Volume 10, Number 1, February 2004
Copyright © 2004 Society for Music Theory
Calls for Papers
Call for Papers: Aberdeen University Music Research Group
Music and Language
University of Aberdeen
Monday 21st - Tuesday 22nd June 2004
Key-note speaker: Professor Peter Kivy
In June 2002 the Aberdeen University Music Research Group sponsored a highly successful cross disciplinary conference on 'The Intellectual Frontiers of Music'. In many of the discussions that ensued, it became clear that the relation of music to language is a recurrent theme in different disciplines. Are music and language parts of our biological nature, or are they social constructs? Does the human mind acquire musical and linguistic skills in the same way? Might the study of linguistics produce insights for the study of music and vice versa? Is music a universal language? Can we sensibly speak of distinct musical vocabularies? Is the expression 'the language of music' metaphorical, or literal?
The purpose of this follow-up conference is to explore these questions more closely, and to do so in a cross disciplinary context. The following disciplines are especially pertinent: Composition, Musicology, Music Education, Philosophy, Psychology, Socio-linguistics, Theology. However, paper proposals relevant to the theme of the conference will be welcome from all areas of inquiry. These should be of a reading time of no more than 30 minutes and will be chosen after a process of refereeing. Abstracts of one A4 page should be sent to Dr Jasmin Cameron at Hilton Campus, University of Aberdeen, ABERDEEN AB24 3UB, Scotland, UK. Alternatively they can be submitted by e-mail to firstname.lastname@example.org. Postgraduate students are especially encouraged to submit.
THE CLOSING DATE FOR SUBMISSIONS IS Friday 30th January 2004. Decisions will be advised by Friday 20th February 2004.
Call for Papers: North American British Music Studies Association
"Britannia (Re-) Sounding: Music in the Arts, Politics, and Culture of Great Britain"
June 18-19 2004, Oberlin College Conservatory of Music, Oberlin, Ohio
The North American British Music Studies Association announces its inaugural conference, "Britannia (Re-) Sounding: Music in the Arts, Politics, and Culture of Great Britain," June 18-19 2004 at the Oberlin College Conservatory of Music. We welcome papers examining music and musical life in all time periods and geographical regions of Great Britain, particularly those that examine this music in an interdisciplinary or cultural context. 250-word abstracts for 20-25 minute individual papers or proposals for paper sessions should be sent by March 1 2004 to Deborah Heckert, Department of Music, 3304 Staller Center, SUNY Stony Brook, Stony Brook, NY 11794-5475. For more information on the conference and/or the society, please see http://qcpages.qc.edu/~jloates/NABMSA.html
Call for Papers: CUNY Graduate Students in Music Seventh Annual Music Symposium
The City University of New York
Graduate Students in Music (GSIM)
Seventh Annual Music Symposium
Intra-Disciplinary Approaches to Popular Music Studies
Saturday, April 24, 2004
CUNY Graduate Center, New York City
Including a special panel presentation by CUNY faculty members: Professors Ellie Hisama, Shaugn O'Donnell, and Mark Spicer
CALL FOR PAPERS
Graduate students in the areas of Musicology, Performance Studies, Music Theory, and Ethnomusicology are invited to submit proposals concerning any aspect of scholarly research on popular music. Participants affiliated with any institution are welcome.
Individual presentations should not exceed 30 minutes in length.
Guidelines for paper submission:
1. Proposals should be limited to 300-400 words.
2. Five copies of the proposal must be submitted. Each copy should include the title of the paper but not the author's name. (If submitting via email, one copy is of course sufficient. Your identity will be withheld from the copies submitted to the program committee.)
3. Include a cover letter providing the title of the paper, and the author's institutional affiliation, name, address, telephone number, and e-mail address.
4. The conference is run entirely by CUNY Graduate students and proposals are read blindly by the committee.
SUBMISSION DEADLINE: POSTMARKED BY February 15th, 2004
Proposals should be sent by email to: email@example.com
or via snail mail to:
Heather Laurel Feldman
CUNY - Graduate Center
365 Fifth Ave.
New York, NY 10016
CALL FOR PAPERS
The program committee for the Graduate Student Symposium in Music at the University of Western Ontario (London, Ontario, Canada) is pleased to invite submissions from graduate students of proposals for our fourth annual symposium, to be held during the first weekend in June, 2004 (Saturday and Sunday, June 5 and 6). Visit our website at http://www.music.uwo.ca/graduate/grad-CFP2004.html.
