Volume 9, Number 2, July 2003
Copyright © 2003 Society for Music Theory



Calls for Papers

Conference Announcements

Journal-Related Announcements

Other Announcements

Calls for Papers

Call for Papers: New Languages for Criticism


In(ter)discipline: New Languages for Criticism

An International Conference

19-21 September 2003

University of Cambridge, Centre for Research in the Arts, SocialSciences, and Humanities Sidney Sussex College, UK

This conference aims to stimulate discussion about the kinds of criticallanguages used within the scholarly as well as the public sphere, andthe linguistic challenge that represents an increasinglyinterdisciplinary research culture within the modern Humanities. Many ofour invited speakers have made powerful statements in this respectthrough the very nature of their work. In(ter)discipline offers anexceptional opportunity to debate these and other approaches and toexamine the significance of language in criticism.

Confirmed Speakers include:

* Mieke Bal (literature and art criticism), Amsterdam
* Gillian Beer (English literary studies and scientific writing), Cambridge
* John Berger (art criticism), France
* Malcolm Bowie (European literary and psychoanalytic studies), Cambridge
* Gabriele Brandstetter (dance criticism), Basel
* Elisabeth Bronfen (American literary studies, psychoanalytic theory), Zurich
* Scott Burnham (music theory), Princeton
* Friedrich Kittler (aesthetics and history of media), Berlin
* Lawrence Kramer (musicology), New York City
* Simon McBurney (theatre), London
* Beate Perrey (music, poetry, psychoanalytic theory), Cambridge
* Adam Phillips (psychoanalysis), London
* Peter Szendy (musicology), Paris

PROPOSALS for papers addressing issues of in(ter)disciplinaryscholarship and writing are now invited from younger as well as seniormembers of any humanities or arts discipline or practice.

The question as to what kind of language(s) a critic chooses to use isintimately connected to ideas about the purpose and readership ofcritical writing. Given the conventions of professional critical prosein academia, critics are often expected to give weight to handed-downknowledge, to questions of origin, and to historical, cultural, andsocial context. Often they are encouraged to avoid a personal style ofwriting. Might a more immediate and individualized response, possibly inthe spirit of a 'close reading', lead to a better kind of criticalwriting that would send the reader back to the art work, to look at it,read it or listen to it again, with a heightened sense of understandingand - more crucially - responsiveness and enjoyment? Or is the outcomeof such an approach likely to be atomism? As regards interdisciplinarywork, are the languages used in the different specialisms transposablefrom one field into another? Or do we need a meta-language? What are theadvantages as well as the difficulties and risks when using differentmethods and modes of analysis?

Please send proposals not exceeding 300 words plus a brief biographicalnote to: Dr Beate Perrey via e-mail, or fax (+44)1223765276, or post (see below)



Papers by conference speakers as well as a selection of proposed papersthat could not be accommodated in the conference will be published in abook.

This conference forms part of the long-term research programme NewLanguages for Criticism: Cross-currents and Resistances, co-directed byProf. Dame Gillian Beer, Prof. Malcolm Bowie and Dr Beate Perrey, andsponsored by the Centre for Research in the Arts, Social Sciences andHumanities (CRASSH) of the University of Cambridge.

For more information and to register, please visit the project website:

For practical details about the conference, please contact Mary-RoseCheadle at the Centre for Research in the Arts, Social Sciences andHumanities, University of Cambridge, Old Press Site, Silver Street,Cambridge, CB3 9EW, tel: 01223-765279,

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Call for Papers: Music Theory Society of New York State

The next Annual Meeting of the Music Theory Society of New York State(MTSNYS) will be held on April 3-4, 2004, at the Eastman School of Musicin Rochester. The Program Committee invites proposals for papers andpresentations on any topic related to music theory. Areas of particularinterest include the history of music theory and Schenkerian theory andanalysis.

The postmark deadline for submissions is October 1, 2003. Submissionsshould include (1) Six copies of a proposal of at least two but no morethan five double-spaced pages of text. Each copy should include thetitle of the paper and its duration as read aloud, but not the author'sname, because proposals are read blind. (2) An abstract of 200­250words, suitable for publication. (3) A cover letter listing the title ofthe paper; the name, address, institutional affiliation, telephonenumber, and e-mail address of the author; and all audio and visualneeds.

Papers given at national conferences or previously published will not beconsidered. Any number of proposals may be submitted by an individual,but no more than one will be accepted. Most papers will be placed in45-minute slots, with 30 minutes for reading and 15 minutes for possibleresponse of discussion.

Proposals should be sent to: Eric McKee, Program Chair 213 MusicBuilding Pennsylvania State University University Park, PA 16802

Members of the 2004 Program Committee are Eric McKee, Chair(Pennsylvania State University); Mary I. Arlin (Ithaca College); DavidCohen (Columbia University); Joel Galand (Eastman School of Music);Catherine Losada (CUNY Graduate Center); and William Rothstein (QueensCollege and Graduate Center, CUNY).

