Society for Seventeenth-Century Music Meeting
EVENT: Society for Seventeenth-Century Music Meeting HOST: University of Illinois, Urbana-Champaign DATE: 16-19 April 1998 DESCRIPTION: Call for Papers Society for Seventeenth-Century Music Sixth Annual Meeting University of Illinois, Urbana-Champaign 16-19 April 1998 The Society for Seventeenth-Century Music will hold its Sixth Annual Conference on 16-19 April, 1998 at the University of Illinois, Urbana-Champaign. The Program Committee welcomes proposals on all aspects of seventeenth-century music and music culture, including papers dealing with other fields as they relate to music (e.g., literature, the visual and performing arts, or cultural history). Any methodology or national focus is welcome. We invite presentations in a variety of formats, including papers, lecture-recitals, workshops, and roundtable sessions. Papers will generally be limited to 20 minutes and lecture-recitals to 45 minutes; requests for additional time will be considered, but must be justified in the proposal. Only one abstract will be considered from any individual and 1997 presenters should not submit proposals for 1998. Guidelines: 1) limit the abstract to no more than two pages; 2) be specific about the issues being explored, the methodology used, and the conclusions reached; 3) state any anticipated needs for equipment at the end of the abstract; 4) do not send tapes or other supporting material at this time; 5) send five copies, one identified with name, address, telephone, fax, and e-mail address, and four anonymous, postmarked by 1 October 1997, to Steven Saunders, Department of Music, Colby College, 5670 Mayflower Hill, Waterville ME 04901-8856. Abstracts from outside the United States and Canada may be sent by fax (one copy only to (207) 872-3141). CONTACT: Steven Saunders Department of Music Colby College Waterville, ME 04901 (207) 872-3237 FAX (207) 872-3141 sesaunde@colby.edu
University of Bristol 16th-19th July 1998 A Call for Papers for this biennial conference will be issued in September 1997. The principal themes will be listed then. Any enquiries to: Professor Jim Samson, Music Department, University of Bristol, Victoria Rooms, Queens Road, Bristol, BS8 1SA, UK Tel: +44 (0)117 954 5028, Fax: +44 (0)117 954 5027 Email: t.j.samson@bristol.ac.uk
Search Facility for Conferences and Dissertation Abstracts List members may be interested to know that our extensive archives of more than 70 dissertation abstracts in music and more than 200 conferences (past and forthcoming) can now be searched through the Web for occurrences of text strings (e.g. names, words in titles of papers, institution names, etc). The search facility has been provided for us by Alvaro Torrente, to whom I am very grateful indeed. The Web pages in question are: http://www.sun.rhbnc.ac.uk/Music/Archive/Disserts/ http://www.sun.rhbnc.ac.uk/Music/Conferences/ where the links to the search engines can also be found. Geoffrey Chew Music Department, Royal Holloway College (University of London) chew@sun.rhbnc.ac.uk
GAMUT/MTSE: General Announcement The Georgia Association of Music Theorists (GAMUT) and Music Theory Southeast will hold a joint meeting March 13-14, 1998 at Georgia State University. Joint Program Chairs will be Ron Squibbs (GSU) and Severine Neff (UNC Chapel Hill). Proposals for papers and special sessions on any aspect of music theory or pedagogy should be sent to Ron Squibbs, Georgia State University, School of Music, PO Box 4097, Atlanta, GA 30302-4097. Proposals sent from outside the US should be mailed to Ron Squibbs, Georgia State University, School of Music, 75 Poplar St. Room 520, Atlanta, GA 30303. Send five copies of the proposal and a short abstract, postmarked by Friday, November 14, 1997. Papers should be 30-45 minutes in length (please specify length in proposal); special sessions should be 1 hour, 30 minutes. Kristin F. Wendland, Ph.D. Music Department Morris Brown College 643 Martin Luther King Dr. Atlanta, GA 30312 Office phone: (404) 220-0045 Home phone: (404) 622-4891 Fax: (404) 220-0261 e-mail: kristin.wendland@mindspring.com
