Volume 8, Number 4, December 2002
Copyright © 2002 Society for Music Theory
Calls for Papers
Call for Papers: Royal Musical Association Annual Conference 2003
Royal Musical Association Annual Conference 2003: Music Historiography Department of Music, Cardiff University 12-14 September 2003
Papers for this international conference are invited on any aspect of the writing of music history, and the social, cultural and ideological forces that shape it.
The keynote speaker at the conference is Gary Tomlinson (University of Pennsylvania). Four themed sessions are already planned:
Multidisciplinarity in Medieval Music Studies: participants to include Ardis Butterfield (University College London), Elizabeth Eva Leach (Royal Holloway College London), Margaret Switten (Mount Holyoke College)
Lesbian Historiography: participants to include Rachel Cowgill (Leeds University), Suzanne Cusick (New York University), Sophie Fuller (Reading University), Matthew Head (Southampton University) Music Theory
Historiography in the Nineteenth Century: participants to include Suzannah Clark (Merton College, Oxford) and Alexander Rehding (Princeton University)
Historicizing Popular Music: participants to include Nicholas Cook (Southampton University), Kenneth Gloag (Cardiff University), Sarah Hill (Southampton University)
This is a residential conference. University accommodation will be available for booking from April 2003. Cardiff also offers a wide range of hotels and guest houses.
Papers should be of 20 minutes duration. Abstracts of no more than 300 words should be addressed to Dr Charles Wilson, RMA Historiography 2003, Department of Music, Cardiff University, 31 Corbett Road, Cardiff, CF10 3EB (email:WilsonC@cardiff.ac.uk), along with any other enquiries.
DEADLINE for receipt of proposals: 31 January 2003
Call for Papers: Music Theory SoutheastMUSIC THEORY SOUTHEAST
Submission Deadline: NOVEMBER 15, 2002
The 2003 meeting of Music Theory Southeast will be held March 14–15 at Davidson College in Davidson, North Carolina.
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.
An award will be presented for the best student paper at the 2003 meeting. Interested students should identify themselves in the cover letter and should submit a completed copy of the paper along with the proposal and abstract.
Submissions for special sessions or panel discussions should not be anonymous, but should include proposal, abstract, and a list of participants.
All submissions must be postmarked no later than November 15, 2002, and sent to:
John Cuciurean, MTSE Program Chair
Florida International University
School of Music, PAC-142
Miami, FL 33199
Call for Papers: South Central Society for Music Theory
SOUTH CENTRAL SOCIETY FOR MUSIC THEORY 2003 CALL FOR PAPERS POSTMARK DEADLINE: Monday, January 6, 2003
The 2003 annual meeting of the South Central Society for Music Theory will be hosted by the University of Alabama in Tuscaloosa, AL, on February 21-22, 2003. The program committee solicits paper proposals on any topic relating to music theory.
Submission format: 1) Proposals should be no longer than three pages (including footnotes but not back matter); they should be double-spaced, and use a 12-point font. Proposals should be anonymous, and articulate clearly the paper's premise and its relation to existing music theoretic research, and provide some illustration of applications.
2) If paper copies are being sent, please submit five (5) copies to: Robert Peck, SCSMT 2003 Program Chair/Louisiana State University, School of Music/Baton Rouge, LA, 70803. If the submitter wishes to send an electronic proposal, please send one (1) MS Word or .pdf format e-mail attachment to: RPECK@LSU.EDU. Please put "SCSMT 2003 Proposal" in the subject heading.
3) Send one (1) copy of an anonymous 200-word abstract, submitted electronically to the address above, for publication in the meeting abstracts booklet. Please put "SCSMT 2003 Abstract" in the subject heading.
4) Include a cover letter listing the title of the paper, the author's name, with rank and institutional affiliation (if applicable), and the author's address, telephone number, and e-mail address. Please also list any technical requirements (stereo playback, piano, overhead projector, etc.) in the cover letter.
5) If the author is a student wishing to be considered for the SCSMT Student Paper Award, please indicate student status in the cover letter. Candidates for the student award must submit a copy of the full paper to the address above by February 7, 2003.
Timetable: Postmark deadline: Monday, January 6, 2003. Confirmation of proposals received will be made electronically upon their receipt. Decisions will be made by Monday, January 27, 2003. Accepted student papers due: Friday, February 7, 2003.
Program committee: Robert Peck, Chair (Louisiana State University); Courtenay Harter, Student Representative (Georgia State University); Burt Levy (University of Mississippi); Mark McFarland (Southeastern Louisiana University), David Smyth (Louisiana State University)
Local Arrangements Committee: Stephen Peles, Chair (University of Alabama); David Durant (University of Alabama); Marvin Johnson (University of Alabama)
SCSMT Officers: Kevin Swinden, President (Wilfrid Laurier University); Mark McFarland, Vice President (Southeastern Louisiana University); James MacKay, Secretary (Loyola University); Sheila Forrester, Treasurer (Mississippi State University).
2003 Meeting Website: http://www.music.ua.edu/scsmt/
SCSMT Website: http://www.music.lsu.edu/~scsmt
Call for Papers: Gamma-Ut Third Annual Conference
GAMMA-UT 3rd Annual Conference
Call for Papers and Scores
The University of Texas at Austin
Friday and Saturday, March 28-29, 2003
GAMMA-UT, the Graduate Association of Music and Musicians at UT, announces its third annual conference, to be held on Friday and Saturday, March 28-29, 2003, at the University of Texas at Austin. Scholars from the areas of music theory, composition, musicology, and ethnomusicology will meet to share their research, and composers will be presenting their works in a concert to be held the evening of Friday, March 28.
This year’s keynote speaker is Daniel Chua from Kings College London. Dr. Chua’s approach is characterized by his attempt to move music analysis beyond its internal systems into social, political and philosophical issues.
CALL FOR PAPERS
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 complete and submit the proposal form found on the GAMMA-UT website at http://gammaut.music.utexas.edu by January 15, 2003. 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. Applicants will be notified of the program committee's decision via e-mail by February 1, 2003.
