are great, and the solutions unclear. How, for example, should Schenker's work and ideas be balanced with the innovations of later theorists? To what extent should Schenker's ideology or philosophical outlook be incorporated? Some analysts maintain there is always in principle a correct analysis, while others believe that more than one valid interpretation is possible: how can the question of right and wrong analyses be addressed both conceptually and practically? Should Schenkerian analysis be taught primarily from the "top down" or "bottom up," and can we resolve this dichotomy? Should the approach be that of a general theory of tonal music, or of specific observations about individual pieces? Should Schenkerian analysis be incorporated into the teaching of form, or vice versa? How should Schenkerian pedagogy be adapted for performers, general music majors, or liberal arts students, without compromising its analytic integrity?

This closing panel discussion will address such concerns, explore the strengths and pitfalls of different pedagogical approaches, confront controversial issues about how and why this analytic methodology should continue to be taught, and offer specific pedagogical insights to the participants in their professional capacity as music educators.


Some prior experience in Schenkerian theory and analysis is desirable, but expertise is not required. Participants will present a broad spectrum of Schenkerian backgrounds, supplemented by achievement in other areas of music scholarship where necessary. Minimum ABD status is mandatory, with preference for established scholars in accordance with the Institute's mission of continuing professional education. Participation includes all plenary presentations and panel discussions, plus one concurrent analytic workshop and one concurrent conceptual study group limited to 12-14 members each, with a total enrollment of 35-40 scholars selected from qualified applicants. There is no tuition, but intellectual commitment, dedicated preparation, and active participation in the interactive methodology and collegial goals of the Institute are essential.

Electronic applications only will be accepted from January 1 to March 1, 2002 via the Institute's website at For information contact The Institute for Advanced Studies in Music Theory, Wayne Alpern, Director, at

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Technology Institute of Music Educators

The Research Committee of the Technology Institute for Music Educators (TI:ME) is inviting proposals for presentation at the 2002 TI:ME National Conference, to be held in Conjunction with MENC: The National Association for Music Education's 58th National Biennial In-service Conference April 10-13, 2002 in Nashville, TN. Reports of recent research, accounts of research in progress, discussion of promising methodologies, or other items related to research in music education technology are welcome. Authors of accepted proposals will be asked to present their topic during a "Research Sharing Session" at the conference. Each presenter will have approximately 10 minutes to discuss their topic. A period for discussion of all presentations will take place at the end of the session. The research topic may be of any type or methodology, but it must hold clear implications for the use of technology in music teaching and learning.

All proposals must be in the form of an abstract, limited to no more than 300 words, clearly stating goals, methods, and conclusions. In addition, the title of the abstract and the name, address, telephone number(s), email address, and school affiliation of the submitter should be included. Following a blind review process, authors of accepted proposals will be notified early in January, 2002. Proposals should be submitted via email by December 15, 2001 to:

Dr. William I. Bauer, Chair
TI:ME Research Committee
Case Western Reserve University
Phone: 216-368-2431

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Musicological Society of Australia



The National Conference of the Musicological Society of Australia will be held at the Conservatorium of Music in Newcastle from October 3 to 6.

The Conference Themes will be:
Research through Performance
Music and Society
Structure and Context
Music and Technology

The Conference Committee calls for expressions of interest in delivering either papers (20 minutes length, with ten minutes' question time) or lecture-demonstrations (40 minutes length, including all musical illustrations) addressing any of these four themes.

The themes of this conference are designed to crystallize discussion of four issues, which are of major importance to members of this society. There has been considerable discussion in recent MSA forums of relationships between performers and scholars; the Conservatorium at Newcastle has a strong tradition of exploring very close links between academic and practical studies. Accordingly we invite members to focus in this Conference on Research through Performance, focusing on the ways in which performance may itself be a medium for research. (Three members of the staff at Newcastle, Michael Ewans, Rosalind Halton and Ian Cook, will introduce and present research performances as part of the Conference Program).

