Volume 11, Number 1, March 2005
Copyright � 2005 Society for Music Theory

Announcements

Calls for Papers

• Play!: Contemporary Composition, Technology and Listening
• Conference on American Hymnody
• 7th Annual Symposium on Systems Research in the Arts
• Rhodes International Rachmaninoff Conference
• Association for Technology in Music Instruction
• International Association for Jazz Education

Conference Announcements

• Arnold Schoenberg Reconsidered
• Music Theory Southeast 2005
• Reading and Writing the Pedagogy of the Renaissance
• Music Theory Society of New York State
• West Coast Conference for Music Theory and Analysis
• John Cage Thinker-Performer
• American Music Conference, NYC
• Music Theory Society of the Mid-Atlantic

Journal-Related Announcements

• Psychology of Music, Vol 33, No. 1
• Musurgia XI/1-2

Other Announcements

• Music Informatics Program
• Call for Nominations for SMT Officers
• SMT-Jz Award for Jazz Scholarship
• Music Theory Teaching Assistantships
   

Play!: Contemporary Composition, Technology and Listening

CALL FOR PAPER PROPOSALS:

SYMPOSIUM " Play!: Contemporary Composition, Technology and Listening"
As part of Extensible Toy Piano Project
< http://www.clarku.edu/xtp/xtp.html >;

It has been almost 50 years since John Cage defined experimental music in terms of the contemplation of sound and the use of technology. All sound--and even silence--could and should be the stuff of music for everyone, listeners and composers alike. The tape recorder was a means of not only storing sounds, but of engaging them in new and direct ways. Meanwhile, at almost the same moment, Milton Babbitt delimited composition as serious and rational, the composer as a specialist, and technology as the handmaiden to determinacy.

Matt Malsky and David Claman, the directors of the Extensible Toy Piano Project, invite paper proposals for a symposium as part of the project's Festival on November 5-6, 2005 (for more information, see < http://www.clarku.edu/xtp/xtp.html >;). Presentations will be 30 minutes long. Possible topics on the themes of the festival might include (but are not limited to):

- musical (post)modernism: aesthetic contemplation vs. intellectual endeavor
- overwhelming noise & disturbed silence: entertainment & the relationship of electroacoustic music to mass culture
- music and technoculture: musical creativity and technological possibility
- fun and form: toys as expressive objects and their listening subjects
- multimedia and new music: the intersection of new musical instruments in diverse media
- the political economy of contemporary composition: the composer and our division of musical labor
- the (impossible) concert: music in everyday/public life
- the live and the canned: performance and listening in the age of the studio
- post-literacy in music: aurality vs. orality

Proposals should be no more than 500 words and include audio-visual requirements. Please submit your proposal by July 15, 2005 via email to < mmalsky@clarku.edu > or by surface post to:

The Extensible Toy Piano Project
Clark University
Department of Visual and Performing Arts 950 Main St.
Worcester, MA 01610

CALL FOR COMPOSITIONS:
Announcing the Extensible Toy Piano Project < http://www.clarku.edu/xtp/xtp.html >;

It has a deceptively simple mechanism--plastic hammers hitting steel rods. Yet, the toy piano produces a rich and quirky sound palette. John Cage brought the instrument from a treasured plaything to a bona fide musical instrument with his Suite for Toy Piano (1948). Our aim is to bring the instrument into the 21st Century. To that end, we're offering a complete set of high quality recordings of a classic Schoenhut upright toy piano. To encourage the creation of electroacoustic compositions that use both live and pre-recorded toy piano, we're sponsoring a composition competition. The project will culminate in a festival on November 5-6, 2005 at Clark University (Worcester, MA) with concerts featuring the winning compositions and a symposium.

Conference on American Hymnody

CALL FOR PAPERS

Conference on American Hymnody
Belmont University
Nashville Tennessee
September 9, 2005

Belmont University School of Music will host a one day conference on American Hymnody on Friday, September 9, 2005. On Saturday and Sunday following the conference, the university will host the United Sacred Harp Convention, an annual gathering attracting singers from across North America. Conference participants are encouraged to remain in Nashville and attend the convention.

The Program Committee invites submissions on any area of American hymnody. Papers related to Sacred Harp traditions are particularly welcomed. Presentations should be 25 minutes in length.

Please submit a proposal of no more than 500 words. Submission by e-mail (Word document or pdf file) is preferred. Include the authors name, address, institutional affiliation, e-mail address, and a list of AV requirements. Deadline for receipt of proposals is April 4, 2005.

Presenters will be asked to provide at a later date an abstract suitable for publication in the conference program.

Send submissions to the Program Chair:

Richard Hoffman
Belmont University
School of Music
1900 Belmont Blvd.
Nashville, TN 37069

hoffmanr@mail.belmont.edu

7th Symposium on Systems Research in the Arts

The 7th Symposium on Systems Research in the Arts
"Music, Environmental Design, and the Choreography of Space"
to be held in conjunction with the 17th International Conference on Systems Research, Informatics, and Cybernetics

Proposals are invited for the 7th Symposium on Systems Research in the Arts, to be held in conjunction with the 17th International Conference on Systems Research, Informatics, and Cybernetics, August 1-7, 2005 in Baden-Baden, Germany. The study of systems within the scope of traditional arts-related theory, or the application of general systems methodologies to the analysis of music, architecture, interior design, dance, theatre, and the visual arts are areas of particular interest.

Proposals for presentations/papers of approximately 200 words should be submitted by April 15, 2005 for evaluation. Please visit the Symposium Web site at http://www.choreographyofspace.org for more information.

For additional contact information and details, please visit the IIAS home page at http://www.iias.edu.

Rhodes International Rachmaninoff Conference

Rhodes International Rachmaninoff Conference
Rhodes College, Memphis, Tennessee
October 21-23, 2005

Call for Papers and Performances

International conference of scholarly papers and musical performances connected with Sergei Vasilievich Rachmaninoff. The conference will be held at Rhodes College, Memphis, Tennessee. All are invited to attend and to mail (email or hard copy) four blind proposals of no more than five hundred words to: Valeria Nollan, Program Chair, Department of Modern Languages and Literatures, Rhodes College, 2000 N. Parkway, Memphis, TN 38112-1690 USA. Proposals for musical performances should include two copies of the performance on cassette tape. The proposed papers should be no more than twenty minutes in length, while the musical performances should aim for approximately twenty (but no longer than thirty) minutes. Working languages of the conference are English and Russian. Those wishing additional information are invited to email Professor Nollan at nollan@rhodes.edu. The deadline for submissions is 15 April 2005.

The conference is sponsored by Rhodes College in collaboration with the Memphis Symphony Orchestra (conducted by Music Director David Loebel), which will perform Rachmaninoff�s third piano concerto (piano soloist: Garrick Ohlsson) at 8:00 p.m. on Saturday, October 22 and his Rhapsody on a Theme of Paganini at 2:30 p.m. on Sunday, October 23. Both concerts will take place at the Cannon Center for the Performing Arts.

