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Volume 9, Number 2, July 2003
Copyright © 2003 Society for Music Theory
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Calls for Papers
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Call for Papers: New Languages for Criticism
CALL FOR PAPERS/CONFERENCE ANNOUNCEMENT
In(ter)discipline: New Languages for Criticism
An International Conference
19-21 September 2003
University of Cambridge, Centre for Research in the Arts, Social Sciences, and Humanities Sidney Sussex College, UK
This conference aims to stimulate discussion about the kinds of critical languages used within the scholarly as well as the public sphere, and the linguistic challenge that represents an increasingly interdisciplinary research culture within the modern Humanities. Many of our invited speakers have made powerful statements in this respect through the very nature of their work. In(ter)discipline offers an exceptional opportunity to debate these and other approaches and to examine the significance of language in criticism.
Confirmed Speakers include:
* Mieke Bal (literature and art criticism), Amsterdam
* Gillian Beer (English literary studies and scientific writing), Cambridge
* John Berger (art criticism), France
* Malcolm Bowie (European literary and psychoanalytic studies), Cambridge
* Gabriele Brandstetter (dance criticism), Basel
* Elisabeth Bronfen (American literary studies, psychoanalytic theory), Zurich
* Scott Burnham (music theory), Princeton
* Friedrich Kittler (aesthetics and history of media), Berlin
* Lawrence Kramer (musicology), New York City
* Simon McBurney (theatre), London
* Beate Perrey (music, poetry, psychoanalytic theory), Cambridge
* Adam Phillips (psychoanalysis), London
* Peter Szendy (musicology), Paris
PROPOSALS for papers addressing issues of in(ter)disciplinary scholarship and writing are now invited from younger as well as senior members of any humanities or arts discipline or practice.
The question as to what kind of language(s) a critic chooses to use is intimately connected to ideas about the purpose and readership of critical writing. Given the conventions of professional critical prose in academia, critics are often expected to give weight to handed-down knowledge, to questions of origin, and to historical, cultural, and social context. Often they are encouraged to avoid a personal style of writing. Might a more immediate and individualized response, possibly in the spirit of a 'close reading', lead to a better kind of critical writing that would send the reader back to the art work, to look at it, read it or listen to it again, with a heightened sense of understanding and - more crucially - responsiveness and enjoyment? Or is the outcome of such an approach likely to be atomism? As regards interdisciplinary work, are the languages used in the different specialisms transposable from one field into another? Or do we need a meta-language? What are the advantages as well as the difficulties and risks when using different methods and modes of analysis?
Please send proposals not exceeding 300 words plus a brief biographical note to: Dr Beate Perrey via e-mail bep1000@cam.ac.uk, or fax (+44)1223 765276, or post (see below)
DEADLINE FOR PROPOSALS: MONDAY 30 JUNE 2003
NOTIFICATION OF ACCEPTANCE: THURSDAY 10 JULY 2003
Papers by conference speakers as well as a selection of proposed papers that could not be accommodated in the conference will be published in a book.
This conference forms part of the long-term research programme New Languages for Criticism: Cross-currents and Resistances, co-directed by Prof. Dame Gillian Beer, Prof. Malcolm Bowie and Dr Beate Perrey, and sponsored by the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) of the University of Cambridge.
For more information and to register, please visit the project website: http://www.crassh.cam.ac.uk/projects/newlangs.html
For practical details about the conference, please contact Mary-Rose Cheadle at the Centre for Research in the Arts, Social Sciences and Humanities, University of Cambridge, Old Press Site, Silver Street, Cambridge, CB3 9EW, tel: 01223-765279, email: administrator@crassh.cam.ac.uk.
Call for Papers: Music Theory Society of New York State
The next Annual Meeting of the Music Theory Society of New York State (MTSNYS) will be held on April 3-4, 2004, at the Eastman School of Music in Rochester. The Program Committee invites proposals for papers and presentations on any topic related to music theory. Areas of particular interest include the history of music theory and Schenkerian theory and analysis.
The postmark deadline for submissions is October 1, 2003. Submissions should include (1) Six copies of a proposal of at least two 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, because proposals are read blind. (2) An abstract of 200250 words, suitable for publication. (3) A cover letter listing the title of the paper; the name, address, institutional affiliation, telephone number, and e-mail address of the author; and all audio and visual needs.
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-minute slots, with 30 minutes for reading and 15 minutes for possible response of discussion.
Proposals should be sent to: Eric McKee, Program Chair 213 Music Building Pennsylvania State University University Park, PA 16802
Members of the 2004 Program Committee are Eric McKee, Chair (Pennsylvania State University); Mary I. Arlin (Ithaca College); David Cohen (Columbia University); Joel Galand (Eastman School of Music); Catherine Losada (CUNY Graduate Center); and William Rothstein (Queens College and Graduate Center, CUNY).
For further information, see the MTSNYS web site at http://www.ithaca.edu/music/mtsnys/.
