Call for papers del Terzo Incontro di Studio di Analitica

1. MTO Call for Contributions

2. Society for Seventeenth-Century Music Conference 19-22 April 2001

3. Gustav Mahler and the Twentieh Century, 24 march 2001

4. Second Biennial International Conference on Twentieth-Century Music

5. International Samuel Barber Symposium

6. International Musicological Society, 17th International Congress

7. Journal of Music Theory Pedagogy. Call for articles

8. North American Society for the Study of Romanticism, 2001 Meeting

9. Music Theory Southeast, 2001 Meetin g

10. The Art of David Tudor: Indeterminacy and Performance in Postwar Culture

11. Florida State University Theory Forum, 2001 Tallahassee

12. 2nd Symposium on Systems Research in the Arts "Music, Environmental Design, and the Choreography of Space"

13. Seventh International Congress on musical signification

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 1. MTO Call for Contribution

Can you answer YES to any of these questions?

1. Would the presentation of your research benefit from any of the following?

* Sound files (such as MIDI files of musical examples, digitized field
recordings or experimental stimuli)
* Color graphics (such as annotated analytic diagrams or musical examples,
or new forms of musical visualization)
* Animation (Quicktime or Director movies illustrating musical processes,
perhaps linked to audio)
* Video (clips of musical performances or illustrating teaching techniques)
* Non-linear presentation (articles with variable paths)
* Interactive elements
* Use of live hyperlinks to reference online resources

2. Does your research involve a topic not often found in the major theory
print journals, such as those listed below?

* computer-based analysis
* cultural theory
* film music
* gender theory
* ethnomusicology
* music perception and cognition
* music technology
* music theory pedagogy
* non-Western music
* popular music

3. Are you working on research you'd like to publish first in compact form,
then publish in a more expanded version later?

4. Do you have an article you need to get "in print" within six months,
instead of a year or two?

If your answer to ANY of these questions is "yes," then you are invited to
submit your research to Music Theory Online, the electronic journal of the
Society for Music Theory.  Music Theory Online offers--

* the opportunity for new modes of presentation, from simple color graphics
and sound to elaborate multimedia
* for publishing on topics that don't find their way into more conservative
print journals
* for publishing research in a shorter fomat
* fast response time on article submissions

Prospective authors are invited to review the Guidelines for Contributors at
the MTO home page: http://smt.ucsb.edu/mto/.  Inquiries may be directed to
Eric Isaacson, MTO Editor, at mto-editor@smt.ucsb.edu.

Eric Isaacson
General Editor | Assoc. Prof. of Music Theory
Music Theory Online | Indiana Univ. School of Music
mto-editor@smt.ucsb.edu | 1201 E 3rd St
http://smt.ucsb.edu/mto/ | Bloomington, IN 47405-7006

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 2. Society for Seventeenth-Century Music Conference 19-22 April 2001

The Society for Seventeenth-Century Music will hold its ninth annual
Conference 19-22 April 2001 at Franklin & Marshall College in
Lancaster, Pennsylvania.  Proposals on all aspects of
seventeenth-century music and music culture are welcome, including
papers dealing with other fields as they relate to music.  In view of
the location and the possibility of visits to the reconstructed
Anabaptist cloisters in nearby Ephrata, the program committee also
encourages proposals on Colonial American and Germanic topics. A prize
will be awarded for the best paper presented by a student.
Presentations may take a variety of formats, including papers,
lecture-recitals, workshops involving group participation, and
roundtable discussions.  Papers will be limited to 20 minutes and
lecture-recitals to 45 minutes.  It is the policy of the Society to
require a year's hiatus before presenters at the previous meeting may
be considered for another presentation.  Five copies (four anonymous
and one identified with name, address, telephone, fax, and e-mail
address) of an abstract of not more than 350 words, postmarked by 1
October 2000, should be sent to Gregory Barnett, School of Music,
Voxman Music Building, Box 1006, University of Iowa, Iowa City, Iowa
52242-1795.  Abstracts from outside the United States and Canada may be
sent by fax (one copy only) 319/335-2637.  Tapes (audio or visual)
supporting proposals for lecture-recitals are welcome.