CALL FOR SCORES
For the second year GAMMA-UT is announcing a Call for Scores in conjunction with the conference. The concert will be emphasizing interdisciplinary creativity, specifically between the jazz and classical idioms. The instrumentation has been chosen to facilitate this. A composer may submit works for any combination of instruments, while the style of the work could be either jazz, classical, or preferably a combination of the two (for example, a big band chart, a string quartet or a chamber combination of the two would all be possible.) Works that utilize improvisation will be strongly considered; jazz charts, however, would need to have an appropriate amount of composition/arranging in them (more specifically, lead sheets alone will not be considered).
This year the concert will be held on the Friday evening of the conference. The call is for works up to 15 minutes long. The instrumentation composers will be able to choose from is as follows:
Conductor (if needed)
5 Saxes (AATTB with doubles)
4 Trombones (4th - bass)
Bass (Acoustic or Electric)
Drumset or Percussion
Due to the formation of the GAMMA-UT Ensemble, composers are requested not to bring their own musicians. The GAMMA-UT Composition Committee will serve to select the works and the Chair will serve to schedule rehearsals and conduct any larger works if needed.
The deadline for the submission of scores will be January 15, 2003. Scores may be sent in several formats: either in electronic format (pdf, finale, sibelius) by emailing to firstname.lastname@example.org or in hard copy to:
The University of Texas
GAMMA-UT Composition Chair
School of Music
1 University Station E3100
Austin, Texas 78712-0435
Recordings of works are greatly appreciated and may be sent in the following formats: mp3 (sent electronically email@example.com), CD, cassette, or DAT. Applicants will be notified of the program committee's decision via e-mail by February 1, 2003.
For more information about GAMMA-UT see our website:
Questions can be directed to the conference chair Gene K. Willet via email:
Call for Papers: Bach's Passions: a Symposium on the History, Language, Music, and Theology of Johannespassion and Mattheuspassion
University of Miami, 26 Feb - 1 Mar 2003
The School of Arts and Sciences and the School of Music at the University of Miami are sponsoring an academic symposium on Bach's Passions. Johannespassion will be the central focus, but attention may also be given to other relevant works. Christoph Wolff will deliver an opening keynote speech, attend the paper panels, and offer his thoughts on the discussions generated at a concluding reception.
In addition to participating in the symposium, panelists will be invited to attend musical events, which include a Master Class as well as a rehearsal and performance of Bach's Johannespassion, given by the Miami Bach Society as part of its annual Tropical Baroque Festival. An informal roundtable will also be organized in order to promote dialogue between academics and performers.
Beyond the planned academic and musical events, there will be free time for fine dining, experiencing South Beach, and generally enjoying Miami's most temperate time of year.
We invite papers of 20 minutes in length from a variety of disciplines, including Comparative Literature, German Studies, History, Judaic Studies, Musicology, Philosophy, and Religious Studies. Abstracts should reach the organizers by 15 December 2002.
Possible topics include, but are not limited to:
For further enquiries, please contact:
Anthony Krupp, Ph.D. Assistant Professor of German
P.O. Box 248093
Coral Gables, FL 33124-4650
phone: (305) 284-4858 ext. 8-7263
fax: (305) 284-2068
Donald Oglesby, D.M.
Associate Professor of Music
P.O. Box 248165
Coral Gables, FL 33124-7610
phone: (305) 284-4162
fax: (305) 284-4839
Call for Papers: University at Buffalo Graduate Student Symposium
The University at Buffalo Graduate Student Symposium will be held on 29 March (Saturday) and 30 March (Sunday) 2003 in Baird Hall, North Campus. We are now soliciting proposals related to any musical topic, including, but not limited to, cognition, ethnomusicology, history, performance, and theory and analysis. Paper should not exceed 30 minutes, including illustrations, and will be followed by a 15-minute period for questions and discussion. The keynote speaker will be Karen Fournier, University of Wisconsin at Oshkosh. Free tickets for the Baird Trio concert on 29 March will be available to symposia participants.
Submissions should include:
(1) 6 copies of an anonymous 250-800 word proposal
(2) a cover letter listing the author's name, address, telephone number, e-mail address, and affiliation, as well as all required equipment, such as piano, overhead projector, CD player, etc.
(3) an abstract of no more than 250 words, suitable for publication in the conference program
Proposals must be received by 15 January, 2003. Submission of proposals as plain text in the body of an e-mail will also be accepted. Please send proposals to:
Department of Music, 222 Baird Hall
University at Buffalo
State University of New York
UB Graduate Student Association (GSA)
UB Department of Music
UB Music Graduate Student Association (MuGSA)
UB Graduate British Studies Group
Call for Papers: Florida State University Music Theory Society
Florida State University Music Theory Society
2003 Annual Forum
February 8, 2003
Florida State University, Tallahassee
Keynote Speaker: Prof. James Buhler (University of Texas)
Paper proposals are solicited on any topic related to music theory, and this year proposals on topics related to film music are especially welcomed. Paper presentations should be approximately 30 minutes in length. Submissions should include six copies of an anonymous proposal two to three pages in length, an anonymous abstract of 250-300 words, and a cover letter giving the title of the proposal, the author's name, address, phone number, e-mail address, and a list of technical requirements for presenting the paper. All submissions should be postmarked no later than December 2, 2002, and sent to:
Robert Kelley and Craig Filar, co-chairs
FSU Theory Forum
School of Music
Florida State University
Tallahassee, FL 32306-2098
Call for Papers: Founding Music Theory Society of the Mid Atlantic at Peabody
EVENT: Founding Music Theory Society of the Mid Atlantic at Peabody, April 4-5, 2003: Call for Presentations (Jan 20)
HOST: Peabody Conservatory of Music
The Johns Hopkins University
DATE: 4-5 April 2003
DESCRIPTION: NEW REGIONAL MUSIC THEORY SOCIETY TO BE FOUNDED AT PEABODY
The Music Theory Society of the Mid Atlantic will be founded at the Peabody Conservatory of Music, April 4-5, 2003. This final region of the US will include Delaware, Maryland, New Jersey, Pennsylvania, Virginia and West Virginia. Michael Rogers, author of Teaching Music Theory, will give a special presentation with time for discussion. There will also be a special award for the best graduate student paper selected. A celebratory banquet will take place Friday evening; accomodation, registration form (please register before March 14th so we can plan) and activity information may be viewed on the MTS MA web site: http://mtma.shorturl.com. The Call for Presentations, with a deadline of January 20th, appears below.