Proposals will be reviewed by a selection committee consisting of American and Russian scholars and musicologists. Speakers / performers will be notified via email or letter in June, 2005. A full program schedule will be placed on the Rhodes website in August, 2005. Rhodes College will send all participants information regarding hotels, fees, etc. in a separate mailing in the summer of 2005.

Keynote speakers will include Prof. Harlow Robinson (Northeastern University), who will present a lecture on Rachmaninoff and Prokofiev. Performances of Rachmaninoff�s music that are being planned include his second piano sonata (original version), the Preludes of opus 23, and selected romansy (art songs).

Association for Technology in Music Instruction

ASSOCIATION FOR TECHNOLOGY IN MUSIC INSTRUCTION
2005 CALL FOR PROGRAM PARTICIPATION
ATMI'S 30TH ANNIVERSARY CELEBRATION
_____________________________________________

The ATMI 2005 Program Committee invites the submission of proposals for the 2005 Conference and Thirtieth Anniversary Celebration of the Association for Technology in Music Instruction. The concurrent national conferences of ATMI and the College Music Society will be held in Qu�bec City, Qu�bec, November 3-6, 2005. Proposals dealing with any aspect of technology in music instruction and/or MIDI performance are welcome. The Association is particularly interested in presentations that focus on

• Innovative strategies and formats for web-based music learning and artistic collaboration
• New software applications for music learning
• Multimedia: integrating text, graphics, video, audio, etc.
• Music technology in the curriculum
• Performance ensembles incorporating music technology
• Research on the effectiveness of music technology
• Student-created projects involving music technology
  _____________________________________________
  AWARDS
  Following the success of the San Francisco awards, ATMI will once again recognize outstanding presentations in two categories. Monetary awards will be given for the best conference-wide presentation ($100) and the best student presentation ($250). Faculty members should encourage outstanding students to submit proposals. Additional information on these awards may be found at the ATMI website < http://www.atmionline.org/ >.
  _____________________________________________
  
  _____________________________________________
  PROPOSAL SUBMISSION DEADLINE
  
  April 1, 2005. A complete Proposal Form is included at the end of this announcement. A downloadable version is available at the ATMI website < http://www.atmionline.org/ >.
  _____________________________________________
  
  CONFERENCE SESSIONS
  The conference will offer a variety of presentation formats, including papers, panels, demonstrations, training sessions/workshops, electronic poster sessions, and performance involving technology software/hardware. In addition, the intended audience will be identified (e.g., general, novice, intermediate, or advanced) with regard to prior music technology experiences or comfort level. Presenters are encouraged to reserve five minutes at the end of their time slots for brief question and answer periods. Presenters are strongly encouraged to propose electronic poster sessions. This venue is particularly appropriate for graduate students engaged in relevant and timely research. These will follow the usual electronic poster session format. A Conference Proceedings Index will be available, which will point to presenter's sites to provide centralized access to conference topics.
  
  PRESENTATION TOPICS
  Proposals dealing with any aspect of technology in music instruction and/or MIDI performance are welcome. The Association is particularly interested in presentations that focus on
• Music technology curricular and programmatic interests
• Online music instruction: local, regional, national, and international
• Multimedia: integrating text, graphics, video, audio, etc.
• Creative pedagogies/technological tools: music learning, composition, etc.
• Performance incorporating music technology: solo, chamber music
• Uses of digital audio in ensembles
• Research on the effectiveness of music technology
• Student-created projects involving music technology
  
  The Association strongly encourages students to present their own projects, though a faculty ATMI member may submit the official proposal.
  _____________________________________________
  PRESENTATION FORMATS
  
  MIDI PERFORMANCE: The Association renews its efforts to present musical performances focusing on the use of MIDI and/or other music technologies. The proposal should include specific information regarding the ensemble and its relation to curricular goals. Encouraged are solo, chamber, or ensemble performance proposals, demonstrations of unique MIDI instruments, or performance-related compositional activities involving music technology. (If you know of performers, ensembles, or presenters that meet this description, please forward this message to the appropriate person!) NOTE: ATMI cannot provide funding/compensation for the travel or lodging of any performers. At least one person involved in the presentation (e.g., director, performer, composer) must be an ATMI member. Submitting a proposal indicates the intent to attend the conference and deliver the presentation.
  
  PAPERS AND PANELS: Traditional academic papers and panels dealing with music technology in any manner are welcome.
  
  DEMONSTRATIONS: Appropriate are demonstrations that focus on newly authored software from all aspects of the music curriculum. Especially welcomed are applications that take an innovative approach to music teaching and learning. Proposals should include a complete description of the software's design and its use in the teaching environment.
  
  TRAINING SESSIONS/WORKSHOPS: People looking for practical ways to expand their skills often attend ATMI sessions. The Program Committee would like to serve this constituency by offering short training sessions tailored to attendees with novice and intermediate skill levels. Submissions in this category should focus on the presenter's level of experience and background. A one-hour limit will be placed on these workshops. Presenters will need to provide the appropriate software, preferably on CD-ROM. NOTE: For these sessions, it should be assumed that the presenter would be working with a group using laptop computers. Notification will be posted on the ATMI website and sent to the ATMI e-mail list if a lab similar to the one in San Francisco (2004) will be available.
  
  ELECTRONIC POSTER SESSION(S): The conference will host at least one computer-based poster session, in which multiple presenters will concurrently show material in a large display area. Especially encouraged are one-on-one or small-group presentations or demonstrations of research, interactive music lab software, work in progress, and examples of student work. Proposals should include a complete description of the material to be presented. If appropriate, graphic images or actual software samples may be included with a proposal submission, but should be clearly described in the text of the proposal. NOTE: Poster session participants must supply all necessary presentation hardware and software.
  
  POST-PRESENTATION DEMONSTRATIONS: Presenters will be encouraged to present their research in two stages for this conference: the formal presentation of the results of their work, and an informal session where the details or "nuts-and-bolts" of their work can be demonstrated.
  
  NORMAL CONFERENCE EQUIPMENT: As in the past, the ATMI room will be equipped with a VCR, data projectors, a moderate sound system and wireless microphones (suitable for voice, pre-recorded audio, and synthesizer amplification; may not be suitable for MIDI performance ensembles). At least one synthesizer and a MIDI Interface (USB) will be available.
  
  All INTERNET-BASED PRESENTATIONS should be designed to run locally (i.e., without actual connection to the Internet) due to the unpredictability of conference facility telephone/network lines. If an actual connection is essential to your proposal, this must be indicated in the Specialized Equipment/Software portion of the proposal form.
  
  Details regarding specific hardware configurations and installed software installed will be available immediately prior to the convention. However, you should be prepared to provide whatever non-standard software and/or hardware is required for your presentation.
  
  ATMI members who can supply (i.e., bring with them) any of the equipment listed here are highly encouraged to contact the Program Chair. This will help to defer the significant cost of equipment rental.
  
