Volume 10, Number 4, December 2004
Copyright � 2004 Society for Music Theory

Announcements

Calls for Papers

• Canons and Canonic Techniques, 14th-16th Century
• International Symposium Iannis Xenakis
• New Interfaces for Musical Expression
• Music Research Forum
• EMS International Conference
• CUNY Graduate Students in Music Conference
• Feminist Theory and Music
• McGill Graduate Student Symposium
• The Society for Music Theory-Music Cognition Group

Conference Announcements

• International Orpheus Academy for Music Theory
• Workshop in Algorithmic Computer Music
• Mannes Institute: Institute on Rhythm and Temporality

Journal-Related Announcements

• Theoria 11

Other Announcements

• Web Site for the Music Theory Society of the Mid-Atlantic
• AMEB Music Theory/Aural Curriculum Developers Search
• SMT Support Grant for Special Conferences and Workshops
   

Canons and Canonic Techniques, 14th-16th Century

CALL FOR PAPERS
"Canons and Canonic Techniques, 14th-16th Century"
Leuven, 4-6 October 2005
 
 The Department of Musicology at the Katholieke Universiteit Leuven (Belgium) is pleased to announce the international conference "Canons and Canonic Techniques, 14th-16th Century", organised in association with the Flanders Festival Flemish Brabant. The symposium will take place at the Faculty of Arts, 4-6 October 2005.
 
It is the first time that a conference will be entirely devoted to canons from the Middle Ages and the Renaissance. This type of musical composition, which can be considered as the summit of technical perfection, has inspired many composers to create real musical monuments of their time: one need think only of Guillaume de Machaut�s rondeau "Ma fin est mon commencement" and Johannes Ockeghem�s vertiginous "Missa Prolationum" to understand to huge impact and role of canons for the history of Western music.
 
Sessions are expected to develop the following themes:

• discussions of canons and canonic techniques in theoretical treatises from the Middle Ages and the Renaissance
• (contextual) analyses of individual pieces and/or collections of canons (e.g. "Motetti novi e chanzoni franciose a quattro sopra doi", Venice 1520)
• the theological, literary and historical background and meaning of enigmatic canonic inscriptions
• aesthetic considerations: the ambiguous reception of (puzzle) canons in theoretical treatises (summit of technical perfection or artificial "ostentatio ingenii"?), the inherent written/visual character of canonic pieces and the implications for the listener
• we also welcome one or two sessions on the reception of Medieval and Renaissance canons in compositions and theoretical treatises from the 17th to 20th century
  

International Symposium Iannis Xenakis

INTERNATIONAL SYMPOSIUM IANNIS XENAKIS

Athens, 18-20th May 2005

University of Athens, Music Department
University of Montpellier 3 (Institut Universitaire de France)

Iannis Xenakis is one of the most original creators of the 20th century. Musical works such as Metastaseis, Concret PH, Terretektorh, Psappha or Horos opened a totally new sound universe. His thinking, both musical as well as theoretical, about the art of sounds and its relationship to the world, overturned all previous convictions. His relationship to the sciences and technology defined new artistic concepts and practices. His interdisciplinary artistic practice made him one of the foremost pioneers in multimedia art. It is why his work opens up a golden path for the arts of today and tomorrow.

New research on Xenakis is beginning to flourish. In January 1998, a first international symposium (organized in Paris by the Centre de documentation de la musique contemporaine) hosted 25 specialists from 7 countries. Seven years later, this symposium, organized by the Music department of the University of Athens in collaboration with the University of Montpellier 3 (Institut Universitaire de France) and with support from the Greek Ministry of Culture, will take place in Athens, from the May 18th to 20th 2005.

This symposium intends to attract researchers from all countries in order to share their experiences and knowledge, their methods and thoughts, and to promote Xenakis's work among young musicians and musicologists, teachers, as well as to the public at large.

Symposium topics:
- New interpretations of Xenakis's theories
- Xenakis and the sciences
- Xenakis and technology
- Analysis of Xenakis's works
- Xenakis and sound
- Aesthetics of Xenakis's music
- Xenakis and history
- Reception of Xenakis's music
- Xenakis's Polytopes and architectural creations These topics are merely suggestions. All proposals will be examined by the scientific committee

Official languages:
Greek, English, French.

Concerts:
Concerts of Xenakis's chamber music and electronic music will be held during the symposium.

Organising committee:
University of Athens: Anastasia Georgaki, Charalambos Spyridis, Georgos Zervos University of Montpellier 3 (Institut Universitaire de France): Makis Solomos

Scientific committee:
Anne-Sylvie Barthel-Calvet (France), Agostino Di Scipio (Italy), Anastasia Georgaki (Greece), Beno�t Gibson (Portugal, Canada), James Harley (USA, Canada), Peter Hoffmann (Germany), Mihu Iliescu (France), Sharon Kanach (France, USA), Makis Solomos (France, Greece), Charalambos Spyridis (Greece), Ronald Squibbs (USA), Georgos Zervos (Greece).

