=== === ============= ==== === === == == == == == ==== == == = == ==== === == == == == == == == = == == == == == == == == == ==== M U S I C T H E O R Y O N L I N E A Publication of the Society for Music Theory Copyright (c) 1994 Society for Music Theory +-------------------------------------------------------------+ | Volume 0, Number 11 November, 1994 ISSN: 1067-3040 | +-------------------------------------------------------------+ All queries to: mto-editor@husc.harvard.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ File: mto.94.0.11.ann 1. College Music Society: Call For Papers 2. Midwest Chapter of the Society for Ethnomusicology: Annual Meeting 3. Music Theory Society of New York State: Call For Papers 4. West Coast Conference of Music Theory and Analysis: Call for Papers 5. Feminist Theory and Music III: Call for Papers 6. 2nd International Conference on Acoustics and Musical Research 7. REAL TIME COMPOSITION LIBRARY for MAX (Macintosh-Version) 8. Rocky Mountain Society for Music Theory: Call for Papers 9. Mid-West Music Theory Society: Call For Papers 10. Music Theory Southeast: Call For Papers 11. Computer Music Journal: Contents of vol. 18.3 12. Contemporary Music Documentation Center (CDMC) in Paris ========================================================= 1. College Music Society: Call for Papers The College Music Society Thirty-Eighth Annual Meeting 9-12 November 1995 Portland Hilton Portland, Oregon Call for Program Participation The College Music Society will hold its Thirty-Eighth Annual Meeting 9-12 November 1995 in conjunction with the 1995 National Conference on Technology and Music Instruction of the Association for Technology in Music Instruction (ATMI). General Program Content The 1995 Program Committee welcomes proposals for papers, panels, discussions, performances, lecture/recitals, clinics, demonstrations, workshops, and other types of presentations that relate to all aspects of college music teaching, learning, research, outreach, communication, and other areas of concern to the college music professional. The Program Committee also requests proposals for presentations that will illuminate musical influences, cultural and sociological contexts, and cross-cultural teaching and learning as exemplified through the peoples and musics of the Pacific Northwest. As in the past, the Program Committee solicits the broadest representation of our profession and its interests. Therefore, proposals that deal with all aspects of college music teaching will be given consideration. Proposals that concern extramusical contextual issues (e.g., political, economic) that impact college music teaching and proposals concerning cultural, generational, and gender diversity are also encouraged. Papers are generally limited to twenty minutes, lecture/recitals and performances to 45 minutes. Panels and demonstrations may take up to one hour. Proposals must be postmarked by 16 January 1995. Special Areas of Focus In addition to the broad interests described above, proposals for the specific areas listed below are welcome: ************************************************************************** * Theory: Proposals concerning theory pedagogy, curricular issues, * * theory and its relationships with other disciplines (theory and * * composition, analysis and performance, aural training and cognition, * * etc.), and career issues (such as practices and trends in hiring * * theorists, departmental structure and politics, mentoring, and * * professional development). * ************************************************************************** Composition: Proposals concerning recent developments in contemporary music, including the influence of global musics on Western art music, developments in computer applications and mixed media, perspectives on the American symphony orchestra and its relationship to music by living American composers, music and healing, regionalism and contemporary American music, the impact of arts and academic institutions on twentieth-century American music, and latest developments in the recording industry and their potential impact on composers. Ethnomusicology/World Music: Proposals in all areas of research pertaining to music in diverse cultural settings, especially as they relate to college teaching. Particular topics of interest for the 1995 Annual Meeting are: "Teaching Ethnomusicology !s Distinct from Teaching about World Music Cultures"; "World Musics: The Meeting of Traditional and Popular Genres in the Lecture Hall"; and "World Music Performance Ensembles, Budgetary Constraints, and Authenticity." Other topics are welcome. Music in General Studies: Proposals concerned with the philosophy and pedagogy of integrated