Volume 10, Number 3, September 2004
Copyright � 2004 Society for Music Theory
Calls for Papers
International Conference: Eduard Tubin 100
HOST: Estonian Academy of Music, International Eduard Tubin Society
DATE: June 15-18, 2005
This is the first announcement and call for papers for an international conference devoted to Eduard Tubin, to be held in Tallinn, June 15-18, 2005, organized by the Estonian Academy of Music in collaboration with the International Eduard Tubin Society. The conference is dedicated to the 100th anniversary of the birth of an important 20th-century composer of symphonic music.
Tubin was born in a small Estonian village at Lake Peipus in 1905 and was active as a composer and conductor in Estonia until 1944; he lived almost half of his life in Sweden and died in Stockholm in 1982. Tubin�s artistic career was long and productive. His output includes ten symphonies, two operas, the ballet �Kratt,� numerous chamber works, as well as solo and choral songs. His music began to achieve broad international recognition only after his death, although recently his name has been absent from several of the most distinguished reference works and summaries of 20th-century music. Today, thanks in large part to live performances and numerous recordings, his works have reached a wide international audience and have been received with new interest and acclaim.
The main topics of the conference are the life and works of Eduard Tubin, including stylistic and formal analysis of his compositions and their place in the history of 20th-century music, as well as manuscript studies, reception and performance studies, and the contexts of musical nationalism and politics. The language of the conference will be English. Musical scholars and Tubin enthusiasts from all countries are encouraged to attend the conference, either as presenters of papers (limited to 30 minutes, plus ten minutes for discussion) or as passive participants.
The deadline for submitting proposals for papers is February 28, 2005; an abstract (one page, maximum of 500 words) and a short curriculum vitae (half a page, about 200 words) should be sent to the organizing committee at the Estonian Academy of Music (e-mail: firstname.lastname@example.org). Presenters will be notified of the acceptance of their papers by the end of March, 2005.
The conference will coincide with the international music festival �Eduard Tubin and his Era.� On June 18, all participants are invited to an excursion to the composer�s birthplace (about 200 km south of Tallinn) and to Tartu, where Tubin studied and worked from 1920 to 1944.
For more information about Eduard Tubin, please consult the web page http://www.emic.kul.ee/tubin/
REGISTRATION DEADLINE: February 28, 2005
PAPER/PROPOSAL DEADLINE: February 28, 2005
COST AND PAYMENT OPTIONS:
There is no participation fee for the conference.
TRAVEL AND HOTEL INFORMATION:
The Estonian Academy of Music will provide accommodations for all active participants. Travel costs will not be covered.
Professor Margus P�rtlas
Estonian Academy of Music
R�vala pst 16
tel (372) 667 5702, fax (372) 667 5800
Dublin International Conference on Music Analysis
University College Dublin, Ireland 23rd-25th June 2005
Call for Papers
The Dublin International Conference on Music Analysis will be held in University College Dublin, Ireland, from 23rd to 25th June 2005. The conference will be hosted by the Department of Music, University College Dublin, in association with the School of Music at Trinity College Dublin, the Society for Musicology in Ireland, and the Society for Music Analysis.
Keynote addresses will be given by Carl Schachter (Distinguished Professor Emeritus of Queens College and the Graduate Center of the City University of New York) and Nicolas Mee�s (Directeur, UFR de Musique et Musicologie, Universit� de Paris Sorbonne).
The Programme Committee invites proposals for individual papers and panel sessions on any topic relating to music analysis. Proposals in the following subject areas are particularly welcome:
Proposals for individual presentations should be in the form of an abstract of 500-700 words and should contain a clear outline of the paper�s aims and subject matter, a description of its research findings, and an assessment of its contribution and significance to scholarship. Proposals for panel sessions should include an abstract of 500 words demonstrating the rationale for the session, as well as an abstract for each paper conforming to the above guidelines. All papers will be limited to 30 minutes' duration.
Proposals should be submitted by e-mail to both Julian Horton (email@example.com) and �ine Heneghan (firstname.lastname@example.org). Attachments (in Word) are preferred for the text of abstracts; please include a plain-text version in the body of the e-mail. All proposals will be acknowledged.