Our keynote speaker will be Dr. Bill Thompson, director of CCIT (Communication Culture and Information Technology) at the University of Toronto at Mississauga. His recent publications include articles in the Bulletin of Psychology and the Arts and the Annals of the New York Academy of the Sciences, as well as the forthcoming book Music, Thought & Feeling: The Psychology of Music. The committee is seeking submissions in all areas of music scholarship including ethnomusicology, music education, musicology, music psychology, and music theory. Proposals of an interdisciplinary nature are also encouraged. Those wishing to read a paper, which must be limited to 30 minutes, should submit six copies of an abstract (maximum 500 words, excluding illustrations).
In addition, we invite proposals for lecture-recitals and submissions from student composers to explicate their piece(s). Both kinds of sessions must be limited to 40 minutes. Send six copies of an abstract (max. 500 words) and three copies of a cassette tape or CD with excerpts from the pieces under discussion. If you wish to have your recordings returned, send a stamped, self-addressed envelope.
Send proposals and abstracts to:
Graduate Student Symposium in Music 2003
Don Wright Faculty of Music, University of Western Ontario
Talbot College 210
Canada N6A 3K3
Submissions and inquiries may also be sent
through e-mail to <firstname.lastname@example.org>.
Proposals sent in the body of an e-mail are preferred over attachments. Please have the subject line read: Graduate Student Symposium. The author's name should appear only on the cover letter, along with the title of the paper, mailing address, e-mail address, and telephone number. The deadline for the receipt of proposals is MONDAY, FEBRUARY 2, 2003. All submissions received before and up to the deadline will be acknowledged.
Korean Society for Music Theory
The Korean Society for Music Theory (KSMT)
Dear Music Theorists and Musicologists:
We are very glad to inform you that the Journal of the Korean Society for Music Theory (KSMT) is calling for papers for their inaugural issue, which will be published in June, 2004.
For more information, please click the site below:
Thank you very much.
Jae-Sung Park, Editor
Journal of the KSMT (jKSMT)
Second Annual Workshop in Algorithmic Computer Music
The second annual Workshop in Algorithmic Computer Music (WACM) will take
place from June 21 through July 9 on the beautiful University of California,
Santa Cruz (UCSC) campus. David Cope, Paul Nauert, and Peter Elsea will be among
those on hand to teach and advise workshop attendees. Participants will take
classes each morning and early afternoon on the basic techniques of algorithmic
composition and algorithmic music analysis, learning and using the computer
programming language Lisp. Participants will create three significant software
projects: a Markov-based rules program, a genetic algorithm, and software
modeled on the Experiments in Musical Intelligence program. Music analysis
software and techniques will also be covered in depth. Many compositional
approaches will be discussed in detail including rules-based techniques,
data-driven models, genetic algorithms, neural networks, fuzzy logic,
mathematical modeling, sonification, etc. Many software programs such as Common
Music, Max, Open Music, and so on will also be presented and used.
Each participant will receive a free class reference manual, class software in source code, and various other associated printed and software tools and guides relevant to the workshop's goals. Access to the world class computer music facilities at UCSC will allow performances and special lectures by invited guests. Each of the three instruction weeks will include five hours of individual computer time (with an advisor close at hand) and each week will culminate in performances of participant works and presentations of analysis and composition software. By the workshop's end, each participant will have gained facility with Lisp, have written compositional and analytical software programs, and be presented with a CD of their compositions.
Prospective students must have an ability to read music and understand basic music theory as well as have at least a basic facility with computers (text editing, etc.). Students need not be active musicians nor programmers. Fee is $1750. Room and board is available on campus if desired.
For more information, see http://summer.ucsc.edu/wacm/
Conference Announcement: Mannes Institute for Advanced Studies in Music Theory
THE INSTITUTE FOR ADVANCED STUDIES IN MUSIC THEORY
2004 INSTITUTE ON MUSICAL FORM - JUNE 24-27, 2004
MANNES COLLEGE OF MUSIC, NEW YORK CITY
Wayne Alpern, Director
The Institute for Advanced Studies in Music Theory is a premier professional think tank dedicated to communal inquiry at the highest level of scholarship. Celebrating its fourth consecutive year as an independent, privately supported innovation in our field, the Institute is pleased to announce its annual summer Institute at Mannes College of Music in New York City from June 24-27, 2004 on the topic of Musical Form.