performing arts courses and the topic of music in general studies beyond the walls of the academy are encouraged. Other issues of special interest are innovative teaching models with demonstrations (live or video-taped), canonical issues, and the question of integration versus separation of music in multidisciplinary courses in the humanities and/or arts for the general student. Music Education: Proposals dealing with presentations on the implications of the National Standards for Arts in Education for music teacher education, models and/or principal issues involving collaborative networks between K 12 schools and music units within the university, and historical and cross-cultural perspectives of music teaching and learning as they inform contemporary K 12 curriculum and instruction. Musicology: Proposals dealing with music of the Northwest viewed from a cross-cultural perspective; the teaching of music history, such as: "New Technologies and the Teaching of Music History," or "Writing-Across-the-Curriculum: The Music History Course as Writing Workshop"; and the music of Bart"k, Hindemith, Orff, Purcell, Still, and Webern, in celebration of an anniversary year. Performance: Proposals for lecture/recitals should focus on performance analysis, especially analytical processes for interpretive decision-making, or on the performer/musicologist relationship how is performance changed, altered, or enhanced by research? Proposals dealing with performance of music of the Northwest, including music of Native Americans, will also be especially welcome. Cultural Diversity (of all kinds: ethnic, religious, class, disabilities, sexual preference): Proposals concerned with professional development of members of diversity groups, ethics and propriety in teaching the music of others, and class struggle and empowerment through music. Women's Studies and Gender Issues: Proposals focusing on contributions of women musicians, innovative teaching models that incorporate music by women into courses and performances, and research on gender issues, both historical and contemporary, in the study of music and musicians. Also encouraged are proposals that approach other areas of specialization (e.g., composition, ethnomusicology, etc.) with a strong concern for the roles of women and the influence of gender in music. Guidelines for Submitting Proposals (only hard copy proposals will be accepted) Four copies of each proposal must be submitted. A single copy includes: Page 1 the original or a copy of the Proposal Cover Sheet found below. Page 2 a one-page, double-spaced, type-written abstract of approximately 250 words. Complete texts of proposed presentations should not be submitted. Goals, methodology, and conclusion(s) should be clearly stated. Page 3 a list of equipment needed for the presentation. Page 4 a list of all persons involved in the presentation, even if the list contains only a single presenter's name. Supporting materials should be included: vitae of presenters and panel members, a cassette tape, and other relevant materials. Each of the four copies of a proposal for a lecture/recital or performance must be accompanied by a cassette tape. Four copies of the complete proposal, including all supporting materials and four cassette tapes (where appropriate), must be submitted. Incomplete proposals (including single copies), faxed proposals, proposals that do not adhere to the above guidelines, and proposals postmarked after the deadline are unlikely to be reviewed by the Program Committee. All proposals must be postmarked by 16 January 1995. Do not fax proposals. No electronic submissions will be accepted. Please send proposals to: 1995 Call for Program Participation, The College Music Society, 202 West Spruce Street, Missoula, MT 59802 Proposal Cover Sheet Thirty-Eighth Annual Meeting 9-12 November 1995 Portland Hilton Portland, Oregon Name: Institutional Affiliation (if applicable): Institutional Address: City/State/Zip: Telephone: Home Address: City/State/Zip: Telephone: Title of Proposal: Place a one ("1") by the primary area and a two ("2") by the secondary area into which the proposal falls. _____ Composition _____ Ethnomusicology/World Music _____ Music Education _____ Music in General Studies _____ Musicology _____ Performance _____ Theory _____ Women's Studies and Gender Issues _____ Cultural Diversity Please check the format of your proposed presentation: _____ Paper _____ Performance _____ Lecture/Recital _____ Panel _____ Demonstration _____ Clinic _____ Workshop Return as part of four complete proposal copies, postmarked by 16 January 1995 to: 1995 Call for Program Participation, The College Music Society, 202 West Spruce Street, Missoula, MT 