 |
 |
 |
 |
 |
 |
 |
|
|
||||||||
|
||||||||
Volume 8, Number 3, October 2002
Copyright © 2002 Society for Music Theory
|
Menu
|
|
Calls for Papers
|
Call for Papers: Nadia Boulanger and American Music
Call for Papers
Nadia Boulanger and American Music
The American Music Research Center at the College of Music, University of Colorado at Boulder invites the submission of abstracts and performance proposals for the fourth Susan Porter Memorial Symposium, a three-day conference and celebration to be held in Boulder.
October 7-9, 2004
Presentations in a variety of formats are sought in order to speak to and engage the general public as well as a scholarly audience on the subject of Nadia Boulanger, her life and influence, her contribution to musical pedagogy, and the work of her American students. International participation in this conference is anticipated, including the leaders of the major French archives of her material.
As a leading music pedagogue of the twentieth century, Nadia Boulanger made a sizeable impact on American music. Born into a musical family in 1887, Nadia Boulanger entered the Paris Conservatoire at the age of ten. She placed second in the Prix de Rome competition in 1908 for her work La sir=E8ne. One of her earliest students, her sister Lili, was the first woman to win the Prix de Rome in 1913. After Lili's premature death in 1918, Nadia gave up composing for a life of teaching.
Boulanger taught at the Ecole Normale de Musique in Paris from 1920 to 1939, and at the Paris Conservatoire from 1946. In 1921 she began teaching at the American Conservatory at Fontainebleau, near Paris, and in 1950 was appointed director. Her earliest students included Aaron Copland, Roy Harris and Virgil Thomson. As her reputation grew, hundreds of Americans traveled to France to study harmony, counterpoint, analysis, composition and organ with her at the American Conservatory or at her apartment on the rue Ballu in Paris. Elliott Carter, David Diamond, Douglas Moore, Walter Piston, Louise Talma, Elie Siegmeister, Marc Blitzstein, Quincy Jones and Philip Glass are among her most prominent students.
This conference is only one component in a larger effort to celebrate and preserve the work of Nadia Boulanger on a permanent basis. An exhibition of Boulanger manuscripts, letters, and memorabilia is also being planned in conjunction with this meeting, the 25th anniversary year of her death.
All individual presentations should be limited to 25 minutes. Abstracts should be written so that they can be printed or typed on one 8-1/2 by 11 inch page, and include the author's name, address, telephone and institutional affiliation at the bottom of the page.
If live performances are proposed, a cassette or videotape of representative performing forces and repertories should be sent to accompany each separate proposal. For panels, the organizer should submit an abstract long enough to summarize the basic directions and contributions expected from the various participants (as well as the panel members' names and affiliations), and the preferred amount of time in which the session should take place.
All abstracts, proposals, CDs and cassettes must be received by January 16, 2003 and should be mailed (please do not submit proposals electronically) to:
T. Riis, Boulanger Symposium
University of Colorado at Boulder
UCB 301, College of Music
Boulder, CO 80309-0301
e-mail: amrc@colorado.edu
website: http://www.a-m-r-c.org
Call for Papers: EMP Pop Conference
Skip a Beat: Challenging Popular Music Orthodoxy
The Second Annual EMP Pop Conference
Experience Music Project, Seattle, WA
April 10 to 13, 2003
"The blues had a baby and they called it rock and roll." For decades now, a particular story of popular music, with rock and the baby boom generation at its core, has grabbed the center of most histories. Similarly, from bluegrass to reggae to hip-hop, there's often a "golden age" associated with a specific style of music. What accounts for particular moments achieving greatness? Why have certain narratives assumed such power? What effect do these valorizations have on the making, marketing, consumption, or longevity of music?