Deadline for proposals: Friday, 10th December 2004
Conference organisers: Julian Horton (University College Dublin) and �ine Heneghan (Trinity College, Dublin).
The full programme will be announced by February 2005.
Columbia Music Scholarship Conference
Call for Papers
The second annual Columbia Music Scholarship Conference will take place on January 29, 2005 at Columbia University. We invite paper proposals pertaining especially to the theme of the 2005 conference, Music and Conflict; we will also consider proposals on any topic pertaining to ethnomusicology, historical musicology, or music theory. Below are some possible approaches to the conference theme:
We invite proposals for 20-minute presentations from any graduate student engaged in musical research. Submissions should include:
Proposals may be submitted either electronically (PDF or
Word document) to email@example.com or as
paper copy by post to:
The Columbia Music Scholarship Conference Department of Music
621 Dodge Hall
New York, NY 10027
Submissions must be received by October 31, 2004. Authors will be notified in November of our decision. For further information, please e-mail us at firstname.lastname@example.org or visit www.columbia.edu/cu/cmsc.
Pedagogy Interest Group of the Society for Music Theory
Call for Papers, August 30, 2004
Interacting Interpretive Roles--Performer and Analyst
The Pedagogy Interest Group of the Society for Music Theory will propose a special session for the 2005 SMT meeting (Boston, November 10-13, 2005) that explores relations between preparing performances and developing analyses.
A special feature of the session will be the availability of student performers from the two host institutions, Boston University and New England Conservatory, to illustrate presenters' approaches. Presenters are welcome to draw upon these or to provide their own performers. Five presentations will be made at the session, followed by audience questions and discussion.
Interested individuals are invited to submit proposals that conform to the specifications below. Proposals will be read blindly and selected by a committee consisting of Clemens Kemme (Conservatorium van Amsterdam), Diane Luchese (Towson University), Glen T. Wegge (Luther College), and Gerald Zaritzky (New England Conservatory; committee chair).
Maximum length is three double-spaced pages for the proposal, excluding illustrations, and one additional page for a required abstract of approximately 200 words.
Questions for the committee may be addressed to
The committee is interested in choosing papers that discuss approaches which are innovative, distinctive, and proven to be successful. If fewer than five appropriate proposals are submitted, the committee reserves the right to alter the session format shown above. The following are some possible topics, but the list is not exclusive:
The Use of Performance Coaching in Teaching Form
The Use of Reductive Analysis to Shape Performance
Developing Musical Analyses through Performance Coaching
Form Pedagogy as a Tool for Enhancing Performance
Improvisation and Re-composition as Tools for Analysis
Connecting Analysis and Performance Pedagogies
Performance Preparation: Goal or Source for Theoretical Studies?
Music Theory Society of New York State
33rd Annual Meeting
Baruch College, CUNY New York, NY
9-10 April 2005
Call for Papers
The Program Committee for the 2005 meeting of the Music Theory Society of New York State (MTSNYS) invites proposals for papers and presentations on any topic related to music theory. Areas of particular interest includes:
Papers given at national conferences or previously published will not be considered. Any number of proposals may be submitted by an individual, but no more than one will be accepted. Most papers will be placed in 45-minute slots, with about 30 minutes for reading and 15 minutes for possible response or discussion.
Paper submission should include:
We will also consider proposals for panels as well as non-conventional presentation formats. The submission requirements for panel and non-conventional formats are the same as above, except that in such cases the proposals need not be anonymous.
Proposals should be sent to:
Steven Laitz, Program Chair
Eastman School of Music
26 Gibbs Street
Rochester, NY 14604
POSTMARK DEADLINE IS 1 OCTOBER 2004
Members of the 2005 Program Committee are Steven Laitz (Chair), Poundie Burstein (ex officio, Hunter College and the Graduate Center, CUNY); Martha Hyde (University of Buffalo, SUNY); Eric McKee (Pennsylvania State University); Rebecca Jemian (Ithaca College); and Alexandra Vocjic (Julliard).