For further information, see the MTSNYS web site at

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Call for Papers: 13thInternational Conference on Nineteenth-Century Music


13th International Conference on Nineteenth-Century Music

The Centre for Nineteenth-Century Music, University of Durham UK, ispleased to confirm dates for the 13th Biennial International Conferencefor Nineteenth-Century Music. The conference will be held from Tuesday6 to Friday 9 July 2004 at St Chad's College and the School of Music ofUniversity of Durham.

Professor Susan Youens (University of Notre Dame, Indiana) will give thekeynote address.

The conference will be supported by daily evensongs ofnineteenth-century music, performed by the Durham Cathedral Choir, andthe Cathedral and University Organist James Lancelot will be giving anevening concert of nineteenth-century organ music.

The conference will aim to continue its broad and inclusive tradition ofaccepting papers, sessions, panel and lectures recitals from all rangesof scholarly work in the area of nineteenth century music.

The programme committee encourages submission on the following areas,although other topics are welcome:

1. Dance, Dance Music, and the Dancelike in Music
2. Gender and Sexuality in Music
3. Texts about Music: Music Histories, Journalism, Criticism
4. Institutions and Their Impact
5. Musical Instruments, Their Design and Dissemination
6. Centre and Periphery: Regional and National Identities
7. Teaching and Learning Music
8. Analysis and Hermeneutics
9. Performance Practice and Theory
10. Sacred Music: Genres, Ideology, Contexts
11. Western Portrayals of the Musical East, Folk Music and Historical Ethnomusicology
12. Interdisciplinary Musicology: Music and Literature, Poetry, Painting and the Arts

For individual proposals please submit an abstract of no more than 250words. For sessions and panels please submit a single abstract of 750words, indicating the number and title of individual papers with a shortabstract on each. All proposals should be sent by email to Bennett Zon( A conference website will be available indue course, and will be posted on all relevant music discussion lists.

For more information, please contact Bennett Zon, or any member of theconference committee as indicated below:

Bennett Zon
Bill Weber
Ralph P. Locke
Annegret Fauser

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Call for Scores: 14th Annual International Alliance for Women in Music

General call for scores world-wide for the 14th Annual International Alliance for Women in Music (IAWM) Concert on 6 June 2004 in Pasadena, California. Featured ensemble will be the Belgium Recorder Ensemble APSARA, a professional ensemble of four players.

Eligibility: Composers must be IAWM members by the time of score submission and be willing to renew the membership in the following year, if they want to be considered for the concert. New members are welcome.

Instrumentation: Composers may submit an anonymous score for consideration that is written for up to FOUR performers. Instruments include: soklein flute, sopranino recorder, soprano recorder, alto recorder, tenor recorder, bass recorder in F, contrabass recorders in F and C. With the exception of the contrabass flutes, multiples of a single recorder may also be employed, as long as four performers are able to play the work.

Anonymous submission. Please check iawm web page for detailed process.There is a submission limit of ONE work per composer. Please send scores by 15 September, 2003 to:

Dr. Maria Niederberger
Department of Music, P.O. Box 70661
East Tennessee State University
Johnson City, TN 37614-0661

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The Music Theory Society of the Mid-Atlantic

Call for Proposals
Postmark deadline: December 6, 2003

Second Annual Meeting
Temple University Esther Boyer College of Music

The Music Theory Society of the Mid-Atlantic invites the submission of program proposals for its second annual meeting, which will be held at the Esther Boyer School of Music of Temple University, Spring 2003. Proposals may be for presentations, papers and panel discussions on any aspect of music theory, including, but 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. Also possible are special presentations in music theory that utilize Temple University music students. Analysis presentations suitable for use in undergraduate or graduate teaching and articulation with high school teachers of music theory are especially welcome.

Presentations and papers are limited to twenty 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 amongst the panelists and those attending.

Please include the following information in your submission.

  1. Seven copies of your Proposal, which shall have no more than 500 words and be double-spaced using 12- or 14-point type face on no more than two pages total (stapled, not loose). Because all submissions will be read blind, neither the author's name nor the author's institution shall be identified in the Proposal.
  2. Cover Letter, which shall include the following information.
    a) Proposal Title
    b) Author's name
    c) Institutional affiliation or city of residence
    d) Telephone number(s)
    e) Email address
    f) Complete postal address
    g) Any equipment needs or other special arrangements
    h) Indication of student status, if applicable

    In the case of panelists, include the names and institutional affiliation or city of residence for each panelist, but complete contact information (a-habove) for only one panelist.
  3. One copy of a 200-250 word Abstract suitable for distribution at the meeting. If your proposal is selected you will be required to submit an electronic version as an email attachment in MS Word format. Abstracts may be revised and will also be published on the MTSMA website. 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 Adobe (.pdf) format.
  4. A self-addressed stamped post card to be used to notify you that your proposal was received.
  5. Students who wish to be considered for the Dorothy Payne Award for best student paper must send one copy of the complete paper in addition to the 200-250 word abstract, cover letter and post card described above to the address given below.
  6. Proposals postmarked after December 6, 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.