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3. GUSTAV MAHLER AND THE TWENTIETH CENTURY: 24 MARCH 2001

 The Music Department in the School of Performing Arts, University of
 Surrey, will host a one-day conference 'Gustav Mahler and the
 Twentieth-Century'. A group of invited specialists will present papers on
 aspects of the interpretation, influence, and cultural context of Mahler's
 music. Programme and booking details will be available in due course from
 Dr. Stephen Downes, University of Surrey, School of Performing Arts,
 Guildford, GU2 7XH, UK; tel.+44 (0)1483 876533; fax +44 (0)1483 876501;
 s.downes@surrey.ac.uk.
 


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 4. SECOND BIENNIAL INTERNATIONAL CONFERENCE ON TWENTIETH-CENTURY MUSIC 

DEPARTMENT OF MUSIC, GOLDSMITHS, UNIVERSITY OF LONDON
Thursday 28 June - Sunday 1 July 2001
Keynote Speakers to include Professor Richard Middleton (University of Newcastle)

GENERAL ANNOUNCEMENT AND CALL FOR PAPERS

This conference will address the widest possible spectrum of musicological
endeavours which pertain to the music of the last century, and to the one
indisputably under way by the time the conference itself takes place.
Papers, and proposals for sessions containing no more than four separate
papers, are invited on any twentieth-century musical subject; a wide range
of approaches and methodologies, as well as repertoires, is encouraged.
Subjects drawn from the wide field commonly called "popular musics" will be
as welcome as well as those from the "cultivated" traditions.
Methodologies drawing on the disciplines of sociology, anthropology and
cultural theory will be embraced alongside those based on earlier models of
musicological practice.  Goldsmiths' eminence in the fields of fine art and
various dimensions of cultural studies will also be exploited to augment
the efforts of scholars working in more traditional musical contexts.
Papers from practitioners (composers, performers, improvisers...) as well
as scholars are warmly welcomed.  Papers from postgraduate students will
also be given serious consideration.
Areas currently under review as the subject of particular sessions include:
The Writing of Twentieth-Century Musical History, Composition in
Contemporary Russia, The Musical Significance of John Cage, The Heritage of
Musical Minimalism, The Impact of the Internet on Musical Practice and
Listening Strategies.   Suggestions for other topics are warmly welcomed.
(Electronic versions of this list will be updated and modified as new
proposals are submitted.)

PRACTICAL CRITERIA:

Individual presentations should be no more than twenty minutes in duration.
Proposals for papers should be submitted in the form of a title followed by
an abstract of no more than 300 words.
Proposals for sessions should be submitted in the form of an overall title
followed by titles of individual papers, plus abstracts and indications of
personnel wherever possible.
Both the above must be submitted in the form of an e-mail or an e-mail attachment.
Deadline for all proposals: Friday 8 December 2000
Details of fees, etc. and registration deadline will be announced in the autumn.

Conference Organiser: Keith Potter, Department of  Music, Goldsmiths,
University of London, New Cross, London SE14 6NW; tel. 020 7919 7649 or

020 7919 7663.   <k.potter@gold.ac.uk>   (Please use electronic communication
wherever possible.)

Programme Committee:
Chair: Keith Potter (Goldsmiths, University of London)
Christopher Mark (University of Surrey)
Roger Redgate (Goldsmiths, University of London)
Arnold Whittall (King's College, University of London)
 

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 5. International Samuel Barber Symposium


Virginia Commonwealth University announces a Call for Papers for
presentation at an International Samuel Barber Symposium to be held in
Richmond, Virginia, March 22-24, 2001.  Proposals are now being accepted
for papers and lecture demonstrations on topics related to the life, work
and influence of Samuel Barber.  The duration of presentations may be
either 20 or 35 minutes. Send 3 copies of a 250 word abstract of the
proposal accompanied by a short biographical sketch by October 1, 2000,
via conventional mail or facsimile to Mr. John Patykula, International
Samuel Barber Symposium, Department of Music, Virginia Commonwealth
University, 922 Park Avenue, Richmond VA 23284-2004, USA.  Questions about
the Symposium may be directed to Mr. Patykula at +1-804/828-8008;  Fax
+1-804/827-0230; jtpatyku@saturn.vcu.edu.