For this year's Pop Conference, we invite papers from any perspective that look toward a new interpretive synthesis or a better justification of the old one. The hope is that, rather than critiquing the longing for authenticity, participants will suggest alternate viewpoints. Possible topics include, but are by no means limited to, the ideas mentioned above as well as:
The Pop Conference is an annual event, sponsored by the Seattle museum Experience Music Project, that connects academics, journalists, musicians, industry figures, and anyone else interested in ambitious music writing that crosses disciplinary walls. Our first conference featured keynotes by Robert Christgau and Simon Frith, as well as papers by Gary Giddins, Deena Weinstein, Luc Sante, Simon Reynolds, Jon Pareles, Jason Toynbee, Sarah Dougher, Geoffrey O'Brien, Susan Fast, and many others. A volume of the proceedings is currently being readied for publication, most likely with Harvard Press. The program committee for this year's conference includes Daphne Brooks (Princeton), Robert Christgau (Village Voice), Shannon Duddley (University of Washington), critic Greil Marcus, Ann Powers (EMP), Kelefa Sanneh (New York Times), Steve Waksman (Smith), Gayle Wald (George Washington), Robert Walser (UCLA), and Eric Weisbard (EMP).
The conference will feature a variety of panels, keynotes, and performances. We welcome maverick suggestions and can accommodate nearly any form of technological presentation. Proposals should include a 250-word-or-fewer abstract of the paper, a 50-word biography of the presenter, preferred affiliation/title, and complete contact info. Please send all proposals by November 30, 2002, to Eric Weisbard at EricW@emplive.com. E-mail submissions are preferred, but submissions may also be sent through US mail to:
Eric Weisbard
Experience Music Project
2901 Third Avenue
Suite 400
Seattle, WA 98121
For more information on last year's Pop Conference and updates on
2003, go to:
http://www.emplive.com/visit/education/pop_music.asp
|
Conference Announcements
|
Conference Announcement: Eurocarillon 2002
EUROCARILLON 2002
Symposium on the Quality of Bells
Bruges (Belgium), 6 september 2002
Eurocarillon is an organisation that encourages the practice of the art of the carillon throughout Europe and promotes the use of the carillon as a concert instrument. Eurocarillon 2002 organizes a number of concerts on the 18th Century Dumery Carillon of the city of Bruges. The activities take place within the framework of "Bruges Cultural Capital of Europe 2002". The Symposium on the Quality of Bells takes place within the context of Eurocarillon 2002. This scientific event is organised by the Research Society for the Foundation of Music Research (coordinated by Prof. dr. M. Leman, and founded by the Flemish Fund for Scientific Research). The aim of the Symposium is to give a state-of-the-art in bell research for an audience of carillonists, and laymen interested in carillons and bells. Different aspects of the carillon and the sound of bells will be discussed by world renowed specialists.
Program:
- Marc Leman (IPEM - Dept. of Musicology, Ghent University, Belgium):
"Origins of the Brugge Carillon - Manuscripts at the Central
Library of Ghent University"
- Neil McLachlan (RMIT University, Australia):
"The Design of Harmonic and Polytonal Bells"
- Thomas Rossing (Northern Illinois University, US):
"Acoustics of Eastern and Western Bells, Old and New"
- Albrecht Schneider (University of Hamburg, Germany):
"Sonological Analysis of carillon bell sounds"
- Albert Schoofs (Eindhoven University of Technology, the Netherlands):
"Computer aided bell design and optimization"
Practical Information:
location: "Hof van Watervliet", Oude Burg 27, B-8000 Bruges
time: 09.00 - 12.00 & 15.00 - 18.00
admission free
Organisation:
Prof. Dr. Marc Leman
IPEM-Dept. of Musicology
Ghent University
Blandijnberg 2, B-9000 GENT
tel: +32 (0)9 264 41 25, fax: +32 (0)9 264 41 43
e-mail: Marc.Leman@rug.ac.be
With the support of:
Brugge 2002
Eurocarillon
FWO Research Society for the Foundations of Music Research
More information:
http://www.ipem.rug.ac.be/activities/eurocarillon2002.html
e-mail: benn.deceuninck@rug.ac.be
Conference Announcement: ICMC 2002
Do you think you know how a computer sounds? Well, it is unlikely that you really do, but if you attend ICMC 2002 in September - a festival and conference on computers and music with participants from all over the world, you will have a much fuller picture! ICMC 2001 met in Havana - this year it's Göteborg's turn. Composing with computers, using computers to play music, the computer as performer - any aspect of computers and music you might dream of is included in ICMC.