Send proposals to:

Professor Joel Phillips, Chair
MTSMA Program Committee
Westminster Choir College of Rider University
101 Walnut Lane
Princeton, NJ 08540-3899

Members of the Program Committee include Ingrid Arauco (Haverford College), Micahael Arenson (University of Delaware), Kenneth Carter (Rutgers University), Charles Frantz (Westminster Choir College of Rider University), Shellie Gregorich (Mansfield University), Cristle Collins Judd (University of Pennsylvania), Ted Latham (Temple University), and Nancy Rao (Rutgers University).

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First Conference on Interdisciplinary Musicology

CIM04, the first Conference on Interdisciplinary Musicology, will be held in Graz, Austria from 15 to 18 April 2004. It will be a forum for constructive interaction between and among subdisciplines of musicology such as acoustics, computing, cultural studies, education, ethnomusicology, history, psychology, and theory/analysis. We will especially promote collaborations between sciences and humanities, and interdisciplinary combinations that are new, unusual, creative, or otherwise especially promising. All abstract submissions will be anonymously peer-reviewed by international experts. Keynote lectures will be given by the authors of the best submitted abstracts. The deadline for abstract submission is 31 October 2003.

The conference is hosted by the European Society for the Cognitive Sciences of Music ( and the Department of Musicology, University of Graz ( The various subdisciplines of musicology are represented by the conference's participating societies. For further information, visit the conference website ( or contact the conference director, Richard Parncutt (

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Conference Announcements

Conference Announcement: Fifth Symposium on Systems Research in theArts

The Fifth Symposium on Systems Research in the Arts
"Music, EnvironmentalDesign, and the Choreography of Space"

to be held in conjunction with the

15th International Conference on Systems Research, Informatics, andCybernetics

Proposals are invited for the 5th Symposium on Systems Research in theArts, to be held in conjunction with the 15th International Conferenceon Systems Research, Informatics, and Cybernetics, July 28-August 2 inBaden-Baden, Germany. The study of systems within the scope oftraditional arts-related theory, or the application of general systemsmethodologies to the analysis of music, architecture, interior design,dance, theatre, and the visual arts are areas of particular interest.

Proposals for presentations/papers of approximately 200 words should besubmitted by April 15, 2002 for evaluation. Please submit proposalselectronically in Microsoft Word format to James Rhodes, JacksonvilleUniversity USA ( and Jane Lily, University of Georgia,USA ( For additional contact information anddetails, please visit the Arts Symposium home page at and the IIAS home page at

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Conference Announcement: John Blacking Symposium

CALL FOR REGISTRATIONS MUSIC-CULTURE-SOCIETY: A symposium celebratingthe work and legacy of John Blacking
July 12-14
Callaway Centre, Schoolof Music, The University of Western Australia

The idea of a symposium celebrating the work of John Blacking hasenticed abstracts from scholars from around the world. A rich variety ofpapers will be presented in a wide range of areas including the work andideas of John Blacking, music across cultures, music education,children's songs, and the John Blacking/Percy Grainger link.

Registrations are invited to attend this exciting event. Detailsincluding presenters and titles of papers, the symposium programme, andregistration are available at the Callaway Centre website further information contact DrVictoria Rogers at

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Conference Announcement: International Conference on Romanticism and Nationalism in Music

EVENT: International Conference on Romanticism and Nationalism in Music

HOST: Ionian University, Music Department (Corfu)

DATE: 17-19 October 2003DESCRIPTION: Keynote speakers: Prof. David Charlton, Prof. ConstantinosFloros, Prof. Leon Plantinga, Prof. Katherine Preston, Prof. Jim Samson,Head of the Music Department, Ionian University, Prof. CharisXanthoudakis and Prof. Martin Zenck.

The overall aim of the conference is to investigate sites of interactionbetween nationalism and romanticism as related to music. In more detail,this conference proposes to place works of music, 'attached' toromanticism, at the center of their European national contexts toexplore (and re-read) the collaborative political, social or culturalendeavors in which they have engaged or which they have rejected.Encouraged are interdisciplinary contributions that involve (a)political agendas such as "racial" purity and the constructs ofhomogeneity, and (b) theoretical investigations of ideology and music.General themes of the conference might include:
· re-reading interactions of the notions of "romantisicm" and "nationalism"
· elements contributing to the emergence of (a) national music at the romantic era
· philosophical tenets of romanticism and nationalism as depicted in music
· ways by which composers express and symbolize national identity at the era of romanticism
· participation of romantic music, by means of its performance and reception, in constructing and re-constructing national identity.

