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SMT 2001
Philadelphia, November 2001

		Society for Music Theory
		2001 Call for Papers

The 24th Annual Meeting of the Society for Music Theory will be held in
Philadelphia, Pennsylvania from Wednesday, November 8 to Sunday, November
11, 2001. Note that for the Philadelphia meeting the Executive Board of
the Society in conjunction with the Program Committee has set the maximum
length for proposals at 750 words, a reduction from the 1000 word limit
set for last year's submissions. Supplementary materials such as musical
examples, diagrams, bibliographies, should be made as concise as possible
(and will not be counted in the word limit). The Program Committee hopes
this change will stimulate a greater number of submissions on a wide range
of topics. As usual, proposals will be judged on the significance of the
research and the appropriateness of the topic for oral presentation. The
meeting in Philadelphia will present several opportunities that will be of
special interest to participants. Screening rooms will be available for
individual presentations or for a special session concerning music and
film. To support demonstrations of new teaching technologies, lecture
rooms will be equipped with computing facilities. There will be two
concerts: a performance by the Cassatt Quartet of Bartok's Third String
Quartet (using performance materials from the Philadelphia premier)  and
an evening concert featuring George Rochberg's Third String Quartet and
George Crumb's "Celestial Mechanics" (Makrokosmos IV) and A Little Suite
for Christmas, 1979 A.D. There are plans to have Professors Rochberg and
Crumb in attendance. Proposals engaging the music of these composers will
be welcome. Proposals for papers, poster sessions, and special sessions
must conform to the following the guidelines.

Please note that the postmark deadline for submissions is *February 1,
2001*. The CFP is also posted on the SMT website:

Queries may be addressed to Christopher Hasty at

** Papers**

Submissions for papers must include:

       1) A proposal of no more than 750 words - including footnotes -
double-spaced and using a standard font. Proposals will be read for
clarity, originality, and appropriateness for oral presentation. Although
there is no single correct format, the Program Committee will look
favorably on proposals that include a clear statement of the paper's
original contribution to scholarship in relation to prior research and
specific evidence of results, illustrated by musical examples or diagrams
if necessary. Supplementary materials such as musical examples, diagrams,
bibliographies, should be made as concise as possible (and will not be
counted in the word limit).

       2) Seven copies of the proposal must be submitted. Each copy should
include the title of the paper but not the author's name.

       3) Two copies of an abstract of approximately 200 words, suitable
for publication in the conference program. Of the two copies, one should
be a hard copy, and one digital - e.g., via e-mail to
The Program Committee reserves the right to edit abstracts.

       4) A covering letter listing the title of the paper and the name,
address, telephone number, and e-mail address, as well as the rank and
institutional affiliation (if any) of the author. Since covering letters
will not be seen by the Committee until consideration of proposals has
been completed, do not confine to the covering letter any information
essential to the Committee's deliberations.

Papers previously published or presented at other national/international
conferences will not be considered. Most papers will be placed in
45-minute time slots, with about 30 minutes for reading and 15 minutes for
response or discussion. The Committee may request that favorably received
submissions for papers be presented as poster sessions.

** Poster Sessions**

Proposals for poster sessions should follow the guidelines for the
submission of papers, except that examples of the graphic materials to be
posted must be included.

** Special Sessions**

Proposals for special sessions and events of unusual format (such as
analysis symposia) are welcomed. Proposals should follow the guidelines
for paper proposals, except that they need not be submitted anonymously.
Proposals should be as precise as possible with regard to space and time
required, participants, format, and equipment needed.  Sessions requiring
special equipment must itemize those requirements and will be accepted
contingent on the cost being reasonable. Note that special sessions must
be "special" in the sense that they could not be put together by the
Program Committee. A group of individual papers or presentations on a
given topic does not necessarily constitute a special session. Instead,
such papers should be proposed separately and anonymously with a
recommendation that, if accepted, they be placed together in an individual
session. Anyone wishing to propose a special session is advised to contact
the Chair well in advance of the proposal deadline.

Anyone who is not a current member of the SMT Program Committee may
propose a paper or special session. Any number of proposals may be
submitted by an individual, but no more than one will be accepted. An
individual may present a paper and participate in a special session (i.e.,
as presenter, chair, or respondent). The Committee welcomes proposals in
any area of music theory.

Send proposals to: Christopher Hasty, Department of Music, University of
Pennsylvania, 201 South 34th Street, Philadelphia, PA 19104, USA. Those
concerned about receipt should send proposals by courier or registered

                    Postmark Deadline: 1 February 2001

Program Committee: Poundie Burstein (CUNY), Thomas Christensen (University
of Chicago: ex officio), Lora Dobos (Ohio State University), Sarah Fuller
(SUNY at Stony Brook), Christopher Hasty (University of Pennsylvania:
Chair), Martha Hyde (SUNY at Buffalo), Brian Hyer (University of
Wisconsin, Madison)