The Institute for Advanced Studies in Music Theory provides a unique opportunity for outstanding scholars from around the world to gather in a collegial setting to intensively explore a different topic each year through a comprehensive series of participatory workshops, plenary sessions, and special presentations emphasizing interactive dialogue and debate under the expert guidance of a rotating faculty of peers. Previous topics were Historical Music Theory (2001), Schenkerian Analysis (2002), and Transformational Theory (2003). Future topics include Rhythm and Temporality (2005) and Chromaticism (2006).
The distinguished faculty of the 2004 Institute on Musical Form is co-chaired by William Caplin (McGill University) and Janet Schmalfeldt (Tufts University), and includes Jonathan Bernard (University of Washington), Scott Burnham (Princeton University), Warren Darcy (Oberlin College), James Hepokoski (Yale University), and Robert Morgan (Yale University). Our special guest is the noted scholar and performer Charles Rosen.Applications for the fourth annual international Institute for Advanced Studies in Music Theory on the topic of Musical Form at Mannes College of Music in New York City from June 24-27, 2004 are now being accepted via our website at http://www.mannes.edu/mi until March 1.
A detailed description of this June's program will be distributed in brochures at the national SMT meeting in Madison, announced over the SMT list, and posted on the Institute's website at http://www.mannes.edu/mi with selection criteria and procedures. Electronic applications will be accepted via the website from January 1 to March 1, 2004. A brief summary is provided below:
2004 INSTITUTE ON MUSICAL FORM PROGRAM AND FACULTY
A. PLENARY SESSIONS
Opening Session: Situating Form in the Discipline of Music
Closing Session: Situating Form in the Classroom and Studio
B. SPECIAL PRESENTATION
Form and Performance Special Guest: Charles Rosen
Form (?) in Late 20th-Century Music Workshop Leader: Jonathan Bernard
Two 19th-Century Views of Form in Theory and Practice Workshop Leader: Scott Burnham
Exposition Structure in Beethoven's Piano Sonatas: A Form-Functional Approach Workshop Leader: William Caplin
Sonata Theory Workshop Leaders: Warren Darcy and James Hepokoski
Continuity vs. Articulation in 19th-Century Form Workshop Leader: Robert Morgan
Schenkerian and Processual Approaches to Form Workshop Leader: Janet Schmalfeldt
Each member of the Institute attends the two plenary sessions and special presentation, and enrolls in two of the six workshops for the entire Institute. E ach workshop requires prior reading and preparation, meets as a working group for three intensive 3-hour sessions under faculty direction, and is limited to 15 professional scholars who participate on an active and contributing basis. There is no enrollment fee, but selection is highly competitive. Communal meals, a reception, and a celebratory banquet are provided free of charge, and affordable housing is available.
Each member of the Institute enrolls in one morning workshop and one afternoon workshop for the entire event, as well as participating in the special plenary presentation and plenary roundtable discussions. A detailed description of each workshop is provided on the website. The Institute is based on sustained interactive dialogue; there are no formal "papers" like a conventional conference. Each workshop requires prior reading and preparation, meets as a collaborative working group for three intensive 3-hour sessions, and is limited to 15 dedicated scholars who are expected to contribute to a challenging level of academic discourse. There is no registration fee, but enrollment is limited and highly selective. Communal meals, a reception, and banquet are provided free of charge, and affordable housing is available.
Admission policies and criteria are stated on the website and all applications are reviewed by committee. Established scholars do not need extensive background in musical form and may qualify on the basis of achievement in other areas of scholarship; outstanding midlevel and junior scholars may qualify on the basis of demonstrated achievement in the particular subject of the Institute. The Institute values diversity, debate, multiple perspectives, and interdisciplinary exchange. Both theorists and musicologists are welcome, and outstanding international and minority scholars are especially urged to share in this unique and transformative experience in collaborative learning.
We invite you to join your colleagues at Mannes and share in this unique and transformative experience in collaborative learning. Kindly direct all inquiries to Wayne Alpern, Director, The Institute for Advanced Studies in Music Theory, at email@example.com.
Conference Announcement: Columbia University Graduate Student Conference in Music Scholarship
We are delighted to announce the official program for the 2004 Columbia University Graduate Student Conference in Music Scholarship. The program will feature student speakers representing three continents; abstracts of student papers are available on the conference website: http://music.columbia.edu/gsc2004
This event is sponsored by the Department of Music, GSAC, and GSAS of Columbia University. If you plan on attending, please register (free of charge) at firstname.lastname@example.org.
