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Symposium of the International Musicological Society at Monash University, Melbourne, July 2004.

Combined Conference of the New Zealand and Australia Musicological Societies, November 2003

Newcastle Study Weekend 11-12 November 2000 Incorporating the MSA 2000 AGM        

Adelaide Study Weekend 2001  

 National Conference Guidelines

 23rd National Conference of the MSA - Sydney (27-30 April 2000)

 Wagga Wagga Weekend Weekend - Report  

 Wagga Wagga Weekend Weekend - Wagga Wagga (11-12 September 1999)

 Special General Meeting - Perth (4 July 1999)

 22nd National Conference of the MSA - Perth (1-3 July 1999)

Other Conferences of Interest 

CREATING MUSICAL FUTURES, the first National Conference of NACTMUS, the National Committee of Tertiary Music Schools in Australia

International Conference on Nineteenth Century Music, London

Melbourne 2000 Festival "Bach 2000" Web Site

Music Publishing and Book Selling in Australia  

22nd National Conference of the MSA - Perth (1-3 July 1999)

(MSA General Meeting on Sunday 4 July)

Convenors: E/Professor David Tunley and Dr David Symons
Secretary: Victoria Rogers
Treasurer: Patricia Thorpe
School of Music, University of Western Australia, Nedlands 6907
Fax: +61 8 9380 1076
David Symons: dsymons@cyllene.uwa.edu.au
Victoria Rogers: vrogers@cyllene.uwa.edu.au

VENUES: Most of the conference will take place in The University’ of Western Australia’s School of Music. A highlight of the conference is a visit on Saturday 3 July to the Benedictine Monastery at New Norcia (130 kms from Perth) where some papers related to its remarkable early musical activities will be presented.

TRAVEL. Members are urged to take advantage of the special fares (which stipulate the inclusion of the Saturday night in Perth). These are available through advance purchase. BOOK NOW!

GUEST SPEAKERS: Professor Peter Walls (Victoria University of Wellington); Dr John Rink (Royal Holloway, University of London); Professor Margaret Kartomi (Monash University); Dr Stanley Sadie (Editor, New Grove Dictionary of Music and Musicians).

11.00–2.00 CONFERENCE REGISTRATION

2.00 Indigenous Welcome

Official Opening by the Deputy Vice-Chancellor Professor Alan Robson

Keynote Address: Peter Walls (University of Auckland)

‘Measure for Measure’ or: ‘As You Like It’: the application of performance-practice research.

3.00 Afternoon Tea

Venue: Eileen Joyce Studio

4.00 EARLY MUSIC PERFORMANCE PRACTICE

Carol Appelt (Monash University)

Ficta in practice: Ockeghem masses put to the test.

Nicholas Routley (University of Sydney)

Chromatic accidentals in sources for Monteverdi’s Lamento d’Arianna: performance instructions or just bad editing?

Suzanne Wijsman (University of Western Australia)

The musical implications of early cellofingering practices for the modern performer.

Venue: Lecture Room G5

4.00 AUSTRALIAN POST-FEDERATION CONTEXTS

FOR COMPOSITION AND PERFORMANCE

Anne-Marie Forbes (University of Queensland)

Fritz Hart’s Herrick settings.

Bronwen Arthur (University of Queensland)

The impact of broadcasting and film on the music industry in Australia 1928-1932.

Jennifer Hill (University of Melbourne)

From drawing-room to diva: performances of the Australian popular song I Was Dreaming by Augustus Juncker.

Venue: Callaway Music Auditorium

9.30 Keynote Address: John Rink (Royal Holloway, University of London)

The state of play in performance studies.

Morning Tea

11.00 ANALYSIS AND PERFORMANCE

Gale Schaub (Griffith University)

Musical analysis as an aid to performance:

Chopin’s Ballade in G minor.

Christopher Draber (Camberwell Grammar)

Analysis as a performance script in selected chamber works of Brahms.

Michael Rogers (University of Oklahoma)

Inspired accidents: the interaction of intuition and analysis in musical performance.