  Presenters are expected to supply their own laptop computers, which must be appropriately configured to work with typical data projectors. Consult your local dealer if you are unsure about compatibility issues. In particular, Macintosh CPUs must have appropriate Mirroring or Multiscan options available in the Monitors Control Panel. NOTE: These options appear only when connected to a data projector.
  _____________________________________________
  
  SUBMISSION GUIDELINES
  ALL proposals must include the following:
• Completed Proposal Form (included at the end of this e-mail)
• In addition . . .
• PAPER, PRESENTATION, and DEMONSTRATION proposals must be submitted for blind review. The proposal must exclude references to individuals and/or institutions within the Proposal Description that would compromise this process. Proposals for papers should include clear statements of background, methodology, content to be covered, and conclusions. Demonstration proposals
  may be accompanied by a Training Session/Workshop proposal. Prior to submission to the Program Committee, these proposals will be edited by the Program Chair as needed to allow for blind review.
• TRAINING SESSION/WORKSHOP proposals must be submitted for blind review. Authors must exclude references to individuals or institutions within the body of the proposal that might compromise this process. The presenter may also propose a Demonstration session to precede the Training Session/Workshop. Include a detailed list of software, CPU requirements, and all other equipment required to present the session as proposed. Prior to submission to the Program Committee, these proposals will be edited by the Program Chair as needed to allow for blind review.
• PANEL proposals must clearly describe the purpose of the presentation and should list the proposed participants and their qualifications in relation to the presentation topic.
• MIDI PERFORMANCE proposals should include the name of the primary contact person (performer or director); a description of the proposed performance, a recording of recent performances, a statement describing the purpose/mission of the performance medium and its relationship to music education, and any other relevant information. If ATMI is expected to provide any equipment other than that described above, a detailed list must be submitted.
  _____________________________________________
  The ATMI 2005 PROGRAM COMMITTEE
  
  Dan Hosken (California State University, Northridge)
  Cynthia McGregor (Southwestern College)
  Charles Menoche, Chair (Central Connecticut State University)
  Rocky Reuter (Capital University)
  Floyd Richmond, Past Chair (Valley Forge Christian College)
  David Williams (Illinois State University)
  _____________________________________________
  
  PROPOSAL SUBMISSION DEADLINE: April 1, 2005
  _____________________________________________
  
  SUBMISSION FORMAT
  
  All proposals should be e-mailed directly to <menochec@ccsu.edu> and must include the words "ATMI proposal" in the subject line. Multiple proposals by the same presenter should be send in separate e-mail messages.
  
  Hard-copy will NOT be accepted unless materials absolutely cannot be submitted/read electronically. Please check with the program chair before submitting any hard copies.
  
  MIDI Performance recordings should be sent to
  Charles Menoche
  ATMI 2005 Program Chair/Music Department
  Central Connecticut State University
  1615 Stanley Street
  New Britain, CT 06111
  _____________________________________________
  
  NOTIFICATION
  Proposal receipt will be acknowledged by return e-mail within three days.
  
  Programming decisions will be announced by May 1, 2005. NOTE: With the exception individuals not listed in the program booklet (such as student/professional performers or technical assistants), presenters must be fully paid members of ATMI at least one month prior to the conference. Individuals listed in the program book are expected to register for the conference.
  _____________________________________________
  Complete and e-mail the form below within the body of the email in plain text to: <menochec@ccsu.edu> Include the words "ATMI proposal" in the subject line.
  NOTE: Do not quote or include any preceding text!
  _____________________________________________
  PROPOSAL FORM -- Must be completed for each ATMI 2005 session proposal:
  
  1) Proposal Author(s) and Institutional Affiliation(s):
  
  
  
  2) Proposal Title:
  
  
  
  3) Intended Audience (delete all but one):
  
  General (little or no experience)
  Novice (minimal experience)
  Intermediate (uses many apps., doesn't write code)
  Advanced (very experienced, may incl. programming)
  
  4) Presentation Topic (delete all but one):
  
  Music Technology Curricular/Programmatic Interests
  Creative Pedagogies/Technological Tools
  Performance
  Digital Audio
  Research on the Effectiveness of Music Technology
  Student-Created Projects
  Online Music Instruction
  Multimedia
  
  Is Internet Connection Desired (delete one):
  Yes
  No
  
  Is Internet Connection Required* (delete one):
  Yes
  No
  
  *NOTE: All presenters are advised to prepare an offline version of the presentation in case of connection failures during the conference.
  
  5) Presentation Format (delete all but one):
  
  ELECTRONIC POSTER SESSION
  
  PAPER
  
  DEMONSTRATION
  
  TRAINING SESSION/WORKSHOP
  Must be appropriate for participants using laptop computers (either Wintel or Mac OS).
  
  PANEL
  Panel Participants and Institutional Affiliation:
  
  MIDI PERFORMANCE (complete if appropriate/known):
  Group Name:
  Performers:
  Instrumentation:
  Repertoire:
  Equipment I cannot provide:
  Other:
  
  OTHER (be specific):
  
  
  6) Presentation Description (2000 word limit!):
  
  
  
  7) Single-paragraph ABSTRACT suitable for inclusion in program:
  
  
  
  8) Requested Presentation Period (delete all but one):
  
  30 minutes
  45 minutes
  60 minutes
  75 minutes
  90 minutes
  Other (explain):
  
  Please note: Attempts will be made to provide presenters with the time requested for their sessions, however, due to the complexities of scheduling, presenters understand that they may be required to adjust for a shorter or longer time slot as assigned.
  
  10) Specialized Equipment/Software that I cannot provide:
  
  None
  
  Internet connection is essential to my presentation.
  
  Other (be specific):
  
  11) Due to unavoidable conflict I absolutely cannot present on the following date(s):
  
  No Conflicts Exist
  November 3
  November 4
  November 5
  November 6
  
  Explain unavoidable conflict:
  
  
  12) List all other non-ATMI proposals that you are submitting for the Qu�bec 2005 meeting:
  
  
  
  13) Other information that may be helpful to the Program Committee:
  
  
  
  14) BRIEF biography (of each participant, performer, or ensemble):
  
  
  
  15) All e-mail addresses that you regularly access:
  
  Office:
  Home:
  Other:
  
  16) All phone numbers at which you can be reached:
  
  Office:
  Home:
  Other:
  
  _____________________________________________
  _____________________________________________
   
• INCOMPLETE PROPOSALS will not be reviewed.
• SUBMISSION DEADLINE: April 1, 2005.
• E-mail to <menochec@ccsu.edu>

International Association for Jazz Education

33rd Annual IAJE International Conference January 11 - 14, 2006, New York, New York

Technology Track Sessions
While not specifically required, it is suggested that each proposal demonstrate a clear relationship to jazz pedagogy, jazz performance or jazz practice. We encourage proposal submissions on the following
topics:

• Computer Assisted Instruction
• Notation Software
• Sequencing Software
• Electronic Musical Instruments
• Electronic Performance Ensembles
• Digital Audio
• Internet
• Multimedia
• ProductivitySession Formats
• Within each category we encourage proposal submissions for lecture/presentations and hands-on tutorial sessions. Industry showcases/product demonstrations should have a clear relationship to jazz pedagogy, performance and practice.
• Emphasis should be placed on competency acquisition so that attendees will leave with new skills in addition to the knowledge and the enthusiasm normally generated by technology presentations. Hands-on sessions should focus on one or two aspects of a program, rather than an overview.
• Sessions will have a maximum 50-minute time slot, plus 10 minutes for set-up and tear-down.