Call for Papers: 13th International Conference on Nineteenth-Century Music
CALL FOR PAPERS
13th International Conference on Nineteenth-Century Music
The Centre for Nineteenth-Century Music, University of Durham UK, is pleased to confirm dates for the 13th Biennial International Conference for Nineteenth-Century Music. The conference will be held from Tuesday 6 to Friday 9 July 2004 at St Chad's College and the School of Music of University of Durham.
Professor Susan Youens (University of Notre Dame, Indiana) will give the keynote address.
The conference will be supported by daily evensongs of nineteenth-century music, performed by the Durham Cathedral Choir, and the Cathedral and University Organist James Lancelot will be giving an evening concert of nineteenth-century organ music.
The conference will aim to continue its broad and inclusive tradition of accepting papers, sessions, panel and lectures recitals from all ranges of scholarly work in the area of nineteenth century music.
The programme committee encourages submission on the following areas, although other topics are welcome:
1. Dance, Dance Music, and the Dancelike in Music
2. Gender and Sexuality in Music
3. Texts about Music: Music Histories, Journalism, Criticism
4. Institutions and Their Impact
5. Musical Instruments, Their Design and Dissemination
6. Centre and Periphery: Regional and National Identities
7. Teaching and Learning Music
8. Analysis and Hermeneutics
9. Performance Practice and Theory
10. Sacred Music: Genres, Ideology, Contexts
11. Western Portrayals of the Musical East, Folk Music and Historical Ethnomusicology
12. Interdisciplinary Musicology: Music and Literature, Poetry, Painting and the Arts
For individual proposals please submit an abstract of no more than 250 words. For sessions and panels please submit a single abstract of 750 words, indicating the number and title of individual papers with a short abstract on each. All proposals should be sent by email to Bennett Zon (Bennett.Zon@durham.ac.uk). A conference website will be available in due course, and will be posted on all relevant music discussion lists.
For more information, please contact Bennett Zon, or any member of the conference committee as indicated below:
Bennett Zon Bennett.Zon@durham.ac.uk
Bill Weber wweber@csulb.edu
Ralph P. Locke rlocke@esm.rochester.edu
Annegret Fauser fauser@email.unc.edu
Call for Scores: 14th Annual International Alliance for Women in Music
DEADLINE FOR SUBMISSION: 15 September 2003
General call for scores world-wide for the 14th Annual International
Alliance for Women in Music (IAWM) Concert on 6 June 2004 in Pasadena,
California. Featured ensemble will be the Belgium Recorder Ensemble
APSARA, a professional ensemble of four players.
Eligibility: Composers must be IAWM members by the time of score submission and be willing to renew the membership in the following year, if they want to be considered for the concert. New members are welcome.
Instrumentation: Composers may submit an anonymous score for consideration that is written for up to FOUR performers. Instruments include: soklein flute, sopranino recorder, soprano recorder, alto recorder, tenor recorder, bass recorder in F, contrabass recorders in F and C. With the exception of the contrabass flutes, multiples of a single recorder may also be employed, as long as four performers are able to play the work.
Anonymous submission. Please check iawm web page for detailed process. There is a submission limit of ONE work per composer. Please send scores by 15 September, 2003 to:
Dr. Maria Niederberger
IAWM CALL FOR SCORES
Department of Music, P.O. Box 70661
East Tennessee State University
Johnson City, TN 37614-0661
(USA)
The Music Theory Society of the Mid-Atlantic
Call for Proposals
Postmark deadline: December 6, 2003
Second Annual Meeting
Temple University Esther Boyer College of Music
The Music Theory Society of the Mid-Atlantic invites the submission of program proposals for its second annual meeting, which will be held at the Esther Boyer School of Music of Temple University, Spring 2003. Proposals may be for presentations, papers and panel discussions on any aspect of music theory, including, but not limited to, music theory pedagogy, analysis, the relationship between music theory and performance, history of music theory, music theory research, analysis of contemporary music, interdisciplinary topics with music theory, analysis presentations using live performance, and the use of technology with music theory. Also possible are special presentations in music theory that utilize Temple University music students. Analysis presentations suitable for use in undergraduate or graduate teaching and articulation with high school teachers of music theory are especially welcome.
Presentations and papers are limited to twenty minutes in order to allow ten minutes for discussion. Panel discussions are limited to three or four participants who will present formal remarks of no more than five minutes each, allowing time for discussion amongst the panelists and those attending.
Please include the following information in your submission.
When the list of selected proposals is finalized, the names of those authors whose proposals have been selected will be revealed to the committee.
The names of those authors whose proposals have not been selected will not be revealed to the committee.
Send proposals to:
Professor Joel Phillips, Chair
MTSMA Program Committee
Westminster Choir College of Rider University
101 Walnut Lane
Princeton, NJ 08540-3899
Members of the Program Committee include Ingrid Arauco (Haverford College), Micahael Arenson (University of Delaware), Kenneth Carter (Rutgers University), Charles Frantz (Westminster Choir College of Rider University), Shellie Gregorich (Mansfield University), Cristle Collins Judd (University of Pennsylvania), Ted Latham (Temple University), and Nancy Rao (Rutgers University).