 

 

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6. International Musicological Society, August 2002

The International Musicological Society will hold its 17th international
Congress at the Maria Theresia College of the Catholic University in
Leuven, Belgium, from 1 to 7 August 2002. The Congress will offer symposia
on eight broad themes, as explained in detail on the IMS website
<http://www.ims-online.ch> and on flyers available on request from the
Secretary General of the IMS (fax: (41)-1-923-1027; e-mail:
imsba@swissonline.ch ):
1. Hearing - Performing - Writing 2. The Dynamics of Change in Music 3. Who Owns Music?
4. Musica Belgica
 5. Musical Migrations
 6. Form and Invention
 7. Instruments of Music: From Archeology to New Technologies
  8.  Sources



Each symposium will include multiple sessions, papers and poster
presentations on subtopics that will be determined by the proposals
received. The program committee hereby calls for proposals addressing the
themes of the symposia, although topics outside of the eight themes will
also be considered. Proposals (in  Spanish, Italian, German, French or
English) should be submitted by 3 April 2001, following the guidelines
below. The committee particularly invites contributions from younger
scholars and from scholars outside of western Europe and North America.
Participants need not be members of the IMS, but all are expected to
register for the conference.

All  proposals must include the title of the proposal,  the
symposium theme to which it belongs, and the name and address  of
the  session organizer or author, indicating whether the proposal
is  an  "IMS  Session", "IMS Paper" or "IMS Poster presentation."
Proposals may be submitted via electronic mail (as a letter,  not
an attachment), by regular mail or by fax (in a readable typeface
on  single sides of paper in A4 or 8.5 x 11-inch format  with  at
least  3  cm.  margins). Only one submission per author  will  be
considered, and all proposals will be treated confidentially.
       Proposals for SESSIONS must describe the desired length and
format of the session and its importance in fewer than 400 words, provide
the name and address of the organizer and a list of committed participants,
and include a separate abstract (following the guidelines for individual
papers) for each of their contributions. Preference will be given to
sessions with an interdisciplinary and international panel of speakers.
 Proposals for individual PAPERS must take the form of an
abstract that describes the research findings and their significance as
fully as possible. Individual papers are limited to 20 minutes and will be
followed by time for questions and discussion. Abstracts must not exceed
250 words.
 POSTER presentations should be designed to be displayed for at
least three hours on three consecutive days, with the project coordinator
or a member of the research team in attendance. Authors are responsible for
ensuring that the necessary equipment is available. Proposals must include
a description of the research project for display, not to exceed 250 words,
and provide, separately, a detailed, complete list of the materials for
display and of the equipment and facilities needed. The program committee
guarantees venues in the main building of the conference, in proximity to
session spaces.
 All proposals must be submitted by 3 April 2001 to the chair
of the program committee: Prof. Barbara Haggh: IMS 2002 School of Music, University of Maryland
C. Smith Performing Arts Center, 3110-C
        College Park, Maryland 20742, USA department fax: 301-314-9504


IMS 2002  Description of the Symposia. In view of the increasing range and variety of scholarship on music, the
17th Congress of the International Musicological Society, to be held 1-7
August 2002, in Leuven, Belgium, will present eight symposia on broad
themes introduced below. The symposia will replace the single theme and
related round-tables that have characterized recent congresses. The program
committee has sent out a call for proposals for complete sessions,
individual papers, and poster presentations related to the eight themes,
from which the symposia will be composed. (For this call, see
<http://www.ims-online.ch>.) The number of sessions to be held within each
symposium is not fixed, nor must the content of a session, paper, or poster
presentation reflect the themes only as represented here, which are
intended as points of departure. Symposium 1  : Hearing - Performing - Writing
How we create music in our minds (as we hear), in the minds of
others (as we perform), or in written or non-written representations of
music (notation, chieronomy) are processes addressed by systematic and
historical musicology, along with many other disciplines outside musicology
that examine communication and cognition. This symposium encourages
research into listening as well as hearing, interpretation and performance,
and the reading and invention of music writing, as these activities involve
repertories, listeners, and executants from a wide range of times and
places. Symposium 2: The Dynamics of Change in Music
Change and continuity are constants in human culture.
Discussions and explanations of change may evoke the chronological (style
periods, stages in composers' or performers' careers), geographical
(influence, acculturation, alienation), philological (syncretism,
contamination), teleological (notions of progress or of cause and effect),
biological (growth or decay), or hierarchical (the coexistence of different
rates of change and strata of change at one time). In recognition of the
complexity of our evolving musical world, this symposium solicits
contributions addressing the epistemology of change. Symposium 3  : Who Owns Music?
The lives and careers of musicians suppose a reification of
musical phenomena as is attested by concepts of authorship, patronage,
copyright, and other, still broader aspects of the place of music in the
human economy. Here we examine how and for what purpose people and
institutions commission, acquire, inherit and discard music, and maintain,
control, legislate, or exchange it.

