Art meets Science

[Richard Parncutt <richard.parncutt@xxxxxxxxxxxxxxx>]

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,
http://www.icmpc.org/. 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@uni-graz.at, steve@darkwing.uoregon.edu) 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@uni-graz.at
www-gewi.uni-graz.at/muwi/

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@darkwing.uoregon.edu
http://music1.uoregon.edu/About/bios/larsons.html