Honorary committee:
Kostas Filinis, Rudolf Frisius, Fran�ois-Bernard M�che, Fran�oise Xenakis, M�khi Xenakis.

Proposals of papers:
Proposals of papers should include an abstract of 300 words and a short CV. They should be sent before the 10th February 2005 to:
Makis.Solomos@univ-montp3.fr
georgaki@music.uoa.gr
Anyone whose proposal is accepted hereby agrees to submit his written paper before the 20th April 2005.

New Interfaces for Musical Expression

International Conference on
New Interfaces for Musical Expression
Vancouver, Canada
May 26-28, 2005
http://hct.ece.ubc.ca/nime/2005/

NIME 2005 Call for Participation

On behalf of the NIME 2005 Committee, we extend an invitation to you to be part of the New Interfaces for Musical Expression conference. Please join us at the University of British Columbia in Vancouver, Canada for the latest developments in musical interface design and musical expression presented in papers, performances, demos and installations. NIME 2005 marks the 5th conference on new musical interface design to follow the initial NIME workshop at CHI 2001, and subsequent international conferences held in Dublin, Montreal and Hamamatsu. As in previous years, NIME 05 will provide a unique opportunity to converge with an audience of like-minded artists and technologists from around the world.

PAPERS

We invite the submission of research papers, reports, and posters on topics related to new musical controllers including, but not restricted to:

• Design reports on novel controllers and interfaces for musical expression
• Surveys of past work and/or stimulating ideas for future research
• Performance experience reports on live performance and composition using novel controllers
• Controllers for virtuosic performers, novices, education and entertainment
• Perceptual & cognitive issues in the design of musical controllers
• Music and motion and/or music and emotion
• Movement, visual and physical expression with sonic expressivity
• Musical mapping algorithms and intelligent controllers
• Novel controllers for collaborative performance
• Interface protocols (e.g. MIDI) and alternative controllers
• Artistic, cultural, and social impact of new performance interfaces
• Real-time gestural control in musical performance
• Mapping strategies and their influence on digital musical instrument design
• Sensor and actuator technologies for musical applications
• Haptic and force feedback devices for musical control
• Real-time software tools and interactive systems
• Pedagogical applications of new interfaces - Courses and curricula
• Performance rendering system (RENCON)

Evaluation criteria for evaluating rendered music (RENCON)

DEMOS

We encourage the submission of demos, either as part of papers and reports or as standalone contributions.

PERFORMANCES

We encourage artists, performers and conference presenters to submit proposals for performances and live demonstrations that employ new musical controllers, novel interface concepts, and/or new mapping systems that can be featured in the concert events.

INTERATIVE SOUND INSTALLATIONS: *new this year*

At the University of British Columbia, we are creating a new high-tech atrium that contains a multichannel sound and video scape platform that will be complete by December 15, 2004. The space is intended to house interactive sound and video installation works. As an experiment for this year's NIME, we are soliciting for proposals for an Installation Track to create interactive installation works in this space. Please contact the installation track chair for more details about this facility or if you are interested in submitting for the installation track.

IMPROV SESSIONS: *new this year*

For the first time at NIME there will be semi-organized improvisation sessions where scientists, engineers, artists and performers can interact with one another. Different configurations and groups will be put together based on types of sensors used for gesture recognition, genre of sound-mapping, ethnomusicological controllers, rhythm vs soundscape controllers, interfaces with motors, etc. There will be 3 Improv Sessions in the afternoons everyday during lunch and then a final jam concert party on the final night. For more information contact the Improv Sessions Chair, Ajay Kapur.

WORKSHOPS

There are two one-day workshops scheduled the day before the main conference:

* Mobile Music: http://hct.ece.ubc.ca/nime/2005/mobilemusic.html
* Engineering and Music: http://hct.ece.ubc.ca/nime/2005/engineeringandmusic.html

IMPORTANT DATES

Jan 15, 2005: Submission deadline (interactive sound installation proposals)
Jan 31, 2005: Submission deadline (performance proposals, papers, reports, demos, posters)
Feb 7, 2005: Notification of acceptance for installations.
Mar 14, 2005: Notification of acceptance for performances.
Mar 15, 2005: Notification of acceptance for papers, reports, posters and demos.
Mar 31, 2005: Early registration deadline.
Apr 15, 2005: Program notes submission deadline (performances); final paper submission deadline (papers, reports, posters).

CONFERENCE CHAIRS

* Sidney Fels (ssfels@ece.ubc.ca)
* Tina "Bean" Blaine (tblaine@andrew.cmu.edu)

MORE INFORMATION

http://hct.ece.ubc.ca/nime/2005/

Music Research Forum

Music Research Forum is currently accepting submissions from outstanding graduate students and young professionals.