Conference papers will be published.

CONTACT: Anastasia Siopsi, Assistant Professor in Musicology, IonianUniversity, Music Department, Old Fortress, Corfu 49100, Greece. Ôel.and fax: (+)30-2661-087569,

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Conference Announcement: Istanbul International Spectral Music Conference

EVENT: Istanbul International Spectral Music Conference

HOST: Istanbul Technical University MIAM Center for Advanced Studies inMusic Istanbul, Turkey

DATE: 18-23 November, 2003

November 18-23 2003
Istanbul Technical University, Istanbul, Turkey

Spectral Music, one of the most important genres to emerge in the finaldecades of the last century, has become a primary topic of interestacross a broad range of disciplines. By focusing on the physical,perceptual, and aesthetic attributes of timbre, composers and performershave produced new pathways to the interior of sound while at the sametime developing novel compositional languages that address one of themost elusive aspects of musical discourse.

Originally a stylistic and ideological trend spearheaded by thecomposers and performers associated with L’Itineraire in Paris in theearly 1970s, today spectral music and the insights it has spawned areimportant areas of discourse for ethnomusicologists, theorists,systematic musicologists, composers, and performers.

We take as the central idea of this conference, the exploration of musicthat demonstrates a special concern for timbre. In keeping with theexpansive viewpoint prevalent among leaders of the Spectral movement,the conference will provide a forum for composers, performers, andscholars to present their work, debate current issues, and explore theconfluence of timbral perspectives across disciplines. In 1985 acolloquium on Spectral Music was held at IRCAM, and spectral topics havebeen presented in forums such as Internationales MusikinstitutDarmstadt, the International Conference on Music Perception andCognition, and the International Computer Music Conference. ThisIstanbul Conference, however, will for the first time make possible aninternational and interdisciplinary meeting spanning timbralcomposition, performance, and theory from ethnomusicological as well aspan-European perspectives.

We are planning a series of spectral music concerts, performanceworkshops, panels, and individual paper presentations, and intend topublish the proceedings in book and multimedia format. The concertswill feature world premieres written for this conference alongside worksexploring the historic and ethnomusicological roots of spectral music.

Istanbul’s unique location, spanning two continents, provides the idealsetting for such an interdisciplinary conference. Participants willhave the opportunity to hear a variety of Turkish musics in one of theworld’s great multi-cultural centers.


We encourage submissions on spectral music or timbralissues across a wide range of disciplines, including compositionalpractice, ethnomusicology, music theory, systematic musicology,performance, acoustics, computer music, music cognition, aesthetics, andmusicology. Please submit an abstract, panel proposal, or idea for aperformance demonstration by 15 July. Paper presentations will betwenty minutes plus ten minutes for discussion. Visit our website at, or contact Pieter Snapper or RobertReigle at

COST AND PAYMENT OPTIONS: Registration by August 1: $60 Regular/$25Student

After August 1: $100 Regular/$35 Student

TRAVEL AND HOTEL INFORMATION: Travel: Recommended carriers:KLM/Northwest, Delta, Air France, Turkish Airlines, Luftansa

Hotels: (rates per night; all hotels within walking distance ofUniversity and concert venues)

Swiss Hotel (five-star): $185 Single $205 Double $350 Suite

Mega Residence (four-star) $100 Single $110 Double $200 Suite

Taslik Hotel (three-star) $30 Single $50 Double

For hotel location/registration/phone/fax please refer to the MIAMSpectral Conference website:

CONTACT: Robert Reigle or Pieter Snapper
Tel: 011 90 212 247 1733/121

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Journal-Related Announcements

The Verdi Forum

The Verdi Forum (formerly Verdi Newsletter) invites the submission ofarticles on all aspects of music and culture related to the life andworks of Giuseppe Verdi. The editors welcome not only traditionalsource, analytical, and performance practice studies but alsointerdisciplinary contributions.

Under the sponsorship of the American Institute for Verdi Studies, theVerdi Newsletter has published essays, documents, and conferenceproceedings, which have contributed meaningfully to the scholarlyliterature on Verdi. It also provided ephemeral news of forthcomingevents and information of interest to members of the AIVS. Now thejournal (Verdi Forum) focuses on permanent scholarship and is apeer-reviewed, annual publication with new editors Roberta MontemorraMarvin and David Rosen, associate editors Andreas Giger and StevenHuebner, an assistant editor, and an editorial board of internationalscholars who will review articles under consideration.