Schedule of Events
Friday, January 30, 2004
7:15 pm: Check-in
8:00 pm: Welcome Addresses by Professor Walter Frisch (Columbia University) and Conference Directors. Concert by Collegium Musicum, with Musical Director Ryan Dohoney
9:30 pm: Reception
Saturday, January 31, 2004
301 Philosophy Hall
9:00-9:30 am: Catered Breakfast
9:30-11:00, Panel I: Music and Reception Session Chair: Joshua Walden
"The Orchestra Machine, Timbre, and the New Listener in the 18th
Century" - Emily Dolan, Cornell University
"Baroque Music in Israel: First Adjustments and transformations in the New Land" - Maya Liberman-Weil, University of Tel Aviv
Caruso and His Cousins: Portraits of Italian Americans in the Operatic Novelty Songs of Edwards and Madden" - Larry Hamberlin, Brandeis University
11:30-1:00 pm, Panel II: Musical Performance and Practice Session Chair: Karen Hiles
"Authority, Literary Agency, and Musical Authorship in the Works of
Adam de la Halle" - Jesus Ramos Kittrell, University of Texas at Austin
"Performing Instrumental Transgression: Camille Saint-Saëns's Carnival of the Animals in the fin-de-siècle salon" - Erica Scheinberg, University of California at Los Angeles
"Powerful Voices: Performing and Interaction in Collegiate A Cappella" - Joshua Duchan, University of Michigan at Ann Arbor
1:00-2:00: Catered Lunch
2:00-3:00: Keynote Address: "Musical Writing" - Scott Burnham, Princeton University
3:30-5:30, Panel III: Musical Modernism and the Avant-Garde Session Chair: Christopher Doll
"Analyzing Poème Électronique as a Piece of Musical Multimedia"
- Hubert Ho, University of California at Berkeley
"A New Kind of Insanity: John Cage's Atlas Eclipticalis and the Challenges of Indeterminacy" - Edgardo Salinas, Columbia University
"Modern Attention and Modernist Aurality in Helmholtz and Varèse" - Benjamin Steege, Harvard University
"Listening in on the première of Pierre Boulez's Structures 1a" - Ben Parsons, St. Catherine's College, Oxford University
5:30 pm: Reception
Conference Announcement: Powering Up/Powering Down
TEKNIKA RADICA PRESENTS:
"POWERING UP/POWERING DOWN"
An International Festival of Radical Media Arts
January 30th - February 1st, 2004
Pushing boundaries of electronic media and technology, artists, writers, and musicians from around the world will gather on the University of California, San Diego campus on January 30th for Powering Up/Powering Down, a three-day festival of public concerts, panels and exhibits. Exploring the complex relationship between technology, gender and race, and economics, Powering Up/Powering Down will create a living laboratory where artists, performers, thinkers, students and the public will discuss innovative artwork, share skills and collaborate on new pieces. Juxtaposing various media and diverse approaches, the festival will create a space for conversation and co-creation between UC campuses, underground artists from California and Tijuana, and an extended international arts community; sparking a dialogue among international artists around the issues of social identity media arts.
For more information and registration go to http://teknikaradica.org or call 858/204-8558
Powering Up/Powering Down is sponsored by Teknika Radica with generous support from the University of California's Institute for Research in the Arts (UCIRA), UCSD's Department of Music, The California Cultures in Comparative Perspectives Initiative, UCSD Arts Libraries, and the Center for Research in Computing and the Arts (CRCA).
