Path: utzoo!censor!geac!torsqnt!news-server.csri.toronto.edu!cs.utexas.edu!sdd.hp.com!ucsd!ucbvax!HPLPM.HPL.HP.COM!music-research From: music-research@HPLPM.HPL.HP.COM Newsgroups: comp.music Subject: Music-Research Digest Vol. 6, #01 Message-ID: <9101051511.AA10253@hplpm.hpl.hp.com> Date: 5 Jan 91 15:11:05 GMT Sender: daemon@ucbvax.BERKELEY.EDU Reply-To: music-research@hplms2.hpl.hp.com Lines: 271 Music-Research Digest Sat, 5 Jan 91 Volume 6 : Issue 1 Today's Topics: Administrivia: Welcome to Volume 6 2nd European Conference on Music Analysis *** Send contributions to Music-Research@uk.ac.oxford.prg *** Send administrative requests to Music-Research-Request *** Overseas users should reverse UK addresses and give gateway if necessary *** e.g. Music-Research@prg.oxford.ac.uk *** or Music-Research%prg.oxford.ac.uk@nsfnet-relay.ac.uk *** Back issues, index, etc.: send "help" in a message to archive-server *** @uk.ac.oxford.prg (in the UK) or @hplpm.hpl.hp.com (elsewhere) ---------------------------------------------------------------------- Date: Sat, 5 Jan 91 14:43:55 GMT From: Stephen.Page@prg Subject: Administrivia: Welcome to Volume 6 To: music-research Message-ID: <9101051443.AA00443@msc13.comlab.prg.ox.ac.uk> Happy New Year, and welcome to another year of Music-Research. Thanks to all our contributors during 1990. We have distributed some useful notes, although we are still lacking reports on current work in the field: please, researchers, send in a short note to let the world know what you are doing! We are still bombarded with out-of-scope mail about sequencers and MIDI interfaces for PCs. Please may I remind readers that these matters are covered elsewhere on mailing lists read by people specialising in electronic music -- you are wasting keystrokes if you send these contributions to the Music-Research Digest or to Usenet comp.music. Stephen Page Moderator ------------------------------ Date: Fri, 04 Jan 91 11:27:16 SET From: Lelio Camilleri Subject: 2nd European Conference on Music Analysis To: Music Digest Bulletin SECOND EUROPEAN CONFERENCE OF MUSIC ANALYSIS TRENTO (ITALY) 24-27 OCTOBER 1991 FIRST ANNOUNCEMENT The conference has been organized by the Group for the Analysis and Theory of Music (GATM), the Accademia Filarmonica Trentina and the University of Trento. It takes up and continues the work of the conference organized at Colmar in 1989 by the Societe Francaise d'Analyse Musicale. It proposes to discuss above all several problems which have emerged in research during the past few years, ones which the classical tradition of analysis has so far touched upon only marginally. The conference will also take account of the fact that analysis is not solely the preserve of specialist expertise, but is an indispensible instrument of knowledge in all sectors of musical activity. The programme will take the following form: Thursday 24 October, 3-6 p.m.: Plenary session - The analysis of musical performance: problems and methods The participants in this round-table will discuss three performances of the same pieces, examining them according to diverse analytical methods. - Friday 25 October, 9-12 a.m.: Two parallel sessions a) Structural theories and cognitive processes at work in the segmentation of music Analysis always presupposes a segmentation of the piece in question, but the criteria for this operations are problematic. The traditions of music analysis and psychology propose diverse solutions to the problem. The comparison between the two traditions will enable one to consider a more general theme: that of the relationships between music theory and cognitive psychology. b) Analysis of medieval and renaissance music: structures of modality The function of the modal scales is discussed by historical musicologists and by ethnomusicologists. These general themes will be explored with reference to examples of early European music. - 3-6 p.m.: Two parallel sessions a) The role of music analysis in the primary and secondary schools Is one justified to practise analysis as one activity in music education in non-professional schools ? For what didactic purposes is analysis necessary ? What methods can prove useful ? b) Structural traits and performance variables in repertories with an oral tradition The ethnomusicologist who studies cultures different from his own cannot distinguish immediately between the performance variables of a piece from its "grammatical" structures. The problems exists also in European art music, its notation not withstanding. - Saturday 26 October, 9-12 a.m.: Two parallel sessions a) Melodic structures and verbal intonation In the field of relationships between music and text, the question of how verbal inflections are transformed into melodic features is of importance. It also touches upon all traditions and numerous repertories. b) 'Popular music': analyses of songs from the 1950s to the 90s Song-form, linked with means of mass communication, has been radically transformed in recent decades. Generations of youth have been brought up on this repertory. For the critical understanding of it, it is essential to develop adequate analytical methods. - 3-6 p.m.: Two parallel sessions a) Relationships of structure between music and film narration What links exist between the narrative functions of the verbal- visual text and the drammaturgical possibilities of music ? Semiotics, narration theory, and theory of mass culture appear in this context to be useful auxiliary disciplines of musicology. b) Analysing electro-acoustic music: towards a definition of the sound objects The problem of terminology is fundamental for the analysis of electro-acoustic music. The scope of this session is to identify and develop the most appropriate terminology for the definition of sonorous structures of a piece which the participants will analyse: Aquatisme by B. Parmegiani, in La creation du monde, CD INA (1989), Harmonia Mundi C1002 HM90. - Sunday 27 October, 9-12 a.m.: Plenary session Analysing analysis: are there relationships between the various analytical methods ? The codified methods, from Schenker to set theory, yeld analytical results which are always incomplete and sometimes mutually contradictory. The central theme of this round-table is the comparison of the various methods and the discussion of their epistemological presuppositions. The two plenary sessions will take the form of round-tables with invited speakers. The eight parallel sessions are open to contributions that are received at the office of the conference in the form explained below. The authors of contributions wich are accepted will be guests of the conference. In order to assure adequate time for open debate, the papers should be limited to a maximum of 20 minutes (corresponding to 8 typewritten pages of 1800 characters). Because of time limitations, it is advisable to use overhead projections or slides. In addition to the sessions indicated above, the organisers intend to provide a room equipped for the display of posters and any accompanying materials (videos, computer software etc.). From noon to 3 p.m. Friday and Saturday, the authors of the posters will be able to illustrate their work. The official languages of the conference are: Italian, French, English and German. The Planning Committee of the conference comprises 6 Italian members of G.A.T.M. and 6 foreign academics: Jean Michel Bardez (Societe Francaise d'Analyse musicale), Mario Baroni (Societa Italiana di Musicologia), Michal Bristiger (Polonia), Lelio Camilleri (Associazione d'Informatica Musicale Italiana), Rossana Dalmonte (Universita di Trento), William Drabkin (Inghilterra), Franco Fabbri (International Association for the Study of Popular Music), Renate Groth (Germania), Juri Kapustin (U.R.S.S.), Ignazio Macchiarella (Societa Italiana di Etnomusicologia), Johannella Tafuri (Societa Italiana per l'Educazione Musicale), Philip Tagg (Svezia). The conference office is located at the Accademia Filarmonica Trentina, via Oriola 12, 38100 Trento (Italia), tel. (0)461 - 238008, fax 0(461) - 238166. CALL FOR PAPERS AND POSTERS Those who wish to present a paper or poster at the conference should send an abstract by 31 March 1991. - PAPERS The abstract for a paper should adhere to the following points: 1. It should contain the full name, professional qualification, address and brief curriculum vitae of the author(s). 2. It should be sent in triplicate to the conference office. 3. It should give a clear description of the subject, the method and the objectives of the research. 4. It should be not less than 3 nor morethan 6 typewritten pages long. 5. It should indicate the name of the session to which the author intends to contribute. 6.It should indicate what technical apparatus the author requires (musical instruments, audiovisual equipment, etc.) for the presentation. Those intending to offer a paper for the electro-acoustic music session can obtain a cassette recording of the piece by applying to the conference office. - POSTERS The abstract for a poster should adhere to points 1-3 above. Please note that: - Posters should measure 70x100 cm. maximum, should be self- explanatory and should be readable in two to three minutes. - For the present conference a poster can be supplemented with a computer program or a video-cassette. - The topics of the posters are free, i.e. not restricted to the themes of the conference sessions. Those wishing to supplement their posters with a computer program, should provide in their abstract, in addition to a summary description of the structure and the aims of the programme, complete information relating to the hardware and other necessary equipment. Those wishing to present a video-cassette should summarize, in their abstract, its contents and indicate the reasons for its use. - SCHEDULE Authors of papers and posters whose abstracts have been accepted will receive a written response from the conference office by 31 May 1991. Their final written work must arrive at the office by 1 September 1991. Papers should not exceed 8 typewritten pages of 30 lines, 60 characters per line. For further informations please contact the conference office at the following address: Accademia Filarmonica Trentina, Via Oriola 12, 38100 Trento (Italia), tel. (0)461 - 238008, fax 0(461) - 238166. Acknowledge-To: ------------------------------ End of Music-Research Digest