           Symposium 4  : Musica Belgica
A meeting place of European cultures, the area that is now
Belgium has always been a site of musical exchange and creativity. If it
seems impossible to define a  Belgian musical identity, it is no less true
that traditions, privileged moments, and periods of uncertainty have
existed. The histories of medieval music theory and of Renaissance
polyphony in the region are best known, but the many manuscript and local
archival studies now require complementary research situating their
histories in a European context and in the broader history of culture. The
examination of issues in modern history, such as the history of opera, the
historiography of music in the 19th century, and contemporary composition
and performance can benefit from a dialogue between musicologists and
historians of diverse disciplines and methodological interests. Symposium 5  : Musical Migrations
Music is movement, musicians are rarely sedentary, and musical
objects (scores, instruments, repertories) often move with them. These
migratory movements cause superficial and radical transformations: the
symbolic dimension of the musical event is more fully revealed, while the
materiality of musical entities and objects is correspondingly reinforced.
Complex values may inform judgements such as "fruitful synthesis,"
"stylistic corruption," or even "cultural annihilation".

           Symposium 6  : Form and Invention
"Form and invention" is a binary concept that represents many
varieties of opposition and reciprocity. Although it derives from western
classical rhetoric, it may profitably illuminate a wide range of music and
in turn be enriched by its application. For Renaissance and Baroque music,
it signified the choice and elaboration (inventio) of common figures
(topoi) and their arrangement (dispositio) in persuasive oratory. Later
writers reduced  the processes of invention to the working out of a formal
idea, while to composers and the public, "invention" came to suggest
original creation,  'ex nihilo,' as it were. Such competing meanings of the
terms  still inform the neo-classical repertory of the last century. The
symposium invites investigation of the presence of  "form and invention"
across a multiplicity of repertories and traditions and among a wealth of
more recent paradigms for composition, listening, analysis, and
improvisation. Symposium 7: Instruments of Music: From Archeology to New Technologies
Musical instruments range from clapping hands to computers
running on interactive software, from imaginative fancies to mass-produced
souvenirs or pint-sized violins. This symposium seeks new contributions to
organology, particularly encouraging explorations of phenomena that cross
cultural and stylistic boundaries, such as the need for instruments that
extend the abilities of the human musical body, or the accordance of
spiritual or secular meanings to instruments of music and the sounds they
produce. This forum might also investigate how instruments are valued and
interpreted in different cultures, places, times or functions, and why some
instruments fail, but others are adopted and succeed.

           Symposium 8: Sources
The study of sources, whether written, oral, or virtual, ensures
the link between our generations and the past and its achievements. We
continue to develop the presentation of sources in scores, recordings, and
edited documents that range in format from print to digitized multimedia.
Technology now pretends and aspires to make everything from the past
instantly available on screen and through loudspeakers, yet substitutes for
primary sources inevitably distort them in some way.
This prompts us to examine how all of the tools and media
involved in the collection, transmission, and retrieval of musical
knowledge (catalogues raisonnes, critical editions, composers' homepages on
the World Wide Web, and others) influence our relationship to our sources
and to the ways in which we use them.

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 7. Journal of Music Theory Pedagogy. Call for articles

The Journal of Music Theory Pedagogy has resumed publication with the
recent issuance of Vol. 11 (1997). Volume 12 (1998) will appear soon and
Volume 13 (1999) will come out before the end of the calendar year.
Subsequent volumes will appear annually.