Conference Announcement: Sixth Conference of the Dutch Society for Music Theory
Sixth Conference of the Dutch Society for Music Theory
MUSIC THEORY AND INTERPRETATION
February 20-21, 2004
Faculty of Music,
Utrecht School of the Arts
3511 LL Utrecht
Friday, February 20, 2004
10.00h Opening / Welcome speeches
10.30h Session 1:
- Jurrien Sligter (Faculty of Music, Utrecht School of the Arts, NL): "Het Begrip Topos en Interpretatie" ["The Concept of 'Topos' and Interpretation"; in Dutch]
- Poundie Burstein (Hunter College and the Graduate Center, City University of New York, USA): "Ambiguity, Ontology, and Interpretation in Beethoven's Op. 18, No. 2"
12.00h Session 2:
- Madeleine Mitchell (Royal College of Music, London, GB): "Music Theory and Interpretation" - Zelia Chueke (Observatoire Musical Français, Paris IV Sorbonne, FR): "Reading Music: A Listening Process, Breaking the Barriers of Notation"
14.00h Clemens Kemme (Amsterdam School of Music/Faculty of Music, Utrecht School of the Arts, NL): "Analyse en Uitvoering: Literatuur en Toepassing" ["Analysis and Interpretation: Literature and Application"; in Dutch]
14.30h Keynote address
Janet Schmalfeldt (Tufts University, Medford, Massachusetts, USA): "Music that Turns Inward: New Roles for Interior Movements and Secondary Themes in the Early Nineteenth Century"
17.15h - 17.45h Session 3
Edith Metzner en John Leigh (Hochschule für Musik 'Carl Maria von Weber', Dresden, GER): "Schubert's Wegweiser: a Music-Theoretical Collage"
Saturday, February 21, 2004
9.00h General Meeting of the Dutch Society for Music Theory
10.00h Session 4
Paul Scheepers (Amsterdam School of Music/Royal Conservatoire, The Hague, NL), Johannes Leertouwer (Amsterdam School of Music, NL) en Hans-Ulrich Kretschmer (Royal Conservatoire, The Hague, NL): "Schenker en uitvoeringspraktijk: (a) Johann Sebastian Bachs sonates en partitas voor viool solo; (b) de doorwerking van het eerste deel uit Beethovens Derde Symfonie 'Eroïca'" ["Schenker Theory and Performance Practice: (a) Johann Sebastian Bach's Sonatas and Partitas for Solo Violin; (b) The Development Section from Beethoven's Third Symphony, 'Eroïca'"; in Dutch]
11.45h Session 5
- Hazel leach (Conservatoire of Arnhem, NL): "The Structural Role of Improvisation in Jazz Composition: Bob Brookmeyer's 'Hello and Goodbye'"
- Edward D. Latham (Esther Boyer College of Music, Temple University, Philadelphia, USA): "Working from 8 to 5: Interpreting the Interrupted 8-Line in American Song"
- Ross Feller (Georgia College & State University of Milledgeville, Georgia, USA): "Involuntary Grimace: A Semiotic Morphology of Facial Gesticulation in Jazz Improvisation"
14.15h Session 6
- Ildar Khannakov (Oklahama City University, USA): "Interpretation and Performance as Constituents of Methodology of Analysis at the Moscow Conservatory in the 1970s and '80s"
- Eric Wen (Curtis Institute of Music, Philadelphia, USA): "Beethoven's Meditation on Death: The Funeral March of the 'Eroica' Symphony"
- Pieter Bergé (Katholieke Universiteit Leuven, BE): "Parameters, perspectief en interpretatie: een progressieve blik op Schuberts Sonate in G (D. 894)" ["Parameters, Perspective and Interpretation: A Progressive View of Schubert's Sonata in G (D. 894)"; in Dutch]
15.45h -16.45h Round Table
"Theorie en praktijk: praktisch bekeken" ["Theory and Practice: Practically Speaking"]
(Please note that this program may be subject to change)
TRAVELING TO UTRECHT
Utrecht is situated 40 km south-east from Amsterdam. It is easily accessible by rail from Schiphol International Airport (approximately 40 minutes): take the train to Duivendrecht, and change there for Utrecht Central Station. Furthermore there are frequent train services to Utrecht from all parts of The Netherlands. Several trains from Germany stop in Utrecht, too.
It is a 10-minutes walk from Utrecht Central Station to the Faculty of Music building, where the conference will be held.
HOTELS IN UTRECHT:
3572 JH Utrecht
Tel. +31 (0)30 2716303
3533 KC Utrecht
Tel. +31 (0)30 2910366
Tulip Inn Utrecht Centre***
3512 BL Utrecht
Tel. +31 (0)30 2313169
3581 SL Utrecht
Tel. +31 (0)30 2316424
3573 PT Utrecht
Tel. +31 (0)30 2715824
For information and registration, please contact:
Vereniging voor Muziektheorie
1070 LP Amsterdam
tel/fax +31 (0)20 6632073
2004 ARSC-SAM Conference
The 2004 ARSC-SAM Conference will be held in Cleveland, Ohio, from Wednesday,
March 10th through Sunday, March 14th.