First Conference on Interdisciplinary Musicology
CIM04, the first Conference on Interdisciplinary Musicology, will be held in Graz, Austria from 15 to 18 April 2004. It will be a forum for constructive interaction between and among subdisciplines of musicology such as acoustics, computing, cultural studies, education, ethnomusicology, history, psychology, and theory/analysis. We will especially promote collaborations between sciences and humanities, and interdisciplinary combinations that are new, unusual, creative, or otherwise especially promising. All abstract submissions will be anonymously peer-reviewed by international experts. Keynote lectures will be given by the authors of the best submitted abstracts. The deadline for abstract submission is 31 October 2003.
The conference is hosted by the European Society for the Cognitive Sciences of Music (http://musicweb.hmt-hannover.de/escom) and the Department of Musicology, University of Graz (http://www-gewi.uni-graz.at/muwi). The various subdisciplines of musicology are represented by the conference's participating societies. For further information, visit the conference website (http://gewi.uni-graz.at/~cim04) or contact the conference director, Richard Parncutt (parncutt@uni-graz.at)
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Conference Announcements
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Conference Announcement: Fifth Symposium on Systems Research in the Arts
The Fifth Symposium on Systems Research in the Arts
"Music, Environmental
Design, and the Choreography of Space"
to be held in conjunction with the
15th International Conference on Systems Research, Informatics, and Cybernetics
Proposals are invited for the 5th Symposium on Systems Research in the Arts, to be held in conjunction with the 15th International Conference on Systems Research, Informatics, and Cybernetics, July 28-August 2 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, 2002 for evaluation. Please submit proposals electronically in Microsoft Word format to James Rhodes, Jacksonville University USA (jrhodes@ju.edu) and Jane Lily, University of Georgia, USA (lilyj@arches.uga.edu). For additional contact information and details, please visit the Arts Symposium home page at http://www.jcrhodes.net/2003 and the IIAS home page at http://www.iias.edu.
Conference Announcement: John Blacking Symposium
CALL FOR REGISTRATIONS MUSIC-CULTURE-SOCIETY: A symposium celebrating
the work and legacy of John Blacking
July 12-14
Callaway Centre, School
of Music, The University of Western Australia
The idea of a symposium celebrating the work of John Blacking has enticed abstracts from scholars from around the world. A rich variety of papers will be presented in a wide range of areas including the work and ideas of John Blacking, music across cultures, music education, children's songs, and the John Blacking/Percy Grainger link.
Registrations are invited to attend this exciting event. Details including presenters and titles of papers, the symposium programme, and registration are available at the Callaway Centre website http://www.arts.uwa.edu.au/circme/. For further information contact Dr Victoria Rogers at circme@cyllene.uwa.edu.au.
Conference Announcement: International Conference on Romanticism and Nationalism in Music
EVENT: International Conference on Romanticism and Nationalism in Music
HOST: Ionian University, Music Department (Corfu)
DATE: 17-19 October 2003 DESCRIPTION: Keynote speakers: Prof. David Charlton, Prof. Constantinos Floros, Prof. Leon Plantinga, Prof. Katherine Preston, Prof. Jim Samson, Head of the Music Department, Ionian University, Prof. Charis Xanthoudakis and Prof. Martin Zenck.
The overall aim of the conference is to investigate sites of interaction
between nationalism and romanticism as related to music. In more detail,
this conference proposes to place works of music, 'attached' to
romanticism, at the center of their European national contexts to
explore (and re-read) the collaborative political, social or cultural
endeavors in which they have engaged or which they have rejected.
Encouraged are interdisciplinary contributions that involve (a)
political agendas such as "racial" purity and the constructs of
homogeneity, and (b) theoretical investigations of ideology and music.
General themes of the conference might include:
· re-reading interactions of the notions of "romantisicm" and "nationalism"
· elements contributing to the emergence of (a) national music at the romantic era
· philosophical tenets of romanticism and nationalism as depicted in music
· ways by which composers express and symbolize national identity at the era of romanticism
· participation of romantic music, by means of its performance and reception, in constructing and re-constructing national identity.
Conference papers will be published.
CONTACT: Anastasia Siopsi, Assistant Professor in Musicology, Ionian University, Music Department, Old Fortress, Corfu 49100, Greece. Ôel. and fax: (+)30-2661-087569, e-mail:siopsi@ionio.gr
Conference Announcement: Istanbul International Spectral Music Conference
EVENT: Istanbul International Spectral Music Conference
HOST: Istanbul Technical University MIAM Center for Advanced Studies in Music Istanbul, Turkey
DATE: 18-23 November, 2003
DESCRIPTION: ISTANBUL INTERNATIONAL SPECTRAL MUSIC CONFERENCE
November 18-23 2003
Istanbul Technical University, Istanbul, Turkey
Spectral Music, one of the most important genres to emerge in the final decades of the last century, has become a primary topic of interest across a broad range of disciplines. By focusing on the physical, perceptual, and aesthetic attributes of timbre, composers and performers have produced new pathways to the interior of sound while at the same time developing novel compositional languages that address one of the most elusive aspects of musical discourse.
