Art meets Science (Richard Parncutt )

Subject: Art meets Science
From:    Richard Parncutt  <richard.parncutt(at)KFUNIGRAZ.AC.AT>
Date:    Wed, 1 Aug 2001 08:52:47 +0100

Call for papers (Please excuse cross-postings) ART MEETS SCIENCE: Collaboration between music theorists and music psychologists Session coordinators: Richard Parncutt and Steve Larson Those who attended "Toronto 2000: Musical Intersections" (November 1-5, 2000) may remember a well-attended session with the above title and the following program: Richard Parncutt and Roland Eberlein: Perceptual vs Historical Origins of Musical Materials Eric Clarke and Julian Johnson: Musical Materials and Social Meanings Nicola Dibben and Alexandra Lamont: Thematic Variation and Cognitive Similarity Leigh VanHandel and Steve Larson: Measuring Musical Forces Joshua Fineberg, Carol Krumhansl, and Fred Lerdahl: Modeling Tension and Attraction As we announced at that time, we plan to continue the session with the same title and general approach at the 7th International Conference on Music Perception & Cognition (ICMPC7), Sydney, July 17-21, 2002, The session fits well with ICMPC7's stated focus on "inter-disciplinary presentations, discussion and dissemination of new research relating to music perception and cognition". It also fits with their aim of "encouraging symposia at ICMPC7 particularly on new intersections of research interests." The deadline for paper and symposia submissions to ICMPC7 is November 15, 2001. If you would like to present your work within the "Art meets science" symposium, we ask you to send us your abstract at least one month before that deadline, i.e. by OCTOBER 15, 2001. This will give us time to decide which submissions to include, whether to include a discussant (and if so who), and to write an abstract for the entire symposium including the rationale for the topic and the aims of the symposium. If it turns out that your paper cannot be included in this symposium, we will tell you well in advance of the October 15 deadline so that you have time to submit your paper to the conference independently. We are immodest enough to suggest that our comments could help your abstract to be accepted in this second stage -- so if you are planning a contribution to the conference that somehow combines music theory and music psychology, please submit it to us first, even if you are not sure whether you would like to present it within our session or independently. Please send an email to both of session coordinators simultaneously (parncutt(at), steve(at) with the following information in the body of the email (preferably not as attachment): 1. For each author: name, affiliation, postal and email address, phone, fax, website, and a 100-word resume of relevant research and publications (to help us evaluate your proposal) 2. Title of 5-10 words 3. A concise text of 250-300 words. Please conform to the following conference guideline: "Your abstract should be structured with headings. For empirical papers, the headings will include 1. Background 2. Aims 3. Method 4. Results 5. Conclusions. 6. Topic Areas. For theoretical/review papers, headings will include 1. Background 2. Aims 3. Main Contribution 4. Implications. 5. Topic Areas." 4. A list of up to five key words. Feel free to include references, but remember that the conference guidelines require us to remove references when submitting the symposium proposal. Of course that does not apply to the longer written version of your paper, for which the deadline will be March 1, 2002. As in Toronto, the aim of the Sydney session will be to generate original insights in music theory and analysis through collaboration between scientists and artists. Each paper in the session will have DUAL AUTHORSHIP, whereby one author is a music theorist (or an academic whose primary qualifications and publications are in the domain of the arts) and the other a music psychologist (or an academic whose primary qualifications and publications are in the domain of the natural sciences). Cross-disciplinary match-making service: Scholars seeking academic partners for the above session are encouraged to email Richard Parncutt by 15 September 2001 with the following information: name, affiliation, contact details (address, email, tel, fax, website), about 50 words on the research you would like to present, and about 50 words on your other relevant research and publications. All information received in this format will be compiled into a single document and returned to all respondents by email in late September. Note that this information will only be available only to those who contribute to it and to the session coordinators. We look forward to hearing from you! Richard Parncutt Associate Professor of Systematic Musicology Mozartgasse 3, 8010 Graz, Austria Tel +43 316 380-2409; Fax -9755 Email parncutt(at) Steve Larson Associate Professor of Music University of Oregon School of Music 1225 University of Oregon Eugene, OR 97403-1225 office: (541) 346-5651 home: (541) 485-9534 fax: (541) 346-0723 steve(at)

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Electrical Engineering Dept., Columbia University