The Association for Recorded Sound Collections (ARSC) and the Society for American Music (SAM) have joined forces to produce a truly remarkable gathering, on America's "North Coast." More than 130 papers, presentations, panels, and performances will be given.
Current members of ARSC or SAM will automatically receive a twelve-page conference brochure, in the postal mail. To get a head start on your planning, you can download the entire document now, if you have Adobe Acrobat Reader installed on your PC. To view the brochure, simply go to http://www.american-music.org/ and click on the PDF link. Make your travel plans now!
Please note that ARSC and SAM sessions will continue through Sunday morning, so plan your departure accordingly. If flying, allow at least two hours to get from the conference hotel to your gate at the airport. (A 4:00 p.m. or later flight should allow plenty of time.)
This first-ever joint ARSC-SAM Conference features a stellar lineup of sessions and events. Join with fellow archivists, librarians, collectors, musicians, engineers, students and scholars in celebrating our musical heritage -- past, present, and future!
Program highlights include three joint ARSC-SAM sessions: "Music Downloading and File Swapping: Differing Views"; "Recording the History of Folk and Traditional Music"; and "Collections and Archiving." All registrants may freely attend any ARSC or SAM session, regardless of membership in one organization or the other.
ARSC's Education and Training Committee will present a pre-conference workshop "Topics in Oral History and Music Field Recordings," on March 10th, from 9:00 a.m. to 4:45 p.m.
Everyone registered for the conference is invited to a Welcome Reception in the Ambassador Ballroom of the Renaissance Cleveland Hotel, from 8:00 to 10:00 p.m., Wednesday evening.
Following the Thursday sessions, we have a little treat in store. Normally, it costs $20 to tour the Rock and Roll Hall of Fame and Museum -- located on the shore of Lake Erie, about one mile from the Renaissance hotel. However, thanks to the kind generosity of the Rock Hall management, we will enjoy free, private, after-hours access to the landmark building and all exhibits, including an open discussion with senior curatorial and educational staff. Bus transport will be provided, at no extra charge.
On Friday afternoon, another no-charge bus excursion will take conference attendees to University Circle -- the campus of Case Western Reserve University. A special session there will focus on the Cleveland Orchestra. Those wishing to sightsee can spend the afternoon exploring such world-class cultural institutions as the Cleveland Museum of Art, the Western Reserve Historical Society and Crawford Auto-Aviation Museum, the Cleveland Botanical Garden, the Cleveland Museum of Natural History, and the Cleveland Institute of Music. The afternoon will be capped by a reception hosted by the Case Department of Music. Buses will return to the conference hotel in time for "A Celebration of Music from Cleveland" -- a rare Friday-evening ARSC session.
The Saturday-evening joint reception and gala banquet will be memorable events, with the SAM Brass Band providing reception entertainment (ARSC folks and other musicians are invited to join in).
Please note that the cutoff date for discounted Early Registration and hotel reservations is Monday, February 9, 2004. Don't procrastinate! As an effort to reach potential new members in nearby communities, we offer a special one-day registration for non-members.
Detailed Conference Web Pages will be up soon, accessible from either http://arsc-audio.org/ or http://www.american-music.org/
Ad Parnassum 1/2
In November 2003 the second issue of Ad Parnassum: A Journal of 18th- and 19th-Century Instrumental Music is going to be delivered (www.adparnassum.org). The second issue of the journal will include the following articles:
Roberto De Caro, Editorial 5
MARY SUE MORROW: Alan Peter Brown 172
Forthcoming Conferences 173
Call for Papers 177
Books Received 180
Index of Names 184
Ad Parnassum is published in April and October by Ut Orpheus Edizioni.
Proposals for articles in English, French, German, Italian and Spanish
should be addressed to:
Dr Roberto Illiano email@example.com
Dr Luca Sala firstname.lastname@example.org
Dr Massimiliano Sala email@example.com
Books and editions of new music to be considered for reviews should be
via Bertesi 10
For subsciptions and rates, please see our website: http://www.adparnassum.org
A Journal on Eighteenthand Nineteenth-Century Instrumental Music
Editor-in-Chief: Roberto De Caro, Bologna
Psychology of Music 31/4
Psychology of Music
Volume 31 Issue 04 - Publication Date: 1 October 2003
FOR FULL ABSTRACTS - http://www.sagepub.co.uk/JournalIssue.aspx?pid=105744&jiid=506476
An EARLIER sample issue of the journal is available free on the sage website at http://www.sagepub.co.uk/journal.aspx?pid=105744
CALL FOR PAPERS
We invite submissions for a special issue, FOLK DANCES, of a peer viewed periodical „Folklor/Edebiyat‰ (Folklore/Literature), which has been published quarterly since 10 years covering the subjects such as folklore, communication, anthropology, music, history, literature. If you would like us to consider your paper for publication, please send the copies by e-mail until 15 March 2004. Papers should be written in English or Turkish, double-spaced, 15 page maximum.