Lunch

2.00 AUSTRALIA AND EUROPE: COMP0SITION, PERFORMANCE AND SCHOLARSHIP

Christopher Wainwright (University of Adelaide)

Terra Incognita: the unknown Australian harpsichord: discovering and performing Australian harpsichord compositions.

Peter Roennfeldt (Griffith University)

The early music performer/scholar in Australia: the challenges and rewards of research by long distance.

Graham Hardie (University of Sydney)

Raymond Hanson and Australian music: the Hindemith connection.

2.00 INTERPRETING THE SCORE I

John Phillips (University of Adelaide)

Bruckner’s Ninth, the Finale and the Te Deum; or: What’s a self-respecting conductor supposed to do?

Jennie Shaw (Tokyo)

Performing version or perversion: Mahler’s Tenth Symphony and the tyranny of completion.

Rebecca Meegan (University of Western Australia)

There is more to this than meets the ear. Understanding the motoric element in Hindemith’s string sonatas in the early 1920s.

Afternoon Tea

4.00 OPERA PERFORMANCE AND RECEPTION

Michael Ewans (University of Newcastle)

Performance analysis in opera.

Kerry Murphy (University of Melbourne)

La Nonne Sanglante: a context for disaster?

Daniela Kaleva (Monash University)

Melodramatic insertions in opera: performance-practice aspects within a historical context.

4.00 INTERPRETING THE SCORE II

Wendy Garrity (University of Western Australia)

A methodology for a comparison of performance approaches.

Xiao-Li Ding (Washburn University, Kansas)

Playing Rachmaninoff like Rachmaninoff played?

Shirley Trembath (Griffith University)

Knowing the score: research and the classical singer.

5.30 Stanley Sadie (General Editor, The New Grove Dictionary of Music and Musicians). Grove: Old–new–newer.

6.30 Concert given by Paul Wright (violin), Susan Wijsman (cello), Geoffrey Lancaster (fortepiano) performing Trios by Mozart, Hummel and C.P.E. Bach.

Venue: Callaway Music Auditorium

9.30 Keynote Address: Margaret Kartomi (Monash University)

Cross-cultural meanings of music performance and the effects of its globalisation.

Morning Tea

11.00 CONTEXTS OF PERFORMANCE I

Fiona Magowan (University of Adelaide)

Sounds of Orientalism in Aboriginal Australia: the making of selves and others in music research and Yolngu performance practice.

Elizabeth Mackinlay (University of Queensland)

Music for dreaming: the power of Aboriginal lullabies at Borroloola in the Northern Territory.

Tony Donaldson (Monash University)

Investigating the Kavikara Maduwa, the Temple Singers of the Temple of the Tooth in Kandy: the relationship between performance and musical research.

Venue: Lecture Room G5

11.00 CONTEXTS OF PERFORMANCE II

Victoria Hardwick and Margaret King (University of Adelaide)

The politics of performance: what can we learn from the case of the singer/songwriter in the GDR?

Craig de Wilde (Monash University)

Cry Freedom: messages of resistance in African-American folk music.

Barry Kenny (University of New South Wales)

Charlie Parker and the ‘Golden Section’: an examination of musical proportion in the released and alternate takes of An Oscar for Treadwell.

Lunch

Tour of Eileen Joyce Studio (Jillian Belbin)

2.00 CONTEXTS AND INTERPRETATION I

Jula Szuster (Adelaide)

The battle with Venice: the early 17th-century Brescian school of instrumental ensemble music.

Jillian Belbin (University of Western Australia)

Changing styles in harpsichord compositions of mid-18th-century England as seen in the music of John Christopher Smith.

Mark Smith (Adelaide)

Bach’s cello suites related to events and changing circumstances in his life.

2.00 PERFORMANCE AND IDENTITY

Adrian Renzo (University of Western Sydney)

Which performance?: Popular music research and the question of identity.

Elizabeth Kertesz (University of Melbourne)

The forest for the trees: exploring the contexts of the German and English premières of Ethel Smyth’s Der Wald.