New England Conference of Music Theorists
New England Conference of Music Theorists
CALL FOR PAPERS
Twentieth Annual Meeting
April 1-2, 2005
University of Massachusetts
David Kopp (Boston University), Chair
Stefan Kostka (University of Texas, emeritus) Akane Mori (The Hartt School of Music) Richard Bass (University of Connecticut), ex officio
Proposal deadline: November 1, 2004 (postmark)
Sessions provide 30 minutes for presentation and 10 minutes for discussion of each paper. All who wish to propose papers should send four copies of a three- to five-page proposal and one copy of an abstract suitable for publication, by November 1, 2004, to the following address:
Margaret Thomas, NECMT Secretary
Music Department, Box 5612
270 Mohegan Ave.
New London, CT 06320-4196
Proposals on any music-theoretical or analytical topic are welcome. Proposals are read blind; they should contain no identification of the author. With your proposal and abstract copies, please include a cover letter giving your name, address, phone, email, affiliation, the title of your proposal, and any special equipment or arrangements required. You may be asked to submit a copy of your abstract electronically or on floppy disk. For more information, contact Margaret Thomas at:
Conference on Interdisciplinary Musicology
Preliminary Call for Papers
Conference on Interdisciplinary Musicology 2005 CIM05
Timbre in composition, performance, perception and reception of music
Observatoire international de la cr�ation musicale (OICM),
Facult� de musique, Universit� de Montr�al
10-12 March 2005
The Conference on Interdisciplinary Musicology is a forum for constructive interaction among all musicologically relevant disciplines, including acoustics, computing, cultural studies, education, ethnology, history, linguistics, performance, physiology, psychology, sociology, and theory/analysis. CIM especially promotes collaborations between sciences and humanities, between theory and practice, and interdisciplinary combinations that are new, unusual, creative, or otherwise especially promising.
The first Conference on Interdisciplinary Musicology (CIM04) was held in Graz/Austria, 15-18 April 2004 (http://gewi.uni-graz.at/~cim04/). CIM04 was open to all musical research questions; it was hosted by the European Society for the Cognitive Sciences of Music (ESCOM) and the Department of Musicology, University of Graz and endorsed by 24 participating societies.
The second (CIM05) will be held in Montreal/Canada, 10-12 March 2005. CIM05 will focus on the theme of timbre, and will be hosted by the Observatoire international de la cr�ation musicale (OICM) and the Faculty of music at University of Montr�al.
Timbre plays an important role in musical theory and practice, but it is a complex notion that is still difficult to define and study. CIM05 will promote interaction between timbre researchers from a wide range of different disciplines. It will explore questions along three thematic axes:
1. Timbre in composition
� Timbre and orchestration;
� Timbre in 20th-century and contemporary music;
� Timbre and spectral music;
� Timbre and recording, processing and synthesis of sound.
2. Timbre in performance expression
� Gestural control of timbre by instrumentalists and vocalists;
� Timbre and the communication of emotions;
� Timbre in ethnomusicological analysis;
� Persona : vocal characters in popular music;
� Music and paralanguage;
� Analogies between vocal timbre, instrumental timbre and everyday, non-musical sounds;
� Vocal imitation.
3. Timbre in perception and reception of music
� Timbre and musical semiology/semiotics;
� Acoustical correlates of perceptual dimensions of timbre;
� Qualitative versus quantative research on timbre perception;
� Verbal descriptors of timbre;
� Timbre and music information retrieval;
� Timbre and the response of audience, critics and artists to new music.
Presentation of submissions
Abstracts should be structured with the following seven headings:
1. Background in (first discipline),
2. Background in (second discipline),
4. Main contribution,
5. Implications for musical practice,
6. Implications for musicological interdisciplinarity,
The first and second disciplines should preferably be selected from those listed in the first paragraph of this call (e.g., Background in history, Background in acoustics). Each submitted abstract should be followed by a short biography ("bio") of each author (or of the first two authors, if there are more than two). The whole file should not exceed 900 words, including all headings, name(s) of author(s), their affiliations and email addresses, the reference list and biography. The submission should also indicate the format of presentation, either a talk or a poster.
