Dear J. P. E.,
Thank you very much for including me in your mailing list.  Serendipity is
the word that automatically comes up in my memory when I receive your
email.  Then I say to myself: Na, perhaps it's co-location; or maybe
spiritual synchonicity, as my friends Elena Pen (from England) and Fausto
Instilla (from Italy) might agree to.  Or maybe it's something else.  Who
knows ;-)

"Bell and the Metabole" is a file that I just posted on Facebook yesterday.
It is simply my very first attempt to anchor the moveable Do/C in the
Southern tradition musics of Vietnam, demonstrated by the 93 years-young
Grand Master Nguyen Vinh Bao, my Music Teacher since August of 2003.

Hope you enjoy listening to it.  Oh, and I would love to read any comment/s
from you if you so feel inspired :-)

Take care, Peace!

Mit Uot Rom




On Thu, Sep 30, 2010 at 5:29 AM, J. P. E. Harper-Scott <
[log in to unmask]> wrote:

> ****Forwarded message from Elizabeth Thompson <[log in to unmask]>****
> From: Elizabeth Thompson <[log in to unmask]>
> Date: 27 September 2010 19:08:52 GMT+01:00
>
> Tonality 1900-1950: Concept and Practice
> You are invited to an International conference being held by the Duke Music
> Department and the Music Department of UNC-Chapel Hill in cooperation with
> Humboldt University, Berlin, and with sponsorship from NEH and the Siemens
> Foundation for Music.
>
> Friday October 1, 2010 (at Person Recital Hall, UNC Chapel Hill)
> Saturday October 2, 2010 (at Nelson Music Room, Duke University)
>
> Tonality 1900-1950: Concept and Practice / Tonalität 1900-1950: Konzept und
> Praxis
> Tonality -- or the feeling of key in music -- achieved crisp theoretical
> definition in the early 20th century, even as the musical avant-garde
> pronounced it obsolete. The notion of a general collapse or loss of
> tonality, ca. 1910, has remained influential within music historiography,
> and yet the textbook narrative sits uneasily with the continued flourishing
> of tonal music throughout the past century. If tonality, from an early
> 21st-century perspective, never did fade from cultural attention, it remains
> a prismatic formation -- defined as much by ideological and cultural
> valences as by its role in technical understandings of musical practice. The
> international conference Tonality 1900-1950: Concept and Practice /
> Tonalität 1900-1950: Konzept und Praxis brings together a distinguished
> roster of American and European scholars to re-consider the debates
> surrounding tonality. The discussion weaves together a number of threads:
> the re-shaping of German and French theoretical ideas in their transfer to
> Anglo-American audiences; the crisis rhetoric associated with musical
> modernism; the cultural and philosophical traditions underlying theorists’
> work from Schoenberg to Hindemith; and the expressive dimensions of tonal
> music by composers as diverse as Ravel, Milhaud, Koechlin, Bartók, Ives,
> Harris, Britten, and Vaughan Williams.
>
> Full details of the conference schedule are available online at the
> conference website:
>    http://music.duke.edu/performances/tonality1900-1950
>
> There is no need to register ahead of time, and there is no fee to attend.
> We hope you will join us for what promises to be a lively scholarly
> gathering.  Please forward this notice to anyone you think might be
> interested in Tonality 1900-1950: concept and practice.
>
> Cordially,
>
> Prof. Felix Woerner (University of North Carolina, Chapel Hill)
> Prof. Philip Rupprecht (Duke University)
> Prof. Ullrich Scheideler (Humboldt University, Berlin)
> conference organizers
>
> ****End of forwarded message****
>
> ______________________________________
>
> Dr J. P. E. Harper-Scott
> Senior Lecturer
> Department of Music
> Royal Holloway, University of London
> http://web.me.com/jpehs/
> ______________________________________