59802 Gary S. Karpinski garykarp@music.umass.edu Department of Music & Dance University of Massachusetts voice: (413) 545-4229 Amherst, MA 01003 USA fax: (413) 545-2092 ========================================================= 2. Midwest Chapter of the Society for Ethnomusicology: Annual Meeting The Midwest Chapter of the Society for Ethnomusicology will hold its annual meeting April 21-23, 1995, at the University of Illinois in Urbana-Champaign as part of the year-long centennial celebration of the School of Music. Activities will begin on the evening of Friday, April 21, with a concert by the University of Illinois Gamelan at eight o'clock. Two simultaneous paper sessions will be held on Saturday morning and on Sunday morning. There will be a keynote lecture on Saturday afternoon followed by a reception and a party in the evening. Also scheduled are workshops on a variety of instrumental traditions including Chinese erhu, Andean panpipes, and Shona instruments from Zimbabwe. A formal call for papers will be issued in late November. Papers on all topics relevant to ethnomusicology will be considered. Abstracts should be sent to the program chair no later than February 1, 1995. Accommodations are available at the Illini Union on the university campus (reservations should be made directly, 217/333-3030) as well as other local hotels. Crash space will be available for students; requests should be sent to Steve Hill, c/o the program chair, by March 1, 1995. For more information, contact Thomas Turino, Program Chair, School of Music, University of Illinois, 1114 West Nevada Street, Urbana, IL 61801 (217) 244-2681). Judy McCulloh University of Illinois Press jmcc@ux1.cso.uiuc.edu ================================================ 3. Music Theory Society of New York State: Call For Papers CALL FOR PAPERS Music Theory Society of New York State 1995 Meeting State University of New York at Buffalo Buffalo, NY 22-23 April, 1995 The Program Committee especially invites submissions on the following topics: 1) theory and analysis of non-western music 2) theory and analysis of vernacular and popular music 3) teaching undergraduate theory in a changing musical world 4) the music of Franz Schmidt, Franz Schreker, Alexander von Zemlinsky, or other lesser known Viennese composers of that generation. Proposals on any topic are also welcome and will receive serious consideration. Paper length is generally 30-40 minutes. Papers given at national conferences or published previously will not be considered. Authors may submit more than one proposal, but will not be permitted to give more than one paper at the conference. Paper Submissions must include: 1) Five copies of a double-spaced proposal of 3-5 pages without the author's name. 2) An abstract of 250 words or less suitable for publication. 3) A cover letter listing the title of the paper and the name, address, and phone number of the author. Paper proposals should be submitted to: Dave Headlam, Chair Program Committee, MTSNYS Eastman School of Music 26 Gibbs St. Rochester, NY 14604 dhlm@uhura.cc.rochester.edu Postmark Deadline of 1 December 1994 Program Committee: David Clampitt, SUNY Buffalo; John Clough, SUNY Buffalo; George Fisher, SUNY Stony Brook; Dave Headlam, Eastman School of Music; Catherine Nolan, University of Western Ontario; Joseph N. Straus, Queens College, CUNY. ===================================================== 4. West Coast Conference of Music Theory and Analysis: Call For Papers The University of British Columbia School of Music announces the +---------------------------------+ ! West Coast Conference ! ! of Music Theory and Analysis ! +---------------------------------+ Friday, Saturday, and Sunday, April 7-9, 1995 Music Building, The University of British Columbia Vancouver, B.C., Canada ****************************** * Call for Papers * ****************************** The Program Committee invites proposals for papers and presentations on any topic. Areas of interest include, but are not limited to: * Rhythmic Theory and Analysis * Critical Looks at Standard Analytic Methods * Theory and Analysis of Non-standard Repertoires Those who wish to propose papers should send an abstract of no more than 500 words by January 16, 1995 to: John Roeder School of Music University of British Columbia 6361 Memorial Road Vancouver, B.C. V6T 1Z2 CANADA Program Committee: William Benjamin (University of British Columbia), Harald Krebs (University of Victoria), Lee Rothfarb (University of California,Santa Barbara); John Roeder(University of British Columbia), Chair jroeder@unixg.ubc.ca; (604) 822-3715 ============================================= 5. Feminist Theory and Music III: Call for Papers Feminist Theory