From 17 to 21 September 2002, composers, researchers and musicians from all over the world will meet in Göteborg for the annual ICMC - International Computer Music Conference. Approximately one hundred research reports, at least ten concerts, plus installations, workshops, demonstrations, and more are all contained in the programme, and some 400 participants will attend the conference from Europe, North and South America, and Asia.
The festival segment focuses on new work submitted to ICMC and reviewed by an international jury. The pieces selected range the entire spectrum from music for exotic instruments - such as the table and the Zheng or Chinese zither -- and computers, to Nordic vocal works, chamber music and, of course, pure taped music and videos. At the Draken cinema, music for loudspeakers will be presented, as well as films and videos, under the heading "Film for the ear and the eye". The city Concert Hall, the Nefertiti jazz club and the New Örgryte Church will also be venues for new music during the festival. There will be a daily lunch concert at Artisten, the home of Göteborg University's School of Music and Music Education. Many prominent Swedish musicians will be performing at the concerts, including the voices of the Rilke Ensemble, the Gageego chamber ensemble, and guitarist Stefan Östersjö. ICMC also commissions works. This year Swedish composer Kim Hedås has written for the baroque organ in the New Örgryte Church and organist Johannes Landgren.
ICMC also issues a compact disc with seven of the pieces chosen for performance at the festival.
Göteborgs symfoniker, the national orchestra of Sweden has a very special guest conductor, Krzysztof Penderecki, who will be conducting his own piece, Concerto Grosso, a commissioned work entitled Stone after Stone by Swedish composer Anders Hultqvist, and other music.
ICMC will also be presenting a total of twelve installations in different places: the Mölndal museum, the Universeum museum, the "Glass House" of Valand School of Fin Arts, the Göteborg Art Museum, and Artisten.
The main theme of this year's conference is "Voices of Nature". The idea is to see technology from both an artistic and an interdisciplinary perspective. A second theme is the relationship of children to music and technology, a third is improvisation in computer-aided composition processes and teaching situations.
The conference part of this year's ICMC examines the combination of music and computers from a variety of angles. There are shifting perspectives: from the development of new programs as tools for creating music to studies of what a computer actually perceives in music and how computers can learn musical expression, to philosophical and aesthetic aspects.
Magnus Eldénius, Associate Professor of music theory at the School of Music and Music Education is coordinating this year's conference. Per Anders Nilsson, who also works at the School of Music and Music Education and its Lindblad studio, is responsible for the concert arrangements. Mats Nordahl from Chalmers University of Technology is coordinating the scientific section of the conference. ICMC 2002 is being co-hosted by the School of Music and Music Education at Göteborg University and Chalmers University of Technology.
The annual ICMC meetings are formally arranged by ICMA (the International Computer Music Association), the world's largest international association for institutions, composers and researchers with a focus on technical, creative and interpretive aspects of music and technology. The most recent conferences have taken place in Thessaloniki, Peking, Berlin and Havana.
The School of Music and Music Education at Göteborg University applied to host ICMC two years ago, in competition with several other cities. Göteborg is a suitable city for this kind of event not least owing to the newly-established Faculty of Applied and Fine Arts at our university, and to the many interdisciplinary projects under way, with cooperation, for example, between Chalmers University of Technology and the University's various departments of applied and fine arts. The School of Music and Music Education has established its own research areas in the arts, for instance at the Lindblad studio, and has developed a solid network of international contacts with organizations such as IRCAM and GRM in Paris. In recent years, Chalmers has established studies in Innovative design, a strategic plan that includes cooperation with the Faculties of Art at Göteborg University.
Point your browser to the ICMC 2002 web site:
http://www.icmc2002.org/.
The entire concert programme is already in place and the site will soon
contain the conference programme as well.