Originally a stylistic and ideological trend spearheaded by the composers and performers associated with L’Itineraire in Paris in the early 1970s, today spectral music and the insights it has spawned are important areas of discourse for ethnomusicologists, theorists, systematic musicologists, composers, and performers.
We take as the central idea of this conference, the exploration of music that demonstrates a special concern for timbre. In keeping with the expansive viewpoint prevalent among leaders of the Spectral movement, the conference will provide a forum for composers, performers, and scholars to present their work, debate current issues, and explore the confluence of timbral perspectives across disciplines. In 1985 a colloquium on Spectral Music was held at IRCAM, and spectral topics have been presented in forums such as Internationales Musikinstitut Darmstadt, the International Conference on Music Perception and Cognition, and the International Computer Music Conference. This Istanbul Conference, however, will for the first time make possible an international and interdisciplinary meeting spanning timbral composition, performance, and theory from ethnomusicological as well as pan-European perspectives.
We are planning a series of spectral music concerts, performance workshops, panels, and individual paper presentations, and intend to publish the proceedings in book and multimedia format. The concerts will feature world premieres written for this conference alongside works exploring the historic and ethnomusicological roots of spectral music.
Istanbul’s unique location, spanning two continents, provides the ideal setting for such an interdisciplinary conference. Participants will have the opportunity to hear a variety of Turkish musics in one of the world’s great multi-cultural centers.
REGISTRATION DEADLINE: October 15, 2003
PAPER/PROPOSAL DEADLINE: July 15, 2003
We encourage submissions on spectral music or timbral
issues across a wide range of disciplines, including compositional
practice, ethnomusicology, music theory, systematic musicology,
performance, acoustics, computer music, music cognition, aesthetics, and
musicology. Please submit an abstract, panel proposal, or idea for a
performance demonstration by 15 July. Paper presentations will be
twenty minutes plus ten minutes for discussion. Visit our website at
http://www.miam.itu.edu.tr/spectral, or contact Pieter Snapper or Robert
Reigle at spectral@itu.edu.tr.
COST AND PAYMENT OPTIONS: Registration by August 1: $60 Regular/$25 Student
After August 1: $100 Regular/$35 Student
TRAVEL AND HOTEL INFORMATION: Travel: Recommended carriers: KLM/Northwest, Delta, Air France, Turkish Airlines, Luftansa
Hotels: (rates per night; all hotels within walking distance of University and concert venues)
Swiss Hotel (five-star): $185 Single $205 Double $350 Suite
Mega Residence (four-star) $100 Single $110 Double $200 Suite
Taslik Hotel (three-star) $30 Single $50 Double
For hotel location/registration/phone/fax please refer to the MIAM Spectral Conference website: www.miam.itu.edu.tr/spectral
CONTACT: Robert Reigle or Pieter Snapper
spectral@itu.edu.tr
website:
www.miam.itu.edu.tr/spectral
Tel: 011 90 212 247 1733/121
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Journal-Related Announcements
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The Verdi Forum (formerly Verdi Newsletter) invites the submission of articles on all aspects of music and culture related to the life and works of Giuseppe Verdi. The editors welcome not only traditional source, analytical, and performance practice studies but also interdisciplinary contributions.
Under the sponsorship of the American Institute for Verdi Studies, the Verdi Newsletter has published essays, documents, and conference proceedings, which have contributed meaningfully to the scholarly literature on Verdi. It also provided ephemeral news of forthcoming events and information of interest to members of the AIVS. Now the journal (Verdi Forum) focuses on permanent scholarship and is a peer-reviewed, annual publication with new editors Roberta Montemorra Marvin and David Rosen, associate editors Andreas Giger and Steven Huebner, an assistant editor, and an editorial board of international scholars who will review articles under consideration.
Submissions to Verdi Forum may be made electronically (on diskette or by e-mail in a word-processing file readable by Microsoft Word for Windows) or in paper copy (three copies); if the proposed article contains musical examples, diagrams, or other visual material, these are to be sent in paper copies. Bibliographic citations should follow the Chicago Manual of Style, 14th ed. All submissions should include full contact information, including an e-mail address. The editors will also be happy to receive offers to review books, editions, and recordings of exceptional historic or aesthetic interest. Questions may be directed to either of the editors: Roberta Marvin (roberta-marvin@uiowa.edu) or David Rosen (dbr2@cornell.edu). The address for submissions is Roberta M. Marvin, University of Iowa, International Center, Room 256, Iowa City, Iowa 52242; roberta-marvin@uiowa.edu. For the contents of the previous issues, including the first issue of Verdi Forum, and information about subscribing, visit the AIVS website www.nyu.edu/projects/verdi.