General Information

• All expenses for the proposed clinician are the responsibility of the clinician or sponsor and not that of IAJE. Additionally, IAJE membership is required of all clinicians.
• IAJE encourages sponsors to confirm the availability of the proposed clinician before submitting a proposal.
• Sessions presented at the 2005 conference are not eligible to be presented at the 2006 conference.
• For more information contact George Hess; IAJE Technology Track Coordinator; School of Music; Central Michigan University; Mt. Pleasant MI 48859; e-mail: <hessj1gj@cmich.edu>; tel: (989) 774-1960; fax: (989) 774-3766.

Deadline: Completed Technology Track proposals must be received on or before April 10, 2005.

Notification

Receipt of your e-mailed proposal will be acknowledged by return e-mail within five business days of submission. Programming Decisions will be announced by July 2005.

Technology Session Proposal Guidelines

• Request an e-mail copy of the electronic proposal form from Track Coordinator George Hess at <hessj1gj@cmich.edu>.
• Complete all 14 items outlined in the Technology Session Proposal Form and return as an electronic submission.
• Due to the nature of the selection process, incomplete or late proposals will not be reviewed.
• Complete and e-mail your proposal to George Hess at <hessj1gj@cmich.edu>.

All Technology Track proposals must be submitted electronically and received by Technology Track Coordinator on or before April 10, 2005.

Arnold Schoenberg Reconsidered

CONFERENCE ANNOUNCEMENT

�Arnold Schoenberg Reconsidered� 20-27 March 2005, Arizona State University, Tempe

This event will offer a fresh look at the life and music of Arnold Schoenberg and include:

• Multi-Media Exhibition �Arnold Sch�nberg� (1874-1951) shown in America for the first time, panoramic vision, narration & music to illuminate the life & works of Schoenberg
• 12 Teatrini (�Small Theatres�) displaying reproductions of manuscripts, photos, paintings, programs, letters, games, inventions
• Multilingual Audio guides (including historical music & voice recordings)
• Video monitors presenting documentary videos
• Interactive touch-screen computer stations
• Symposium: New Directions in Schoenberg Scholarship (21-22 March)
• Featured speakers include internationally renowned Schoenberg scholars from the United States, Canada and Austria and Schoenberg's youngest son, Lawrence Schoenberg
• Concerts: With guest artists (Susan Narucki and The Orion Quartet) and ASU faculty
• Films: "Five Orchestral Pieces," "Arnold Schoenberg. My War Years," and "The Visions of Adrian Marthaler"

For conference registration and schedule updates go to: http://music.asu.edu/Schoenberg/

For more information contact e-mail or phone:
Sabine Feisst (Conference Coordinator) Sabine.Feisst@asu.edu  (480) 965 3114 Baruch Meir (Artistic Director) Baruch.Meir@asu.edu  (480) 965 3386

Arizona State University
Katherine Herberger College of Fine Arts School of Music 40 East Gammage Parkway P.O.Box 870405 Tempe, AZ 85287-0405

Major Sponsors: School of Music & Katherine Helberger College of Fine Arts, ASU

Music Theory Southeast 2005

Program Announcement: 2005 Meeting of Music Theory Southeast

The 14th annual meeting of Music Theory Southeast will be held at the University of Miami in Miami, FL on March 4-5, 2005.  Program abstracts as well as local arrangements information may be found on the MTSE homepage: http://music.uncg.edu/mtse/.  Questions about local arrangements may be directed to Paul Wilson (pwilson@miami.edu , 305-284-4886).

Music Theory Southeast
14th Annual Meeting
Friday, March 4-Saturday, March 5, 2005

The University of Miami, Miami, Florida

Friday, March 4

1:00�2:45PM: CONTINUITY
Nancy Rogers (Florida State University), Chair

�Minding the Gap�: Interphrase Connections in Gesualdo�s Six Books of Madrigals
John Turci-Escobar, University of Georgia

�How one thing leads to another�: The Notion of Process and Unity in Webern�s Atonal Music
Carolyn Mullin, University of Oregon

Dovetailing in John Adams�s �Chain to the Rhythm�
Alex Sanchez-Behar, Florida State University

3:00�4:45PM: SCHENKERIAN APPROACHES
Boyd Pomeroy (Georgia State University), Chair

Speaking Dramatically through Linear Analysis: Characterizations in Menotti�s The Telephone
Elizabeth Lena Smith, Florida State University

The Referential Roles of G/Fx and A#/Bb in Johannes Brahms�s Variations on a Theme by Robert Schumann, Op. 9
Hiu-Wah Au, Elizabethtown College

Schenker�s Challenge: Auxiliary Cadences and First Movements
Mauro Botelho, Davidson College

7:15�9:00PM: STRAVINSKY SKETCH STUDIES: A BEHIND-THE-SCENES LOOK AT COMPOSITIONAL METHOD (PANEL)
Jane Clendinning (Florida State University), Chair;
Joseph Straus (The Graduate Center, CUNY), Respondent

Overview and Initiation: The Sketches for the �Grand Chorale� from The Soldier�s Tale
Don Traut, University of North Carolina at Greensboro

Stravinsky�s Sketchbook for Agon
Mark Richardson, Eastern Carolina University

Stravinsky�s Sketches for the Symphony of Psalms
David Smyth, Louisiana State University

Saturday, March 5

8:30�10:15AM: RHYTHM AND TIMBRE
Gabe Fankhauser (Appalachian State University), Chair

Rhythm, Resistance, and Analysis in Haydn's Quartet, Op. 20, No. 3
Eugene Montague, University of Central Florida

Structuring Timbre in an Octatonic Context: The Music of Bohuslav Martinu
Hubert Ho, University of California, Berkeley

Minimalism, Structure, Salience (and their absence) in John Adams�s Lollapalooza
Michael Buchler, Florida State University

10:30AM�12:15PM: SPECULATIVE THEORY
Adam Ricci (University of North Carolina at Greensboro), Chair

Some Thoughts on Measuring Voice-Leading Distance
Clifton Callender, Florida State University

Ramism in Sixteenth-Century Music Theory: The �New� Dialectic Method and the Cognitive Structure of Friedrich Beurhaus�s Treatises
Elisabeth Kotzakidou Pace, Washington University in St. Louis

Limits of Objectivity: Toward a Quantum Philosophy of Music Theory
Adrian P. Childs, University of Georgia

2:00�3:45PM: INTERDISCIPLINARY APPROACHES
Deborah Burton (Florida International University), Chair

Narrative Codes and Voice-Leading Strategies: Brahms�s Intermezzo in E Major, Op. 116, No. 6
Melissa Hoag, Indiana University

Mickey Mousing, Mood Music, and Conceptual Metaphor Theory
Juan R. Chattah, Florida State University

Types, Tokens, and Figaro: An Interdisciplinary Approach to Musical Structure and Dramatic Narratives in Opera
Matthew Shaftel, Florida State University

4:00�5:00PM: KEYNOTE
Atonal Pitch Space
Joseph Straus, The Graduate Center, CUNY

Reading and Writing the Pedagogy of the Renaissance

Reading and Writing the Pedagogy of the Renaissance: The Student, the Teacher, and the Materials of Musical Learning, 1470-1650.