Articles are solicited on any topic related to the pedagogy of music
theory and aural skills.  In addtion, to presenting their work in
traditional printed format, authors may prepare and post interactive
multimedia documents to supplement their articles and/or depict salient
points. The editorial staff of the journal will consult with authors who
are interested in developing such documents.

The contents of all published volumes and information for prospective
authors can be found on the JMTP web site http://music.ou.edu/jmtp/.

Please consider making a contribution to JMTP.
J. Kent Williams, Editor
kent_williams@uncg.edu

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 8. North American Society for the Study of Romanticism, 2001 meeting

The 2001 meeting of the North American Society for the Study of
Romanticism will take place on the University of Washington campus in
Seattle, Aug. 16-19, 2001.  We invite submissions of papers to be
presented at the conference.  View the list of Special Sessions at
http://depts.washington.edu/nassr01; proposals for these sessions should
be sent directly to the organizers. Other proposals for conference papers
should be sent directly to the conference organizers at the address below. 
The deadline for submissions is January 15, 2001.  Submissions should be
either 500-word proposals or papers not longer than 2500 words.  To
facilitate handling, we will greatly appreciate it if you send us material
by mail rather than electronically.
 
The conference topic is "Romantic Subjects."  This topic is intended to
encourage a non-exclusive focus on three areas: subjectivity, ideas and
ideologies, and subject positions.  If you submit to more than one special
session, please inform the organizers.  Do not submit simultaneously to
the special sessions and to the Seattle organizing committee; session
organizers have an earlier decision deadline and have been asked to
forward to us any proposals that they cannot use.

Conference Organizers:
Marshall Brown and Gary Handwerk, Department of Comparative Literature,
Box 354338, University of Washington, Seattle, WA 98195-4338.  Inquiries
may also be directed to Richard Will, School of Music,
rjwill@u.washington.edu.



 
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 9. Music Theory Southeast, 2001 Meeting


Submission Deadline for Proposals: DECEMBER 1, 2000 (please note new date)

The 2001 meeting of Music Theory Southeast will be held March 16-17 at Bob
Jones University in Greenville, South Carolina.  Proposals for papers,
special sessions, or panel discussions are solicited on any topic related
to music theory.  Submissions for papers should include five copies of an
anonymous proposal 3-4 pages in length, an anonymous abstract of 250-300
words, and a cover letter providing the title of the proposal, the
author's name, address, e-mail address, and phone number.  To celebrate
the Tenth Anniversary of MTSE, a complete set of Music Theory Spectrum
will be awarded to the best student paper at the 2001 meeting.
Submissions for special sessions or panel discussions should not be
anonymous, but should include proposal, abstract, and a list of
participants.  All submissions must be postmarked no later than December
1, 2000, and sent to Marianne Wheeldon, MTSE Program Chair, School of
Music, Florida State University, Tallahassee, FL 32306-1180.

MTSE visitors are also invited to BJU Opera Association's performance of
Tosca on March 17 at 8:00 PM, featuring guest artists Maria Ciccaglione,
Charles Austin, and Dallas Bono.  For information and tickets, please call
(864)242-5100, ext. 5750.



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 10. The Art of David Tudor: Indeterminacy and Performance in Postwar Culture

 May 17-19, 2001, The Getty Research Institute, Los Angeles, California

 The Getty Research Institute, repository of the archive of the composer
and pianist David Tudor, will hold an international symposium focusing
on Tudor's work and its relation to developments in the art, dance, and
music of the postwar period.  A series of events co-sponsored with the
California Institute of the Arts will complement the symposium,
including concerts on May 18 and 19 of music composed by Tudor or
written for him, and a realization of Tudor's "electroacoustic
environment," Rainforest.

 The Research Institute invites proposals for thirty-minute
presentations on such topics as Tudor's work and working methods, his
collaboration with visual artists, composers, and choreographers, and
the position of his work within the broader context of the postwar
avant-garde.