Michael Christoforidis (University of Melbourne)

Manuel de Falla and the performance context for Spanish music in Paris before World War I.

Afternoon Tea

4.00 CONTEXTS AND INTERPRETATION II

Andrew Angus (University of Western Australia)

Graphical representation of the ‘passions of the soul’: how the animal spirits work in René Descartes’ Les passions de l’âme (1649).

Lewis Wickes (University of Adelaide)

Some reflections on the writings of Karl Kraus and their significance for the Schoenberg circle, 1900-1910.

Karen Lemon (University of Sydney)

Interpreting Schoenberg’s Drei Klavierstücke Op. 11.

4.00 SEXUALITY AND PERFORMANCE

Sally Macarthur (University of Western Sydney)

The politics of performing the Choral Voice.

Elizabeth Brookes (University of Western Sydney)

The sexual intercourse of Handel’s performers.

Corrina Bonshek (University of Western Sydney)

Bright Red: confession, autobiography and feminine aesthetics in the work of Laurie Anderson.

8.30 Bus departs from School of Music.

10.30 Morning Tea (cost $4).

11.00 Thérèse Radic (University of Melbourne)

An overview of the origin and function of music as a missionary tool at the Benedictine abbey of New Norcia from the time of its first pianist-composer founding abbott, Dom Rosendo Salvado, in the late 1840s.

Michael Noone (University of Hong Kong)

Towards an edition of Dom Eladio Ros’s Music at New Norci.

1.00 Lunch

2.30 Ross Harvey (Charles Sturt University)

‘To make propaganda of his music’: music publishing at New Norcia.

3.15 Visit to the museum and art gallery with Dom Chris Power.

4.00 Short recital on the Möser organ in the Abbey Church by Dom Eric Raymond.

4.30 Depart New Norcia.

6.30 Arrive Perth (estimated).

8.00 Recital by Graham Fitch (piano) in Octagon Theatre as part of The University of Western Australia’s ‘Keyed Up!’ series and also the Fourth National Piano Pedagogy Conference.

Programme comprises J.S. Bach’s Goldberg Variations.

9.00-11.00 MSA Special General Meeting (Room G5)

End of Conference

Special General Meeting

Notice of Special General Meeting
Perth
4 July 1999

To all MSA Members:

The Secretary has received notice of a request for a Special General Meeting of the Musicological Society of Australia, to be held following the 22nd National Conference, 9 am, Sunday, 4th July 1999, in Room G5, School of Music, University of Western Australia, Perth.

The purpose of this meeting shall be to discuss:
1. Implementation of the Society's Draft Strategic Plan (see Newsletter No. 49) and related issues, in particular the development of the Society's Web site;
2. Wording of the following amendments to the Society's Constitution, to be voted on at the AGM in September:
a.    To Article I, concerning the Society's Name,
b.    To Article III, concerning the Society's Membership Year,
c.    To Articles IV and V, concerning the position of Membership Secretary and the possibility of candidates being able to run for election as "teams",
d.    To Article VI, concerning the recognition of indigenous custodians at public events,
e.    To Article VIII, concerning the Official Year of the Society.

Please note that, as stated in Article VI, By-law 3b of the Constitution, "At such a Special General Meeting no business will be transacted other than that for which the Meeting has been convened."

Wagga Wagga Weekend Weekend (WWWW)
‘Conversations About Music Research’

Human conversation has always been the starting point for new ideas, new ways of being and new ways of doing. Circles of small groups genuinely concerned about questions that mattered to their common future have, for centuries, been the focal point for bringing about change.

