music-research@HPLPM.HPL.HP.COM (01/05/91)
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
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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
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Date: Fri, 04 Jan 91 11:27:16 SET
From: Lelio Camilleri <CONSERVA@IT.CNR.FI.IFIIDG>
Subject: 2nd European Conference on Music Analysis
To: Music Digest Bulletin <music-research@prg>
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: <CONSERVA@IFIIDG.FI.CNR.IT>
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End of Music-Research Digest