Members of the Program Committee are Susan Clermont (The Library of Congress), Dora Hanninen (University of Maryland at College Park),Ted Latham (Temple University), Joel Phillips (Westminster Choir College), Vicki Stroeher (Marshall University), Sonia Vlahcevic (Virginia Commonwealth University) and Pamela L. Poulin (Peabody Conservatory of Music, Johns Hopkins University), Chair.
CALL FOR PRESENTATIONS (deadline January 20): Presentations, papers and panel presentation-discussions on any aspect of music theory are invited and may include, but are not limited to music theory pedagogy, analysis, the relationship between music theory and performance, history of music theory, music theory research, analysis of contemporary music, interdisciplinary topics with music theory, analysis presentations using live performance, and the use of technology with music theory.
Special presentations in music theory simulated teaching using Peabody undergraduate students, analysis presentations suitable for use in undergraduate or graduate teaching and articulation with high school teachers of music theory are especially welcome.
All sessions will generally be 30 minutes in length. Presentations and papers are limited to 20 minutes in order to allow ten minutes for discussion. Panel discussions are limited to three or four participants who will present formal remarks of no more than five minutes each, allowing time for discussion among the panelists and those attending.
Please include in your submission:
Seven copies of the Proposal having no more than 500 words, double spaced, and no more than two pages total using 10- or 12-point type face, in which neither the author nor the author’s institution is identified. All submissions will be read blind.
Cover Letter including the author’s name, institutional affiliation or city of residence, phone number(s), email address, full return address and equipment/arrangements needed, and, if applicable, indication of student status. In the case of panelists, include the names of all panelists, institutional affiliation or city of residence; include the above contact information for only one person.
One copy of a 200-250 word abstract (include your name and institution or city) suitable for inclusion in the abstract booklet distributed at the meeting. If your proposal is accepted you will be required to submit an electronic version as an attachment in MS Word format. Abstracts may be revised and will also be published on the MTS MA. Subsequent to presentation, at the discretion of the author, the text of the entire paper will be made available on the web site as well in the Adobe (.pdf) format.
A self-addressed stamped post card to be used to notify you that your proposal was received.
Student presenters wishing to be considered for the student award must send one copy of the complete paper, a 200-250 word abstract, cover letter and post card (as described above) to the address given below postmarked by 20 January 2003.
Proposals not bearing a postmark on or before 20 January 2003 or that do not conform to the above guidelines will not be considered. When the list of selected proposals is finalized, the names of those authors whose proposals have been selected will be revealed to the committee. The names of those authors whose proposals have not been selected will not be revealed to the committee. It is anticipated that the committee’s work will be completed by the beginning of March, at which time all submitters will be notified.
REGISTRATION DEADLINE: March 14, 2003
PAPER/PROPOSAL DEADLINE: January 20, 2003
COST AND PAYMENT OPTIONS: REGISTRATION IN ADVANCE
Registration in Advance BEFORE March 14th.
To register in advance, mail a PRINT-OUT of this form and a check madeout to the Music Theory Society of the Mid Atlantic to: Professor Pamela L. Poulin
Music Theory Society of the Mid Atlantic
Peabody Conservatory of Music
Johns Hopkins University
One East Mount Vernon Place
Baltimore, MD 21202
Register before March 14th: $50. #____
Amount: _____ (This will help us plan.)
Friday, 4 April: $20. (inclusive) #_______
Total Amount: _______
Saturday, 5 April: $15. (inclusive) #_______
Total Amount: _______
Continental Breakfast (free) Check here if you will be joining us:
_____YES (Croissants, fresh fruits, juices, coffee, tea)
Total Amount Enclosed: __________
TRAVEL AND HOTEL INFORMATION:
Check here if you would like to stay on campus at the Peabody Inn.
YES ___ # of rooms ___ Fri ___ Sat ___
($50 per room; first reserved, first served; pay by check or cash when you arrive, do not pay in advance please; indoor Peabody Garage available to all is $6 per 24 hour period [cash].). See below for additional accommodations.
TREMONT PLAZA HOTEL, 222 St. Paul St. (4 blocks south of Peabody), phone 800/873-6668 (800/TREMONT), 410/727-2222 Reserve SOON. Mention that you are “visiting Peabody” for the special Peabody guest rate of $115.).
THE INN AT GOVERNMENT, 1125 N. Calvert Street. Complimentary continental breakfast and parking. Reserve NOW. Ca. 4 blocks north of Peabody. Mention you are “visiting Peabody” for the special Peabody rate of $89. Meticulously restored 1889 mansion; 19 rooms, each with private bath. See pictures atwww.baltimorecity.gov/visitor/inn@gh/facts.htm.
EVENTS FRIDAY EVENING AFTER THE BANQUET:
BALTIMORE SYMPHONY ORCHESTRA Concert at 8PM: Bobby McFerrin Conducts Bach and Bernstein. 1/410-783-4000. www.baltimoresymphony.org
PEABODY CONCERT SINGERS AND PEABODY Peabody Concert Singers and Peabody Chamber Singers at 7:30 PM. Bach: “Singet dem Herrn ein neues Lied,” BWV 225, Justin Godoy: “Boy.” and Kodaly: “Laudes Organi”. Free tickets may be called for at 7 PM at Griswold Hall.
CENTER STAGE Center Stage 410/332-0033. www.centerstage.org. “Mary Stuart” by Friedrich Schiller at 8 PM
EVERYMAN THEATRE, Athol Fugard’s “My Africa! My Children! 410/752-2208.www.everymantheatre.org.
THE CHARLES THEATER: Art Films, 410/727-3456.www.thecharles.com.
Indoor parking is available in the Peabody Indoor Parking Garage for $6 per 24 hour period (entrance on the right of St. Paul Street just before the intersection with Centre Street). Enter through SECOND archway on your right. Take a ticket, place on your dash board; do not park in a of the “yellow key” spaces. Park on either the first or second level. Enter the Conservatory by going to the second level where there is an entrance halfway down the wall. Students coming and going will let you in. Walk (or take the elevator) up one flight, bear right and right again to the site of the Friday meeting, Goodwin (Leakin) Hall. Saturday: take the elevator to Floor #2; right off the elevator to Nations Bank Lounge. In and out privileges if you ask the attendant for a special card before you exit. If you arrive when the garage is closed: pull into the FIRST archway and push the button on the call box to the right of the garage entrance. This will call Campus Police who will open the garage door (410/659-8100, ext. 1000).