Belma KURTISOGL firstname.lastname@example.org,
Nihal ÖTKEN email@example.com
1. For the books;
a) The surname, name of the author,
b) The title of the book,
c) Publication place, date, page number.
a) Surname, name of the author,
b) Title of the article,
c) Title of the publication,
d) Publication date, volume, issue, page number
3. Not published Works;
a) The name of the institute, where the dissertation can be found.
b) The name and address of the library, where the report or manuscript can be
Indiana Theory Review
Call for Papers: Music Theory and Performance
Indiana Theory Review wishes to announce a special issue titled "Music Theory and Performance." We welcome articles concerning the study of music as performance, particularly those connecting music theory and analysis to performance. Topics involving performance and meaning, issues of interpretation, gesture and embodiment, performance traditions, historical performance practice, recorded media, or performers and text are especially encouraged. Submissions received by January 15, 2004 will receive first priority.
Guidelines for contributors are available from http://theory.music.indiana.edu/gta/ITR/itr-cont.htm.
Please direct any questions regarding this special call to firstname.lastname@example.org.
Indiana Theory Review accepts articles on all aspects of music theory and analysis on a continuing basis. Indiana Theory Review is a semi-annual journal published by the Graduate Theory Association of the Indiana University School of Music. All submissions are subject to blind review by members of the editorial board.
Journal of Musicology 20, no. 1
The Journal of Musicology is pleased to announce the publication of
Volume 20, no 1.
Don Fader, "The Honnête homme as Music Critic: Taste, Rhetoric, and Politesse
in the 17th-Century French Reception of Italian Music"
David J. Burn, "What Did Isaac Write for Constance?"
David Brodbeck, "On Some Enigmas Surrounding a Riddle Canon by Brahms"
David Carson Berry, "Hans Weisse and the Dawn of American Schenkerism"
Abstracts are available at www.journalofmusicology.org.
The Journal of Musicology invites written communications from its readers about essays in recent issues, which will be published on the Journal's Web pages together with responses from authors and other readers.
Communications should be of reasonable length (preferably short), must be aimed directly at the topic of a specific article, and will be subject to editing in consultation with its writer. The original author of the article in question will be invited to respond before a communication is published.
Please send communications by e-mail to email@example.com
The Journal welcomes articles in all areas of musical scholarship, including history, criticism, analysis, performance practice, and archival research. Submissions should be sent in electronic form (with an abstract and complete contact information) to firstname.lastname@example.org or to Journal of Musicology Submissions Office, c/o D. Melamed, School of Music, Indiana University, Bloomington, IN 47405. Instructions are available at www.journalofmusicology.org.
John Nádas, Editor
Floyd Grave and Daniel R. Melamed, Associate Editors
SMT Subvention Grants
Publication subventions are available from the Society for Music Theory and
will be awarded on a competitive basis to any member in good standing.
Awards are intended to reimburse authors for out-of-pocket expenses associated with the preparation and publishing of any article or book in the field of music theory that has been accepted for publication.
Applications must include five copies of the following five items:
1. A cover letter requesting a publication subvention. Please include all contact information.
2. A short abstract (approx. 1000 words) describing the work to be published and its contribution to the field of music theory.
3. A copy of the article in question, or in the case of a book, drafts of one or two representative chapters.
4. A letter to the author from the publisher or journal editor, confirming acceptance of the publication, and informing the author about expenses that the publisher or journal will not cover.
5. A detailed explanation of the expenses to which the grant would be applied. Where possible, documentation itemizing these expenses should be included.
Applicants may request funding up to $1,500. The deadline for the next competition is a postmarked date of March 15. The evaluating subcommittee is chaired by the Society¹s vice president, Harald Krebs. The other members are Martha Hyde of the Publications Committee, Judy Lochhead of the Society¹s Executive Board, Michael Cherlin, and David Temperley.
Applications for the spring round should be sent to:
Society for Music Theory
405 Thornwood Drive
Chapel Hill, NC 27517
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