New Journal Announcement: Psychology of Music 31/2
Psychology of Music Volume 31 Issue 02 - Publication Date: 1 April 2003
Articles
Differences in mental abilities between musicians and non-musicians
Susanne Brandler and Thomas H. Rammsayer Georg Elias
Muller Institute for Psychology, Gottingen
http://www.sagepub.co.uk/journals/details/issue/abstract/ab031290.html
Adolescents' perceptions of the music of male and female composers
Adrian C. North and Ann M. Colley University of Leicester and David J. Hargreaves
University of Surrey Roehampton
http://www.sagepub.co.uk/journals/details/issue/abstract/ab031291.html
The development of absolute pitch: a theory concerning the roles of music training at an early developmental age and individual cognitive style
Christina S. Chin
University of California at Santa Cruz
http://www.sagepub.co.uk/journals/details/issue/abstract/ab031292.html
Stability of motor programs during a state of meditation: electrocortical activity in a pianist playing 'Vexations' by Erik Satie continuously for 28 hours
Christine Kohlmetz
Reinhard Kopiez
Eckart Altenmuller
Hanover University of Music and Drama
http://www.sagepub.co.uk/journals/details/issue/abstract/ab031293.html
An empirical investigation of the anxiolytic and pain reducing effects of music
Raymond A.R. MacDonald and Laura A. Mitchell, Glasgow Caledonian University
Teresa Dillon, The Open University
Milton Keynes and Michael G. Serpell, University of Glasgow
John B. Davies, University of Strathclyde
Euan A. Ashley, Stanford University School of Medicine
http://www.sagepub.co.uk/journals/details/issue/abstract/ab031294.html
Book Reviews
Juslin, P.N. and J.A. Sloboda (eds), Music and Emotion: Theory and Research
reviewed by Matthew M. Lavy Hanley
Betty and Thomas W. Goolsby (eds), Musical Understanding: Perspectives in Theory and Practice
reviewed by Roland S. Persson
Spruce, Gary (ed.), Teaching Music in Secondary Schools: A Reader
reviewed by Wilfried Gruhn
JSTOR is pleased to announce that its seventh major release, the Music Collection, is being scheduled for availability in Autumn 2003.
The Music Collection contains the complete back runs of thirty-one (31) new JSTOR titles dedicated to scholarly research and theory in the field of music. This collection has a far more international selection of titles than any previous JSTOR collection, including journals published in the Netherlands, Croatia, Hungary, Germany and France. It addresses issues that span diverse musical genres such as World Music in television advertisements and "Structure and Imagery in Chinese Lute Music." One can find articles published as early as 1844, as well as articles that tackle musicology in the contemporary era; subjects from the study of musical instruments to the "Construction of Albanian National Subjectivity" through poetry and songs. Manuscript studies, criticism and book reviews from respected scholars, musicians and composers such as Aaron Copland, Allen Forte and Jean-Jacques Nattiez also distinguish this collection.
The Music Collection includes such features of interest as:
* The full back runs of four journals that began publication in the 19th century: Archiv für Musikwissenschaft (1899); Journal of the Royal Musical Association (1874); The Musical Times (1844); and Tijdschrift van de Koninklijke Vereniging voor nederlandse Muziekgeschiedenis (1869).
* The historical volumes of The Musical Times, which has, since 1884, published obituaries of all of the major 19th and 20th century European composers including Brahms, Chopin, Ravel, Liszt and Verdi.
* Musical Quarterly, which contains articles written by important composers and musicologists such as Aaron Copland, Arnold Schoenberg, Henry Cowell, and Camille Saint-Saens.
* Latin American Music Review, which explores the historical, ethnographic, and sociocultural dimensions of Latin American music around the world, and is one of a number of journals in the collection focusing on international music and ethnomusicology.
JSTOR is grateful to "RILM Abstracts of Music Literature" for assistance in the selection process for this collection. RILM is an international bibliography of scholarly writings on music and related disciplines, housed at the City University of New York Graduate Center.
A list of all the Music Collection titles is included at the end of this message. This list may also be found on our website at: http://www.jstor.org/about/music.list.html
As with all JSTOR collections, institutions will pay two fees to participate in the Music Collection, an Archive Capital Fee (ACF) and an Annual Access Fee (AAF). The ACF is a one time only fee designed to help ensure that JSTOR has the necessary resources to meet its archival mission as technology evolves. The AAF helps cover the recurring costs of updating the archive, and maintaining access and support services for participating institutions.
Participation fees and information for the Music Collection for U.S. participants are available on the JSTOR web site: http://www.jstor.org/about/music.fees.html
If you are at a U.S. or Canadian participating institution and your institution is ready to proceed with participation in this collection, please download and complete two copies of the Collections Rider [found at http://www.jstor.org/about/rider.V4.16.03.pdf. Two signed copies of the Rider should be sent to:
Carol MacAdam Associate Director for Library Relations 120 Fifth Avenue, Fifth Floor New York, New York 10011 email: clm@jstor.org Phone: 212-229-3700
We will process the Riders and make arrangements for your institution to have access to this collection as soon as it is released.