Driving from the North:
From I-95: Drive on I-95 south and then take 695 going towards “Towson,” then Exit 28A (I-83 South). Continue on I-83 ca. 7 1/2 miles to Exit 4: St. Paul St (IMMEDIATELY after Exit 5, sign hidden behind a tree). Travel south on St. Paul (one-way south) nine (9) traffic lights. You will see a small park and an obelisk (the first Washington Monument) on your right (Mount Vernon Place). The garage entrance is on the right just before the next intersection (the Peabody Garage sign--on high--is also obscured by a tree). See parking instructions above.
From I-83: Drive on I-83 south. I-83 will converge with 695 (going west) and then resume being I-83 south (Exit 23A). Travel ca. 7 1/2 miles to Exit 4: St. Paul St (IMMEDIATELY after Exit 5, sign hidden behind a tree). Travel south on St. Paul (one way south) nine (9) traffic lights. You will see a small park and an obelisk (the first Washington Monument) on your right (Mount Vernon Place). The garage entrance is on the right just before the next intersection (the Peabody Garage sign--on high--is also obscured by a tree). See parking instructions above.
Driving from the South: TAKE I-95 North to Baltimore to 395 North to Downtown (Exit 53). continue on 395 North to Pratt Street. Turn right on Pratt Street; get in left lane and turn left on Charles Street (one way north) for ca. one mile staying in the right lane and driving towards the Washington Monument. Cross Centre Street (Peabody will be on your right and the Walters Art Museum will be on your left) and turn right at the Washington Monument. Turn right on to St. Paul; turn right into the Peabody Garage, second archway, just before Centre Street. See parking instructions above. Driving from the West: From I-70 East. Route 695: There are two ramps onto the Beltway--take the one which bears to the right--695 South-Glen Burnie. Travel south on 659 until you get to 95 North to Baltimore (here again there are two ramps--this time you will take the one which bears LEFT toward Baltimore). Take 95 North to 395 North to Downtown (Exit 53). Continue on 395 North to Pratt Street. Turn right on Pratt Street; get in left lane and turn left on Charles Street (one way north) for ca. one mile staying in the right lane and driving towards the Washington Monument. Cross Centre Street (Peabody will be on your right and the Walters Art Museum will be on your left) and turn right at the Washington Monument. Turn right on to St. Paul; turn right into the Peabody Garage, second archway, just before Centre Street. See parking instructions above.
Arriving by plane: Baltimore-Washington International Airport (Do NOT use Reagan National Airport, Wash, DC or Dulles International airport, Wash, DC: both are far, far away and a real hassle). Baltimore Light Rail: CHEAP! Leaves BWI every 15 minutes. Get off at Centre Street stop. Walk ca. 3 1/2 blocks on Centre Street to Charles Street, to the Centre St. entrance to Peabody (at intersection of Charles and Centre Street. Walk north on Charles one block on the right hand side of the street (near the green Peabody banner; Walter’s Art Museum will be on the left side of the street). Take a right at the Washington Monument (the original one) and enter Peabody two doors after the Concert Hall (stop and see the famous galleried Peabody Library, open only M-F 9-5, if you have time). Sign in; go down the steps and you will be in the Lobby to Goodwin (Leakin) Hall, site of Friday afternoon papers. Saturday, go down the steps, continue down the hall way, go left at the end of the hall; take elevator adjacent to the Friedheim Library to the second floor to (right) Nations Bank Lounge Taxi: Ca. $25. Address: One East Mount Vernon Place (next to the entrance to the Peabody Concert Hall--to the right of the Washington Monument as you travel north on Charles Street [one-way north]). Baltimore Taxicab Association: 410/732-1600 Yellow Cab Co.: 410/685-1212 Blue Shuttle Baltimore Airport Shuttle: 410/821-5387 Do not buy a round trip ticket. Maryland Airport Shuttle: 301/881-8800 Do not buy a round trip ticket. (Both shuttle companies often do not pick up travellers for the return to the airport.)
Arriving by train: Amtrack, Penn Station, ca. 8 blocks north of Peabody. Take a cab to 26 East Mount Vernon Place (east of the Washington Monument (St. Paul at Monument Street). Take a cab.
Arriving by bus: Arrive at the Baltimore Downtown terminal, 210 W. Fayette Street (NOT the Baltimore Travel Plaza which is far, far away, $25 by cab).
Professor Pamela L. Poulin
Peabody Conservatory of Music
The Johns Hopkins University
One East Mount Vernon Place
Baltimore, MD 21202
Call for Papers: West Coast Conference of Music Theory and Analysis
The University of New Mexico Department of Music announces the
West Coast Conference of Music Theory and Analysis
Friday, Saturday, and Sunday, March 21-23, 2003 at the University of New Mexico in Albuquerque, NM
Keynote Speaker: Rick Cohn, University of Chicago
Special Workshop on Neo-Riemannian Theory led by Rick Cohn, University of Chicago and Jack Douthett, Technical Vocational Institute, Albuquerque, NM
Call for Papers
The WCCMTA program committee invites proposals for posters, short talks (15 minutes), or long talks (30 minutes). Proposals should be between one and two pages long and should indicate whether they are for a poster, 15-minute, or 30-minute presentation. Since proposals are to be reviewed blind, please list your presentation title, name, and contact information separately; do not reveal your identity within the proposal itself.
The Best Student Presentation at the conference will be awarded a nearly complete set of back issues of MUSIC THEORY SPECTRUM. All interested students are urged to submit proposals. Participants from other regions of the world are very welcome, but all presenters are expected to join WCCMTA.
This Meeting Honors Pieter van den Toorn, and Features an Excursion to the Native American Cliff Dwellings at Bandelier National Monument
Please MAIL five (5) copies of the proposal (postmark deadline 10 Jan 2003) to:
Richard Hermann University of New Mexico Department of Music Albuquerque, NM 87131-1411
or E-MAIL the proposal to Richard Hermann firstname.lastname@example.org by 15 Jan 2003 or FAX the proposal (attn. Richard Hermann) to 505 277-0708 by 15 Jan 2003.