Now in its twentieth year, Music Research Forum is an internationally distributed and indexed peer-review journal published annually by the Graduate Student Association of the University of Cincinnati's College- Conservatory of Music. We consider articles in all areas of musical scholarship, including musicology, theory, performance practice, ethnomusicology, music and culture, and criticism. Faculty are encouraged to pass this information along to their students.

Articles should be word-processed on 8.5x11-inch paper. All materials, including example captions, should be double-spaced and conform to the footnote guidelines found in The Chicago Manual of Style. Contributions should be between twelve and thirty pages. A cover sheet listing the author's name, address, telephone number, e-mail address, and academic affiliation (if applicable) must precede articles. Articles will not be returned.

THE POSTMARK DEADLINE for submissions for Volume 20 (Summer 2005) is 14 January 2005. Authors must submit three hard copies of each article to:

Editor
Music Research Forum
College-Conservatory of Music
University of Cincinnati
P.O. Box 210003
Cincinnati OH 45221-0003.

For more information, visit us online:
http://www.ccm.uc.edu/comp_theory_hist/mrf

EMS International Conference

Call for papers

Electroacoustic Music Studies Network (EMS) International Conference Series

EMS05 - Electroacoustic Music Studies.
A century of innovation involving sound and technology
Resources, Discourse, Analytical Tools

Scientific Committee

Marc BATTIER (MINT-OMF)
Joel CHADABE (EMF)
Philippe DEPALLE (McGill University)
Leigh LANDY (MTI - De Montfort University)
Stephen McADAMS (CIRMMT/ McGill University)
Rosemary MOUNTAIN (Hexagram/Concordia)
Philippe DEPALLE (CIRMMT)
Jean PICHE (CCIRMT/UdeM)
Daniel TERUGGI (INA/GRM)
Marcelo M. WANDERLEY (CIRMMT/ McGill University)

Time and place: 19-22 October, 2005 - Montreal, Quebec, Canada

The EMS conference is organized every two years through the initiative of the Electroacoustic Music Studies Network, an international team which aims to encourage reflection on the better understanding of electroacoustic music and its genesis, appearance and development over the span of a century. The organizers are all engaged in the key areas of debate and actively seeking the development of solutions.
The first conference, in October 2003, was a result of the initiatives of DeMontfort University (UK), the University of Paris-Sorbonne (France), and INA/GRM (France). It took place at the Georges-Pompidou Centre in Paris, within the auspices of IRCAM's R�sonances 2003 festival. Selected papers were published in issue 9/1 of Organised Sound.

Organization of the EMS-05 conference

Concordia University (Canada)
De Montfort University(G-B)
Electronic Music Foundation (USA)
INA/GRM (France)
McGill University and CIRMMT (Canada)
Universit� de Montr�al (Canada)
Universit� de Paris-Sorbonne (France)

Electroacoustic Music Studies Network

EARS (Leigh Landy, ElectroAcoustic Resource Site, MTI Research Group, De Montfort University)
INA/GRM (Daniel Teruggi)
MINT (Marc Battier, Musicologie, informatique et nouvelles technologies, OMF), Universit� de Paris-Sorbonne

The special theme of EMS-05 is:

Electroacoustic Music Studies - Sound in Multimedia Contexts

From the advent of the first electric instruments, the phonograph, radio, telephone, and subsequent electronic and digital inventions, the approaches to technologies relevant to the art of sound have been limited only by the imagination of the musician. In recent years, there seems to have been a proliferation of studies relating to music incorporating these technologies. However, the investigation of such a varied musical repertoire raises a number of issues that the EMS conferences wish to examine. The themes of the conference therefore emphasize questions of resources, discourse, and analytical tools relevant to electroacoustic musics.

1) Sources and resources
- What types of materials are being or should be documented?
- How does one create, expand, preserve and offer access to collections?
- What opportunities exist for exchange and collaboration?
- How can we help make the electroacoustic music repertoire more accessible?

2) Discourse / analysis of electroacoustic musics
- What types of discourse are relevant to electroacoustic works?
- Which forms of representation and which approaches to analysis are useful?
- Which analytical methods are currently being developed?
- How can one adapt existent analytical methods of music to elec-troacoustic works, many of which involve no prescriptive notation?
- How can we further develop the field of study of electroacoustic musics?

3) Analytical tools
- How are analytical tools being produced and disseminated in the community?
- What means are available for communicating the sonic form through symbolic and graphic representations?
- Does the study of electroacoustic musics require specifically-designed tools or can it take advantage of methods conceived for other musics?

4) Taxonomy, terminology, and aesthetic diversity
- What systems of classification are in use or should be developed?
- How can we become more consistent in our use of terminology in a field as dynamic as electroacoustic music?
- Are there aesthetic questions that are specific to electroacoustic music?

Spoken presentations

Proposals for spoken presentations should be submitted in the form of an extended abstract (minimum 2 pages) accompanied by a detailed C.V. and list of publications. The abstract should be ready for publication if the proposal is accepted. The duration of each paper will be 30 minutes (not including the question period). The papers may be given in English or French. It is anticipated that simultaneous translation will be provided. Multimedia support will be provided in the form of video projector (for laptops), overhead projector, CD player, and sound system. A programme containing the paper abstracts will be distributed.