International participants interested in this collection should contact Dawn Tomassi to obtain the appropriate participation fees prior to completing the Collections Rider, or to request further information.
Dawn Tomassi Assistant Director for International Library Relations 120 Fifth Avenue, Fifth Floor New York, New York 10011 email: jstor.participation@jstor.org Phone: 212-229-3700
We will send an announcement via email when this collection has been released. In the meantime, should you have any questions about the Music Collection, please don't hesitate to contact us at jstor-participation@umich.edu.
We appreciate your continued support of the JSTOR archive.
New Journal Issue:MUSICÆ SCIENTIÆ Spring 2003
MUSICÆ SCIENTIÆ, the Journal of the European Society for the Cognitive Sciences of Music
abstracted and indexed in the Arts & Humanities Citation Index® (A&HCI), ISI Alerting Services, Current Contents®/Arts & Humanities, APA’s Psychological Abstracts, PsycINFO, The Music Index and the International Repertoire for Music Literature (RILM)
SPRING ISSUE 2003
VOL. VII, N° 1
FRED LERDAHL’S PITCH SPACE: Perceptual and theoretical issues
Contents-Sommaire-Inhalt
Editorial
Nicholas A. Smith & Lola L. Cuddy
Perceptions of musical dimensions in
Beethoven’s Waldstein sonata: An application of Tonal Pitch Space theory
Diego Vega
A perceptual experiment on harmonic tension and melodic
attraction in Lerdahl’s Tonal Pitch Space
Costas Tsougras
Modal Pitch Space — A theoretical and analytical study
Nicolas Meeùs
Tonalité immanente, tonalité manifestée Quelques
réflexions à propos de Tonal Pitch Space de Fred Lerdahl
Michael Spitzer
The metaphor of musical space
BOOK REVIEWS
Tonal Pitch Space, by Fred Lerdahl
Travellings throughLerdahl’s Tonal Pitch Space theory
Emmanuel Bigand A psychological perspective
David Temperley A theoretical perspective
University of Konstanz, Germany
Series: Interdisciplinary Statistics Volume: 12
Cat. #: C2190
ISBN: 1584882190
Publication Date: 7/15/2003
Number of Pages: 312
Chapman & Hall / CRC
Provides a comprehensive introduction to statistical and mathematical approaches to music analysis, music theory, and performance theory Offers the insights and expertise of a leading statistician who is also a concert pianist Explores statistical and mathematical methods developed for problems in musicology, with emphasis on the connections between theory and practice Focuses on the methods for data generation, numerical encoding of musical data, and mathematical and statistical models for analyzing music Presents concrete operational answers to fundamental musicological questions.
Traditionally, statistics and music are not generally associated with each other. However, "intelligent" music software, computer digitization, and other advanced techniques and technologies have precipitated the need for standard statistical models to answer basic musicological questions. Statistics In Musicology presents an unprecedented introduction to statistical and mathematical methods developed for use in music analysis, music theory, and performance theory. It explores concrete methods for data generation and numerical encoding of musical data and serves as a practical reference for a wide audience, including statisticians, mathematicians, musicologists, and musicians.
New Online Music Theory Journal: Sapaan
Sapaan (http://www.sapaan.com) is a refereed bi-yearly online music theory journal which publishes analytical and critical essays in a wide variety of domains, and of all music past and present. Sapaan also encourages connections between music theory, and other artistic and theoretical fields of understanding. It is hoped that through this interaction, new and interesting avenues of thought will be opened.
We're glad to announce the launch of the first issue of "Ad Parnassum", a twice-yearly musicological journal on 18th- and 19th-century instrumental music. Below you can find the content of the first issue. For any further informations please visit our website www.adparnassum.org
CONTENTS
Roberto DE CARO, Editorial (p. 3)
ARTICLES
Barry COOPER (Manchester): Subthematicism and Metaphor in Beethoven's
Tenth Symphony (p. 5)
Hartmuth KINZLER (Osnabrück): Themeninvention und ihre variative
Ausarbeitung im 2. Satz von Schuberts A-Moll-Sonate Op. 42 (D
845) (p. 23)
Rohan H. STEWART-MACDONALD (Cambridge): Canonic Passages in the Later
Piano Sonatas of Muzio Clementi: Their Structural and Expressive
Roles (p. 51)
Peter NIEDERMUELLER (Mainz): Soziale und aesthetische Implikationen des
oeffentlichen Konzertlebens in Wien zu Beginn des neunzehnten
Jahrhunderts (p. 109)
Paul CIENNIWA (Newport): Unexpected Examples of Sonata Form:
Claude-Benigne Balbastre's 1759 "Pieces de clavecin, premier
livre" (p. 133)
DISCUSSION
Federico CELESTINI (Graz): Das blicklose Auge der klassischen Kunst. Ein
Beitrag zur Klassik-Diskussion (p. 147)
REVIEWS
Marina RITZAREV (Ramat Gan): Music in Eighteenth-Century Britain (p. 161)
Benjamin PERL (Tel-Aviv): The Cambridge Companion to Berlioz (p. 164)
William DRABKIN (Southampton): Donald Francis Tovey, The Classics of
Music: Talks, Essays, and Other Writings Previously Uncollected
(p. 169)
Susan WOLLENBERG (Oxford): Howard Irving, Ancient and Moderns: William
Crotch and the Development of Classical Music (p. 174)
Andrea COEN (Rome): Clive Brown, Classical and Romantic Performing
Practice 1750-1900 (p. 176)
Philip OLLESON (Nottingham): Deborah Rohr, The Careers of British
Musicians, 1750-1850: A Profession of Artisans (p. 179)
Marc NIUBO (Prague): The Eighteenth-Century Diaspora of Italian Music and
Musicians (p. 184)
Robert ZAPPULLA (Claremont): Muzio Clementi. Studies and Prospects (p.