Another theme, which is the subject of ongoing debate in MSA, is the relationship between Music and Society. We invite contributions under this rubric both from ethnomusicologists and from all who wish to explore the roles which music has played and is playing in the social and political fabric of western cultures.

Under the rubric Structure and Context we invite exploration of the many forms of analysis which may unfold different structural patterns in music, and the contexts in which they can and should be located.

Finally, the Newcastle Conference will address perhaps the most significant issue confronting musicians and musicologists in the twenty-first century - the rapidly developing and changing relationships between Music and Technology. The Conference will devote both paper sessions and a plenary panel discussion to this theme.



Fax +61 49 21 8958
marked for the attention of
Dr R Halton Post
Dr Rosalind Halton
Faculty of Music
Auckland St
Newcastle, NSW 2300, Australia

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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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New Journal Issue: Analitica 2/1

Analitica. Online Journal of Musical Studies

Vol. 2, number 1 (July 2001)

The third 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

The third issue of Analitica (July 2001) features an article by Marco Mangani dealing with some important aspects of analysis methodology with reference to a specific repertory from the late sixteenth century. Basing his analysis on collections of three-part canzonette written in Mantua between 1585 and 1607, the Author proposes a particular multi-level approach to segmentation. After breaking up the verbal text into textual segments, the polyphonic segments are identified (i.e. the way the composer has distributed the text) and the main cadential mechanisms of each single episode are then determined.

We confirm our particular interest in the latest developments in computer-aided analysis by proposing in the review section (edited by Wilma D'Ambrosio) a Bibliografia compiled by Francesco Giomi specifically dedicated to these matters. In the Bibliografia - partly commented by Giomi himself and which we intend to extend and complete in the coming issues - the interested reader can find some of the most recent works on computer analysis and the analysis of electro-acoustic music.

Much space has been dedicated to the works featured in the Secondo Incontro di Studio di Analitica held in Castelfranco Veneto and organized in collaboration with the local music conservatory and the journal Diastema. The conference was notable for the presence of many young scholars who presented their works during the three specific sessions (Twentieth century, Analysis and Performance, Birth of tonality and Classical-romantic repertoires). The two days of the meeting were completed by Filippo Faes and Pietro Rigacci, talented performers who held two concerto-talks which were duly introduced and commented by Wilma D'Ambrosio, Francesco Scarpellini Pancrazi and Paolo Troncon - and a paper by Piero Gargiulo about the progetto ITMI (Indici della Trattatistica Musicale Italiana, secc. xiv-xviii).

As promised in our last issue, we have begun to publish in the Dissertation Archives section edited by Simonetta Ricciardi the abstracts (in Italian and English) of degree, doctorate and musicology dissertations dealing with analysis. On this subject, we once again invite readers to send us news and details of their own dissertations and of those of their institutions, using the format that can be requested directly from the editor of the section.

This issue concludes with the usual section for miscellaneous announcements, conferences, activities and calls for papers, as well as news about the activities of the Gruppo di Analisi e Teoria Musicale (G.A.T.M.) and the Indices of the Bollettino di analisi e teoria musicale (updated till 2000). As always we renew our invitation to take up the free subscription to our journal: in this way the reader can be informed promptly about the publication of the issues of the journal, and receive the latest news about conferences, announcements, activities and calls for papers; it also enables us to get to know our readers, if only through their e-mail address.

Finally I am pleased to announce a new publication by the G.A.T.M., prepared in collaboration with our journal. The main scope of the Quaderni di Analitica will be to gather articles originally published in the journal online, along with papers and studies presented during meetings and conferences of analytical and theoretical interest. The Primo Quaderno contains the Italian versions of the works published in the first four issues of the journal, as well as the papers that Mario Baroni, Loris Azzaroni, Gianmario Borio, Giorgio Sanguinetti and Marco Renoldi presented during the round table that opened the Primo Incontro di Studio di Analitica, held at the University of Bologna on February 4 and 5 last year. (Egidio Pozzi)

The index for this issue is as follows:
- Editorial (Egidio Pozzi)
- Marco Mangani, Proposal for a method of segmentation for the analysis of the lighter forms between the sixteenth and seventeenth centuries
- Reviews (edited by Wilma D'Ambrosio): Analisi e tecnologia (Francesco Giomi)
- Secondo Incontro di Studio di Analitica, Conservatorio di Castelfranco Veneto, 30 e 31 marzo 2001: meeting programme, abstracts and announcement
- New publications: I Quaderni di Analitica
- Announcements and News
- Calls for papers
- Links

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: . 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 may also be used to ask the editor or the directors of the review for information.

