=== === ============= ==== === === == == == == == === == == = == ==== === == == == == == == == = == == == == == == == == == ==== 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 7 March, 1994 ISSN: 1067-3040 | +-------------------------------------------------------------+ All queries to: mto-editor@husc.harvard.edu +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ File: mto.94.0.7.ann 1. Lancaster University Music Analysis Conference (LancMAC), 1994, Lancaster University, Lancaster, England 2. NEH Summer Seminar: American Song and American Culture in the 19th Century (Peabody Conservatory, Johns Hopkins Univ., Baltimore, Maryland) 3. Brazilian Symposium on Computer Music, Caxambu, Minas Gerais, Brazil 4. MTO Available Through the Harvard FAS Gopher ------------------------------------------------ LancMAC 94 Lancaster University Music Analysis Conference 1994 Call for papers LancMAC 94 will take place on 23-25 September 1994. Proposals are invited for papers. The conference will not be thematically organised P the aim is to present the best examples of current work in music analysis, in an internation- al context. Programme committee: Anthony Pople (chair) Jonathan Dunsby Roger Parker Robert Pascall Abstracts of 300-500 words should be sent to the Conference Director, Anthony Pople, at the address given below. They should be written in English and postmarked no later than Friday 11 March 1994. Rooms with en suite facilities will be available. Further information will be made available later. For specific enquiries please contact: Dr Anthony Pople Music Department Lancaster University Bailrigg Lancaster LA1 4YW tel. +44 524 593774 fax +44 524 593939 email mua002@cent1.lancs.ac.uk ---------------------------------------------- NEH Summer Seminar AMERICAN SONG AND AMERICAN CULTURE IN THE 19TH CENTURY College teachers and independent scholars are invited to apply to participate in this 7-week seminar in Baltimore, Maryland. Dates: June 20 to August 5, 1994 Location: Peabody Conservatory of Music Johns Hopkins University, Baltimore Maryland Directors: John Spitzer and Ronald G. Walters Stipend: $3,600 Application Deadline: March 1, 1994 The seminar will study 19th-century American song as a manifestation of popular culture. Songs will be examined in the contexts of political and social history, the history of the entertainment industry, and 20th-century theories of popular culture. Participants will work with primary sources: sheet music in the collections of the Baltimore-Washington area. The seminar aims to attract teachers and scholars from diverse fields: historians, musicologists, librarians, folklorists, and others. It is designed for teachers at 4-year colleges, independent scholars, persons in non-academic employment, and university teachers in departments that do not offer a Ph.D. Applicants must be U.S. citizens or foreign nationals who have resided in the U.S. for at least 3 years immediately preceding the application deadline. For more information and/or application materials, respond via one of the routes below. Include your current mailing address, so we can send you an application. E-mail:amsong@jhunix.hcf.jhu.edu Write: John Spitzer, Peabody Conservatory, One E. Mt. Vernon Place, Baltimore, MD, 21202 Call: 410-659-8158 Fax: 410-685-0657 John Spitzer and Ron Walters ------------------------------------------------ ==== PRELIMINARY CALL FOR PAPERS AND PARTICIPATION ==== I BRAZILIAN SYMPOSIUM ON COMPUTER MUSIC August 3-4, 1994 Caxambu, Minas Gerais Brazil The 1st Brazilian Symposium on Computer Music, promoted by NUCOM (Brazilian Computer Music Society), will take place during the 1994 Meeting of the SBC (Brazilian Computer Science Society) organized by the Computer Science Department of the Federal University of Minas Gerais (UFMG). The objective of the symposium is to discuss technical aspects of the specification, designing, implementation, and evaluation of computer systems for music, as well as to present ongoing research works in the field. The symposium is aimed primarily at stimulating the exchange of ideas among computer scientists and musicians, but we also welcome interested researchers from other areas such as electronics, linguistics, psychology, physics, and education. Main areas of interest: ----------------------- - Systems and languages for composition - Signal processing and sound transformation - Automated music analysis - Artificial intelligence and music - User interface and instrument design - Notation systems - Psychoacoustics and cognitive models - Systems and languages for sound synthesis Other topics, not covered above, will be consired by the program comittee. Program comittee: ----------------- . Aluizio Arcela, University of Brasilia, Brazil. . Conrado Silva, University of Brasilia, Brazil. . Eduardo Miranda, University of Edinburgh, UK. . Jamary Oliveira, Federal Univesity of Bahia, Brazil. . Wilson de Padua de Paula Filho, Federal University of Minas Gerais, Brazil. Organizing comittee: -------------------- . Mauricio Alvares Loureiro (Symposium chair), Federal University of Minas Gerais, Brazil. E-mail: mauricio@dcc.ufmg.br . Geber Ramalho (technical coordinator), University of Paris, France. E-mail: ramalho@laforia.ibp.fr . Nivio Ziviani (SBC/94 chair), Federal University of Minas Gerais, Brazil. E-mail: nivio@dcc.ufmg.br Preliminary Program Schedule (subject to change): ------------------------------------------------ 03/08: - 08:00 - 12:00, Reception and registration - 14:00 - 15:30, Special talks 1 - 15:30 - 18:00, Paper section 1 - 20:00 - 21:00, Concert 1 04/08: - 09:00 - 12:00, Paper section 2 - 14:00 - 15:30, Special talks 2 - 15:30 - 17:00, Paper section 3 - 17:00 - 18:30, Round table discussion: "Computer Music in Brazil" - 20:00 - 21:00, Concert 2 Submissions ------------ Abstract submissions should not exceed 400 words. They can be sent by surface or eletronic mail (ASCII format). Papers can be submited and presented in Portuguese or English. Composers interested in submiting a piece for the concerts should contact the program comittee. Deadlines and important dates (to be confirmed): ------------------------------------------------ April 25, 1994 - Submission of abstracts May 25, 1994 - Notification of acceptance June 15, 1994 - Submission of the final paper Contact address and submissions: -------------------------------- Mauricio Alvares Loureiro Departamento de Ciencia da Computacao Universidade Federal de Minas Gerais - UFMG Belo Horizonte, MG Brazil E-mail: mauricio@dcc.ufmg.br ---------------------------------------- In addition to being available by subscription, MTO is available through Harvard University's Arts and Sciences Gopher. At your system's prompt, Type: gopher fas-gopher@husc.harvard.edu Choose item number 10 from the main menu (Publications and News). From there the menus are self-explanatory. Currently, all MTO issues, documentation, and software are in one large, alphabetical directory, which is not very convenient for locating files for viewing. This spring the MTO archive into separate categories. The planned, revised structure would be as follows: 1. documentation (/docs) 2. software (/software) 3. MTO issues (/issues) Once implemented, this structure will actually be invisible to gopher users, who will simply select items from menus: 1. DOCUMENTATION The main MTO documentation files are: mto-guide.txt (general guide to MTO) software.txt (explanation of software for viewing musical examples) authors.txt (guidelines for authors) policy.txt (MTO editorial policy) 2. SOFTWARE MTO distributes musical examples as GIFs (Graphical Interchange Format), which require a GIF viewer. 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Rothfarb, General Editor mto-editor@husc.harvard.edu mto-editor@husc.bitnet +=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ 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. [2] Any redistributed form of items published in MTO must include the following information in a form appropriate to the medium in which the items are to appear: This item appeared in Music Theory Online in [VOLUME #, ISSUE #] on [DAY/MONTH/YEAR]. 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