186)
OBITUARY
Albert DUNNING (Pavia): Eugene K. Wolf (p. 189)
NEWS
News (p. 190)
Forthcoming Conferences (p. 191)
Call for Papers (p. 197)
Contributors (p. 199)
Books Received (p. 201)
Abstracts (p. 202)
Index of Names (p. 205)
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AD PARNASSUM
A Journal of Eighteenth- and Nineteenth-Century Instrumental Music
Editor-in-Chief / Legal Responsibility
Roberto De Caro
Editors
Roberto Illiano - rilliano@adparnassum.org
Fulvia Morabito - fmorabito@adparnassum.org
Michela Niccolai - mniccolai@adparnassum.org
Claudio Nuzzo - cnuzzo@adparnassum.org
Luca Sala - lsala@adparnassum.org
Massimiliano Sala - msala@adparnassum.org
Advisory Board
Theophil Antonicek, Vienna
Eva Badura-Skoda, Vienna
Andrea Bornstein, London
Clive Brown, Leeds
Michele Calella, Zürich
Federico Celestini, Graz
Bathia Churgin, Ramat Gan
Andrea Coen, Rome
Barry Cooper, Manchester
Dorothy de Val, Toronto
William Drabkin, Southampton
Albert Dunning, Cremona
Sergio Durante, Padua
Dinko Fabris, Bari
Ralph Locke, New York
Elio Matassi, Rome
Simon McVeigh, London
Leon Plantinga, New Haven
Irena Poniatowska, Warsaw
Rudolf Rasch, Utrecht
Giancarlo Rostirolla, Rome
David Rowland, Cambridge
Manfred Hermann Schmid, Tübingen
László Somfai, Budapest
Christian Speck, Koblenz-Landau
Larry Todd, Durham
Consultant Editors
Paolo Dal Molin, France
Antonio Ezquerro Esteban, Spain
Giacomo Fornari, Italy
Andrea Lindmayr-Brandl, Austria
Peter Niedermüller, Germany
Adena Portowitz, Israel
Barbara Przybyszewska-Jarminska, Poland
Marina Ritzarev, Israel
Angela Romagnoli, Italy
Renata Suchowiejko, Poland
Claudia Vincis, Switzerland
Pietro Zappalà, Italy
Proposals for articles in English, French, German, Italian and Spanish should be addressed to:
Roberto Illiano - rilliano@adparnassum.org
Luca Sala (slavonic languages) - lsala@adparnassum.org
Massimiliano Sala - msala@adparnassum.org
Books and editions of new music to be considered for reviews should be addressed to:
Dr. Massimiliano Sala
via Bertesi, 10 I-26100
Cremona
msala@muzioclementi.com
msala@adparnassum.org
www.muzioclementi.com
www.adparnassum.org
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Other Announcements
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Workshop in Algorithmic Computer Music
The first Workshop in Algorithmic Computer Music (WACM) will take place from June 23 through July 11, 2003 at the University of California, Santa Cruz. Participants will learn the Lisp computer programming language and create their own composition and analysis software. The instruction team will be led by David Cope, noted composer, author, and programmer.
The workshop is limited to 15 participants, and features 66 hours of class instruction and over 120 hours of individual consultation.
To learn more about the program and download an application, visit the WACM website at http://summer.ucsc.edu/wacm/. Application reviews are ongoing until the workshop is filled. Prospective students must have an ability to read music and understand basic music theory as well as have at least a basic facility with computers (text editing, etc.). Students need not be active musicians nor programmers.
MEDIEVAL MUSIC SUMMER COURSE
BASEL, 25th - 30th AUGUST 2003
Schola Cantorum Basiliensis
The Medieval Department of the Schola Cantorum Basiliensis offers an intensive course in medieval music, suitable for singers, instrumentalists and ensembles of all levels and repertoire interests.