 Proposals, not to exceed two double-spaced pages and accompanied by a
brief curriculum vitae listing relevant research and publications,
should be sent by December 1, 2000 to:

 Dr. Nancy Perloff
 Getty Research Institute
 1200 Getty Center Drive, Suite 1100
 Los Angeles, CA  90049-1688
 Fax: (310) 440-7779
 E-mail: davidtudorproposals@getty.edu

 For further information on the GRI's archival collections, please visit
our Web site, http://www.getty.edu/gri, and click on Research Library.
Online finding aids are available for the archive of David Tudor and for
related collections on Experiments in Art and Technology, Mary Caroline
Richards, Jean Brown Fluxus, Carolee Schneemann, and Dick Higgins.

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 11. Florida State University Theory Forum, 2001 Tallahassee

This year's Florida State University Theory Forum will be held on January
20, 2001 at Florida State University in Tallahassee.  Our keynote
speaker will be Prof. Cristle Collins Judd (Univ. of Pennsylvania).

Proposals are solicited on any topic related to music theory.  Papers
should be approximately 30 minutes in length.  Submissions should include
six copies of an anonymous proposal two to three pages in length, an
anonymous abstract of approximately 250-300 words, and a cover letter
giving the title of the proposal, the author's name, the author's address
and e-mail address (if available), the author's phone number, and a list
of technical requirements for presenting the paper.

All submissions should be postmarked no later than OCTOBER 31, 2000.
They should be sent to:

Bryan Richards
FSU Theory Forum
School of Music
Florida State University
Tallahassee, FL 32306-2098

For more information, contact Bryan Richards at
blr8942@garnet.acns.fsu.edu.



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 12.  2nd Symposium on Systems Research in the Arts "Music, Environmental Design, and the Choreography of Space"


The 2nd Symposium on Systems Research in the Arts "Music, Environmental Design, and the Choreography of Space" to be held in conjunction with the 12th International Conference on Systems Research, Informatics, and Cybernetics
Papers are invited for the 2nd Symposium on Systems Research in the Arts, to be held in conjunction with the 12th International Conference on Systems Research, Informatics, and Cybernetics, July 31-August 5 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.

Abstracts of approximately 200 words should be submitted for evaluation.  All proposals will be judged based on scholarly quality, originality, and potential for further discourse.  These may be
submitted electronically in Microsoft Word format to Jim Rhodes, Shorter College, USA (jrhodes@shorter.edu) or Jane Lily, State University of New York at Buffalo, USA (lilyj@buffalostate.edu).  For more complete contact information and details about the symposium, please visit the IIAS home page (http://www.iias.edu) with particular attention to the link Symposium on Systems Research in the Arts.

Jim Rhodes
Associate Professor of Mathematics/Computer Science
Shorter College, 315 Shorter Avenue
Rome, Georgia 30165 USA
Office:  706.233.7272  Home:  706.291.3823
Fax:  706.236.1515  Email:  jrhodes@shorter.edu


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 13. Seventh International Congress on musical signification (ICMS7)

CALL FOR PAPERS
for the thematic session, "Musical Ekphrasis"
to be organized by Siglind Bruhn as part of the
SEVENTH INTERNATIONAL CONGRESS ON MUSICAL SIGNIFICATION  (ICMS7)
which will take place June 7-10, 2001 at Imatra, Finland under the title,
"MUSIC AND THE ARTS"


The term "ekphrasis" is used by literary scholars for, most generously
put, poems responding to works of visual art. (A more precise definition is
James Heffernan's "the verbal representation of visual representation,"
_Museum of Words_, 1993; see also the writings of Leo Spitzer 1955, Jean
Hagstum 1958, Murray Krieger 1967, 1992, Hans Lund 1992 [1982], Claus
Clüver 1989, 1997, Grant Scott 1991, 1995, Tom Mitchell 1992, 1994, Yacobi
1995, 1998, and others).
Yet not only poets may respond to a work of visual art with a creative act
in their own medium, transposing the style and structure, the message and
metaphors from the visual to the verbal. Composers, too, have explored this
interartistic mode of transfer, claiming that a certain composition was a
specific response to a painting or a sculpture, an etching or an altar
panel, and that they have undertaken to transform the essence of this art
work's features and message into their own medium, the musical language.
Just like poets, composers may respond in many different ways to a visual
representation: they may transpose aspects of both the structure and the
content and/or expand on its meaning, they may supplement, respond with
associations, problematize, or playfully engage some of the suggestive
elements of the image.
These processes suggest questions such as the following: How does the
knowledge of such a "transformation" from one medium into the other inform,
guide, or alter our understanding of the musical work? And conversely, can
such a musical work contribute to a deeper (or new) understanding of the
art work that provided the stimulus?
This thematic sesssion is open to papers addressing particular case
studies, particular aspects of re-presentation, questions of
(cross-disciplinary and intra-disciplinary) methodology, as well as studies
aiming to situate the phenomenon of "musical ekphrasis" within the
aesthetics discourse.