Posters

Proposals for poster sessions are also invited; selected posters will be presented in the conference area at McGill University. The deadline for poster proposal submissions is the same as that for paper submissions.

Dates
19 October, 2005 - Opening of EMS-05 at the University of Montreal
20-22 October, 2005 - Conference sessions (McGill University) and concerts (Concordia University)

Guidelines for submissions

Deadline for receipt of proposals (abstracts and CVs of contributors): Tuesday March 1, 2005
Submissions are to be made electronically. Send abstract (in French or English, 2 pages maximum) + 1 detailed CV + a list of publications to the following e-mail address: ems05-papers@music.mcgill.ca.

Please ensure that your name, institutional / organizational affiliation (if any), contact address, telephone, and preferred e-mail address are included on the abstract. If your proposal is accepted, you will need to submit a brief 15-line biographical note to insert into the conference programme.

Publication

A selection of the papers will be published in Organised Sound (Cambridge University Press) in 2006.

EMS-05 Website
http://ems05.musique.umontreal.ca/index.html  (bilingual call)

CUNY Graduate Students in Music Conference

The City University of New York Graduate Students in Music (CUNY GSIM)

Eighth Annual Conference: American Music Studies

Saturday, March 19, 2005

CUNY Graduate Center, New York City

Carol J. Oja
William Powell Mason Professor of Music, Harvard University
Keynote Speaker

*** CALL FOR PAPERS ***

Graduate students in the areas of Musicology, Music Theory, Ethnomusicology and Performance Studies are invited to submit proposals concerning any aspect of scholarly research on American music. Participants affiliated with any institution are welcome.

Individual presentations should not exceed 30 minutes in length.

Guidelines for proposal submission:

1. Proposals should be limited to 300�400 words.
2. Proposals should be submitted via email to hfeldman@gc.cuny.edu. Please include in the email your name, address, phone number, email address(es), and affiliation. The proposal may be sent as an attachment or in the body of the email. Your identity will be withheld from the Program Committee.
3. If you cannot submit your proposal via email, please contact the Conference Director.
4. The CUNY GSIM Conference is organized entirely by CUNY Graduate students, and proposals are read blindly by the Program Committee.

*** SUBMISSIONS MUST BE RECEIVED BY January 22nd, 2005 ***

Feminist Theory and Music 8

CALL FOR PAPERS

Feminist Theory and Music 8
City University of New York, Graduate Center & New York University
23-26 June 2005 New York City

The eighth meeting of the biennial conference Feminist Theory and Music will take place from Thursday, 23 June to Sunday, 26 June 2005 in New York City at the CUNY Graduate Center and New York University.

One focus of this year's conference will be the relationship of gender, sexuality, and race to the variety of musics in New York City.
Additionally, we welcome proposals that consider the implications of feminist and queer music scholarship in a post-9/11 world characterized by a conservative moralistic backlash. As always, the Feminist Theory and Music conference invites contributions on all aspects of musical inquiry, drawing on feminism, gender studies, women's studies, queer studies, critical race theory, postcolonial studies, and area studies/ethnic studies from cross-disciplinary perspectives. Composers whose work engages any of these areas are also invited to submit proposals for presentations on their music.

For a 20-minute presentation, please submit an abstract of no more than 250 words, along with your contact information (name, address, phone number, email address, and affiliation if any) and a list of audiovisual requirements. Please send your proposal via e-mail to ftm8.conference@nyu.edu. We also welcome proposals for alternative formats such as panel/forum discussions and lecture-performances. Such proposals should provide a detailed description of the session and the names and roles of the participants in an abstract of no more than 500 words.

For information on the conference, please visit www.nyu.edu/gsas/dept/music/ftm8. Performance tapes or CDs for possible lecture-performances should be mailed to Prof. Ellie Hisama, Ph.D.
Program in Music, City University of New York, 365 Fifth Avenue, New York, NY 10016 USA-please include a stamped, self-addressed postcard or your e-mail address for confirmation of receipt.

Proposals must be received via email by 7 February 2005.

Program Committee
Suzanne G. Cusick and Ellie M. Hisama (co-chairs), Farah Jasmine Griffin, Marion A. Guck, Tomie Hahn, Elizabeth Hoffman, Anahid Kassabian, Martha Mockus, Annie Janeiro Randall, Martin Scherzinger, and Sherrie Tucker

Feminist Theory and Music 8 is cosponsored by the Ph.D./D.M.A. Program in Music, City University of New York; Department of Music, New York University; Institute for Studies in American Music, Brooklyn College, CUNY; Women's Studies Certificate Program, Center for Lesbian and Gay Studies, and Continuing Education and Public Programs, CUNY Graduate Center; and the Center for the Study of Gender and Sexuality and the Program in Women's Studies, New York University.