REPORT
MUSICOLOGICAL SOCIETY OF AUSTRALIA INC
WAGGA WAGGA WEEKEND WEEKEND
RIVERINE CLUB, WAGGA WAGGA
11-12 SEPTEMBER 1999

PARTICIPANTS

Roland Bannister, Michael Christoforidis, Craig De Wilde, Christopher Draber, Elizabeth Kertesz, Ian McDonald, John Phillips, Jennie Shaw, Jula Szuster, Stephen Wild, Carol Williams. (Sunday only: Prue Neidorf, Allan Marett)

INTRODUCTION

The focus of the society's Wagga Wagga Weekend Weekend (WWWW) was a series of three 'minimally structured' Conversations About Research. The intention was to provide time for an informal sharing of ideas, to allow all participants, no matter what their experience and expertise in musicology, to take part in an open discussion about matters of concern to them. At the first conversation participants described their own research experience and identified challenges arising from this work. From these challenges were drawn the topics of the second and third conversations.

Formal resolutions were not planned as outcomes of the meeting, though in the event, several recommendations were framed for referral to the Annual General Meeting or to future conference organisers.

This then, is a report of an ongoing discussion which occupied some seven hours; it must be read as my perception of what was said and what was meant, by the various conversationalists. Although six participants contributed short written statements, or suggested amendments, to this report, it is essentially my version of what happened.

Recreational or social events during the WWWW were: a) the street parade of the Wagga Wagga Jazz Festival, b) a guided tour of the historic Riverine Club, c) a dinner at the Wagga Wagga Commercial Club, and d) a visit to the Red Lion Hotel to hear Pete Cornelius and the DeVilles, 'Tasmania's foremost blues band'. The Opening Ceremony included a) a brief welcome from Local Organiser, Roland Bannister, b) a welcome on behalf of the local indigenous community by Isabel Reid, an Elder of the Wiradjuri people, c) a display of indigenous dance by The Dindima Dancer (Dane Simpson and Eddie Whyman), and d) a formal opening of WWWW by Major Patrick Pickett, Officer Commanding / Music Director of the Australian Army Band Kapooka, Director of Riverina Conservatorium of Music, and Wagga Wagga Citizen of the Year, 1999.

THE CONVERSATIONS

Topic:   Specialisation vs more general approaches to being a musicologist / research fashions

It was noted that the trend in musicology is to more general approaches.  Musicologists might cultivate a specialisation but this needs to be supported by a good general understanding of music if one is to obtain work as a musicologist in teaching or research. It was the impression of participants that the ARC is currently not funding unfashionable topics such as positivistic musicology. Rather, money seems to be going into studies in music and gender (but we may be seeing a decline in funding here in recent times), cultural interpretation (especially interpretations from new perspectives), aboriginal studies, and community music studies. While participants were generally happy with the present trend, given the work still needed to catalogue Australian music (for example) it would be a shame if ARC funding were directed away from 'positivistic' projects altogether.

Topic:   The green paper New Knowledge, New Opportunities

It was noted that the Minister for Education, Training and Youth Affairs' green paper New Knowledge, New Opportunities proposes a change from peer review to institutional selection of research projects. How could musicologists ensure that their voice is heard in this new process? The fear was expressed that under the new system students will take up scholarships at small universities and then transfer to one of the 'big eight' universities, thus using the small universities as a convenience and causing their research profiles to decline.

Casualisation of the work force, and the intensification of work, were mentioned as two of a number of pressures against research.

Topic:   How to attract students to musicology?

Solutions included the linking of music to one of the music related professions. Music librarianship, music teaching and music management programs were cited.

There is a need to structure courses in Australia in such a way as to ensure that the presence of music as a humanity is felt. We need to develop a culture which values scholarship, as well as performance.

There was a general feeling that we need to be careful of arguments that performance is research, particularly given the trend of universities to hire 'performer-researchers'. These arguments are usually made so that research dollars will be allocated to performance. Researchers need to protect research as research. Performers are able to seek funding from bodies explicitly set up to fund performance.

Topic:   How might musicology best present itself to the Australian Research Council?

While the area of art has several categories music research is currently subsumed under the generic heading of music.

Alarm was expressed at the news that the University of Queensland may have plans to preclude the appointment of any Australian to its soon-to-be-advertised professorial position. This alarm had several foci: i) there should not be any covert agenda, and ii) the position should be open to an Australian, especially as the University has a long and laudable record in Australian music scholarship. The possibility of the MSA making a representation to the University to support an open, transparent appointment system, and the value of continuing the tradition of research in Australian music was discussed.