International Alliance for Women in Music announces its call for submissions for the second issue of Women and Music: A Journal of Gender and Culture. Women and Music: A Journal of Gender and Culture is a journal of scholarship about women, music, and culture. Drawing on a wide range of disciplines and approaches, the refereed journal seeks to further the understanding of the relationships among gender, music, and culture, with special attention being given to the concerns of women. Submissions of varying length are now being accepted for consideration in the second issue which will appear in June, 1998. Authors included in the first issue: Ruth A. Solie, Sherrie Tucker, Ingrid Monson, Mary Ann Smart, Lloyd Whitesell, Nina Treadwell. Reviewers included in the first issue: Helen Metzelaar, Venise Berry, Catherine Parsons Smith, Tara Browner, J. Michele Edwards, Karen Carter-Schwendler, Robin Armstrong, Ute Bechdolf, Susan Boynton. Author guidelines: 1. Submit a brief abstract (two paragraphs) along with three copies of your typescript, two without identifying information and one with. 2. Microsoft Word format is preferred, but not required. 3. Use footnotes rather than endnotes. 4. For footnotes, please conform to The Chicago Manual of Style, 14th ed. (Chicago: University of Chicago Press, 1993). 5. Authors with accepted articles will be asked to provide camera-ready, publication-quality musical examples. 6. Authors are responsible for providing necessary copyright permission. 7. Submissions received after January 31 will be considered for the following year's issue. Send all submissions to the following address: Women and Music/IAWM Department of Music B-144 Academic Center The George Washington University Washington, DC 20052 All submissions undergo a blind review process. For further information, call the IAWM office at 202-994-6338, or send a FAX 202-994-9038, or an e-mail message to: Catherine Pickar at cpickar@gwis2.circ.gwu.edu. *Women and Music: A Journal of Gender and Culture* is available to IAWM members as part of the current dues structure. For individual membership information, write the IAWM Membership Director at The Department of Music, The George Washington University, Washington, DC 20052, or send an e-mail to: Sasha@gwis2.circ.gwu.edu. For institutional membership, please write Carolyn Bremer, School of Music, University of Oklahoma, Norman, Oklahoma 73019 or send an e-mail to: cbremer@ou.edu. Editorial Board Members: Patricia Adkins-Chiti Karen Ahlquist, Reviews Editor Jane Bowers Rae Linda Brown Marcia Citron Susan C. Cook Suzanne Cusick Joke Dame Linda Dusman Annegret Fauser Sophie Fuller Eve Meyer, ex-officio Lydia Hamessley Ellie M. Hisama Jeffrey Kallberg Ellen Koskoff Fred E. Maus Susan McClary Helen Metzelaar Pirkko Moisala Margaret Myers Jann Pasler Karen Pegley Catherine J. Pickar, Editor Eva Rieger Julie Anne Sadie Catherine Parsons Smith Ruth A. Solie Judy Tsou Riita Valkeila Amy Wajda, Editorial Assistant
A symposium to be held at Princeton University Saturday and Sunday, 27-28 September 1997 Music as Heard explores the cultural history of `the listener' and `music listening' in the period 1300-1600. Its aim is to promote the understanding, interpretation, and analysis of late- Medieval and Early Modern music in terms of the mentalities, sensibilities and belief-systems that conditioned its perception. The symposium features twenty scholarly papers, which are to be discussed by authors and auditors in six plenary discussion sessions. The papers will not be formally read out, but are to be made available to participants in a conference packet, and can be read during extended reading intervals at the symposium. (These intervals are scheduled to coincide with coffee, lunch, and tea.) During the sessions the focus is entirely on discussion. SYMPOSIUM WEBSITE (for complete information on sessions, abstracts, registration, hotels, travel, and campus map): http://www.princeton.edu/~rwegman/musicasheard.html TOPICS OF SESSIONS: Methodological Preliminaries Listening in the Late-Medieval Intellectual Traditions Listening and Patronage Listening and Death Consonance As Heard Listening and Reading: The Case of Glarean Listening and Ideology in Reformation and Counter-Reformation Listening and the Erotic in Early Modern Europe SPEAKERS AND CHAIRS: Carolyn Abbate Linda Phyllis Austern Todd Borgerding Shai Burstyn Richard Freedman Sarah Fuller Sean Gallagher Robert