and Music III: Negotiating the Faultlines June 15-18, 1995 University of California, Riverside Call for Papers and Presentations The two previous "Feminist Theory and Music" Conferences (Minneapolis, 1991 and Rochester, 1993) opened a dialogue about issues of gender and sexuality in music making and in critical discourse about music. In the interests of providing a supportive environment for new approaches and ideas, of continuing the dialogue within and among diverse scholarly interests and musical traditions, and of negotiating the faultlines that have created divisions in our disciplines, the Music Department of the University of California, Riverside, will host a third conference in 1995. The steering committee consists of Jann Pasler, Susan McClary, Philip Brett, Gretchen Horlacher and Jennifer Rycenga. A primary goal for the meeting continues to be "to develop a critical language, common to all the subdisciplines of music, that intersects with the insights of feminist theory." Contributions are welcomed from musicologists, ethnomusicologists, music theorists, performers, composers and music educators, as well as from scholars in feminist theory, cultural studies, queer theory, women's studies and other fields. While sessions may have various formats (formal papers, study sessions, workshops, lecture-recitals), individual presentations will be limited to 20 minutes in the interests of stimulating general discussion. One-page proposals are due by JANUARY 5th, 1995. Please mail SIX copies to: Philip Brett Feminist Theory and Music III Department of Music University of California, Riverside, CA 92521-0325 (include a stamped self-addressed card or envelope if you want the receipt of your proposal acknowledged). Proposals may also be faxed to (909) 787-4651. ======================================================= 6. 2nd International Conference on Acoustics and Musical Research II Conferenza Internazionale di Acustica e di Ricerca Musicale CIARM 95 Ferrara (Italy) - 3rd. week, May 1995 Topics z Auralization - Auralizzazione z Sound spatialization - Spazializzazione del suono z Acoustics of virtual environments - Acustica degli ambienti virtuali z Acoustics of virtual musical instruments (Synthesis of musical sound based on physical models) - Acustica degli strumenti musicali virtuali Hot Topics z Musical performance analysis - Analisi dell'esecuzione musicale z Hearing losses and musical and theatrical spaces: hearing aids, acoustics and special devices Spazi musicali e teatrali e perdita uditiva: aiuti uditivi, acustica e dispositivi speciali z Restoration - Restauro: a) of audio material - di materiali sonori b) of musical instruments - di strumenti musicali c) of spaces for music - di spazi per la musica Call for Papers and Conference Activities The 2nd International Conference on Acoustics and Musical Research will be held in Ferrara (Italy), during the 3rd Week of May 1995. CIARM95 follows the 1st Conference on "Acoustics and Recovery of Spaces for Music" held in Ferrara in October 1993. The main topics at CIARM95 will be auralization, sound spatialization and acoustics of virtual environments. Other topics concerning particular social and economic aspects such as hearing aids in musical and theatrical spaces and restoration of audio material, of musical instruments and of spaces for music, are classified as "hot topics" and will be treated in a round table discussion. Interdisciplinary aspects linking scientific and technical problems with final listening to music and/or musical compositions are of particular interest at CIARM95. Thus, contributions from Acoustics, Audiology, Architecture, Audio Engineering, Computer Science as well as from Music, Musicology and Psychology etc. will be expected and welcome. The Conference will be structured in traditional scientific sessions on main topics, which will consist in the presentation of specialized invited lectures and contributed papers. Hot topics, for which traditional conference sessions may not be suitable, will be treated as poster sessions including an introductory lecture and open debates. The Conference will be organized in the context of an International Exhibition of Classical Music where technical as well as commercial aspects related with production and organization of music, musical instruments and new musical technologies, will be shown. The CIARM95's official languages are Italian and English. Potential participants intending to present a contributed paper must send an abstract of no more than 200 words to the Conference Secretariat before 15 November 1994. Conference Publications and Registration Fee Invited papers, accepted contributed papers and written version of posters presented at CIARM95 will be published in the Conference Proceedings edited by the Scientific Committee. Participants to CIARM95, will receive a copy of the proceedings volume in Ferrara, during their final registration. The advance registration fee (before March 15th, 1995) will be 130.000 Lit. or 80 U.S.