McGill Graduate Student Symposium

Call for papers:

McGill University's Music Graduate Student Society is pleased to announce a call for papers for its 2005 Graduate Student Symposium. Please post this notice in your department, and forward it to any music graduate students who might be interested in participating.

Music Graduate Student Symposium
McGill University
Montreal, Canada
March 4 to 6, 2005

Keynote Speaker: Fran�ois de Médicis, Associate Professor and Musicology Area Chair, Université de Montréal.

Fran�ois de Médicis�s research centers on historical, analytical and aesthetic issues in music of the Classical and Romantic periods, in addition to early twentieth-century music.

This year's symposium focuses on evolving trends in all disciplines of music research and performance. We encourage presentations on a vast array of topics from the fields of musicology, music theory, ethnomusicology, music education, composition, music technology, and sound recording, as well as performances and lecture recitals. Presentations in a non-traditional format are also welcome.

Proposal abstracts (between 250 and 500 words) should be submitted by January 21, 2005 via email. Please incorporate your abstract into the body of the email and include your name, address, telephone number, email address, affiliation, and all required equipment. Abstracts should be suitable for publication in the symposium program. Note that abstracts will be judged anonymously.

Please submit proposals to: mcgillsymposium@yahoo.com 

The Society for Music Theory-Music Cognition Group

CALL FOR PRE-PROPOSAL ABSTRACTS

Dear SMT members:

The Twenty-eighth Annual Meeting of the Society for Music Theory will be held in Boston, Massachusetts from Thursday, November 10, to Sunday, November 13, 2005.

The Music Cognition Group would like to issue an open call for short pre-proposals on any research topic in music cognition to be submitted to a reading committee consisting of Panos Mavromatis, Elisabeth Kotzakidou Pace, and Steve Larson.

Cognitive Musicology has emerged in recent years as a major current in Music Theory research, both rivaling and supplementing traditional methods in Theory and Analysis. A highly interdisciplinary branch of Systematic Musicology with solid roots in the rapidly evolving field of Cognitive Science, music cognition research relies on diverse approaches and employs multiple methodologies. It synthesizes results stemming from music analysis, compositional studies, cognitive psychology and perception, cognitive linguistics, neuroscience, ethnomusicology, sociology of music, aesthetics, philosophy of mind, computer modeling and artificial intelligence, performance studies, music pedagogy, historical musicology, the history and epistemology of music theory-just to name a few.

While the cognitive domains of problem solving, natural language, social organization, and vision have been greatly exploited as primary sources of data, and have therefore functioned as doorways and guiding metaphors of our knowledge into the nature of the human mind, the domain of music is only now coming into prominence as an exciting new source of information. We expect that in the coming years the domain of music will have a great deal to contribute to Cognitive Science as a whole.

We wish, therefore, to organize a special-session proposal to be submitted for inclusion in the 2005 annual meeting of the SMT and call upon researchers in all fields with an interest in the musical mind to contribute. The selection process will occur in two phases.

In the first phase, applicants are requested to email us an abstract (ca. 250 words) by December 28, 2004. This brief pre-proposal should describe the project, provide keywords appropriate to the topic, and indicate whether the research could be presented as a poster session.

The Reading Committee will then request full proposals from selected applicants, to be received by January 5, 2005. This early deadline will allow for papers not selected as part of the proposed special session(s) to still be submitted individually to the general SMT program committee by Jan 15, 2005.

The full-length proposal must follow current SMT submission guidelines as given in the SMT call for papers. Please refer to the SMT website
http://www.societymusictheory.org/index.php?pid=115 for a description of the final proposal requirements.

In order to be considered for the special session, pre-proposals must be emailed (in the body of an email-not via attachment) by December 28, 2004 to all three members of the reading committee:

Panayotis Mavromatis, New York University - panos.mavromatis@nyu.edu Elisabeth Kotzakidou Pace, Washington University - ekpace@artsci.wustl.edu Steve Larson, University of Oregon - steve@uoregon.edu

We are all looking forward to a lively 2005 meeting in Boston!

Panos Mavromatis
Elisabeth Kotzakidou Pace
Steve Larson

International Orpheus Academy for Music Theory

MUSIC & THEORY: THE ERA OF BEETHOVEN AND SCHUBERT

International Orpheus Academy for Music Theory 2005

Wednesday, March 30 until Saturday, April 2, 2005

In 2005 the Orpheus Institute organizes the third INTERNATIONAL ORPHEUS ACADEMY FOR MUSIC THEORY.

Six outstanding international guest professors are invited to meet scholars,
(pre-) professional music theorists, musicologists and musicians from all countries.
The aim is to work with a selected group of participants at a high level, in such a way that it will be an enriching experience for everyone involved.

The 2005 Academy focuses on THE ERA OF BEETHOVEN AND SCHUBERT.
The multidisciplinary approach of this theme is different from other seminars and congresses, in the sense that a lively interaction between music theory, music history, performance practice, aesthetics, and related sciences is the point of departure. This explains the title "Music AND Theory," instead of "Music Theory."