Submissions to Verdi Forum may be made electronically (on diskette or bye-mail in a word-processing file readable by Microsoft Word for Windows)or in paper copy (three copies); if the proposed article containsmusical examples, diagrams, or other visual material, these are to besent in paper copies. Bibliographic citations should follow the ChicagoManual of Style, 14th ed. All submissions should include full contactinformation, including an e-mail address. The editors will also behappy to receive offers to review books, editions, and recordings ofexceptional historic or aesthetic interest. Questions may be directed toeither of the editors: Roberta Marvin ( orDavid Rosen ( The address for submissions is RobertaM. Marvin, University of Iowa, International Center, Room 256, IowaCity, Iowa 52242; For the contents of theprevious issues, including the first issue of Verdi Forum, andinformation about subscribing, visit the AIVS website ­

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New Journal Announcement: Psychology of Music 31/2

Psychology of Music Volume 31 Issue 02 - Publication Date: 1 April 2003


Differences in mental abilities between musicians and non-musicians
Susanne Brandler and Thomas H. Rammsayer Georg Elias
Muller Institute for Psychology, Gottingen

Adolescents' perceptions of the music of male and female composers
Adrian C. North and Ann M. Colley University of Leicester and David J. Hargreaves
University of Surrey Roehampton

The development of absolute pitch: a theory concerning the roles of music training at an early developmental age and individual cognitive style
Christina S. Chin
University of California at Santa Cruz

Stability of motor programs during a state of meditation: electrocortical activity in a pianist playing 'Vexations' by Erik Satie continuously for 28 hours
Christine Kohlmetz
Reinhard Kopiez
Eckart Altenmuller
Hanover University of Music and Drama

An empirical investigation of the anxiolytic and pain reducing effects of music
Raymond A.R. MacDonald and Laura A. Mitchell, Glasgow Caledonian University
Teresa Dillon, The Open University
Milton Keynes and Michael G. Serpell, University of Glasgow
John B. Davies, University of Strathclyde
Euan A. Ashley, Stanford University School of Medicine

Book Reviews

Juslin, P.N. and J.A. Sloboda (eds), Music and Emotion: Theory and Research
reviewed by Matthew M. Lavy Hanley

Betty and Thomas W. Goolsby (eds), Musical Understanding: Perspectives in Theory and Practice
reviewed by Roland S. Persson

Spruce, Gary (ed.), Teaching Music in Secondary Schools: A Reader
reviewed by Wilfried Gruhn

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JSTOR Music Collection

JSTOR is pleased to announce that its seventh major release, the MusicCollection, is being scheduled for availability in Autumn 2003.

The Music Collection contains the complete back runs of thirty-one (31)new JSTOR titles dedicated to scholarly research and theory in the fieldof music. This collection has a far more international selection oftitles than any previous JSTOR collection, including journals publishedin the Netherlands, Croatia, Hungary, Germany and France. It addressesissues that span diverse musical genres such as World Music intelevision advertisements and "Structure and Imagery in Chinese LuteMusic." One can find articles published as early as 1844, as well asarticles that tackle musicology in the contemporary era; subjects fromthe study of musical instruments to the "Construction of AlbanianNational Subjectivity" through poetry and songs. Manuscript studies,criticism and book reviews from respected scholars, musicians andcomposers such as Aaron Copland, Allen Forte and Jean-Jacques Nattiezalso distinguish this collection.

The Music Collection includes such features of interest as:

* The full back runs of four journals that began publication in the 19thcentury: Archiv für Musikwissenschaft (1899); Journal of the RoyalMusical Association (1874); The Musical Times (1844); and Tijdschriftvan de Koninklijke Vereniging voor nederlandse Muziekgeschiedenis(1869).

* The historical volumes of The Musical Times, which has, since 1884,published obituaries of all of the major 19th and 20th century Europeancomposers including Brahms, Chopin, Ravel, Liszt and Verdi.

* Musical Quarterly, which contains articles written by importantcomposers and musicologists such as Aaron Copland, Arnold Schoenberg,Henry Cowell, and Camille Saint-Saens.

* Latin American Music Review, which explores the historical,ethnographic, and sociocultural dimensions of Latin American musicaround the world, and is one of a number of journals in the collectionfocusing on international music and ethnomusicology.

JSTOR is grateful to "RILM Abstracts of Music Literature" for assistancein the selection process for this collection. RILM is an internationalbibliography of scholarly writings on music and related disciplines,housed at the City University of New York Graduate Center.

A list of all the Music Collection titles is included at the end of thismessage. This list may also be found on our website at:

As with all JSTOR collections, institutions will pay two fees toparticipate in the Music Collection, an Archive Capital Fee (ACF) and anAnnual Access Fee (AAF). The ACF is a one time only fee designed to helpensure that JSTOR has the necessary resources to meet its archivalmission as technology evolves. The AAF helps cover the recurring costsof updating the archive, and maintaining access and support services forparticipating institutions.