Contact the organizers directly:
Magnus.Eldenius@musik.gu.se
Per Anders Nilsson: PAN@musik.gu.se
Mats Nordahl: nordahl@design.chalmers.se
Conference Announcement: International Orpheus Academy for Music Theory 2003
International Orpheus Academy for Music Theory 2003
Wednesday 9 - Sunday 13 April 2003
Ghent, Belgium
The Orpheus Institute, an institute for postacademic degree programmes in music in Flanders, Belgium (founded in 1996), is organising a first 'International Orpheus Academy for Music Theory' where outstanding international guest professors meet (pre-) professional music theorists, musicologists and musicians from all countries. The 2003 Academy will focus on 20th century music, aesthetics, theory and philosophy. The aim of this Academy is to work with a selected group of participants on a high level, in such a way that it will be an enriching experience for everyone involved.
Five guest professors will give several lectures during the Academy, the lectures lasting approx. 1 or 1,5 hour (with discussion). The main language for the Academy is English, but German and French are to be used as well.
Guest professors of the International Orpheus Academy for Music Theory 2003
are:
Konrad Boehmer (Germany/The Netherlands)
Jonathan Dunsby (UK)
Yves Knockaert (Belgium)
Max Paddison (UK) Joseph N. Straus (US)
Subjects which will be dealt with during the Academy are:
The Academy is open to approx. 30 participants: professional music theorists, musicologists, students in music theory or musicology, musicians and other interested persons from all countries. These will have to apply for the seminar by supplying a biography and a motivation. If more than 30 candidates have applied, an international jury will select the participants of the Academy.
Application will only be possible by means of our website between 1 November and 31 December 2002.
Participants from Belgium, who will not use hotel accommodation, will pay 125 euro as admission fee. Foreign participants who want to stay in the hotel (an old monastery close to the Institute) will have to pay an extra 125 euro for the hotel (for the whole stay), in a standard two person room. Upgrading to single rooms is possible at extra costs.
Because the annual congress of the Dutch Society for Music Theory will be held in the Royal Conservatory of Ghent on Friday 11 and Saturday 12 April, one joint session with both the participants of the Academy and the members of the Society will be organised.
The Orpheus Institute is located at Korte Meer 12, B-9000 Ghent, Belgium. Ghent is a historical town in the heart of Europe. The Orpheus Institute is situated in the old center of Ghent, close to many interesting historical buildings, good restaurants and fine hotels. The Institute owns a 19th century house with concert hall (140 seats), lecture hall (80 seats) and several smaller rooms (incl. a small library specialized in theoretical and philosophical books).
The Orpheus Institute is grateful to receive support from different European and American organizations for music theory in organizing this International Orpheus Academy for Music Theory 2003.
Contact:
Frank Agsteribbe
Artistic Staff Member
Orpheus Institute
Korte Meer 12
B-9000 Ghent, Belgium
Tel: +32.9.330.40.81
Fax: +32.9.330.40.82
e-mail: info@orpheusinstituut.be
The Orpheus Institute, an institute for postacademic degree programmes in music in Flanders, offers music graduates (Belgian and foreign) the possibility of developing their artistic talents and ability and broadening their academic knowledge under the guidance of leading guest lecturers.
Conference Announcement: Mannes Institute for Advanced Studies in Music Theory
MANNES INSTITUTE FOR ADVANCED STUDIES IN MUSIC THEORY
2003 INSTITUTE ON TRANSFORMATIONAL THEORY AND ANALYSIS
JUNE 21-24, 2003, MANNES COLLEGE OF MUSIC, NEW YORK CITY
Wayne Alpern, Director
The Mannes Institute for Advanced Studies in Music Theory announces its third annual summer Institute at Mannes College of Music in New York City from June 21-24, 2003 on the topic of Transformational Theory and Analysis. A distinguished group of scholars from around the world will gather together in a collegial setting to intensively explore and assess one of the most important developments in our field during the last quarter century.
The Mannes Institute is a privately supported musical think-tank providing continuing professional education at the highest level of inquiry. It offers a unique opportunity for members of our discipline to teach and learn from one other in a sustained and collaborative way, through an integrated series of participatory workshops, plenary discussions and presentations, and interactive dialogue guided by an expert faculty of our peers.