June 2-June 4, 2005

Location: The Peabody Conservatory and The Krieger School of Arts and Sciences (Homewood Campus) The Johns Hopkins University, Baltimore Maryland.

Conference Directors: Susan F. Weiss (Peabody Conservatory, Johns Hopkins University), Cynthia J. Cyrus (Vanderbilt University) and Russell E. Murray, Jr. (University of Delaware).

A conference addressing the institutions, traditions, and practices of musical pedagogy in the Early Modern Period. The conference will take advantage of the perspectives of several humanistic disciplines on educational practice of the period through formal presentations and roundtables and through the inclusion of respondents from the field of musicology and other disciplines. Sessions will focus on the institutions of musical learning, the materials of teaching and learning, the teacher and the student, didactic repertories, and philosophies of learning. Roundtables will allow for further discussion of the ideas presented in formal papers, and keynote addresses (by James Haar, Jessie Ann Owens, and Anthony Grafton) will provide perspectives to frame the larger discussion.

This conference, funded in part by a generous grant from the National Endowment for the Humanities, will also generate a book of essays and an ongoing on-line bibliography. Further information, including program and registration information can be found at the conference website:
www.peabody.jhu.edu/renaissance 

Music Theory Society of New York State

CONFERENCE ANNOUNCEMENT

The 33rd Annual Meeting of the Music Theory Society of New York State (MTSNYS) will take place on Saturday and Sunday, 9-10 April 2005, at Baruch College, 55 Lexington Avenue, New York City. The conference will feature special sessions devoted to the scholarly legacy of John Clough, the music of Brahms, Wolf, and Scriabin, as well as other sessions.

The registration fee for the conference is $15 for members ($25 if registering after 10 March); $10 Students ($15 if after March 10); retired members who pre-register are invited for free. People may register by mailing the appropriate fee, along with your name and e-mail address, to Jeannie Guerrero, MTSNYS Treasurer, Eastman School of Music, 26 Gibbs Street, Rochester, NY 14604. A preliminary program and hotel information may be found on the MTSNYS web site, http://www.ithaca.edu/music/mtsnys/, and is also attached below. For any questions about the conference or registration, please contact Poundie Burstein at Poundie@aol.com.

L. Poundie Burstein
President, MTSNYS
*******
PROGRAM
MTSNYS 33rd ANNUAL MEETING
BARUCH COLLEGE
9 APRIL 2005 (Saturday)

I THE LEGACY OF JOHN CLOUGH (9am-12pm)
Chair: Norman Carey (Eastman School of Music)
(1) A PANEL DISCUSSION (9am �10:30)
JACK DOUTHETT (University of Buffalo), NORA ENGEBRETSEN (Bowling Green State University), JONATHAN KOCHAVI (Swarthmore, PA), NORMAN CAREY (Eastman School of Music)
(2) NEW RESEARCH DIRECTIONS (PART 1) (10:30am-12)
Scope, Method, and Goal of Scale Theory, and Notes on
'Cardinality Equals Variety for Chords'
DAVID CLAMPITT (Yale University)
Diatonic Transformations in the Music of John Adams
TIM JOHNSON (Ithaca College)

II TEXT-MUSIC RELATIONS IN WOLF (9-10:30am):
Chair: Deborah Stein (New England Conservatory)
"The Heaviest Weight": Circularity and Repetition in a Hugo Wolf's"M�hvoll komm ich und beladen"
MATTHEW BAILEYSHEA (University of Rochester)
Night Phantoms Begone! Pervasive Fluency in Wolf's "In der Fr�he"
EVAN JONES (Florida State University)

III SCRIABIN (10:30am-12pm):
Chair: Pieter Van Den Toorn (University of California Santa Barbara)
Scriabin, the Sphinx and the Riddle or Trichord 3-5
MICHAEL CHIKINDA (SUNY Buffalo)
Yuri Kholopov's Monofunctional Sphere
PHILIP EWELL(University of Tennessee-Knoxville)

IV SET THEORY (1:45-3:15pm)
Chair: Anton Vishio (University of Buffalo)
Perceptual Aspects of Maximally Even and Deviant Maximally Even Sets
MICHAEL BERRY (Texas Tech)
A Parsimonious Voice-Leading Space for Set Classes
JOSEPH STRAUS (Graduate Center, CUNY)

V THE LEGACY OF JOHN CLOUGH: NEW RESEARCH DIRECTIONS: (PART 2) (1:45-3:15pm)
Chair: Charles Smith (University of Buffalo)
The Reduction Graph as Analytic Tool
ADAM RICCI (UNC-Greensboro)
Enharmonic Systems: A Theory of Key Signatures, Enharmonic Equivalance, and Diatonicism
JULIAN HOOK (Indiana University)

VI REVISITING ESTABLISHED HARMONIC AND FORMAL MODELS (3:20-4:50pm)
Chair: Robert Wason (Eastman School of Music)
Some 18th-Century Ritornello Scripts and their 19th-Century Revivals
JOEL GALAND (Florida International University)
The Major Dominant in Minor-Mode Sonatas: Brahms's Fourth Symphony and its Predecessors
BOYD POMEROY (Georgia State University)

VII HARMONY AND SOUND PLAY (3:20-4:50pm)
Chair: Aleksandra Vojcic (Julliard)
Structuring Timbre in an Octatonic Context: the Music of Bohuslav Martinu
HUBERT HO (U.C. Berkeley)
Non-Functional Chromaticism in Ragtime and Early Jazz
HENRY MARTIN (Rutgers University-Newark)

_________________________________
10 APRIL 2005 (Sunday)

VIII RHYTHM AND METER IN BRAHMS (9am-12pm)
Chair: Joseph Dubiel (Columbia University)
Pacing Transformations and Metrical Change in Brahms's Violin Sonatas
AUSTIN PATTY (Eastman School of Music)
The Hemiolic Cycle and Metric Dissonance in Brahms's Cello Sonata in F major, Op. 99
SAM NG (Eastman School of Music)
Fluidities of Phrase and Form in the "Intermezzo" from Brahms's First Symphony
FRANK SAMAROTTO (Indiana University)
Re-Considering the Affinity Between Metric and Tonal Structures in Brahms' Op. 76 No. 8
ANJA VOLK/ELAINE CHEW (University of Southern California)