$ (before 15th March 1995). The registration fee will be 100 U.S.$ or 160.000 Lit. after 15th March 1995. Social Program The Conference is conjoint with the Spring Concert Season of The Municipal Theatre of the city of Ferrara organized by "Ferrara Musica" during which the performance of an Opera by Mozart conducted by J.E. Gardiner is foreseen. Participants to the Conference may have tickets for the Opera booked in advance. Preliminary Registration and deadlines For organizational reasons people interested in participating in CIARM95 should cut and mail the here attached coupon to the Conference Secretariat. Authors interested in submitting a paper must send abstracts before 15th November. The 2nd announcement containing the preliminary program and the preliminary registration form will be sent to interested persons by 31 December 1994 and by the same date, authors will also receive notice of acceptance of their papers. The deadline for receipt of MA contributed papers or written version of the posters (4 pages) in the definitive camera-ready format according to given instructions is 15th March 1995. Papers must be accompanied by the advance registration fee. CONFERENCE SECRETARIAT CIARM95 National Research Council of Italy, Cemoter Acoustics Department, Via Canal Bianco, 28 - 44044 Ferrara. Tel +39 532 731571 - Fax +39 532 732250 E-mail: CIARM95@CNRFE4.FE.CNR.IT =================================================== 7. REAL TIME COMPOSITION LIBRARY for MAX (Macintosh-Version) version 2.0 (c) 1993-1994 I want to announce the availability my "Real Time Composition Library 2.0" for MAX, which is now in the public domain and available on IRCAM's ftp site: ftp.ircam.fr:/pub/IRCAM/programs/max/patches/essl-lib: or ftp.ircam.fr:/pub/music/programs/mac/max-patches: * essl.readme (1k) * essl.sea (280k) Due to the fact that IRCAM's ftp is always very busy during daytime there is also an ftp-site within the states existing: ftp.kahless.isca.uiowa.edu:/ftp/pub/max/RTC-lib_2.0.sea.hqx This library (a collection of MAX-patches) offers the possibility to experiment with a number of compositional techniques, such as serial procedures, permutations and controlled randomness. Most of these objects are geared towards straightforward processing of data. By using these specialized objects together in a patch, programming becomes much more clear and easy. Many functions that are often useful in algorithmic composition are provided with this library - therefore the composer could concentrate rather on the composition than the programming aspects. The "Real Time Composition Library" was developed in the past two years during my extensive work on the "Lexikon-Sonate" (1992-94), an interactive Real Time Composition for computer-controlled MIDI-piano. Regardless the fact that it was conceived for a concrete project it became more and more obvious that its functionalities are open and generic enough to be used by other composers in different compositional contexts. Although - from the theoretical point of view - based on paradigms which have been extracted from serial thinking - and its further developments until nowadays it does not force towards a certain aesthetic, but provides a programming environment for testing and developing musical strategies. Please note that "serial" has here another connotation than it normally has (especially in the US): "serial" here refers to a certain way of *musical thinking" rather then dodecaphonic techniques, which has been abandoned by the serial theory itself (cf. Gottfried Michael Koenig and Karlheinz Stockhausen). The library consists of "abstractions" (MAX-patches that appear as objects) and external objects. Most of them were written by myself, but there are also contributions from Gerhard Eckel and Serge Lemouton (both IRCAM, Paris), Orm Finnendahl and James McCartney (namely his generic list objects). Please note that the library objects are highly dependent on each other, so it is recommended not to take them apart. An example - "MeloChord.pat" - shows how a compositional project can be realized in MAX, and suggests a certain programming style, that tries to avoid the awkward "spaghetti manner". Version 2 of the "Real Time Composition Library" comes with a Hypertext-like on-line help which allows to have a perfect overview on the library objects and their multiple relationships. Furthermore a lot of new objects are added, some objects