Faculty: Randall Cook, bowed instruments Kathleen Dineen, voice Nicoletta Gossen, music history/music and text Markus Jans, music theory Eric Mentzel, voice Crawford Young, instruments
Participant fee: Euro 300.-
Language: English, or other languages according to participants (German, French, Italian)
Registration: Applications are accepted before and after the Schola's summer break,that is until 4th of July and again from 11th of August. Early registration ist recommended due to the limited number of participants.
Contact:
e-mail: nicoletta.gossen@musakabas.ch
fax: 0041 61 264 57 49
mail: Schola Cantorum Basiliensis Abteilung Mittelalter / N. Gossen Leonhardstrasse 6 Postfach CH - 4003 Basel
The Spring update of DDM-Online is now complete and available for your use at http://www.music.indiana.edu/ddm . Since the last update (December 2002), we have been continuing to refine our existing records, enter new registrations, and process the backlog of data not included in the earlier print versions of Doctoral Dissertations in Musicology. This update contains approximately 100 new, expanded, and corrected records. The entire database now includes 11,826 records. As always, DDM-Online relies heavily on all the institutions and individuals who regularly send us new records, corrections, updates, queries, and suggestions. Such communications are always welcome, and we hope you will continue to be in touch with us.
Wishing you all the best for the Summer, sincerely,
Thomas J. Mathiesen
Director
Announcement: The Philip Brett Award
The Philip Brett Award, sponsored by the Gay and Lesbian Study Group of the AMS, each year honors exceptional musicological work in the field of transgender/transexual, bisexual, lesbian, gay studies completed during the previous two academic years (ending June 30), in any country and in any language. By "work" is meant a published article, book, edition, annotated translation, conference paper, and other scholarly work accepted by the award committee that best exemplifies the highest qualities of originality, interpretation, theory, and communication in this field of study.
The award consists of the sum of $500 and a certificate, and will be announced at the Annual Meeting of the AMS and conferred at the annual meeting of the GLSG. The committee will entertain nominations from any individual, and scholars are encouraged to nominate their own work. Individuals may receive the award on more than one occasion.
Nominations should include the name of the scholar, a description of the work, and a statement to the effect that the work was completed during the previous two academic years. By "completion" is meant the publication or commitment to publish from an editor in the case of articles, books, editions, etc.; delivery at a conference or the like in the case of a paper. The committee will contact the nominee for additional material as needed. Self-nominations should include any unpublished material to be considered and a c.v. Nominations, with five sets of application materials, should be sent by JULY 1, 2003 to the chair of the Philip Brett Award committee:
Nadine Hubbs, Brett Award Chair
2141 Lane Hall
University of Michigan
Ann Arbor, MI 48109-1290
Questions regarding the award, the nomination process, or any related matter may be directed to Nadine Hubbs at the above address, or by e-mail to to nhubbs@umich.edu.
Traités français sur la musique
The Center for the History of Music Theory and Literature at Indiana University is pleased to announce the inauguration of a new full-text database of music writings, Traités français sur la musique (TFM). Following the model of the Thesaurus musicarum latinarum, this database will eventually provide complete texts and graphic images for all theoretical works in French from the fourteenth through the nineteenth centuries.
The TFM may be accessed through the following URL:
http://www.music.indiana.edu/tfm
or you may find a link for it on the CHMTL homepage:
http://www.music.indiana.edu/chmtl.
From the TFM homepage you may follow links to the Introduction and to the Principles of Orthography and Encoding. Presently available texts and graphics are in the Eighteenth-Century file list, which includes all the longer treatises of Rameau, as well as works of Rousseau. Currently in progress and soon to be placed online are writings by Mersenne, Sauveur, d'Alembert, Bourgeois, Le Roy, and Charpentier, along with the complete Dictionnaire of Rousseau.
The directors of the CHMTL and TFM welcome all questions, comments, requests, and complaints.
GAMO - Gruppo Aperto Musica Oggi
Analysis Course on Messiaen's Quatuor pour la Fin du Temps Institut Français de Florence Piazza Ognissanti
2
Florence, Italy September 29 - October 1, 2003 10 am to 1 pm; 3 to 6 pm
The GAMO - Gruppo Aperto Musica Oggi announces an analysis course on Olivier Messiaen's _Quatuor pour la Fin du Temps_ at the Institut Français de Florence. The instructor is Michele Ignelzi (GAMO, Eunomios), dates are September 29 - October 1, 2003.
Messiaen's _Quatuor_ is intended to open a prospective series of analysis courses devoted to pillars of the twentieth-century musical repertoire. Few other works could indeed claim to have been as seminal an influence on last century's composition and performance as this one, which was written for its most part in a German prisoner-of-war camp.
An examination of context and genesis of the _Quatuor_ along with Messiaen's compositional devices (with special emphasis on modes of limited transposition and non-retrogradable rhythms, as expounded in his _Technique de mon langage musical_) will introduce a detailed analysis of the work, conducted in continual reference to the score and the book the British scholar Anthony Pople entirely dedicated to it (Cambridge University Press)..
Participants are expected to have a background in basic music theory. Languages of the course: Italian, English, German, French.
Application forms may be obtained from the GAMO website:
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