IX MUSIC AFTER 1950 (9am -12pm)
Chair: Rebecca Jemian (Ithaca College)
Symmetrical Properties of Rotational Arrays in Stravinsky's Late Music
PAUL LOMBARDI (University of New Mexico)
Rhythm and Timing in the Two Versions of Berio's Sequenza I for Flute Solo: Psychological and Musical Differences in Performance
CYNTHIA FOLIO and ALECK BRINKMAN (Temple University)
Sectional Tonality in Pop-Rock Music
GUY CAPUZZO (UNC-Greensboro)
Dementia and Voice Leading in The Sentry, from Peter Maxwell Davies' Eight Songs for a Mad King
MARTIN KUTNOWSKI (Queensborough Community College, CUNY)

X CHROMATICISM (1:30-3pm)
Chair: David Gagn� (CUNY)
Tonal Polarity and Chromatic Harmony in Liszt's Symphonic Poem Hamlet
PATTY HOWLAND (Hunter College, CUNY)
A New Theory of Sixteenth- and Seventeenth-Century Chromaticism
KYLE ADAMS (Mannes College of Music)

*****
HOTEL INFORMATION
The conference hotel is the Marcel Hotel, 201 East 24th Street, New York, NY 10010. Room rates are $165 per night ($185 for 2 persons/2 beds) plus tax. Ask for this rate by 8 March 2005, by mentioning MTSNYS. You can make hotel reservations by phone at (212)247-9700 (x7020); by fax at (212)707-8555; or by email at <LisaNewYorkCity@aol.com>. Other, less expensive, accommodations available nearby for as low $40 are listed on the MTSNYS web site, at http://www.ithaca.edu/music/mtsnys/, so please do not let the high price of NYC hotels scare you off from the conference.

West Coast Conference for Music Theory and Analysis

Dear colleagues,

We (the Program Committee) have finalized the program for the joint meeting of the West Coast Conference for Music Theory and Analysis, Rocky Mountain Society for Music Theory and College Music Society Pacific Central Chapter (our hosts), to be held at the University of San Francisco next month. It is given below.

Further information about the conference such as abstracts, hotel and restaurant information, and a USF campus map and directions will be posted on the West Coast Conference's web site within the next few days < http://wccmta.org >. Please feel free to contact me if you have questions about the meeting that the web site doesn't cover.

Hoping to see many of you in San Francisco (there are worse places to be in mid-March),

*************************************************************
PROGRAM

2005 meeting of the Rocky Mountain Society for Music Theory and West Coast Conference for Music Theory and Analysis meeting jointly with the College Music Society, Pacific Central Chapter ________________________________________________________________________
Friday afternoon, March 18, 2-5:30 p.m.
Session chair: John Cuciurean, Arizona State University

Session 1, Stravinsky's Rotational Arrays

"Symmetrical Properties of Rotational Arrays in Stravinsky's Late Music" Paul Lombardi, University of New Mexico

Session 2, Neo-Riemannian/Transformational Topics

"Parsimonious Cycles, the Hyper-Octatonic System, and Group-Theoretic Potentials of the Octatonic Scale" Luke Ma, University of California at Santa Barbara

Break

"Common-Tone Progressions and their Tonnetz Representations in Orlando di Lasso's Prologue to Prophetiae Sibyllarum" Mariusz Kozak, University of New Mexico

"Triadic Transformation and Parsimonious Voice Leading in the Music of Gavin Bryars" John Roeder and Scott Cook, University of British Columbia

Break

West Coast Conference and Rocky Mountain Society Business Meetings (5 p.m.)

________________________________________________________________________
Saturday morning, March 19, 9 a.m.-12 p.m.
Session chair: Steve Larson, University of Oregon

Session 3, Messiaen's Birdsongs

"Messiaen's Birdsong Music: Birdsong Analysis and its Musical Setting" Martin Lee, State University of New York at Buffalo

Session 4, Tonal and Registral Space

"Perception of Harmonic Attraction in Diatonic Seventh Chords" Greg Bulls, Texas Tech University

Break

"A New Model for Voice Leading in Pitch Space" Sean Carson, New York University

"Registral Zones, Spatial Structure, and Viscous Musical Space" Terrence Paynter, Pennsylvania State University ________________________________________________________________________
Saturday morning, March 19, 9 a.m.-12 p.m. (concurrent with Sessions 3 and 4)
Session chair: Jack Boss, University of Oregon

Session 5, Sonata Form in Shostakovich

"Centricity and the Sonata Principle in the First Movement of Shostakovich's Second String Quartet" David Castro, University of Oregon

Session 6, Vocal Music of the Second Viennese School

"'What Profound and Moving Little Motives': A Comparison of Text-Painting and Motivic Structure in Songs by Wolf and Schoenberg" Jennifer Russell, University of Oregon

Break

"The Musical Language of Obsession: Arnold Schoenberg's 'Traumleben,' Op. 6, no. 1" Gordon Root, University of California at Santa Barbara

"Harmonic Stability in Webern's First Cantata, Op. 29" Darin Hoskisson, University of Oregon

________________________________________________________________________
Saturday afternoon, March 19, 1:30-5 p.m.

CMS Keynote Presentation on music copyright law Fred Liberman, University of California at Santa Cruz

Paper and Panel Discussion on non-traditional repertoire in the music theory curriculum, sponsored jointly by CMS, RMSMT and WCCMTA

"Variations on Variations"
J. Daniel Jenkins, Eastman School of Music

Panel Discussion

RMSMT/WCCMTA Keynote Speech
"Continuity and Discontinuity in Stravinsky" Pieter van den Toorn, University of California at Santa Barbara

________________________________________________________________________
Sunday morning, March 20, 9 a.m.-12 p.m.
Session chair: Keith Waters, University of Colorado at Boulder

Session 7, Rhythm

"Pacing Transformations and Metrical Change in Brahms's Violin Sonatas" Austin Patty, Eastman School of Music

"Metrical Dissonance in Paderewski's Recordings of Chopin's Mazurkas" Alan Dodson, University of Alberta

Break

Session 8, Jazz and Blues

"In its Own Sweet Way, a Well-Known Jazz Standard Reveals Structural Secrets" Keith Salley, University of Oregon

"Every Note Counts: Motivic Development, Hidden Repetition, and Turnarounds in Nat King Cole's 'Blues in My Shower'" Caitlin Snyder, University of Oregon

John Cage Thinker-Performer

John Cage Thinker-Performer

One-day conference
Royal Northern College of Music (UK)
Saturday 16 April 2005

This one-day conference is free to RNCM staff and students; �15.00 to others (includes, coffee, tea, both performances and the drinks reception). Advance registration is unnecessary, but an indication of intent to attend would be helpful.