have been enhanced and some bugs have been fixed. In the following all library objects of the "Real Time Composition Library" are shown. Please note that the external objects were not written by myself - either they have been taken from public MAX-libraries or they have been programmed by others according to my indications. In every case, the author of the respective external object is stated. TOOLBOX @ add% anti-bis anti-bis&osc anti-osc contrario count-bang dB2lin divmod (by James McCartney) first-bang geom inc-dec integ lin2dB minus (by James McCartney) open-help pass pass-bang per2pass play round roundto scale trans-lin trans-log LISTS butfirst butlast collect first insert join (by James McCartney) last listlen (by James McCartney) listreg (by James McCartney) make-scale member (by Gary Lee Nelson) multiple nth (by Serge Lemouton/IRCAM) piece remove replace reverse scramble (by James McCartney) sect (by James McCartney) sgroup (by Orm Finnendahl) show slice (by James McCartney) sort (by James McCartney) sum union (by James McCartney) unique (by Gary Lee Nelson) CHANCE alea between between-lin between-log brownian group make-choice-list markov permutate prob (by David Zicarelli/IRCAM) random-norep ratio sel-princ sequence series sneak sneak-random xrandom HARMONY anti-octave anti-octave&prime brown-melody check-octaves choose-intervals frq2note intv2ratio markov-harmony neutral-harmony nname (by Orm Finnendahl) note2cents note2frq note2pitch note2st pitch-from-intervals pitch2note ratio2intv showchord shownote st2pitch Dodecaphonics: check-row matrix (by Charles Baker) normalize-row permutate-row pitch-from-row pitch-from-row-mod random-row row-modus transpose-row RHYTHM alea-rhythm brown-rhythm choice-rhythm dur-from-ED ED-trans grid-rhythm group-rhythm group-rhythm2 make-ED-scale markov-rhythm metro-dev% repchord-rhythm repeat-ED rit-acc serial-rhythm sneak-rhythm ENVELOPE cresc-decresc random-ramp schweller If you find any bugs or if you have any comments or questions, please feel free to send me a mail: Dr. Karlheinz Essl Tel: +43-2243-7971 Am Oelberg 26-30 Fax: +43-2243-79714 3400 Klosterneuburg - Austria/Europe email: essl@ping.at ========================================================= 8. Rocky Mountain Society for Music Theory: Call for Papers The College of Fine Arts and Communications and Department of Music, Brigham Young University, announce the Second Annual Meeting of the Rocky Mountain Society for Music Theory, to be held at Brigham Young University on April 21 and 22, 1995. We are meeting together with the Rocky Mountain chapter of the American Musicological Society and the Southwest chapter of the Society for Ethnomusicology. The program committee invites paper proposals on any topic. We are encouraging submissions on the visual arts and music analysis (for a session to be held at BYU's new Art Museum), on music theory pedagogy, and on popular music and its intersections with art music. Invited speakers: Bruce Benward, Jonathan Bernard, David Bernstein, Steven Johnson Those interested in participating should send an abstract of up to 500 words by January 15, 1995 to: Jack Boss, Program Chair, Rocky Mountain Society for Music Theory, Department of Music, C-550 HFAC, Brigham Young University, Provo, UT 84602. Abstracts sent by e-mail to jfboss@ucs.byu.edu are also welcome. Jack Boss, Brigham Young University ============================================== 9. Mid-West Music Theory Society: Call For Papers The sixth annual meeting of the Mid-West Music Theory Society (MTMW) will be held at the University of Iowa on April 7 and 8, 1995. This meeting will be held jointly with the 28th national conference of the Society of Composers (SCI). Theorists are invited to submit paper proposals on any topic, although papers related to contemporary music and music theory pedagogy are particularly encouraged. A number of joint sessions and round-table discussions with members of SCI are planned on contemporary compositional trends as well as the relationship of composer and theorist within the traditional undergraduate theory curriculum. In addition, a large number of events are planned for the duration of the MTMW/SCI conference, including over 20 separate concerts of contemporary music, workshops on electronic and computer music, and poster sessions on new software for ear training. The conference will culminate with a performance on Saturday night, April 8, of the Kronos Quartet, performing works of contemporary American composers (all of whom will be present at the conference). A gala reception hosted by the University of Iowa School of Music will follow. Reduced price tickets for the Kronos Quartet performance will be available to all