It was recommended that the MSA should write to the University of Queensland noting the University's fine record in Australian music research, with a request that this record should be continued. Mention should be made of the two previous occupants of the chair and their fine records in Australian and International Music Research.

It was suggested that the MSA might be able to promulgate this (and other) jobs on its web site. This led to the thought that profiles of prominent musicologists ought to be published in the Newsletter.

Topic:   Technology, teaching, and research.

With the increased emphasis on technology there is pressure on academics to spend time on learning to use new technology. This comes at a time when there is little time to spend on such a task. Should money be spent on employing outsiders to do the technological side of the musicologist's work, or should provision be made to provide time for academics to learn to use technology? Or should the status quo persist in which academics just have to fit the mastering of technology into already full schedules? Discussion on just how far the technology push may go led to the question: Will we proceed as far as complete off-campus on-line teaching?

Problems of copyright in the on-line environment were discussed. Speakers identified problems in obtaining copyright to recorded material for on-line reproduction. Increased ease of access to sound has created a nightmare of copyright problems.

Another problem is for scholars to study only that which is 'available' on-line, rather than go to concrete or 'real' sites to study material in situ. There is value in on-line manuscripts, for instance, as they allow us to seek out original material and to develop questions about it before we go to real sites, which of course may be in places geographically remote from the researcher.

Topic:   What role should the MSA play in the electronic distribution of material?

Should the MSA apply for funding for a data base of on-line material? Or is NFRAM addressing this question? Should the MSA list theses and / or abstracts on its site? With a possibility to download? Manuscripts, contents lists, back issues of publications, conference / seminar programs, abstracts, and papers were all possible material for distribution on the site. Book reviews, additional to those appearing in Musicology Australia (MA) could be published on the web. There was agreement that we need to convey to a broad audience just what it is that our graduate students are doing. There was agreement that conference title and abstracts should appear on the web site, prior to the conference.

There was a potential problem that on-line material on the MSA site could be seen to have MSA endorsement. Or would our disclaimer, already on the site, distance the MSA from contributors' views? Or, would our audience understand that listing does not necessarily mean endorsement?

The question of commercial possibilities was discussed. Should the MSA offer research materials for sale? In hard copy? What then would be the commercial relationship between the MSA and the author? There was agreement that the site should be a 'front window'. People would see a title or an abstract, and then decide to buy the item. the MSA could then act as a broker, either on a profit or non-profit basis.

MSA would be able to provide funding to train a web-site coordinator, rather than to employ an outsider: it is important that this be a subsidy for training, not a direct payment.

Topic:   Insufficient papers of publishable quality are being submitted to Context and to MA, and there is a need to improve the quality of papers at MSA conferences.

Central to this topic was the question of quality vs inclusiveness. The value of a separate program committee vs the local committee having programming responsibility was discussed. Arguments were put that a separate program committee (like that practised by ICTM) could ensure higher quality papers. In this model, the national committee would determine the theme / s and appoint the program committee which would be drawn from the whole membership. Paper proposals would be sent to the chair of the program committee and selected and shaped into the conference program by the committee. The convenor of the conference would be a member of the program committee as well as being chair of the local organising committee, and the link between the two. One view was that only local committees can have an overall conception of their conference and its programming, and thus programming should be a local committee responsibility.  There was agreement that a better quality of paper is desirable, and the programming procedure will vary from situation to situation, but local committees will not feel comfortable if they do not have a big say in what gets heard.