The following guest professors will give several lectures, participate at panel discussions, and reply to each other's lectures:
- Scott Burnham (Princeton University, New Jersey, USA)
- Ludwig Holtmeier (Hochschule f�r Musik, Freiburg, Germany)
- John Neubauer (University of Amsterdam, The Netherlands)
- Jim Samson (Royal Holloway, London, UK)
- Janet Schmalfeldt (Tufts University, Massachusetts, USA)
- Susan Youens (University of Notre Dame, Indiana, USA)

Scott Burnham is Professor of Music and Chair of the Music Department at Princeton University. He is the author of Beethoven Hero (Princeton, 1995), translator of A. B. Marx, Musical Form in the Age of Beethoven (Cambridge, 1997), and co-editor of Beethoven and His World (Princeton, 2000). His most recent writings include "Schubert and the Sound of Memory" in Musical Quarterly (2001), and "Novel Symphonies, Dramatic Overtures" in The Cambridge Companion to Schumann (forthcoming), and "On the Beautiful in Mozart" in Music and the Aesthetics of Modernity (forthcoming).

Ludwig Holtmeier is Professor of Music Theory at the Hochschule f�r Musik in Freiburg. He is one of the editors of the journal Musik & Ästhetik, president of the Gesellschaft für Musik und Ästhetik and vice-president of the Deutschen Gesellschaft f�r Musiktheorie. His latest publications are: "Zur Komplexität Mozarts. Analytischer Versuch �ber eine Sequenz" in Musik und Ästhetik (2000); Wien-Berlin. Stationen einer kulturellen Beziehung (with Mathias Hansen and Hartmut Grimm, Saarbr�cken, 2000); KV 332, Versuch �ber Mozart; Juxtapposition und analytische Collage; Richard Wagner und seine Zeit (Laaber, 2003), Musiktheorie zwischen Historie und Systematik (Augsburg, 2004).

John Neubauer is Professor Emeritus of Comparative Literature at the University of Amsterdam. Some of his latest publications are: "Organicism an Modernism / Music and Literature" in Word and Music Studies: Essays on the Song Cycle and on Defining the Field. (punt weg) (Amsterdam, Atlanta, 2001) and "National Operas in East-Central Europe" in History of the Literary Cultures of East-Central Europe (Vol. 1. 514-23).

Jim Samson is Professor of Music at Royal Holloway. He has published widely on the music of Chopin and on analytical and aesthetic topics in nineteenth- and twentieth-century music. He is one of three Series Editors of The Complete Chopin: A New Critical Edition (Peters Edition, in progress). His most recent publications include a chapter on "Analysis in context" in Rethinking Music (Oxford, 1999), the Cambridge History of Nineteenth-Century Music (Cambridge, 2002), and Virtuosity and the Musical work: the Transcendental Studies of Liszt (Cambridge, 2003).

Janet Schmalfeldt is Associate Professor of Music Theory and Chair of the Music Department at Tufts University. She is the author of Berg's Wozzeck: Harmonic Language and Dramatic Design and has published articles on the relation of analysis to performance, on aspects of cadence, form, and voice leading in eighteenth- and nineteenth-century music, and on the "Beethoven-Hegelian tradition." Her work-in-progress develops philosophical and analytic perspectives on form as process in early nineteenth-century European music.

Susan Youens is Professor of the Music Department at the University of Notre Dame since 1991.
She has published mostly on Franz Schubert: Schubert's Late Lieder: Beyond the Song Cycles (Cambridge, 2002), Schubert, Müller, and Die schöne Müllerin (Cambridge, 1997), Schubert's poets and the making of lieder (Cambridge, 1999), and Franz Schubert: Die schöne Müllerin (Cambridge, 1992).

Professional music theorists, musicologists, students in music theory or musicology, musicians, and other interested persons from all countries may apply for the seminar, by supplying a biography and a motivation.

Attention! Please note that only 30 participants will be accepted.
Application is possible by means of the website of the Orpheus Institute from November 1, 2004 until January 31, 2005.

The admission fee is 100 � (-26) or 175 � (+26). Lodging can be organized by the Orpheus Institute at the cost of 50 � per night for a single room in Bed & Breakfast or 100 � per person per night for hotel accommodation. Some limited basic double rooms (twin beds) are available at 30 � per person per night.

Information can be obtained at www.orpheusinstituut.be, or by e-mail:
info@orpheusinstituut.be

Orpheus Instituut, Korte Meer 12, 9000 Ghent, Belgium.
T: +32 9 330.40.81 F: +32 9 330.40.82

Workshop in Algorithmic Computer Music

Dear Colleagues,

This summer, for the third year, UCSC will be offering the Workshop in Algorithmic Computer Music (WACM). The program will take place from June 25 through July 9, 2005 at UCSC's recently-built Music Center, which features state of the art facilities as well as sweeping vistas of the Monterey Bay. Participants will learn the Lisp computer programming language and create their own composition and analysis software. David Cope, Paul Nauert, Peter Elsea, and Soren Goodman will be among those on hand to teach and advise workshop attendees.