Holzer Peter Jeffery Cristle Collins Judd Robert Judd Peter M. Lefferts Thomas Y. Levin Timothy R. McKinney Robert Nosow Jessie-Ann Owens Keith Polk Harold Powers Emery Snyder Louise K. Stein Elizabeth Randell Upton Peter Urquhart Kate van Orden Grayson Wagstaff Rob C. Wegman Paul Wiebe REGISTRATION: See enclosed form. Registration fee: $90 (after 10 September: $100). Those with annual income under $21,000 may choose to register at a lower rate of $60 (after 10 September: $70). Registration covers coffee, lunch, and tea on Saturday and Sunday, and a 200-plus-page conference packet containing the full texts of papers. AIMS OF SYMPOSIUM: Discussions will focus on historically-informed analyses `from the listener's point of view' of individual compositions, as well as questions such as the following: o How was music thought to act upon the sense of hearing, the mind, the heart, the body, and the soul? o Were music's powers and effects--sensual, medicinal, spiritual, societal, ritual, magical--thought to depend on conscious acts of listening and understanding? If yes, how were those acts identified, described, and explained? o In what ways was `music listening' affected by the perceived meaning, function, use, or efficacy of the words (narration, recitation, invocation, oration, incantation, etc.)? o What concepts and metaphors did contemporaries use to evaluate and account for their musical experiences? Did they in fact acknowledge a concept of `musical experience' to begin with? o In what ways could `music listening' be sinful (sloth, idleness, lust, self-indulgence), and under what conditions could it be virtuous? Were there `correct' and `incorrect' modes of listening? o In what ways might musical sensibility and experience have been seen as differentiated according to gender? o What role and status were accorded to `the listener' or `the audience' in theoretical writings on music, and to what extent were their abilities, needs, and demands recognized in technical discussions? o What was the perceived relationship between the written and sounding dimensions of music? Were technically-informed and/or literate modes of listening acknowledged, and if yes, was any special value or benefit ascribed to them? o What significance was associated with those aspects of composed music that could only be ascertained through acts of reading? Was there in fact a `reader' presupposed here, or might such aspects have been considered mere by-products of the technical process of manufacture? o In what respects was `music listening' thought to be a private, communal, and/or public activity? Did it involve response, interaction, participation, and gesturing, or, conversely, privacy, silence, and concentration? o What historical evidence do we possess concerning actual listeners or groups of listeners and their musical `horizons of expectation'? _________________________________________________________________ REGISTRATION FORM Print and return this form with check (US$ only) to: MUSIC AS HEARD Department of Music Princeton University Princeton NJ 08544 Registration: $90 (after 10 September: $100). Those with annual income under $21,000 may choose to register at a lower rate of $60 (after 10 September: $70). Registration covers coffee, lunch, and tea on Saturday and Sunday, and a 200-plus-page conference packet containing the full texts of papers. Registration fee: ______ Name (as it will appear on badge): ______________________________ Institution or place of residence: ______________________________ Address: ________________________________________________________ _________________________________________________________________ _________________________________________________________________ Phone: __________________ Email: ________________________________ Participants outside commuting distance may wish to make hotel & travel arrangements well in advance. For the fullest information, please follow the relevant links on the symposium website: http://www.princeton.edu/~rwegman/musicasheard.html or check ___ to request information about hotels and travel. _________________________________________________________________ Rob C. Wegman Princeton University rwegman@phoenix.princeton.edu
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