Program Committee: Richard Hermann, Univ. of New Mexico (chair); Joe Fancher, Univ. of Oregon; Pat Hall, Univ. of California-Santa Barbara; Janna Saslaw, Loyola Univ.
Call for Papers: McGill Music Graduate Society
Engendering Change: New Directions in Music Studies
Music Graduate Society Annual Symposium
March 21 to 23, 2003
Keynote Speaker: Dr. Ellie Hisama – Associate Professor of Music, Brooklyn College and the Graduate Center, City University of New York
The McGill Music Graduate Society requests the submission of abstracts for its annual conference. This year's symposium focuses on evolving trends in all disciplines of music research, with a special focus on issues of gender, race,
and sexuality. We encourage any abstracts that use new research paradigms, whether through music theory, musicology, ethnomusicology, music education, composition, computer applications, or sound recording technology. The committee strongly encourages proposals for lecture-recitals and performances.
Presentations in a non-traditional format are also welcomed.
Proposals should be submitted by January 31, 2003 via email. Submissions made within the body of the email should include the author's name, address, telephone number, email address, affiliation, all required equipment, and an abstract of no more than 250 words, suitable for publication in the conference program. Note that the abstracts will be judged anonymously. Please submit proposals to:email@example.com.
Call for Papers: Music and Gesture
In association with the European Society for the Cognitive Sciences of Music (ESCOM), the Society for Music Analysis (SMA), and the Society for Education, Music, and Psychology Research (SEMPRE), the University of East Anglia is proud to host
'MUSIC AND GESTURE'
University of East Anglia, Norwich, UK
28-31 August 2003
Call for Papers [updated]
Gestures play a central role in our lives. We gesture, make gestures, respond to other gestures, read and interpret gestures. We live in a gestural world. Various types of gesture form vital and integral parts of musical activity, including physical, cognitive, psychological, expressive, communicative, emotional, sociological, analytical, and pathological gestures. This conference seeks to explore the ways in which gestures function in and in relation to musical practice, whether performance, listening, composition, or other such activities.
Keynote addresses will be given by Nicholas Cook (UK), Jane Davidson (UK), Robert Hatten (US), David Lidov (Canada), Justin London (US), Alexandra Pierce (US), and John Rink (UK). Special symposia will be convened on the topics of 'Human-Machine Interaction', 'Beyond Opera: Gesture in Music Theatre', and 'Allusion and Quotation as Gesture'. Performances will be given by the European Community Meta-Orchestra and by Moving Voices.
The Programme Committee invites proposals for papers of 20 minutes duration. Papers on the following topics are encouraged, though all proposals will be considered:
Postgraduate students are encouraged to submit proposals. Proposals for poster sessions and roundtables are welcome (roundtable proposals must include topics and participants). Abstracts of no more than 300 words should be sent by post or (preferably) email to Anthony Gritten, School of Music, UEA, Norwich NR4 7TJ, UK [email:firstname.lastname@example.org ]. Deadline for receipt of proposals: 31 January 2003. The final programme and booking information will be available in March 2003 at www.uea.ac.uk/~q519.
Programme Committee: Amanda Bayley (Wolverhampton), Jane Davidson (Sheffield), Elaine Goodman (Hull), Anthony Gritten (UEA), John Rink (Royal Holloway).
Please note: an exhibition of books will be run by Rosemary Dooley (www.booksonmusic.co.uk).
Call for Papers: Music Theory Midwest
Music Theory Midwest Proposal Deadline: January 15, 2003
MTMW's Fourteenth Annual Conference will be held on May 16-17, 2003 at Indiana University in Bloomington, Indiana. The keynote speaker will be John Buccheri (Northwestern University), addressing "Deep Learning in the Theory Classroom: Pacing, Bumping, and Waltzes 'in Four'". The program committee invites proposals for papers on any of music theory's traditional and newer topics. Individual presentations and special sessions are especially encouraged on the following topics: 1) Pedagogy, old and new; 2) Historically oriented approaches to theory, analysis and pedagogy; 3) The theory and analysis of early music. (The conference will coincide with the Bloomington Early Music Festival.) Also welcome is work on composers with significant anniversaries in 2003; some of these include Arcangelo Corelli (b. 1653), Hector Berlioz (b. 1803), Hugo Wolf (d. 1903), Sergei Prokofiev (d.1953), Karlheinz Stockhausen (b. 1928), Thea Musgrave (b. 1928), Frank Zappa (d. 1993) and Sun Ra (d. 1993). Special sessions devoted to a single work, illustrating a variety of analytical and interpretive approaches, are also encouraged. Student papers are eligible for the Arthur Komar award.
Please note that the Proposal Deadline is January 15, 2003. Proposals and inquiries should be sent to Frank Samarotto, Program Chair, MTMW 2003, School of Music, Indiana University, 1201 E. 3rd Street, Bloomington IN 47405-7006 <email@example.com>. Robert Hatten < firstname.lastname@example.org> will be coordinating local arrangements. The full Call for Papers may be found athttp://www.wmich.edu/mus-theo/mtmw/2003/.
Call for Papers: Society for Music Theory
The Program Committee for the November 2003 meeting of SMT in Madison, Wisconsin, is pleased to announce that Janet Schmalfeldt will present next fall's keynote address.
I would like to take this opportunity to present once again the call for papers for the Madison conference. Note the January 15 postmark deadline as well as other important details below. I would also like to emphasize that the Program Committee welcomes proposals for special sessions and events of unusual format; please contact me at email@example.com if any questions arise in preparation of proposals.
Society for Music Theory Final 2003 Call for Papers
The 26th Annual Meeting of the Society for Music Theory will be held in Madison, Wisconsin, from Wednesday, November 5, to Sunday, November 9, 2003. Proposals on any topic related to music theory are welcome. Proposals for papers, poster sessions, and special sessions must conform to the following guidelines.
Submissions for papers must include:
1) A proposal of no more than three pages--including footnotes--double-spaced
and using a 12-point font. Proposals will be read for clarity, originality, and appropriateness for oral presentation. Although there is no single correct format, the Program Committee will look favorably on proposals that include a clear statement of the paper's original contribution to scholarship
in relation to prior research and specific evidence of results, illustrated by musical examples or diagrams where possible. Supplementary materials such as musical examples, diagrams, and bibliographies should be made as concise as possible but will not be counted in the page limit.