Detailed summaries of the sessions below along with admission policies and procedures will be posted this fall on the Institute's website at http://www.mannes.edu/mi and announced over the SMT list. Additional information will be available at the national meeting in Columbus. Electronic applications will be accepted via the website from January 1 to March 1, 2003.
2003 MANNES INSTITUTE ON TRANSFORMATIONAL THEORY AND ANALYSIS SCHEDULE AND FACULTY
A. Plenary Sessions
The Evolution and Context of Transformational Theory
Panelists: Richard Cohn (moderator), Edward Gollin, Robert Morris
Transformational Considerations in Schoenberg's Opus 23, No. 3
Speaker: David Lewin
The Scope and Limitations of Transformational Theory
Panelists: Joseph Straus (moderator), Henry Klumpenhouwer, John Roeder
B. Morning Workshops
Neo-Riemannian Transformations in Parsifal
Instructor: Richard Cohn
Three Topics in Transformational Theory
Instructor: Robert Morris
Voice Leading and Transformation
Instructor: Joseph Straus
C. Afternoon Workshops
Transformational Pathways into (Post-)Tonal Frontiers
Instructor: Edward Gollin
K-Net Technology and Intuition
Instructor: Henry Klumpenhouwer
Transformational Approaches to Contemporary Music
Instructor: John Roeder
All members participate in each plenary session, and enroll in one morning and one afternoon workshop for the entire Institute. Each workshop requires prior preparation, meets intensively for three periods of 2.5 to 3 hours each, and is limited to approximately 15 people. Meals, reception, and banquet are provided, and housing is available.
The Mannes Institute convenes each year on a different topic of concern to our scholarly community. Last year was Schenkerian Theory and Analysis, and the previous year was Historical Music Theory. The topic of the 2004 Institute is Musical Form, featuring a distinguished faculty of William Caplin, Janet Schmalfeldt, and other experts in this area.
Kindly direct all inquiries to Wayne Alpern, Director, Mannes Institute for Advanced Studies in Music Theory, at mannesinstitute@aol.com.
|
Journal-Related Announcements
|
Journal Announcement: Journal of Musicological Research 21/1-2
The JOURNAL OF MUSICOLOGICAL RESEARCH is pleased to announce the publication of Vol. 21 / 1-2, featuring the following articles:
ANATOLE LEIKIN, Piano-Roll Recordings of Enrique Granados: A Study of a Transcription of the Composer's Performance
MAULY PURBA, Gondang Sabangunan Ensemble Music of the Batak Toba People: Musical Instruments, Structure and Terminology
JAMES DEAVILLE, Writing Liszt: Lina Ramann, Marie Lipsius and Early Musicology
HALI FIELDMAN, Schubert's Quartettsatz and Sonata Form's New Way
With book reviews by Michael Saffle, Chris Goertzen, Jeremy Grimshaw, and Allen Scott.
The JOURNAL OF MUSICOLOGICAL RESEARCH publishes original articles on all aspects of the discipline of music: historical musicology, style and repertory studies, music theory, ethnomusicology, music education, organology, and interdisciplinary studies. Because contemporary music scholarship addresses critical and analytical issues from a multiplicity of viewpoints, the Journal of Musicological Research seeks to present studies from all perspectives, using the full spectrum of methodologies. This variety makes the Journal a place where scholarly approaches can coexist, in all their harmony and occasional discord, and one that is not allied with any particular school or viewpoint.
Submissions should include three copies of the proposed article and clear copies of musical examples. Address inquiries to:
Editors, The Journal of Musicological Research
School of Music
University of Northern Colorado
Frasier Hall, Campus Box 28
Greeley, CO 80639
jmr@arts.unco.edu
Copyright Statement
[1] Music Theory Online (MTO) as a whole is Copyright (c) 2001, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in (MTO) are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO.
[2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear:
This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. It was authored by [FULL NAME, EMAIL ADDRESS], with whose written permission it is reprinted here.
[3] Libraries may archive issues of MTO in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory.