Music Theory Society of New York, State Annual Meeting
Annual Meeting Music Theory Society of New York State Eastman School of Music of the University of Rochester 12-13 April 1997 CALL FOR PAPERS The Program Committee invites proposals for papers and presentation on any topic. Areas of particular interest include: * Analysis Symposium on Bartk, Violin Sonata No. 1 (1921) * Analysis of Opera * Linear Analysis * Counterpoint Papers given at national conferences or previously published will not be considered. Any number of proposals may be submitted by an individual, but no more than one will be accepted. Most papers will be placed in 45-minutes slots, with about 30 minutes for reading and 15 minutes for possible response or discussion. Paper submission should include: 1. Six copies of a proposal of at least three but no more than five double-spaced pages of text. Each copy should include the title of the paper and its duration as read aloud, but not the author's name. 2. An abstract of 200-250 words, suitable for publication. 3. A cover letter listing the title of the paper and the name, address, telephone number, and e-mail address (if applicable) of the author. Proposals should be sent to Elizabeth West Marvin, MTSNYS Program Chair Eastman School of Music 26 Gibbs Street Rochester, NY 14604 Members of the MTSNYS 1997 Program Committee are Elizabeth W. Marvin, Chair (Eastman School of Music); Mark Anson-Cartwright (CUNY), Joseph Dubiel (Columbia University), John Hanson (Binghamton University, SUNY), Marie Rolf (Eastman School of Music), and Robert Wason (Eastman School of Music). POSTMARK DEADLINE IS 1 OCTOBER 1996 Submitted by Mary I. Arlin President, MTSNYS School of Music, Ithaca College Ithaca, NY 14850 email: arlin@ithica.edu
SOCIETY FOR SEVENTEENTH-CENTURY MUSIC
Fifth Annual Conference
April 11-13, 1997
Florida State University, Tallahassee, Florida
CALL FOR PAPERS
The Program Committee solicits proposals on all aspects of
seventeenth-century music and musical culture. In addition to topics
directly concerned with music history, we welcome those dealing with other
fields (e.g., literature, the visual arts, other performing arts, other
aspects of cultural history) as they relate to music. Any national focus or
methodology will be welcome.
We encourage presentations in a variety of formats, such as papers,
lecture-recitals, demonstrations, workshops, seminars, and roundtable
sessions. In general, papers will be limited to 20 minutes (not including
discussion) 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 1996
presenters should not submit proposals for 1997. Abstracts will remain
anonymous until the final formulation of the program. The committee will
notify submitters of the results around mid-January.
Guidelines for abstracts:
1. Limit the length to no more than two pages.
2. For conventional papers, an abstract should include a clear statement of
the issue or issues being explored, the methodology used, and the
conclusions. For seminars or other less conventional formats, the abstract
should give as much information as possible; we encourage early submission
of such abstracts, so that the committee might have an opportunity to
request additional information.
3. State any anticipated needs for equipment at the end of the abstract.
4. Send five copies: one identified with your name, address, telephone, fax,
and e-mail address (as applicable); and four anonymous.
5. Do not send tapes or other supporting material at this time.
6. Abstracts from outside the United States may be sent by fax (one copy
only) to Lois Rosow at 614-292-1102.
7. Abstracts must be postmarked no later than October 1, 1996.
8. Mail to Lois Rosow, SSCM Program Committee Chair, School of Music, Ohio
State University, 1866 College Road, Columbus, OH 43210-1170.
Program Committee: Robert Holzer (Princeton University); Carol Marsh
(University of North Carolina at Greensboro); Lois Rosow, chair (Ohio State
University); Steven Saunders (Colby College)
KEELE UNIVERSITY, STAFFORDSHIRE, UK
Unit for the Study of Musical Skill and Development
Opportunities for postgraduate studies in
MUSIC PSYCHOLOGY
- coursework leading to MSc
- research leading to MPhil or PhD
=======================================
Keele University offers international expertise in many core areas of music
psychology, including music cognition and memory, music performance
technique and expression, emotional responses to music, musical expertise,
development of musical skills in children and adults, music teaching and
learning, social psychology of music, perception and cognition of musical
structure, and computer modelling techniques.
The Unit for the Study of Musical Skill and Development currently has three
permanent staff.
Professor John Sloboda (pianist, choral conductor):
music cognition, emotion, performance, skill
Dr Richard Parncutt (pianist, music theorist):
music perception, harmony, tonality, rhythm
Dr Susan O'Neill (flautist, music teacher):
musical development, social psychology, education
========================================
>>>> MSc in Music Psychology <<<<<< The MSc in Music Psychology will be offered for the first time in the 1996/97 academic year. It takes one year full-time, or two to three years part-time. The course aims: to acquaint students with the main areas of contemporary research in music psychology; to enable students to reflect critically on relevant areas of professional practice music performance, music teaching, broadcasting and recording, music therapy in the light of psychological knowledge; and to equip students with the skills necessary to design, execute, and report empirical psychological investigations in an area of music psychology relevant to their individual background, skills and interests. The course is open to graduates with a first or a second class degree in psychology, music, or education with music as a specialism. Other relevant subject areas and qualifications (e.g., sociology, linguistics, electronics, acoustics, music technology, education, neuroscience) may be considered where the work undertaken has relevance to music, particularly where the student can point to relevant professional or recreational experience such as a significant involvement in music performance. All students take the following four modules: Contemporary issues in music psychology research Options* Project design Project execution *There are four options, of which each student takes two: Research methods in psychology Elements of musical structure Issues in education Music Perception The course is assessed through coursework, dissertation, and verbal presentation of research results. There are no examinations. The length of written work for each full module is approximately 9,000 words. An external examiner attends the final research presentations. The course has a dedicated seminar/resources room for on-campus study and meetings. Students have full access to departmental and university computing facilities for word processing, statistical analysis, on-line control of experiments, and access to the internet. The Department of Psychology is supported by four expert technical staff, specialising in computing, electronic, audio-visual and mechanical design requirements. Keele is a campus university with over 6,000 students. It is located in a peaceful, spacious rural setting amidst woods and lakes on the western outskirts of the ancient market town of Newcastle-under-Lyme and the Six Towns of the Potteries. It is the UK's leading interdisciplinary university, with undergraduates undertaking a more varied mix of subjects than is usual in most other universities. Cultural life at the university includes weekly classical concerts by national and international performers, and numerous amateur musical events. The campus has good sporting facilities, a day nursery, and medical, counselling and career services. The campus halls of residence include specially reserved blocks for postgraduate students. By car, Keele is one hour from both Birmingham and Manchester, and three hours from London. By public transport, Keele is 20 minutes by bus from the railway station of Stoke-on-Trent. Trains from Stoke to London Euston take two hours, and run hourly on weekdays. Subject to approval, fees for the 1996/97 session are as follows: UK/EU students 622.50 pounds sterling per module non-EU students 1506.25 pounds sterling per module Students with good undergraduate results may obtain funding for full-time study from various foundations and public funding bodies. Initial enquiries regarding graduate teaching assistantships and ESRC research studentships should be made by February of each year. For further information on the MSc prior to making a formal application, please contact the course director, Professor John Sloboda, or one of the other team members: tel email John Sloboda +44 1782 583387 j.a.sloboda@keele.ac.uk
Richard Parncutt +44 1782 583392 r.parncutt@keele.ac.uk
Susan O'Neill +44 1782 584261 s.a.o'neill@keele.ac.uk
or write to:
Unit for the Study of Musical Skill and Development
Department of Psychology
Keele University
Keele, Staffordshire ST5 5BG
UK
Fax +44 1782 583387
For application forms and further information about admissions, contact:
Postgraduate Admissions
Department of Academic Affairs
Keele University
Keele, Staffordshire ST5 5BG
UK
Tel +44 1782 584002
Fax +44 1782 632343
AMAZING MAZE (1996 ff.)
an infinite interactive realtime composition for
sampled sound particles and optional Live-Performer(s)
by Karlheinz Essl
can be downloaded from algo.comp ftp-server
ftp://www.music.uiowa.edu/pub/max/AmazingMaze_1.3.2.sit.hqx
This freeware program comes as a binhexed StuffIt archive (2 MB) containing
a runtime version of MAX (MAXplay 3.0), a huge library of compositional
software routines (RTC-lib) and a resource file composed of 45 instrumental
sound particles (16bit, 22 kHz, mono).
System & Software Requirement
=============================
* Apple Macintosh Computer with at least 8 MB of RAM, System 7.x
* SoundManager 3.x installed
NB: The program plays directly through the sound output of the Macintosh
and does not need any additional hardware.
About...
========
AMAZING MAZE is realtime composition environment for Apple Macintosh
computers. It is represented by a computer program which generates music by
manipulating sampled instrumental sound particles according to certain
compositional strategies. These are carried out in 6 so called "modules":
* nuages: generates clouds of an accelerando/ritardando rhythm with
crescendo/decrescendo dynamic envelope
* pulse: creates an even rhythmic pulsation
* brown: applies brownian movement algorithms on different musical
parameters
* complex: synthesizes a complex rhythm with chord qualities
* chords: produces chords of different densities
* ferm: generates fermatas which will globally stop the stream of
sound
The compositional algorithms of the modules are programmed in MAX (an
interactive graphical programming environment) by taking advantage of my
"Real Time Composition Library" (RTC-lib). This collection of software
modules offers the possibility to experiment with a number of compositional
techniques, such as serial procedures, permutations and controlled
randomness. More information about the RTC-lib can be found on the
World-Wide Web under the URL:
http://www.ping.at/users/essl/works/rtc.html
The sounds used in AMAZING MAZE have been taken from instrumental
recordings of flute, bass clarinet, prepared piano, and percussion which I
did with musicians of the Ensemble "Klangforum" (Vienna) in 1992. The same
sound material was used for the creation of the electronic part of
"Entsagung" (1991-93) for ensemble and interactive live electronics, which
was commissioned by IRCAM (Paris).
A variety of interfaces allows different interactions with this music
machine which allows its usage as an electronic improvisation device
(alone, or together with instrumental live performers).
More informations about AMAZING MAZE can be found at:
http://www.ping.at/users/essl/works/amazing.html
Dr. Karlheinz Essl
SAMT - Studio for Advanced Music & Media Technology
Bruckner-Konservatorium Linz (Austria)
E-Mail: essl@ping.at
WWW: http://www.ping.at/users/essl/index.html
LEONARDO MUSIC JOURNAL Volume 5, 1995--*Now Available*
------------------------------------------------------------------
". . . really interesting . . . marvelous. . . ."
__CMJ New Music Report__
Published annually by The MIT Press for Leonardo/
International Society for the Arts, Sciences and
Technology (ISAST), Volume 6 forthcoming
100-120 pp. per issue, 8 1/2 x 11, illustrated
Founded: 1968
ISSN 0961-1215
Roger F. Malina, Executive Editor
LEONARDO MUSIC JOURNAL (LMJ) is the companion annual to the high-
tech arts bimonthly, LEONARDO. Both journals are official
publications of Leonardo/ISAST. Each yearly issue of LMJ comes
with a compact disc. LMJ features the latest in music, multimedia
art, sound science and technology. Institutional subscribers to
LEONARDO receive LMJ as part of a yearly subscription. Individuals
may choose to include LMJ with their subscription to LEONARDO. TO
ORDER, see below.
-----------------------------------------------------------------
LEONARDO MUSIC JOURNAL, Volume 5, 1995
Table of Contents
EDITORIAL
An Unheard-of Organology
By Douglas Kahn
ARTISTS' ARTICLES
Chromatic Notation of Music: Transforming Bach and Webern into Color and Light
By Brigitte Burgmer
Orchestrating the Chimera: Music Hybrids, Technology and the Development of a
"Maximalist" Musical Style
By David A. Jaffe
ARTISTS' NOTES
Acoustic and Virtual Space as a Dynamic Element of Music
By Pauline Oliveros
More than Just Notes: Psychoacoustics and Composition
By Robert HP Platz
Reflections on Collaborative Process and Compositional Revolution
By Diane Thome
TECHNICAL ARTICLE
Thresholds of Confidence: An Analysis of Statistical Methods for
Composition. Part I: Theory
By Charles Ames
HISTORICAL PERSPECTIVE
The History of Electroacoustic Music in the Czech and Slovak
Republics
By Libor Zajicek
THEORETICAL PERSPECTIVES
A Hierarchical Theory of Aesthetic Perception: Scales in the
Visual Arts
By Pavel B. Ivanov
Inventing Images: Constructing and Contesting Gender in Thinking
about Electroacoustic Music
By Andra McCartney
CD COMPANION:
INNOVATION IN CONTEMPORARY JAPANESE COMPOSITION
Curated by Marc Battier with Mamoru Fujieda, Hinoharu Matsumoto
and Kazuo Uehara
CD Introduction and Contributors' Notes
Reviews: Book, Compact Discs, Materials Received
1995 Index: LEONARDO Volume 28 and LEONARDO MUSIC JOURNAL Volume 5
------------------------------------------------------------------
LEONARDO MUSIC JOURNAL 1996 Subscription Prices
*Subscriptions are for the volume year only. Prices subject to
change without notice. Prepayment required.*
Individual (to LEONARDO)
(w/companion volume LMJ) $ 65.00
Institution (to LEONARDO)
(w/companion volume LMJ) $320.00
Outside U.S.A. add $22.00 postage and handling. Canadians add
additional 7% GST.
TO ORDER, contact:
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MIT PRESS JOURNALS 55 Hayward Street
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EVENT: GAMUT 1997 Meeting/Call for Papers and Proposals HOST: University of Georgia, Athens, GA DATE: February 21-22, 1997 DESCRIPTION: The Georgia Association of Music Theorists (GAMUT) will hold its annual meeting at the University of Georgia School of Music February 21-22, 1997. Gary Wittlich (Indiana University) will give the keynote address on music technology in the 21st century. GAMUT invites papers dealing with any aspect of music theory and proposals for a Friday evening panel session dealing with any aspect of theory pedagogy to be submitted for the meeting. Papers should be 30-45 minutes in length, and panel session should be 1 1/2 hours. Manuscript submissions should be double spaced with 1-inch margins. Submisions should be postmarked by Monday, December 16, 1996. Send four copies with a short abstract to Professor Leonard Ball at the contact address below. COST AND PAYMENT OPTIONS: GAMUT membership fee is $25 and includes a copy of the GAMUT Journal. TRAVEL AND HOTEL INFORMATION: TBA CONTACT: Leonard Ball University of Georgia School of Music 250 River Road Athens, GA 30602 E-mail: lvball@uga.cc.uga.edu Phone: (706) 542-2800 Fax: (706) 542-2773
I am pleased to announce the publication of vol. 17/1 of the Indiana Theory Review. This issue returns to an eclectic format that features various essays on an assortment of topics related to music theory. The contents include the following: Byron Almen, "Prophets of the Decline: The Worldviews of Heinrich Schenker and Oswald Spengler" Ira Braus, "Dancing to Haydn's Fiddle: A Reply to Floyd Grave's `Metrical Dissonance in Haydn'" Edward Pearsall, "Multiple Hierarchies: Another Perspective on Prolongation" Student Forum: Gender Issues in Music Theory Lyn Burkett, "Feminist Music Scholarship: An Informal Guide to `Getting It'" Barbara White, "Difference or Silence?: Women Composers between Scylla and Charybdis" Robert Hatten, Review of John Rink, ed., "The Practice of Performance: Studies in Musical Interpretation" Vol. 17/2 (Fall 1996) will focus on the topic of musical time, with essays by David Epstein, Marianne Kielian-Gilbert, Jonathan Kramer, and Lewis Rowell, and reviews by Vincent Benitez, Richard Littlefield, and Gary Wittlich (Epstein's "Shaping Time"). I am pleased to announce that William Tilghman will succeed me as editor of ITR with this particular issue as his first assignment. ITR always welcomes essays and articles on topics related to music theory from potential contributors, especially from students. Please address all inquiries to the information contained in my signature file. Vincent Benitez Editor, Indiana Theory Review School of Music Indiana University Bloomington, IN 47405 vbenitez@indiana.edu
Music Theory Spectrum The Journal of the Society for Music Theory Joel Lester, editor Contents of Volume 18, No. 1 (Spring, 1996): Peter Westergaard Geometries of Sounds in Time Henry Burnett and Shaugn O'Donnell Linear Ordering of the Chromatic Aggregate in Classical Symphonic Music Eric McKee Auxiliary Progressions as a Source of Conflict between Tonal Structure and Phrase Structure Joseph H. Auner In Schoenberg's Workshop: Aggregates and Referential Collections in Die gl,ckliche Hand Nicholas Cook Review Essay: Putting the Meaning Back into Music, or Semiotics Revisited: Robert Hatten. Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation Eero Tarasti. A Theory of Musical Semiotics Richard Kaplan Review of Daniel Harrison. Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents Music Theory Spectrum is sent to all current members of the Society for Music Theory. Regular membership dues: $45 per year, $55 for dual members (two members at the same address; one copy of mailings), $20 for student members, $30 for dual student members (two student members at the same address; one copy of mailings), and $30 for emeritus members. Libraries and other institutions subscribe at the rate of $48 per year. Kindly add $15 per year for subscriptions outside of North America. Applications for membership and available back issues may be addressed to Cynthia Folio, Treasurer SMT Esther Boyer College of Music Temple University Philadelphia, PA 19122
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in 2.5 on 20/7/96
It was authored by
with whose written permission it is reprinted here.