2) Seven copies of the proposal must be submitted if sent by post; a single file will suffice if sent electronically (see instructions inder "Additional Guidelines" below). The proposal should include the title of the paper but exclude the author's name and any other identifying information.
3) Two copies of an abstract of approximately 200 words, suitable for pu blication in the conference program. Of the two copies, one should be mailed with the paper proposal and the other sent electronically via e-mail firstname.lastname@example.org. If the full proposal is submitted electronically, then only one abstract file is needed. The filename of the electronic copy should be <yourlastname.ab.smt>. The Program Committee reserves the right to edit abstracts.
4) A cover letter listing the title of the paper and the name, address, telephone number, and e-mail address, as well as the rank and institutional affiliation (if any) of the author. Since cover letters will not be seen by the committee until consideration of the proposals has been completed, do not confine to the cover letter any information essential to the committee's deliberations.
5) A listing, on a separate page, of all required equipment (such as a piano, overhead, CD player, cassette deck, etc.) other than a public-address system, which will be provided to all presenters. The Society cannot provide computers for presentations, but will arrange LCD display and cables if requested in advance. Presenters who need computers should plan to provide their own laptops.
Proposals for poster sessions should follow the guidelines for the submission of papers.
Proposals for special sessions and events of unusual format (such as analysis symposia) are welcomed. New this year: Individual proposals within the special session proposal should follow the guidelines for paper proposals, including the requirement of author's anonymity, with names and identifying information revealed only in the cover letter. In addition, an introductory page should explain why the papers are being submitted as a special session. A cover letter should include all identifying information as given under #4 above. Proposals should be as precise as possible with regard to space and time required, format, and equipment needed. Sessions requiring special equipment or special invited speakers must itemize those requirements and will be accepted contingent on the cost being reasonable. Invited speakers or panelists will be expected to pay a non-member registration fee unless the organizers request a waiver from the Executive Board following acceptance of their session (and before the conference begins).
Note that special sessions must be "special" in that they could not be put together by the program committee. A group of individual papers or presentations on a given topic does not necessarily constitute a special session. Instead, such papers should be proposed separately with a recommendation that, if accepted, they be placed together in an individual session. The program committee reserves the right to consider each paper in a special session proposal as an individual submission and program accordingly, with or without the balance of papers from that proposed session.
Papers previously published or presented at other national/international conferences will not be considered. All presenters at an SMT session must either be members of the Society in good standing and register for the conference, pr pay the non-member registration fee. Exceptions to this policy must be requested in advance of the conference, and will be granted only by action of the Executive Board. Most papers will be placed in 45-minute time slots, with about 30 minutes for reading and 15 minutes for response or discussion. The committee may request that favorably received submissions for papers be presented as poster sessions. An individual may submit no more than one paper proposal; however, an individual may present a paper and participate in a special session as chair or respondent only. Submissions may be made either in hard copy or electronically. Electronic submissions are to be made in either MS Word or pdf format and sent as an e-mail attachment to email@example.com. The filename of the electronic copy should be <yourlastname.prop.smt>. Send proposals to
Society for Music Theory
c/o Department of Music
University of Chicago
1010 East 59th Street
Chicago, IL 60637
Those concerned about timely receipt should send proposals by overnight or registered mail if not by e-mail.
Postmark Deadline: January 15, 2003
Program Committee: Jonathan Bernard (University of Washington, Seattle), Norman Carey (Eastman School of Music), John Covach (University of North Carolina, Chapel Hill), Walter Everett (University of Michigan; Chair), Elizabeth West Marvin (Eastman School of Music; ex officio), and Lawrence Zbikowski (University of Chicago).
Conference Announcement: "La Belle Epoque" at Mannes
Mannes College of Music, Joel Lester, Dean
Goethe-Institute, New York, Irmtraut Hubatsch, Deputy Director Head of Programming Department
present a symposium of "La Belle Epoque" a year-long festival at Mannes featuring music around the turn of the 20th century Saturday, October 26, 2 PM to 5 PM at Goethe Institute, 1014 Fifth Avenue, New York City
Joan Kaskell (Lecturer, Metropolitan Museum of Art), Symbolism and
Synthesis: Art in Paris of the Belle Epoque
Hilton Kramer (Editor, The New Criterion) , Julius Meier-Graefe and the Turn-of-the-Century Aesthetic
Berthold Hoeckner (University of Chicago), Augenblicke in Late Romantic Music
Joel Lester (Mannes College of Music), How Might We Analyze Schoenberg's Pierrot lunaire
For further information, e-mail LesterJ@Newschool.edu
Conference Announcement: Mannes 2003 Institute on Transformational Theory and Analysis
MANNES INSTITUTE FOR ADVANCED STUDIES IN MUSIC THEORY
2003 INSTITUTE ON TRANSFORMATIONAL THEORY AND ANALYSIS
JUNE 21-24, 2003, NEW YORK CITY
Wayne Alpern, Director
The Mannes Institute is a privately supported, nonprofit musical think-tank dedicated to communal investigation at the highest level of inquiry. We offer outstanding scholars around the world a unique opportunity to gather outside of the conventional conference format and learn from each other in a sustained and interactive way. An intensive series of participatory workshops, plenary sessions, and roundtable discussions focuses on a different topic each year under the guidance of experts drawn from the international music community. Prior programs addressed Historical Music Theory and Schenkerian Theory and Analysis, and future topics include Musical Form and Rhythm and Temporality.
The program for the 2003 Mannes Institute on Transformational Theory and Analysis is provided below. All members participate in each plenary session, and enroll in one morning workshop and one afternoon workshop. Application policies and procedures will be posted later this fall on the Institute's website atwww.mannes.edu/mi and announced over the SMT list. The application period begins January 1.