The view was expressed that conferences were the most important activity of the MSA, and that there were several problems which needed attention to improve their value. There was an opinion that papers which were not up to a presentation standard would be better presented as poster sessions or in round tables. This led a to a long discussion about the need for a greater degree of interaction between scholars at conferences. The opportunity to spend a longer time in discussion, like that at the American Musicological Society meetings, and like that being experienced here at the WWWW was most desirable. The prospect of discussion, unfettered by time constraints, would encourage presenters to think about the wider implications of what they had to say, and especially to think about how their content or argument related to the conference theme. The need for at least ten minutes of discussion time was emphasised. Round tables, study groups, and conversations were all put forward as ways in which to foster interaction, and to provide an opportunity for people with work in progress to workshop their ideas, rather than try to present their work in a formal way. The standard twenty minute paper plus ten minutes conversation too often ended up with a longer paper and little conversation. Some papers, by the nature of their content, provoke, or invite, questions. Others do not. 

The group universally condemned the practice of speakers running over time, and some thought that this practice was especially odious where the speaker was a 'big name' and others felt that it was the 'big names' who were most tempted to run over time.

There should be scope for members to propose three-or-four-paper study sessions.  An abstract should be provided for each of the papers as well as an abstract for the session as a whole. These sessions should reflect areas of study in Australia, and need not reflect the overall conference theme.

The role of the chairperson in conference sessions needs clarification, and the following suggestions emerged from the discussions. The chairperson

· should be appointed well in advance of the conference, and preferably have some expertise in the subject of the session;

· should be encouraged to contact the speakers before the conference, and perhaps ask for copies of their papers in advance, say a month before. This might enable the monitoring of quality/ appropriateness/length of papers and would give the chairperson the opportunity to formulate questions, even to shape the session;

· should enforce the maximum length of papers, as it is vital to leave time for discussion;

· should open up the session for questions, if necessary by posing pertinent questions him or herself;

· should then also moderate the discussion and seek to keep it going. This is to avoid the discouraging effect of a paper being greeted by silence, or only one or two desultory responses.

Keynote speakers could be better used if they were to participate in interactive sessions, rather than simply present their formal address.

It was further suggested that at the Sydney conference there should be an allocation of time for the ideas discussed at WWWW to be developed. There were several reiterations of the value of this open, and prolonged, type of discussion.

Topic:   Role of the MSA, especially in the musical / political / scholarship context.

This topic had been touched on from time to time in the context of other topics.  While we need to participate in this political process in order to represent the views of members, our articles of incorporation precluded us from being a lobby group.  Yet it was felt that advocacy, or representation, or putting ideas forward, were all perhaps different from overt 'lobbying' and may not flout the conditions of our articles.

It was suggested that the MSA have a representative on the Australian Music Council, which is constituted as a lobby group. This should be done in a formal way.  There was a question about the possibility of the MSA forming links with other research organisations like literary societies, historical societies, and so on. The Australian Academy of the Humanities (AAH) could be an umbrella group under which we lobby. We particularly need to ensure that music research has a place on the ARC research categories. Perhaps the MSA could seek recognition as a nominating body for ARC. Music research should be seen as a humanity, if we are to avoid having our submissions read by music performers, or perhaps even by dancers, rather than by humanities scholars.

It was agreed that a direct representation to the ARC should be our first step, but that later we may have to go through the AAH.

Topic:   A 'student perspective' of MSA conferences.

A student offered an opinion of how MSA conferences might be improved, particularly if they are to appeal to beginning researchers. The suggestions are relevant, I believe, to all of us. In summary, the student's opinion was:

"Experienced presenters should be high quality role models for students in all aspects of conference presentation: research should be rigorous, writing should be clear, and presentations should be well prepared. Beginning researchers would welcome constructive criticism and encouragement from senior academics. MSA conferences  can be daunting and 'cliquey' for students. It has taken four national conferences for this particular student to feel welcome as a member of the society."

As an experienced conference goer, I can say that there is a need for all of us to ensure that newcomers of any age, but particularly students, are made personally welcome. Simple things like actually talking to newcomers, and having lunch, or a glass of absinth with them, help to break down the social barriers which I expect that most of us have experienced at some point in our lives.

Roland Bannister
(with contributions from Michael Christoforidis, 
Christopher Draber, Elizabeth Kertesz,
Jennie Shaw, and Stephen Wild)

23rd National Conference of the MSA - Sydney (27-30 April 2000)

The 2000 National Conference was held at the University of Sydney from Thursday 27 April to Sunday 30 April. This was a joint meeting with the Musicological Society of New Zealand. 