The provisional programme is below and (printer-friendly) at http://www.rncm.ac.uk/Place%20to%20Study/Research%20Events/ 

9.30am Registration

10.00 Stephen Chase, 'Listening / Not Listening: Improvisation after Cage'

10.30 Clemens Gresser, 'Cage, the Performer and the Idea of Co-Creatorship'

11.00 Coffee

11.15 Darla Crispin, 'Some Noisy Ruminations on Susan Sontag's 'Aesthetics of Silence''

11.45 Nic Melia, 'Silence and Subjectivity: Strands of Critical Resistance to Sound-Making'

12.15pm Keynote address: David Nicholls, 'Cage A Performing'

1.15 Lunch

2.15 Simon Anderson, 'Over-prepared, Under-prepared? The Problems of Preparing Pianos for the Music of Cage'

2.45 Marco Lombardi, 'Cage's Cello Music'

3.15 Tea

3.30 Rebecca Kim, '"Making Music by Reading Aloud": Cage as Vocalist'

4.00 Rob Haskins, 'Playing in the Brothel: Problems of Performance Practice in Cage's Song Books'

4.30 Drinks reception and performance of 'Lecture on Nothing' by Jody Killingsworth

5.30 Performance of 'Sonatas and Interludes' for prepared piano by John Tilbury

6.30 Close

American Music Conference, NYC

Please join the City University of New York Graduate Students in Music for their Eighth Annual Conference on March 19, 2005. Registration is FREE and breakfast and lunch will be provided. Our keynote speaker is Professor Carol J. Oja (Harvard University). The program is below and at http://web.gc.cuny.edu/Music/events/special_GSIM2005.html. To pre-register or for more information please contact Heather Laurel Feldman at hfeldman@gc.cuny.edu or 202-885-3432.

The address for the CUNY Graduate Center is:

The Graduate School and University Center
Elebash Recital Hall
365 Fifth Ave. (between 34th and 35th Streets, across from the Empire State Building)
New York, New York 10016

The City University of New York Graduate Students in Music
Eighth Annual Conference: American Music Studies
March 19, 2005
Program

Welcome and Registration (Breakfast Provided!)
9:00am-10:00am

Morning Session: Historical and Analytical Studies
Session Moderator TBA
10:00am-1:00pm

"The Manuscript Society of New York"
Johnathon Jones
Pennsylvania State University

"Collage and Structure in Charles Ives's Putnam's Camp"
Jennifer Iverson
University of Texas-Austin

Coffee Break

"Local Polymetric Structures in Elliott Carter's 90+ for Solo Piano (1994)"
Eve Poudrier
CUNY Graduate Center

"An Adaptive Analysis of Vincent Persichetti's Shimah b'koli (Psalm 130) for organ, Op. 89 (1962)"
Sean Cribbs
University of Missouri-Kansas City

1:00pm-2:00pm
Lunch Break (Lunch Provided!)

Afternoon Session: Popular and Cultural Approaches
Moderated by Professor Ellie Hisama, Brooklyn College and The Graduate Center, CUNY
2:00pm-5:00pm

"A Requiem for Reality: The Postmodern Trajectory of Brian Warner"
Charles Mueller
The Florida State University

"From Third World Poverty to First World Abundance: Reference and Allusion in Jay-Z's 'It's Alright'"
Sara V. Nicholson
Eastman School of Music

Coffee Break

"Aaron Copland and the American Dream: The Story of a Little-Known Television Career"
Emily Abrams
Harvard University

"'Demolish Serious Culture!': Henry Flynt and the Workers World Party, 1962-67"
Ben Piekut
Columbia University

Keynote Address
5:15pm-6:00pm

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

Music Theory Society of the Mid-Atlantic

Music Theory Society of the Mid-Atlantic
Third Annual Meeting
Wilkes University

Gies Recital Hall in Darte HALL

Friday, April 1

Registration 1:00-2:00 PM Refreshments and Conversation

2:00-2:30

Transformational vs. Prolongation in Brahms's In der Fremde
Michael Baker
Indiana University
2005 Winner of the Best Student Paper Award and Prize

2:30-4:30 PM Form and Gesture in Music After 1945
Mark Janello
Peabody Conservatory of Music
Johns Hopkins University

Agostino Di Scipio's and Giuliano Mesa Mesa's
Tiresia: The Structure of Collaboration

Stephen Lilly
Towson University

A Study of Variation Technique and Form in Donald
Grantham�s Fantasy Variations

Amy Carr-Richardson
East Carolina University

Ligeti's Compositions in Timbre: Connections between his
Electronic and Orchestral Music

Benjamin R. Levy
University of Maryland

4:30-5:00 PM Business Meeting (Exciting Announcement!)

5:00-5:45 PM Reception

6:00-7:45 PM Banquet
Keynote Address
Presentation of the Dorothy Payne Award for Best Student Paper
A Few Words from Dorothy Payne who plans to attend

8:00 PM Kandinsky Trio
Dorothy Dickson Darte CENTER for the Performing Arts
____________________________

Saturday, April 2

8:00 AM Registration

8:00-9:00 AM Continental Breakfast

9:00-10:30 AM Debussy, Ravel and Messiaen
Valerie Nolan, Chair
Rhodes College

Evaluating Prolongation in Extended Tonality
Robert t. Kelley
Florida State University

Messiaen's Birdsong Music: Birdsong Analysis and Its Musical Setting
Martin Lee
University of Buffalo

Temporality and Apotheosis in Debussy's Music
Michael Klein
Esther Boyer College of Music
Temple University

10:30-11:00 AM Refreshments and Conversation

11:00-12:30 Stravinsky and Webern
Mark Richardson, Chair
East Carolina University

Symmetrical Properties of Rotational Arrays in Stravinsky's Late Music
Paul Lombardi
University of New Mexico

Transformational Harmony and Voice-Leading in the Canonic Writing of Stravinsky and Webern
Lawrence B. Shuster
CUNY-Graduate Center

"How one thing leads to another?": The Notion of Process as Unity in Webern's Atonal Music
Carolyn Mullin
University of Oregon

12:30-1:30 Luncheon

1:30-2:30 Round Table on Ideas for Curriculum and Courses
Carl Weins, Discussion Leader
Nazareth College
Bring your ideas!

2:30-3:30 Meeting of the Outgoing and Newly Elected Officers and Board

The members of the 2005 Program Committee are Carl Wiens (Chair; Nazareth College), Mark Butler (University of Pennsylvania), Ellen Flint (Wilkes University), Dora A. Hanninen (University of Maryland at College Park) and Mark Janello (Peabody Conservatory of Music).

The Officers and Board Members of the Society are:
Pamela L. Poulin, President, Ted Latham, Vice-President, Joel Phillips, Secretary, Steven Strunk, Treasurer, Board Members: Ellen Flint, Michael Klein, Fred Schock (who is also the Archivist), and Webmaster Kip Wile.