Participation fees and information for the Music Collection for U.S.participants are available on the JSTOR web site:

If you are at a U.S. or Canadian participating institution and yourinstitution is ready to proceed with participation in this collection,please download and complete two copies of the Collections Rider [foundat Two signed copies ofthe Rider should be sent to:

Carol MacAdam Associate Director for Library Relations 120 Fifth Avenue,Fifth Floor New York, New York 10011 email: Phone:212-229-3700

We will process the Riders and make arrangements for your institution tohave access to this collection as soon as it is released.

International participants interested in this collection should contactDawn Tomassi to obtain the appropriate participation fees prior tocompleting the Collections Rider, or to request further information.

Dawn Tomassi Assistant Director for International Library Relations 120Fifth Avenue, Fifth Floor New York, New York 10011 Phone: 212-229-3700

We will send an announcement via email when this collection has beenreleased. In the meantime, should you have any questions about the MusicCollection, please don't hesitate to contact us

We appreciate your continued support of the JSTOR archive.

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New Journal Issue:MUSICÆ SCIENTIÆ Spring 2003

MUSICÆ SCIENTIÆ, the Journal of the European Society for the CognitiveSciences of Music

abstracted and indexed in the Arts & Humanities Citation Index® (A&HCI),ISI Alerting Services, Current Contents®/Arts & Humanities, APA’sPsychological Abstracts, PsycINFO, The Music Index and the InternationalRepertoire for Music Literature (RILM)


VOL. VII, N° 1

FRED LERDAHL’S PITCH SPACE: Perceptual and theoretical issues



Nicholas A. Smith & Lola L. Cuddy
Perceptions of musical dimensions inBeethoven’s Waldstein sonata: An application of Tonal Pitch Space theory

Diego Vega
A perceptual experiment on harmonic tension and melodicattraction in Lerdahl’s Tonal Pitch Space

Costas Tsougras
Modal Pitch Space — A theoretical and analytical study

Nicolas Meeùs
Tonalité immanente, tonalité manifestée Quelquesréflexions à propos de Tonal Pitch Space de Fred Lerdahl

Michael Spitzer
The metaphor of musical space


Tonal Pitch Space, by Fred Lerdahl
Travellings throughLerdahl’s Tonal Pitch Space theory
Emmanuel Bigand A psychological perspective
David Temperley A theoretical perspective

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Statistics in Musicology

University of Konstanz, Germany
Series: Interdisciplinary Statistics Volume: 12
Cat. #: C2190ISBN: 1584882190
Publication Date: 7/15/2003
Number of Pages: 312
Chapman & Hall / CRC

Provides a comprehensive introduction to statistical and mathematical approaches to music analysis, music theory, and performance theory Offers the insights and expertise of a leading statistician who is also a concert pianist Explores statistical and mathematical methods developed for problems in musicology, with emphasis on the connections between theory and practice Focuses on the methods for data generation, numerical encoding of musical data, and mathematical and statistical models for analyzing music Presents concrete operational answers to fundamental musicological questions.

Traditionally, statistics and music are not generally associated with each other. However, "intelligent" music software, computer digitization, and other advanced techniques and technologies have precipitated the need for standard statistical models to answer basic musicological questions. Statistics In Musicology presents an unprecedented introduction to statistical and mathematical methods developed for use in music analysis, music theory, and performance theory. It explores concrete methods for data generation and numerical encoding of musical data and serves as a practical reference for a wide audience, including statisticians, mathematicians, musicologists, and musicians.

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New Online Music Theory Journal: Sapaan

Sapaan ( is a refereed bi-yearly online music theory journal which publishes analytical and critical essays in a wide variety of domains, and of all music past and present. Sapaan also encourages connections between music theory, and other artistic and theoretical fields of understanding. It is hoped that through this interaction, new and interesting avenues of thought will be opened.

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New Journal: Ad Parnassum

We're glad to announce the launch of the first issue of "Ad Parnassum", a twice-yearly musicological journal on 18th- and 19th-century instrumental music. Below you can find the content of the first issue. For any further informations please visit our website

Roberto DE CARO, Editorial (p. 3)

Barry COOPER (Manchester): Subthematicism and Metaphor in Beethoven's Tenth Symphony (p. 5)
Hartmuth KINZLER (Osnabrück): Themeninvention und ihre variative Ausarbeitung im 2. Satz von Schuberts A-Moll-Sonate Op. 42 (D 845) (p. 23)
Rohan H. STEWART-MACDONALD (Cambridge): Canonic Passages in the Later Piano Sonatas of Muzio Clementi: Their Structural and Expressive Roles (p. 51)
Peter NIEDERMUELLER (Mainz): Soziale und aesthetische Implikationen des oeffentlichen Konzertlebens in Wien zu Beginn des neunzehnten Jahrhunderts (p. 109)
Paul CIENNIWA (Newport): Unexpected Examples of Sonata Form: Claude-Benigne Balbastre's 1759 "Pieces de clavecin, premier livre" (p. 133)

Federico CELESTINI (Graz): Das blicklose Auge der klassischen Kunst. Ein Beitrag zur Klassik-Diskussion (p. 147)