conference participants. Please send FIVE copies of a 3-5 page proposal, along with one copy of a 100-150 word abstract, suitable for publication, and a list of any equipment needed, to: Dr. Severine Neff University of Cincinnati College-Conservatory of Music Cincinnati, OH 45221-0003 Proposals must be postmarked by December 1, 1994 For any further information, please contact: Thomas Christensen Local Arrangements Coordinator MTMW/SCI Conference 95 School of Music University of Iowa Iowa City, IA 52242 (319-335-1620) ============================================= 10. Music Theory Southeast: Call For Papers 1995 Annual Meeting March 17-18, Catawba College Salisbury, NC Proposals are solicited for the 1995 Annual Meeting of Music Theory Southeast. Possible formats include 30-minute presentations on any topic of musical interest, proposals for panel discussions or special interest sessions, and suggestions for alternative presentation formats. ABOUT MUSIC THEORY SOUTHEAST Music Theory Southeast was founded in 1992 and draws its membership primarily from Virginia, North Carolina, South Carolina, Georgia, Florida, Alabama, and Mississippi. Proposals are welcomed from any geographic region. ABOUT CATAWBA COLLEGE Catawba College is a small, four-year liberal arts college situated in the Piedmont area of North Carolina. Salisbury is conveniently located on I-85 between Charlotte and Greensboro. SUBMISSIONS Send SEVEN copies of a 2- to 4- page proposal to: Jeffrey Perry, 1995 MTSE Program Chair School of Music Louisiana State University Baton Rouge, LA 70803 Include a list of any audiovisual or technical requirements. POSTMARK DEADLINE: FEBRUARY 1, 1995 Information: (504) 388-3556 jperry@unix1.sncc.lsu.edu ================================================ 11. Computer Music Journal: Contents of vol. 18.3 Computer Music Journal 18:3--Fall, 1994 Title: Composition and Performance in the 1990s--2 Front and back covers: "Filtered Landscape" by Guri Berg Contents About This Issue Editor's Notes: Why is Good Electroacoustic Music So Good? Why is Bad Electroacoustic Music So Bad?--Stephen Travis Pope Letters Announcements News ------------ An Interview with Barry Truax--Toru Iwatake ------------ Topic: Composition and Performance in the 1990s ------------ Technology, Commodity, Power--Roger Johnson Music and Computers: Composers Panel Discussion from the 1992 NEMO Festival--Edited by Stephen Travis Pope To Paint on Water--John Whitney ------------ Automatic Indexing of a Sound Data Base using Self-Organizing Neural Nets--B. Feiten and S. Guenzel ------------ Reviews Events Musica Elettronica Viva: Frederic Rzewski, Alvin Curran, Richard Teitelbaum, and George Lewis-Mills College, Oakland, California USA, 12 February, 1994--Tim Perkis Diamanda Galas: Judgement Day-Hopkins Center, Dartmouth College, Hanover, New Hampshire USA, 23 November, 1993--Donna McCabe Two Reports on the Fourth International Symposium on Electronic Art (ISEA '93)-Minneapolis, Minnesota USA, 3-7 November, 1993--Craig Harris and Greg Garvey Publications David Lewin: Musical Form and Transformation: 4 Analytic Essays-Stephen W. Smoliar Jean-Baptiste Barriere, Editor: Le Timbre--Metaphore pour la Composition--James Harley Douglas Kahn and Gregory Whitehead, Editors: Wireless Imagination: Sound, Radio, and the Avant-Garde--Alicyn Warren Joseph Rothstein: Digital Musical Instruments and the World of MIDI--Esther Hargs Recordings G. M. Koenig, Luc Ferrari, and Konrad Boehmer: Acousmatrix 1, 2, 3, and 5--B. Vestern Kirk Corey: Music from the Ivory Tower and Elsewhere--Michael Hamman Tod Machover: Flora--Jason Vantomme Products Passport Producer for Apple Macinotsh Computers--E. G. Graal ------------ Products of Interest Instructions to Contributors ------------ About This Issue This is the second in our series of topical issues on "composition and performance in the 1990s." The first article, however, is an interview with composer and researcher Barry Truax, whose work was presented in an article in the last issue, and on the sound sheet of issue 18:1. Mr. Truax will also be familiar to many as the host of the 1985 International Computer Music Conference, developer of the PODX series of programs, and as a composer of some renown. In this interview with Toru Iwatake, he discusses topics ranging from his own personal background to his use of granular synthesis techniques on a programmable real-time digital signal processor. The articles on the central topic come in several flavors. Roger Johnson opens the issue's topical focus with his controversially-titled piece Technology, Commodity, Power, which is a further development of several of the ideas he introduced in his earlier Machine Song article in