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Indiana Theory Review Back Issues Sale

The Indiana Theory Review is pleased to announce special sale prices on its inventory of back issues. Volumes 1-19 are now available at the price of $10 per complete volume. This is roughly a 50% discount from current subscription prices. (Cost for shipping outside the U.S. is $3 per volume.) Pre-payment is required for shipment. The sale ends 12/31/01 (and while supplies last).

We are also pleased to announce that all our previously out-of-print issues (2/1, 2/3, 5/1, 5/3, and 7/1) are now available as well. However, we are unable to offer the special sale price on this particular issues. Parties interested in obtaining our previously out-of-print stock should contact us at for special ordering information.

Orders for back issues, with the exception of the five issues listed above, can be made by mailing payment (checks should be made payable to "Indiana University Foundation-ITR") to:

Indiana Theory Review
School of Music
Indiana University
Bloomington, IN 47405

(Please specify which volumes you wish to order.)

An index of the the contents of the first 16 volumes of ITR is available online at:

For subscription information or other information about ITR please point your web browser to:

Inquiries regarding large orders, subscriptions, or the previously out-of-print stock issues can be directed to the ITR's email address:

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New Online Journal Issue: STM-Online Vol. 4

I'm happy to announce the fourth issue of the Swedish Musicological Society's online publication STM-Online:



Ulf Berggren, "Kognitiva strukturer i Olof Åhlströms sonater: Nutida teorier för analys av satstekniska konventioner i komposition av wienklassisk musik"

Avishai Kallai, "Joachim Eggert: Authenticating the Premiere Performance of his E-Flat Symphony"

Ann-Marie Nilsson, "Blås på svenska"


Erik Olsson, Björn Billing, Modernismens åldrande: Theodor W Adorno och den moderna konstens kris

Joakim Tillman, Göran Bergendal, 33 nya svenska komponister

STM-Online Special: Music History and Higher Music Education in a Time of Change Erik Kjellberg, "Att introducera musikvetenskap" Maria Ljungdahl, "Musikhistoria som underhållning, eller hur 'When You Say Nothing at All' blev ett exempel på tidig musik"

STM-Online (ISSN 1403-5715) is the electronic sister publication of the The Swedish Journal of Musicology (Svensk Tidskrift för Musikforskning, STM) and is published once a year. We want the publication to reflect a wide variety of perspectives from many disciplines within the musicological field, but our primary interest is in articles related to Swedish or Nordic music.

We encourage scholarly texts and essays--in Swedish, Danish, Norwegian, English, or German--that take advantage of the internet medium and integrate text, sound, and graphics. However, we also welcome traditional text-based manuscripts.

The texts will be evaluated by anonymous peer-review. The deadline for manuscripts for the next issue is March 1, 2002.

Also, the Home Page of the Swedish Musicological Society,, may be of interest. It includes an email directory of its members, announcements, as well as a page with useful internet links related to musicological research in Sweden and Scandinavia.