Participants will take classes on the basic concepts of algorithmic composition and algorithmic music analysis and will create three significant software projects: a Markov-based rules program, a genetic algorithm, and software modeled on the Experiments in Musical Intelligence program. Aspects of other analytical and compositional techniques will also be discussed and modelled in Lisp.

The workshop offers 66 hours of class instruction and over 120 hours of individual consultation. 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 or programmers. Fee is $1750. Room and board is available on campus if desired. 5 units of credit is available. For more information or to download an application, please go to http://summer.ucsc.edu/wacm.

Mannes Institute: Institute on Rhythm and Temporality

 MANNES INSTITUTE FOR ADVANCED STUDIES IN MUSIC

INSTITUTE ON RHYTHM AND TEMPORALITY

June 25�28, 2005, New York City, New York

The Mannes Institute for Advanced Studies in Music will conduct its fifth annual summer Institute on this year's topic of Rhythm and Temporality from June 25-28, 2005 at Mannes College of Music in New York City. A series of high-level participatory workshops and plenary sessions will be led by a distinguished faculty of experts. Outstanding scholars in all music disciplines are invited to apply from January 1 to March 1, 2005. A brief summary of the program is provided below and informational brochures will be distributed at the national meeting in Seattle. A complete description of all workshops, policies, and faculty bios, plus the electronic application form may be obtained on the Institute website at:

http://www.mannes.edu/mi 

PROGRAM SUMMARY

Opening Plenary Session: THE STUDY OF RHYTHM

Morning Workshops:

THE FOUNDATIONS OF AFRICAN RHYTHM
Workshop Leader: Kofi Agawu

RHYTHM AS PROCESS: PROBLEMS OF PERSISTENCE AND CHANGE
Workshop Leader: Christopher Hasty

RHYTHM AND METER IN THE MUSIC OF STRAVINSKY AND HIS CONTEMPORARIES
Workshop Leader: Pieter van den Toorn

Special Plenary Session

RHYTHM IN THE MUSIC OF STEVE REICH
Special Guest: Steve Reich

Afternoon Workshops

FROM RHYTHMICS AND METRICS TO RHYTHM AND METER: THEORIES OF MUSICAL TIME FROM ARISTOXENUS TO KIRNBERGER AND KOCH
Workshop Leader: David Cohen

METRICAL DISSONANCE AND HYPERMETRIC STRUCTURE IN THE GERMAN LIED
Workshop Leader: Harald Krebs

RHYTHM AND COGNITION
Workshop Leader: Justin London

Closing Plenary Session

THE PEDAGOGY OF RHYTHM

For further information, please contact:

Wayne Alpern, Director
The Mannes Institute
150 West 85th Street
New York City, New York
(212) 877-8350
mannesinstitute@aol.com 

Theoria 11

Announcement
Volume 11/2004 of the journal Theoria - Historical Aspects of Music Theory is available now.
Content:

• Timothy Mc Kinney, "Affectus mire hercules ubique expressit" Heinrich Glarean on Text and Tone in Josquin's Planxit autem David.
• Deborah Burton, Padre Martini's Preface to his Esemplare, Part II: An Original Translation.
• Kheng Keow Koay, A Reflection of Moment Form in Sofia Gubaidulina's String Quartet No.3.

Single copy: $22.00 - add shipping costs: $3.00 national, $6.00 international Subscription copy: $20.00 Send check, made payable to:
Theoria
University of North Texas
College of Music
P.O. Box 31 1367
Denton, TX 76203-1367

For questions or article submissions, mail to the editor, Dr. Frank Heidlberger:
fheidlbe@music.unt.edu
More information at:
www.music.unt.edu/the/Theoria.htm

I am pleased to announce the posting of an updated edition of the Web Site for the Music Theory Society of the Mid-Atlantic. Founded in 2003 at Peabody Conservatory of Music of the Johns Hopkins University, MTSMA is the most recently established regional music theory society, thus completing the panoply of these societies in the United States.

The MTSMA Web Site contains detailed information on the Call for Papers (to be postmarked to Carl Wiens by 6 December 2004 cwiens9@naz.edu), previous programs at Peabody and Temple University, abstracts, minutes, comments by those attending and photographs of the Founding Meeting.

On-line Registration, banquet and local arrangement information for the Third Annual Meeting at Wilkes University, April 1-2, 2005 (Ellen Flint, Chair, Local Arrangements, milburn@early.com) will be posted as we get closer to the event.

All are invited to learn more about MTSMA at:

http://mtsma.shorturl.com 

Any comments about the site may be sent to Web Master Kip Wile, wile@peabody.jhu.edu. A summary of the Call for Presentations for our MTSMA meeting on April 1-2, 2005 at Wilkes University appears below. See our Web Site for complete details.