The first National Conference of NACTMUS, the National Committee of Tertiary Music Schools in Australia will be hosted by Southern Cross University at the Byron Bay Beach Club from Saturday June 30 to Monday July 2, 2001.

• The impact of digital music and communications technologies on music production and consumption. Music making in a global context.
• Musicmarketing in the electronic age.
• The survival of local musics.
• The decline of live music.
• The blurring of genre boundaries.
• Threats to cultural and musical identity.
• Music multiskilling.
• Innovation in the musical arts.
• The role of music in multimedia arts.
• Future music interactivity.
• The technologisation of musicians.
• Intellectual property issues.

• The changing face of music education.
• Curricula for a postmodern world.
• The education versus training debate.
• The relevance of the conservatorium concept.
• The value of the community service provided by music training organisations.
• Community access to music making and music learning.
• The privatisation of music education.
• Servicing a global market.
• Online delivery challenges.
• Global music education alliances.
• Future training methods.
• Future training facilities.
• Future music research.

• Why study music?
• The value of music and the status of musicians in contemporary society.
• Careers in music.
• New professional opportunities.
• The economic viability of music careers.
• The state of public and private music patronage.

• The relevance of institutional offerings to the music industry (commercial
• and subsidised).
• The articulation of industry needs.
• Responsiveness to industry needs.
• Philosophical issues of vocational music education.
• Strategic alliances of music education with industry.

Presentations will be given by invited speakers and volunteers who submit proposals.

We invite you to submit a proposal for a presentation at the conference. Innovative and imaginative formats for presentations are encouraged. There will be 30 minutes for each presentation: 20 minutes for the presentation and 10 minutes for discussion.

• Proposals should be in English and be no more than 300 words in length.
• They should also include institutional affiliation (if any) of the author (s).
• Proposals should be submitted only in the form of an email message (not as an attachment to an email message) to the following email address: 

mhannan@scu.edu.au

The deadline for submission of proposals is September 30, 2000.

The conference venue will be the idyllic Byron Bay Beach Club, situated on the mouth of Belongil Creek, with easy access to the beach. Facilities of the Beach Club include a picturesque nine-hole golf course, two full size and two half size tennis courts, volley ball, two swimming pools (one heated during winter), canoeing, nature walks, bikes.

The Beach Club is situated approximately two kilometres from the world-famous resort town of Byron Bay. The resort is thirty minutes by car from Ballina Airport and a bit less than an hour by car from Coolangatta Airport. Buses take a little longer.

The registration fee for the conference is $300 ($150 Concession)

This fee includes attendance at all sessions (including performances), the conference reception, conference program, lunches, and refreshments during the conference breaks. Accommodation and meals other than lunches are not included in the registration fee.

Delegates will be required to arrange their own accommodation, either at the Beach Club (recommended) or, if preferred, at other locations in the area. It should be stated that if delegates choose to stay in Byron Bay township itself, they will need to factor in the cost of taxi fares to the Beach Club.

Accommodation at Byron Bay Beach Club (phone 02 66 858000; fax 02 66 856916; email: beachclub@byronbay.to

The precise accommodation rates for June 2001 will not be available until January 2001, but as a guide the Beach Club has provided the following guesstimates (not inclusive of GST):

• Double Cabin (single person-) A$109 per night
• Double Cabin (double)- A$131 per night
• Family Open Plan Cabin (double bed and two singles) A$149 per night
• Two Bedroom Family Cabin (double bed, two singles and a trundle) A$171 per night

Associate Professor Michael Hannan
Program Leader,
Program in Contemporary Music
School of Contemporary Arts,
Southern Cross University
PO Box 157
Lismore 2480
Australia
Telephone 61 (0)2 66203807
Facsimile 61 (0)2 66227968
Program website: http://www.scu.edu.au/schools/carts/contmusic/
Michael's website: http://www.scu.edu.au/schools/carts/contmusic/mh/