Computer Music Journal 14:1. Mr. Johnson presents a description that is sure to be controversial of the role that the issues of power and commodity play in contemporary art music. The second article on the topic is an edited transcription of a composers panel discussion that took place at the 1992 Nordic Electroacoustic Music Organization (NEMO) conference. In this informal and wide-ranging discussion, several well-known members of our community (and frequent contributors to the Journal) present their thoughts on contemporary musical aesthetics, performance practice, and composition. John Whitney is well-known as a pioneer of experimental film and computer graphics. In "To Paint on Water," he has written about his exploration of the "complementarity" of visual and musical arts, something he has over 20 years of experience using in his own works. His ideas should provide a generous amount of "food for thought" for Journal readers. The final article presents a system developed Berhard Feiten and S. Guenzel at the Technical University of Berlin neural network-based system that can learn to classify the timbres of musical instruments. They strive to build a system that can "allows the intuitive mapping from sound idea to sound generating method in a musically satisfactory way." This issue has a "bumper crop" of reviews, with a large number of events (concerts and conferences), publications (in English and French), recordings (old and new), and a major product being evaluated. Cover Description Text Front and back covers: The stylistic landscape paintings Filtered Landscape on the front and back covers of this issue of Computer Music Journal are by the Norwegian sculptor and painter Guri Berg. On the cover of the Computer Music Journal 17:1 we used a graphic series based on her impressions of spectra and filter functions. While this previous graphic series was based on similar mathematical filter functions and shared almost the same shape as the paintings shown on this cover, there are some peculiar differences; the graphic line on the paintings is created from the contrast of the colors rather by a painted dividing line. An other major difference is the very large size of the oil paintings shown here-7 x 6 feet. The base form was drawn with the aid of a computer. Guri studied sculpture and painting for twelve years, including five years at Norway's prestigious National Academy of Fine Arts. She is currently working in Palo Alto, California, USA with the prize-winning architect, Tony Carrasco on decorating a new building complex with sculptures in stainless steel. Characteristic of her work is an emphasis on unusual approaches to both form and material and by combining art with high technology. We hope to see more of her work here in Computer Music Journal in the future. She is also still running for the President of the United States and hopes to give all artists lifetime salaries if she is elected. For subscription information, please contact: MIT Press Journals Subscriptions 55 Hayward St. Cambridge, Massachusetts 02142 USA Tel: (617) 253-2889 Electronic mail: journals-orders@mit.edu Computer Music Journal subscriptions can also be ordered through various on-line services such as CompuServe's CompuBooks, or the MIT Press on-line book-store. Stephen Travis Pope Editor, Computer Music Journal cmj@CNMAT.Berkeley.edu __Stephen Travis Pope __Editor, Computer Music Journal __Research Associate, Center for New Music and Audio Technologies (CNMAT) __Department of Music, U. C.Berkeley __stp@CNMAT.Berkeley.edu, (510) 644-3881 -------------------------------------------------- 12. Contemporary Music Documentation Center (CDMC) in Paris "Ostinato", the informational newsletter of the Documentation Center of Contemporary Music (located in the "Cite de la Musique" in Paris, France), is now available on IRCAM's WWW server (http://www.ircam.fr, with link to English text). It comprises, among many other things, detailed lists of concerts and festivals in France (and some abroad), informations for composers and interpreters, etc. Information on the CDMC itself (hours, activities, documentations, etc) is also available there. --Michael Fingerhut fingerhu@nadia.ircam.fr +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Copyright Statement [1] Music Theory Online (MTO) as a whole is Copyright (c) 1994, all rights reserved, by the Society for Music Theory, which is the owner of the journal. Copyrights for individual items published in (MTO) are held by their authors. Items appearing in MTO may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may *not* be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of MTO. 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