Cordially,

Pamela L. Poulin
President, MTSMA

AMEB Music Theory/Aural Curriculum Developers search

The Australian Music Examinations Board (AMEB) was established in 1918 and is the most widely respected and used national assessment system in the fields of practical and theoretical study of music in Australia. It is also the only examination body with formal links to the major Australian universities and Ministers for Education.

The AMEB seeks to engage a creative team to develop its new theory/aural skills syllabus into an exciting set of graded publications.  For each grade the team will create a set of Student Work Books, Teachers� Guides and an aural CD containing set works, aural drills and instrument recognition.

The AMEB will support the development of the publications with an Executive Director: Syllabus Development, General Editor, Project Co-ordinator and a child development specialist.   You will be provided with a detailed syllabus, fully developed writing briefs and a work schedule which you will be expected to follow.

This project will appeal to a creative person who also enjoys working within a structured process and to strict deadlines.  This person will have a deep interest in pre-tertiary teaching and/or development and is seeking to make a significant achievement in the field of music theory pedagogy for the 10-17 year old age group.

Deadline for the completion of all manuscripts is 13 May 2005.

You must have a record of publication (scholarly and/or commercial) and hold a Ph.D in Music Theory (ABD will be considered).  Applicants who do not meet the degree requirement above are encouraged to apply stating how their background and experience equips them for the requirements of the project.

All applicants must be free of any commercial contractual obligations with another publisher. Applicants with a track record of successful commercial publications for this market are strongly encouraged to apply.

A competitive fee will be negotiated with the successful applicants based on their individual backgrounds and experience.

To apply: Please send (by mail, email or fax) a letter of interest, curriculum vitae, supporting materials including samples of published work and the contact details of three professional references to:   Kate Lewis, Chief Executive, Australian Music Examinations Board, 5/175 Flinders Lane, Melbourne VIC 3000 Australia, email admin@ameb.net   fax +61 3 9650 6954

For enquiries contact Kate Lewis +61 3 9650 2833 and visit us on the web at www.ameb.edu.au

Further information and writing briefs will be sent on application. Applications must be received by close of business December 8 2004.

SOCIETY FOR MUSIC THEORY
Call for Applications:
SMT-25 Support Grants for Special Conferences and Workshops

The Society for Music Theory announces the inaugural competition for an SMT Support Grant for Special Conferences and Workshops. The grant will provide up to $5,000 to a member of the Society for the purpose of creating and implementing a music theory conference or workshop of unusual format or innovative design that would not ordinarily occur without the support provided by the grant. The conference/workshop funded by the grant must take place prior to December 31, 2006.

The Society welcomes innovative proposals. Examples of projects that would be eligible are: (1) workshops on specialized theoretical topics, with invited scholars; (2) interdisciplinary symposia that encourage dialogue and other interaction between theorists and performers, or between theorists and scholars working outside of music; and (3) conferences or workshops with extraordinary technological needs. Participants may be invited and/or selected by the adjudication of solicited proposals.

The grants are not intended to cover the expenses of meetings of regional societies, or honoraria for guest or keynote speakers.

Applicants should submit, by March 15, 2005, all of the following items that are appropriate for the given event (items 1, 2 and 3 must be submitted in all cases):

1. A detailed description of the event to be funded (3 double-spaced pages maximum). The description should highlight the innovative aspects of the event, and the ways in which it will contribute to the field of music theory. It should also specify the targeted audience for the event and, if appropriate for the given event, reasons for the inclusion of each presenter/participant.
2. A detailed budget of expenses to be covered by the grant, including costs for travel (obtained from a travel agent or travel website); accommodation costs; other costs (meals, etc.).
3. A brief professional biography of the organizer of the conference.
4. If appropriate, a Call for Papers.
5. If appropriate, brief professional biographies of all speakers or participants.
6. If appropriate, a draft program, with titles of presentations and names of presenters/participants.
7. If appropriate, letters of confirmation of participation from all presenters/participants.
8. If possible and appropriate, one-page (double-spaced) abstracts of all presentations.

If appropriate, information about co-sponsors, including the host institution (if any). Applicants are encouraged to seek out additional funds from sources other than SMT.

Applications will be evaluated by the SMT Subvention Committee.
Applications that are incomplete on the March 15 deadline will not be considered. The winner will be announced by May 1, 2005. Major changes in the format and content of the event between the granting of the award and the conference date must be communicated promptly to the Vice President.
Funds will normally be disbursed only after the event has occurred, after a report on the conference has been submitted to the Vice President, and after receipts have been submitted to the Treasurer.
Please send five copies of the completed application to:

Victoria Long, Executive Director
Society for Music Theory
Department of Music
University of Chicago
1010 East 59th Street
Chicago, IL 60637

Questions about the grant and the guidelines may be directed to Harald Krebs, Vice President <hkrebs@finearts.uvic.ca>.

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