Marina RITZAREV (Ramat Gan): Music in Eighteenth-Century Britain (p. 161)
Benjamin PERL (Tel-Aviv): The Cambridge Companion to Berlioz (p. 164)
William DRABKIN (Southampton): Donald Francis Tovey, The Classics of Music: Talks, Essays, and Other Writings Previously Uncollected (p. 169)
Susan WOLLENBERG (Oxford): Howard Irving, Ancient and Moderns: William Crotch and the Development of Classical Music (p. 174)
Andrea COEN (Rome): Clive Brown, Classical and Romantic Performing Practice 1750-1900 (p. 176)
Philip OLLESON (Nottingham): Deborah Rohr, The Careers of British Musicians, 1750-1850: A Profession of Artisans (p. 179)
Marc NIUBO (Prague): The Eighteenth-Century Diaspora of Italian Music and Musicians (p. 184)
Robert ZAPPULLA (Claremont): Muzio Clementi. Studies and Prospects (p. 186)

Albert DUNNING (Pavia): Eugene K. Wolf (p. 189)

News (p. 190)
Forthcoming Conferences (p. 191)
Call for Papers (p. 197)

Contributors (p. 199)
Books Received (p. 201)
Abstracts (p. 202)
Index of Names (p. 205)

A Journal of Eighteenth- and Nineteenth-Century Instrumental Music

Editor-in-Chief / Legal Responsibility
Roberto De Caro

Roberto Illiano -
Fulvia Morabito -
Michela Niccolai -
Claudio Nuzzo -
Luca Sala -
Massimiliano Sala -

Advisory Board
Theophil Antonicek, Vienna
Eva Badura-Skoda, Vienna
Andrea Bornstein, London
Clive Brown, Leeds
Michele Calella, Zürich
Federico Celestini, Graz
Bathia Churgin, Ramat Gan
Andrea Coen, Rome
Barry Cooper, Manchester
Dorothy de Val, Toronto
William Drabkin, Southampton
Albert Dunning, Cremona
Sergio Durante, Padua
Dinko Fabris, Bari
Ralph Locke, New York
Elio Matassi, Rome
Simon McVeigh, London
Leon Plantinga, New Haven
Irena Poniatowska, Warsaw
Rudolf Rasch, Utrecht
Giancarlo Rostirolla, Rome
David Rowland, Cambridge
Manfred Hermann Schmid, Tübingen
László Somfai, Budapest
Christian Speck, Koblenz-Landau
Larry Todd, Durham

Consultant Editors
Paolo Dal Molin, France
Antonio Ezquerro Esteban, Spain
Giacomo Fornari, Italy
Andrea Lindmayr-Brandl, Austria
Peter Niedermüller, Germany
Adena Portowitz, Israel
Barbara Przybyszewska-Jarminska, Poland
Marina Ritzarev, Israel
Angela Romagnoli, Italy
Renata Suchowiejko, Poland
Claudia Vincis, Switzerland
Pietro Zappalà, Italy

Proposals for articles in English, French, German, Italian and Spanish should be addressed to:

Roberto Illiano -
Luca Sala (slavonic languages) -
Massimiliano Sala -

Books and editions of new music to be considered for reviews should be addressed to:
Dr. Massimiliano Sala
via Bertesi, 10 I-26100

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Other Announcements

Workshop in Algorithmic Computer Music

The first Workshop in Algorithmic Computer Music (WACM) will take placefrom June 23 through July 11, 2003 at the University of California,Santa Cruz. Participants will learn the Lisp computer programminglanguage and create their own composition and analysis software. Theinstruction team will be led by David Cope, noted composer, author, andprogrammer.

The workshop is limited to 15 participants, and features 66 hours ofclass instruction and over 120 hours of individual consultation.

To learn more about the program and download an application, visit theWACM website at reviews areongoing until the workshop is filled. Prospective students must have anability to read music and understand basic music theory as well as haveat least a basic facility with computers (text editing, etc.). Studentsneed not be active musicians nor programmers.

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Medieval Music Summer Course


BASEL, 25th - 30th AUGUST 2003

Schola Cantorum Basiliensis

The Medieval Department of the Schola Cantorum Basiliensis offers anintensive course in medieval music, suitable for singers,instrumentalists and ensembles of all levels and repertoire interests.