Psychology of Music Vol. 33, No. 1

A new issue of Psychology of Music has been made available:
January 2005; Vol. 33, No. 1
http://pom.sagepub.com/content/vol33/issue1/?etoc

Open access to this article until 31 March 2005 - click here:

From child to musician: skill development during the beginning stages of learning an instrument
Gary E. McPherson
http://pom.sagepub.com/cgi/content/abstract/33/1/5?etoc

Goal orientation, implicit theory of ability, and collegiate instrumental music practice
Bret P. Smith
http://pom.sagepub.com/cgi/content/abstract/33/1/36?etoc

Diversity of accuracy profiles for absolute pitch recognition
Nan Bahr, Carol A. Christensen, and Mark Bahr
http://pom.sagepub.com/cgi/content/abstract/33/1/58?etoc

Analysis and perception in post-tonal music: an example from Kurtag's String Quartet Op. 1
Anna Rita Addessi and Roberto Caterina
http://pom.sagepub.com/cgi/content/abstract/33/1/94?etoc

Book Review: Foundations of Cognitive Psychology: Core Readings
Warren Brodsky
http://pom.sagepub.com/cgi/reprint/33/1/117?etoc

Book Review: The Arts in Children's Lives: Context, Culture, and Curriculum
Alexandra Lamont
http://pom.sagepub.com/cgi/reprint/33/1/119?etoc

Book Review: The Possessor and the Possessed: Handel, Mozart, Beethoven, and the Idea of Musical Genius
Urs Markus Nater
http://pom.sagepub.com/cgi/reprint/33/1/121?etoc

Book Review: Freedom and Constraints in Timing and Ornamentation: Investigations of Music Performance
Erwin Schoonderwaldt and Roberto Bresin
http://pom.sagepub.com/cgi/reprint/33/1/122?etoc

Musurgia XI/1-2

Just published: Musurgia XI/1-2 (2004), Images de la voix.

Contents:
Marie-No�lle MASSON, Musique/langage : une m�taphore
Pierre-Henry FRANGNE, Les larmes de Tancr�de. La voix et le voir dans Le combat de Tancr�de et Clorinde de Claudio Monteverdi
Rapha�lle LEGRAND, Les d�buts de Sophie Arnould � l'Op�ra (1757-1760) : images de l'� actrice chantante � et de son r�pertoire
Jeanne ROUDET, Du mod�le vocal � l'illusion pianistique : les techniques du son romantique comme traits stylistiques
Violaine ANGER, R�flexions sur la nature de la vocalit� dans le duo d'amour de Rom�o et Juliette d'Hector Berlioz
Jean-Paul OLIVE, La Suite Lyrique d'Alban Berg, un cas de la vocalit� instrumentale
Xavier BISARO, Le Plainchantiste en son atelier. Propositions d'une m�thode d'analyse du plain-chant n�ogalican au travers du Trait� de L. Poisson
Patrick OTTO, �critures d'Opus number zoo de Luciano Berio : mise en oeuvre d'un processus compositionnel
Bruno BOSSIS, Mortuos Plango, Vivos Voco de Jonathan Harvey ou le miroir de la spiritualit�

Abstracts (in French and English) are available on http://musurgia.free.fr

Indiana University Bloomington is pleased to announce the creation of a Music Informatics program within its new School of Informatics. The program will initially offer a Master's degree, and we anticipate offering a Ph.D. degree within a year. The program serves students interested in the exciting confluence of scientific, technological, and musical ideas that drives music informatics. Examples of the growing list of research possibilities include audio and optical music data recognition, algorithmic musical analysis, interactive performance systems, music audio processing, analysis of musical interpretation, music educational technologies, and music information retrieval.

The Master's program is a two-year curriculum consisting of courses in informatics and music, along with courses selected from offerings in computer science, cognitive science, and education. The coursework is designed to develop the technological sophistication and musical breadth necessary for participation in this emerging interdisciplinary area. In addition to the broad expertise within the School of Informatics, students in the program will draw on the resources of the world-renowned School of Music and the William and Gayle Cook Music Library, with its state-of-the-art Variations2 Digital Music Library.

Students admitted to the program will have a strong background in both computer science or informatics and music, including experience in music theory, performance, or composition. Additional relevant areas such as mathematics, cognitive science, and educational technologies will be helpful.

Further information is available at
http://www.informatics.indiana.edu/academics/mi.asp

Call for Nominations for SMT Officers

• Vice President
• Two Members of the Executive Board

SMT officers who will be selected in the 2005 election include (1) Vice President and (2) two members of the Executive Board. SMT members who would like to submit nominations for these posts should contact

Lora Gingerich Dobos
SMT Nominating Committee
The Ohio State University
School of Music
1899 College Road
Columbus, OH 43210

You may also submit the nomination in an e-mail to dobos.1@osu.edu. Self-nominations are perfectly acceptable. The deadline for all nominations is March 15, 2005.

2005 SMT Nominating Committee:
Lora Gingerich Dobos, Chair (The Ohio State University)
Fred E. Maus (University of Virginia)
Patrick McCreless (Yale University)
John Roeder (University of British Columbia)
Kristin F. Wendland ( Emory University)

The Jazz Theory and Analysis Special Interest Group of the Society for Music Theory (SMT-Jz) invites nominations for the SMT-Jz Award for Jazz Scholarship. This award is bestowed occasionally for a document that, in the judgment of the SMT-Jz Award Committee, makes an outstanding contribution to the field of jazz theory and analysis.

Eligibility extends to books, articles, delivered conference papers, dissertations, and theses in English, published, presented, or defended during the five years preceding the award year (between January 1, 2000, and December 31, 2004, inclusive, for the 2005 award). All members of the Society for Music Theory are encouraged to draw to the committee's attention distinctive scholarly works that are eligible for this award.

Self-nomination is not permitted; to be eligible, a document must be nominated by three members of the Society for Music Theory. In any given year, a member may nominate only one document for the award.

Nominations should include the name of the scholar, a description of the document (please include complete bibliographic information where available), and a statement to the effect that the work was published, presented, or defended during the previous five calendar years. The committee will contact the nominee for additional material as needed (the nominee may be asked to submit copies of the nominated document to the evaluating committee). Nominations should be sent via email to: Steve Larson (chair of SMT-Jz Award Committee) <steve@uoregon.edu> by April 1, 2005.

The SMT-Jz Award for Jazz Scholarship will consist of a citation. The winning document shall be selected by a committee of three persons, whose chair will announce the award at the meeting of SMT-Jz during national SMT conferences, in whatever years SMT-Jz wishes to make such award. The award also will be announced in the SMT Newsletter and on the SMT website under the heading of "news" or "announcements" from SMT-Jz.

Music Theory Teaching Assistantships

UNIVERSITY OF HOUSTON
Moores School of Music
Music Theory Teaching Assistantships Available ASSISTANTSHIP & ADMISSIONS APPLICATION DEADLINE: March 12, 2005

DUTIES: Teach classes of Music Theory and Ear Training/ Sight-Singing.

STIPEND: The minimum annual stipend of $7,020 (MM) or $8,376 (DMA) is for 15 hours per week. In addition, recipients will receive at least a $1,000 scholarship. For out-of-state students, scholarship awards will activate in-state tuition rates. The University of Houston tuition rate is one of the lowest in the nation.

DEGREES: Graduate degrees are offered in theory, composition, performance, music history, pedagogy, conducting, and music education.
All graduate music majors with a strong background in theory may apply.

To receive an application please contact:

Dr. John Snyder
University of Houston, Moores School of Music 120 School of Music Building Houston, TX 77204-4017 JLSnyder@uh.edu; (713) 743-3143

For more information,please visit our web site: www.uh.edu/music

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