The presentation of each paper must not exceed 30 minutes.
The languages of the congress are English, French, and German.
The proceedings will be published as an anthology in the international series,
_Acta Semiotica Fennica_.


Practicalities:
Abstracts (of 300-500 words) should reach me by December 1, 2000 (email
please: <siglind@umich.edu> ), along with
- biographical information,
- postal address, e-mail address, and institutional affiliation.
I will gladly answer enquiries at any time. So if you have doubts whether
or not a topic you have in mind may fit, feel free to mail me.

As the organizer of this special session, I will compile abstracts + info
and, together with the general proposal, submit the entire package to the
ICMS7 Programm Committee early next year. I expect that you will then
receive individual information regarding travel and accommodation. For
registration and other details, see the information contained in the
general conference announcement, which I attach below, as well as on the
ICMS webpage, http://www.helsinki.fi/~mrossi/isi.html.)

I hope to hear from you. Please pass this on.
Best wishes,
Siglind

Dr. Siglind Bruhn
Life Research Associate, Music and Modern Literatures
Institute for the Humanities, University of Michigan
http://www-personal.umich.edu/~siglind


Excerpt from the general conference announcement for ICMS7:

Musical Signification is an international research project made up of more
than 200 members world-wide.  Thus far the Musical Signification Project
has organized symposia in Imatra, Helsinki, Edinburgh, Paris, Bologna, and
Aix en Provence. Its administrational center is located at the Department
of Musicology, University of Helsinki.

The congresses are intended for all scholars working in the field of
musical semiotics, with semiotics understood in the broadest sense of the
term.  In addition to members of the Musical Signification Project, the
congress is open to all other scholars who wish to attend and / or to
present a paper on the
main theme or on a related topic.

Persons
Chair of the Congress:  Prof. Eero Tarasti
Honorary Board of the Congress:  Profs. Daniel Charles, Márta Grabócz,
Robert S.Hatten, Leonard B. Meyer, Costin Miereanu, Raymond Monelle,
Jean-Jacques Nattiez, Charles Rosen, Gino Stefani and Bernard Vecchione

Organizing Committee:  Drina Hocevar, Jean-Marie Jacono, Kai Lassfolk,
Joseph-François Kremer, Luiz Fernando de Lima, Richard Littlefield, Dario
Martinelli,
Alfonso Padilla, Erkki Pekkilä, Maija Rossi, Anne Sivuoja-Gunaratnam, Eila
Tarasti,
Osmo Vartiainen, Irma Vierimaa, Susanna Välimäki

In addition to paper sessions and study groups, ICMS7 will feature events
that include the following:
. a recital by acclaimed pianist, Charles Rosen,
. a concert of new Finnish music,
. a program of music performed by participants in the congress.

Location
The congress will be held at the Imatran Valtionhotelli (State Hotel of
Imatra) and the  Imatra Cultural Center.

Further Information
Questions about the content of the congress may be directed to Osmo
Vartiainen (osmo.vartiainen@helsinki.fi) or to Susanna Välimäki
(susanna.valimaki@helsinki.fi). As it becomes available, information about
the congress will also be posted on the official website of the
International Semiotics Institute
(http://www.helsinki.fi/~mrossi/isi.html).

For information about lodging, transportation, and other matters in
Imatra, please contact the secretary of the International Semiotics Institute
(ISI), Maija Rossi:  maija.rossi@helsinki.fi

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