2003 MANNES INSTITUTE PROGRAM
A. Plenary Sessions
1. THE EVOLUTION AND CONTEXT OF TRANSFORMATIONAL THEORY
Panelists: Richard Cohn (moderator), Edward Gollin, Robert Morris
Transformational theory is one of the most important developments in music theory during the last quarter century. Sufficient time has passed to locate it in a broader historical context and assess its significance. What are its origins and evolutionary stages? Is it a "theory" per se, or a set of independent strands in the work of individual theorists? What is its re lationship to the interactive dialogue of contemporary theory? What is the context of transformational analysis in the broader history of music theory? Are there important precursors in tonal or post-tonal theory? What made the state of the discipline ripe for a transformational attitude? How has this theory consolidated, formalized, and generalized proto-transformational aspects of other approaches, and developed a language and a visual code for their representation? In what ways has it influenced and interacted with other methods? What concerns has it addressed—or provoked?
2. TRANSFORMATIONAL CONSIDERATIONS IN SCHOENBERG'S OPUS 23, NO. 3
Speaker: David Lewin
Analytic attention is devoted to various thematic transformations among forms of the piece's basic pentachord, considering which are idiomatic for this work, how these transformations fit together into one system, and what morals (and caveats) can be drawn regarding the methodology of transformational analysis. Some transformations are Ts or Is; others are various contextual inversion operations and their compositions. The point is not so much to find hitherto "undiscovered" pentachord forms, as to find and assert thematic networks of transformations among the manifest pentachord forms. The T/I group, in this case, is the commuting group for the group of contextual transformations, and vice-versa. The two groups each being simply transitive on the 24 pentachord-forms, the composite group is what GMIT calls "PETEY." The group situation is analogous to the T/I group-cum-Schritt/Wechsel group, as regards harmonic triads.
3. THE SCOPE AND LIMITATIONS OF TRANSFORMATIONAL THEORY
Panelists: Joseph Straus (moderator), Henry Klumpenhouwer, John Roeder
Transformational theory is controversial—even among its advocates. What are its strengths and weaknesses, and its future in our discipline? What are its most useful tools, and how can they most effectively be applied? What do they leave behind or fail to address? Does transformational theory subsume, replace, or supplement other approaches? Is it a unified "theory" at all, one of a handful of mutually exclusive and opposing paradigms, or a general "attitude" compatible with other methods? Are specific repertoires better suited to this approach, or is all music potentially transformational? Is there a problem applying the same tools to different styles and periods? What are the perceptual limitations of transformational theory? Can we hear transformations, or are they essentially conceptual? Is "hearability" an issue? Has transformational theory suffered from excessive abstraction and insufficient application? Is this an esoteric phenomenon confined to a cadre of specialists and rarefied passages of music?
B. Morning Workshops
1. NEO-RIEMANNIAN TRANSFORMATIONS IN PARSIFAL
Instructor: Richard Cohn
The analytic challenge presented by Parsifal served as a significant impetus to Lewin's appropriation and formalization of Riemann's triadic transformations, and Wagner's final opera continues to stimulate new approaches to triadic chromaticism. This workshop serves as an introduction to (and review of) basic neo-Riemannian transformational concepts and tools, and an application to selected passages from Parsifal. Analytical writings on Parsifal from an explicitly neo-Riemannian standpoint help us to trace several stages of the approach's development; other writings on Parsifal help us to position neo-Riemannian theory vis-a-vis Schenkerian and tonal-pitch-space perspectives on late-Romantic repertoires. Participants are expected to be familiar with Parsifal, but no prior experience with neo- Riemannian theory is assumed beyond the preparatory material requested to be studied in advance.
2. THREE TOPICS IN TRANSFORMATIONAL THEORY
Instructor: Robert Morris
I. Precursors of Transformational Theory. How have key issues in the classic formulations of serial and atonal theory been reflected and extended by transformational theory? Discussion and analysis of selected passages by Berg, Carter, Schoenberg, Varese, Webern, Wolpe, and others will center on canonical groups; context sensitive operations; injection function, pc arrays, and implication/realization theories; and graphs, spaces, and Knets. II. IFUNC. A review of the nature and properties of the interval function between two pcsets introduced by Lewin in 1959-60. IFUNC relates to many other branches of atonal theory, and we will use it in the context of other theoretic tools to analyze music by Babbitt, Bartok, Messiaen, Stockhausen, and Stravinsky. III. Transformation Theory and Indian Music. The classical music of the Indian subcontinent is based on raga (melody) and rhythm (tala). We will explore how transformations can highlight crucial phonological and syntactic differences between Western and Indian music via examples and analysis. Participants will receive excerpts on CD along with transcriptions prior to the Institute.
3. VOICE LEADING AND TRANSFORMATION
Instructor: Joseph Straus
Theories of atonal music have generally been better at identifying and comparing harmonies than describing voice leading, the linear connections among harmonies. By shifting our attention from musical objects to the processes by which they can be related, transformational theory has opened up new approaches to this longstanding problem. Much recent work bears on this issue, but the insight that the voice leading between two sets can be understo od as a function that maps each member of one into some member of the other has been particularly fruitful. After a brief survey of other approaches, particularly those derived from Schenker, this workshop focuses on atonal voice leading as transformation, and includes close reading of relevant texts by Lewin, Morris, Roeder, Klumpenhouwer, and Straus. Selected passages from music by Schoenberg, Webern, and Stravinsky provide a testing ground for differing theoretical perspectives.
C. Afternoon Workshops
1. TRANSFORMATIONAL PATHWAYS INTO (POST-)TONAL FRONTIERS
Instructor: Edward Gollin
Numerous works of the early twentieth century defy simple classification into tonal/functional or post-tonal/contextual categories, and consequently often find less than satisfying description through either traditional tonal or set-analytic means. This workshop explores some of the ways transformational approaches can mediate between tonal and set-theoretic views of this music, adopting certain neo-Riemannian attitudes regarding the interrelatedness of structure and function of harmonic materials, but applying these in non-triadic and non-trichordal contexts. The first session introduces the basic techniques of transformational analysis, applying contrasting tonal, set theoretical, and transformational approaches to small works and passages by Scriabin, Schoenberg and Ravel. Later sessions focus upon the application of our hybrid methodologies in the analysis of larger works: Bartok's Suite, Op. 14 and his opera Bluebeard's Castle. No prior experience with transformational analysis is expected.