Abstracts should be submitted in French or English (the language chosen for presentation at the conference) by email, either as plain text or in an attached document (Word format preferred), to the CIM05 academic assistant <email@example.com>.
The abstracts will be reviewed anonymously by a panel of international experts.
A CIM05 conference website is in preparation. In the mean time, please visit the CIM04 web site at : http://gewi.uni-graz.at/~cim04/
Abstract submission deadline : September 15, 2004.
Caroline Traube (Universit� de Montr�al), <firstname.lastname@example.org>,
Serge Lacasse (Universit� Laval), <email@example.com>,
Florida State University Music Theory Society
CALL FOR PAPERS
Florida State University Music Theory Society http://otto.cmr.fsu.edu/~theory/MTS/
22nd Annual Forum
January 15, 2005
Florida State University, Tallahassee
Keynote Speaker: Prof. Gary Karpinski (University of Massachusetts)
Paper proposals are solicited on any topic related to music theory. 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 and institutional affiliation, address, phone number, e-mail address, and a list of technical requirements for presenting the paper. Electronic submissions will be accepted by email (Word or PDF files ONLY).
All submissions must be RECEIVED BY November 23rd.
Submit by email to:
Submit by mail to:
Beth Smith & Kathy Biddick, co-chairs
FSU Theory Forum
School of Music
Florida State University
Tallahassee, FL 32306-2098
Popular Music and Society
Call for Papers
Popular Music and Society
Special Issue on Jazz
Jazz, an American art form of enormous importance, has exhibited notable swings in popularity and marked changes in style throughout its history. Consideration will be given to a wide range of papers that explore the relationship between jazz and society, including (but not limited to) racial and gender issues in the past and/or the present. Submissions might deal with these issues in any jazz style period or examine current trends such as the lack of any dominant new style, the splintering of styles, or the borrowing of older styles in new works. A broad spectrum of viewpoints is welcomed.
The deadline to submit papers is June 30, 2005.
To submit a manuscript, send four hard copies plus an electronic version in a Word file with the author identified only on the initial title page. Please send manuscript plus cover letter to:
Dr. Garth Alper
School of Music
PO Box 41207
University of Louisiana, Lafayette
Lafayette, LA 70504-1207
Tel: (337) 482-6018
Fax: (337) 482-5017
Music Theory Southeast
Call for Papers
Music Theory Southeast Annual Meeting
March 4-5, 2005
University of Miami, Miami, FL
Submission Deadline for Proposals: December 1, 2004
Music Theory Southeast will hold its annual meeting March 4-5 at the University of Miami in Miami, FL. Joseph Straus will give the keynote address. Proposals for papers, special sessions, or panel discussions are solicited on any topic related to music theory. Submissions for papers should include an anonymous proposal 3-4 pages in length, anonymous abstract of 250-300 words, and a cover letter providing the title of the proposal, the author's name, address, institutional affiliation, e-mail address, phone number, and any special equipment needs. Proposals will be evaluated for cogency of argument, originality of ideas and potential for effective oral presentation. An award will be presented for the best student paper/presentation at the 2005 meeting. Interested students should identify themselves in the
> cover letter and submit one copy of the complete 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. Electronic submissions (in PDF or Word format) are especially encouraged.
Electronic submissions must be sent no later than December 1, 2004 to
Paper submissions must include six copies of the proposal and be postmarked no later than December 1, 2004. Send paper submissions to
Adam Ricci, MTSE 2005 Program Chair, School of Music, P.O. Box 26170, UNC-Greensboro, Greensboro, NC 27402-6170.
Music and Literature II
Music and Literature II
20 November 2004, 10:30am-5pm
Institute for Advanced Studies in the Humanities
University of Edinburgh, Hope Park Square
Convened by Peter Dayan and Beate Perrey
A second Study Day devoted to current trends at the music/literature interface as part of the project "New Languages for Criticism: Cross-currents and Resistances" at the Centre for Research in the Arts, Social Sciences and Humanities, University of Cambridge.