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Other Announcements

Music Theory Post-Doctoral Fellowship at the University of Chicago

The Department of Music of the University of Chicago invites applications for a post-Doctoral fellowship in music theory from outstanding candidates who have completed their Ph.D. in 1998 or later. In exceptional cases, the successful candidate will be in the final year of finishing the dissertation. The fellow will teach three music courses (one per quarter), distributed among undergraduate and graduate courses as appropriate, and will otherwise be free to pursue research and writing. The tenure of the fellowship is for one academic year, beginning in September 2002, although a second year is possible by mutual agreement. The salary is $35,000, plus medical benefits. Applicants should send a CV, two letters of recommendation, a research prospectus for the year(s) of the fellowship, and a statement of teaching interests. Applicants currently holding a continuing faculty appointment should arrange for a letter from their department chair or dean stating that the applicant's institution will grant the appropriate leave time. Applications should be sent to:

Thomas Christensen
Chair, Department of Music
University of Chicago
1010 East 59th Street
Chicago IL 60637

Applications must be received by December 10, 2001

In keeping with its long-standing traditions and policies, the University of Chicago considers applications on the basis of individual merit and without regard to race, color, religion, age, sex, sexual orientation, national or ethnic origin, disability, or other factors irrelevant to study or work at the University.

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Yale Summer Program on Schoenberg

Yale Summer Programs announces a special course, entitled The Music of Arnold Schoenberg's Middle Period: from Romanticism to Dodecaphony, to be held in the Arnold Schoenberg House in Moedling, Austria from June 3 to July 5, 2002. The instructor is Allen Forte, Yale Department of Music. This five-week college credit course was offered for the first time in 2001, in collaboration with the Arnold Schoenberg Center, the major repository of the Schoenberg sketches and manuscripts, as well as other materials of signal importance to his creative life. Inexpensive student housing, arranged by the Center, is available in Moedling—16 minutes by fast train from Vienna—or in Vienna. During June there will be several important Schoenberg events, including a performance of the Piano Concerto by pianist Mari Kodama, with Kent Nagano conducting the Vienna Symphony Orchestra. The modern facilities of the Arnold Schoenberg Center are available to the students, and the Center obtains concert tickets and provides other assistance. It is expected that this course, like its predecessor, will be a significant and worthwhile educational-cultural experience in what is historically one of the most important musical settings in Europe.

Application forms may be obtained by calling Yale Summer Programs at 203-432-2430 or by fax at 203-432-2434. Forms may also be downloaded from the YSP website: For further information about the course content, contact Allen Forte:

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University of Illinois Composition Award

The University of Illinois School of Music presents
The 2002 Salvatore Martirano Memorial Composition Award

Eligibility: Any composer, regardless of age or nationality.

Award: Cash award of $750 and a performance by the University of Illinois New Music Ensemble in the fall of 2002 at the Krannert Center for the Performing Arts.

Judges: A panel of judges consisting of University of Illinois music composition faculty members will select the winning composition. The composer whose work is selected for performance will assume full responsibility for providing adequate performance materials upon request.

1. medium: Full scores of any style and aesthetic direction for one to ten players may be submitted. Works for tape, electronics and/or mixed media with or without instruments are eligible.
2. duration: Maximum 20 minutes.
3. limit: One entry per composer.
4. entry fee: A non-returnable entry fee of fifteen U.S. dollars ($15.00) in the form of a check must be attached to each score. All checks must be payable to the University of Illinois and be either an international money order or drawn from a U.S. bank.
5. anonymous submission: Composer's name must not appear on the score. A sealed envelope must accompany the score and contain the composer's name, address, telephone number/e-mail (if applicable) and a brief biographical sketch. If a recording of the work is available, it should accompany the score and be identified only by the title of the composition.
6. return of materials: Scores will not be returned unless a self-addressed, stamped envelope of the proper size is enclosed.

Send submissions to:
2002 Martirano Composition Award
Attn: Zack Browning
2136 Music Building
University of Illinois
1114 West Nevada
Urbana, IL 61801 USA

All submissions must be postmarked by February 1, 2002.

Previous Winners
1997 Jason Eckardt, "Echoes' White Veil"
1998 Karim Al-Zand, "String Quartet"
1999 Keith Moore, "A Vagrant on Every Floor"
1999 Craig T. Walsh, "0 to 33 in 1045.5"
2000 Sophia Serghi, "Sizzle"
2001 Orlando Jacinto Garcia, "Paisaje del Sonido II"

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prepared by
Stanley V. Kleppinger, editorial assistant
Updated 18 November 2002