Faculty: Randall Cook, bowed instruments Kathleen Dineen, voiceNicoletta Gossen, music history/music and text Markus Jans, music theoryEric Mentzel, voice Crawford Young, instruments

Participant fee: Euro 300.-

Language: English, or other languages according to participants (German,French, Italian)

Registration: Applications are accepted before and after the Schola'ssummer break,that is until 4th of July and again from 11th ofAugust. Early registration ist recommended due to the limited number ofparticipants.



fax: 0041 61 264 57 49

mail: Schola Cantorum Basiliensis Abteilung Mittelalter / N. GossenLeonhardstrasse 6 Postfach CH - 4003 Basel

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The Spring update of DDM-Online is now completeand available for your use at Sincethe last update (December 2002), we have been continuing to refine ourexisting records, enter new registrations, and process the backlog ofdata not included in the earlier print versions of DoctoralDissertations in Musicology. This update contains approximately 100new, expanded, and corrected records. The entire database now includes11,826 records. As always, DDM-Online relies heavily on all theinstitutions and individuals who regularly send us new records,corrections, updates, queries, and suggestions. Such communications arealways welcome, and we hope you will continue to be in touch with us.

Wishing you all the best for the Summer, sincerely,
Thomas J. Mathiesen

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Philip Brett Award

Announcement: The Philip Brett Award

The Philip Brett Award, sponsored by the Gay and Lesbian Study Group ofthe AMS, each year honors exceptional musicological work in the field oftransgender/transexual, bisexual, lesbian, gay studies completed duringthe previous two academic years (ending June 30), in any country and inany language. By "work" is meant a published article, book, edition,annotated translation, conference paper, and other scholarly workaccepted by the award committee that best exemplifies the highestqualities of originality, interpretation, theory, and communication inthis field of study.

The award consists of the sum of $500 and a certificate, and will beannounced at the Annual Meeting of the AMS and conferred at the annualmeeting of the GLSG. The committee will entertain nominations from anyindividual, and scholars are encouraged to nominate their own work.Individuals may receive the award on more than one occasion.

Nominations should include the name of the scholar, a description of thework, and a statement to the effect that the work was completed duringthe previous two academic years. By "completion" is meant thepublication or commitment to publish from an editor in the case ofarticles, books, editions, etc.; delivery at a conference or the like inthe case of a paper. The committee will contact the nominee foradditional material as needed. Self-nominations should include anyunpublished material to be considered and a c.v. Nominations, with fivesets of application materials, should be sent by JULY 1, 2003 to thechair of the Philip Brett Award committee:

Nadine Hubbs, Brett Award Chair
2141 Lane Hall
University of Michigan
Ann Arbor, MI 48109-1290

Questions regarding the award, the nomination process, or any relatedmatter may be directed to Nadine Hubbs at the above address, or bye-mail to to

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Traités français sur la musique

The Center for the History of Music Theory and Literature at IndianaUniversity is pleased to announce the inauguration of a new full-textdatabase of music writings, Traités français sur la musique (TFM).Following the model of the Thesaurus musicarum latinarum, this databasewill eventually provide complete texts and graphic images for alltheoretical works in French from the fourteenth through the nineteenthcenturies.

The TFM may be accessed through the following URL:

or you may find a link for it on the CHMTL homepage:

From the TFM homepage you may follow links to the Introduction and tothe Principles of Orthography and Encoding. Presently available textsand graphics are in the Eighteenth-Century file list, which includes allthe longer treatises of Rameau, as well as works of Rousseau. Currentlyin progress and soon to be placed online are writings by Mersenne,Sauveur, d'Alembert, Bourgeois, Le Roy, and Charpentier, along with thecomplete Dictionnaire of Rousseau.

The directors of the CHMTL and TFM welcome all questions, comments,requests, and complaints.

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Gruppo Aperto Musica Oggi

GAMO - Gruppo Aperto Musica Oggi
Analysis Course on Messiaen's Quatuor pour la Fin du Temps Institut Français de Florence Piazza Ognissanti 2
Florence, Italy September 29 - October 1, 2003 10 am to 1 pm; 3 to 6 pm

The GAMO - Gruppo Aperto Musica Oggi announces an analysis course on Olivier Messiaen's _Quatuor pour la Fin du Temps_ at the Institut Français de Florence. The instructor is Michele Ignelzi (GAMO, Eunomios), dates are September 29 - October 1, 2003.

Messiaen's _Quatuor_ is intended to open a prospective series of analysis courses devoted to pillars of the twentieth-century musical repertoire. Few other works could indeed claim to have been as seminal an influence on last century's composition and performance as this one, which was written for its most part in a German prisoner-of-war camp.

An examination of context and genesis of the _Quatuor_ along with Messiaen's compositional devices (with special emphasis on modes of limited transposition and non-retrogradable rhythms, as expounded in his _Technique de mon langage musical_) will introduce a detailed analysis of the work, conducted in continual reference to the score and the book the British scholar Anthony Pople entirely dedicated to it (Cambridge University Press)..

Participants are expected to have a background in basic music theory. Languages of the course: Italian, English, German, French.

Application forms may be obtained from the GAMO website: (click on "Courses 2003"). For further information, send an E-mail message to .

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Copyright Statement

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

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

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

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

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Prepared by Stanley V. Kleppinger, editorial assistant
Updated 02 July 2003