At the first Music and Literature Study Day in Cambridge, on 7 May 2004, the discussion centred on the question of what happens when one evaluates music by attributing to it the kinds of meaning normally formulated in words, say in literature or poetry. This second Study Day aims to bring into focus the converse question: what happens when literature is evaluated by attributing to it the kinds of meaning normally associated with music, rather than words? This, of course, invites us to consider what those kinds of meaning might be.
10.30 - 11 am: coffee
11 am - 1 pm:
Beate Perrey (ENS, Paris and Liverpool): Moments musicaux in Adorno's writing
Janina Klassen (Musikhochschule Freiburg): Title to be confirmed
David Evans (St Andrews): What might "music" mean? A perspective from the French 19th century.
Mary Breatnach (Edinburgh): The key to the sanctuary: Berlioz and musical criticism
1 - 2 pm: lunch
2 - 3.30 pm:
Jean Khalfa (Cambridge), TBC: Meaning and Autoreferentiality in Music
Angela Leighton (Hull): The conditions of music in Pater
3.30 - 4 pm: tea
4 - 5 pm:
Emma Sutton (St Andrews): Woolf's musical prose
Gillian Beer (Cambridge): George Eliot's musical allusions and Spencer's ideas on the meaning and origins of music
5 pm: wine
IASH is kindly providing coffee, lunch, tea, and wine. Afterwards, you are invited to Mary Breatnach's flat, which is at 4 Marchmont Street, across the Meadows from Hope Park Square (about fifteen minutes' walk). Her telephone number: 0131 228 1497.
The IASH premises in Hope Park Square are near the main University buildings, but not very easy to find. Hope Park Square is off Meadow Lane, between the Meadows and Buccleuch Place. A map is available on the IASH web site:
The conference room is on the first floor.
The telephone number of IASH is 0131 650 4671.
The local organiser in Edinburgh is Peter Dayan, e-mail: firstname.lastname@example.org, phone 0131 650 8424 or 0131 667 4821. If you would like him to book accommodation for you, for the Friday or Saturday night, please let him know as soon as possible.
International Association for the Study of Popular Music
The annual meeting of the International Association for the Study of Popular
Music, US Branch (IASPM-US) takes place at the University of Virginia, in
Charlottesville VA, October 14 - 17, 2004. For information, please check the web
The site presently includes the program, travel and hotel information, and - just added - a registration form. Registration fees are higher after October 1. Still to come: details of a festival of African popular music on the same weekend as the conference.
Department of Music
University of Virginia
The last issue of Musurgia, X/3-4 (2003), devoted to the theory of Harmonic vectors, was just published. It includes the following papers:
Abstracts (in English) are available on the journal's web pages, http://musurgia.free.fr
Twentieth-Century Music vol. 1 no. 1
Acoustical Arts and Artifacts/Technology Aesthetics Communication
I am pleased to announce the launch the new journal "AAA/TAC - Acoustical Arts and Artifacts/Technology Aesthetics Communication", published in Italy by the Giorgio Cini Foundation and Istituti Editoriali e Poligrafici Internazionali, and edited by Giovanni Morelli.
You may find details at
http://www.libraweb.net/promoriv.php?chiave=31 or go directly to a pdf
Universit� di Venezia Ca' Foscari
The Wesleyan University Music Department is pleased to announce the launching
of its Virtual Instrument Museum, a unique and innovative website showcasing
over 100 instruments from our World Musical Instrument Collection. Video and
audio demonstrations feature Wesleyan faculty soloists, including Abraham
Adzenyah, Neely Bruce, David Nelson, and Sumarsam, as well as undergraduate and
graduate students. Extensive accompanying texts were written by members of the
We invite all to visit the site, which we hope will be of use to a broad public interested in music. This first version has been in progress for one year and is frequently updated. We welcome suggestions and corrections, although please bear with us as we continue to proofread, add media, and gradually implement version two this year, which will include ensemble examples and more user-friendly mapping capabilities.
Wesleyan Virtual Instrument Museum:
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