2. KNET TECHNOLOGY AND INTUITION
Instructor: Henry Klumpenhouwer
This workshop surveys the technological range of Knets and the styles of musical intuition they can represent and extend. The goal throughout is to accommodate those unfamiliar with Knets as well as others more comfortable with their use. The first session is introductory in nature, covering graph and network structure, the inner and outer automorphisms of the T/I group, along with constructs developed more recently. The technical apparatus of Knets is presented in connection with excerpts from works by Schoenberg and Webern. The later sessions explore deeper level Knet relations, examining Knets with special reference to GIS-structure. In particular, Lewin’s discussions of GIS transposition, GIS interval-preserving operations, and GIS inversion will provide the formal framework for extending these deeper level structures.
3. TRANSFORMATIONAL APPROACHES TO CONTEMPORARY MUSIC
Instructor: John Roeder
Although today's music is characterized by diverse compositional styles and techniques—modernist, miminalist, mystic, eclectic-postmodern, spectral, neo-tonal—much of it can be understood transformationally. In this workshop, we will study characteristic works of Part, Carter, Reich, Ades, Torke, and others. Many of these pieces are not organized around twelve tone set-classes, and the transformations in some involve rhythm and not pitch. Our exploration will therefore address some basic issues that confront a budding transformational analyst: What are the analytical objects of interest? What analytical objectives and cognitive constraints should guide the selection of these objects, and of the transformations that relate them? Participants will develop such transformational intuitions, along with a deeper appreciation of some important recent compositions.
Conference Announcement: ISMIR 2003
We are pleased to announce that ISMIR 2003, the 4th International Conference on Music Information Retrieval, will be held from October 26-30, 2003. ISMIR 2003 will be co-hosted by the Library of Congress in Washington, D.C., and Johns Hopkins University in Baltimore, Maryland. The majority of the sessions will take place in Baltimore, with events to be held at the Library of Congress as well.
We will soon provide additional information regarding ISMIR 2003 on the music-ir mailing list (see http://ismir2002.ircam.fr/mailing-list.html), including important deadlines. Hope to you see there!
Sayeed Choudhury, Johns Hopkins University
Sue Manus, Library of Congress
Conference Announcement: The Music of Arnold Schoenberg's Middle Period: from Romanticism to Dodecaphony
Yale Summer Programs will again offer a five-week course in Moedling, Austria on the atonal music of Arnold Schoenberg, entitled The Music of Arnold Schoenberg's Middle Period: from Romanticism to Dodecaphony. The instructor is Allen Forte, Yale Department of Music. Dates of the course are June 2 - July 4, 2003.
The course is given in collaboration with the Arnold Schoenberg Center in Vienna, which is the major repository of Schoenberg's sketches and manuscripts, as well as other materials of signal importance to his life. Reasonably priced student housing in Moedling or in Vienna is arranged by the Center, which also obtains concert tickets and provides other assistance. The Vienna concert and opera seasons continue through June, and the many other cultural resources of the city are easily accessible to students.
The class meetings are held in the Arnold Schoenberg Haus in Moedling, where the composer resided from 1918 until 1926. Some student housing is available there, as well as in local residences, including the former Webern Haus, in close proximity to the Schoenberg Haus. Moedling, about 20 minutes from central Vienna by fast train, is a charming small town (founded about 900 A.D), with a rich musical heritage. It was a favored summer residence for Beethoven, and the Hafner house on the Hauptstrasse in which he resided is but a short walk from the Schoenberg Haus.
The format of the course, which is conducted in English, is that of the Yale College seminar. Since the orientation is primarily analytical, participants are expected to have a background in basic tonal music theory and some experience in non-tonal music. One college credit is awarded upon successful completion of the course. Because enrollment is limited, interested persons are encouraged to apply early. Application forms may be obtained by telephoning Yale Summer Programs at 203-432-2430, by fax at 203-432-2434, or from the YSP website:www.yale.edu/summer . For further information, send an email message to firstname.lastname@example.org.
Dutch Journal of Music Theory
Here is the content of the newest issue of the Dutch Journal of Music Theory (Volume VII/3, November 2002), Theme: Music and Ethics. Most of the articles are in English. Also I include the content of Vol. VII/2, May 2002. You can find the abstracts of the articles on our website http://www.cva.ahk.nl/tvm. On this website you can also find the guidelines for authors, subscription information, etc.
Contents Volume VII/3:
Seven times around a future of musicology, seven times around music and ethics
A Prelude to Musical Ethics
Rokus de Groot
Variations on a Prelude: Commentary on Lawrence Kramer's ethical interpretation of Chopin's Prelude in Bb major
On Ethics and Musicology
From 9-11 to 02-02-2002
When Music(ology) Signifies
Response to Joke Dame
To Speculate - On Music - and/as the Sound of Différance
"I sing the body"
The Ethical Nature of Musicological Fractals
Sander van Maas
Letter to an Amsterdam Friend I
Letter to an Amsterdam Friend II
Thérèse de Goede
Van Dissonant tot Tone Cluster [From Dissonance to Tone Cluster]
Structure and Interpretation of Rhythm and Timing
Mannes Summer Institute 2002 on Schenkerian Theory and Analysis
Conservatory Schenker vs. University Schenker
Arjan van Baest, A Semiotics of Opera
Gary S. Karpinski, Aural Skills Acquisition
Doris Geller, Modulationslehre
CONTENTS Volume VII/2:
Yayoi Uno Everett: "Musical Design and Signification in Writing to Vermeer (1997-99)" (in English)
Hans Maas: "Schenkeranalyse en onbegeleide melodie II" (in Dutch)
Svetlana Neytcheva: "Russian Bells: from Symbol to Harmonic Model" (in English)
Peter Schubert: "History of Theory in Practice" (in English; with responses by Paul Scheepers and Dirk Cornelis and again Peter Schubert, also in English)
Diderik Wagenaar: "Polyfonie en componeren" (in Dutch)
Stephan Weytjens: " 'Rechfertigung durchs Melodische allein?' - Structuurprincipes in Arnold Schönbergs vrij-atonaal contrapunt" (in Dutch)
Katelijne Schiltz: "Cristle Collins Judd, Reading Renaissance Music Theory: Hearing with the Eyes" (in Dutch)
Andre Douw: "Joseph N. Straus, Stravinsky's late Music" (in Dutch)
 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.
 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.
 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.