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E UIROJPJEAN S ocTI JE1'Y IFOIR 1'IHIJE C OCGNTI1'TIVJE § CTIJEN CJE§ Ü IF M U§TIC ISSN 1022-9299 NEWSLETTER No. 10, October 1996 Contents Editorial Celestin Deliege Review of Schoenberg, A. (1) Coherence, 2 Counterpoint, Instrumentation, lnstruction in Form ... (2) The Musical /dea and the Logic, Technique, and Art of its Presentation Gery d'Ydewalle Review of Evers, F. , Jansma, M., Mak, P. & de Vries, 5 8 . (eds.) Muziekpsychologie: Musica/e ontwickeling, schepping, be/eving, waameming Nicola Phillips Review of Christensen, E. The Musical Timespace: 8 A Theory of Music Listening Patrik Juslin, Conference review of 4th International Conference 13 Alison McNeil and on Music Perception and Cognition, Montreal, Matthew Royal Canada, August 1996 Elena Ungeheuer Conference review of 12th Annual Meeting of the 19 German Society for Psychology of Music and 2nd International Symposium of Music Psychology, . Freiburg/Bremen, September 1996 Elizabeth Giai<oumaki Molhering in tune to women's musical preferences 21 in the immediate post-parturn period: a musical, # exploratory approach Announcements 27 Ed itorial This is th e last issue of the ESCOM Newsletter in its present form . II is intended The Newsletter is the official communication of the European Society tor the that th e functions of the Newsletter - to present re search and revi ews of books and conferences by members, and to inform members of the activities of ESCOM and of Cognitive Seiences of Music. oth er re lated bodies - will be Iaken over in part by ESCOM's new journ al, Musicae Scientiae , and in part by th e ESCOM World-Wide Web page which is accessible at: Executive Council: (University of Keele, UK) John Sloboda, president (University of Rome "La http://www.mus.cam.ac.uk/ESCOM/ Marta Olivetti-Belardinelli, Sapienza", ltaly) vice-president (University ot Liege, Belgium) This last issue of the Newsletter presents reviews of recently published works by lrene Deliege, permanent secretary (University ot Liege, Belgium) Arnold Schoenberg, of a new book by Eric Christensen, and of the first Dutch Andre Riotte, treasurer (University of Cambridge, UK) textbook (edited by Evers, Jansma, Mak and de Vries) on psychology of mu sic, as lan Cross, Newsletter Editor (Uppsala University, Sweden) weil as reviews of the 4th ICMPC held in Montreal in August 1996 and of the 12th Alt Gabrielsson, organiser ot the next Annual Meeting of the DGM in Freiburg in September 1996. While the review of th e ESCOM Conterence ICMPC implies !hat the different disciplines !hat make up the cognitive sciences of (Chopin Academy of Music, Warsaw, Andrezj Rakowski, member music are beginning to grow ever more close, that of the Freiburg Conference Poland) suggests that deep divergences of method and of ideology are still to be found . We have thus two different views of the state of the evoluti on of our domain of Associate Editors: research ; perhaps in such a broad field it is inevitable !hat such different views will (University of Liege, Belgium) Daisy Bertrand be found. Nevertheless, the different perspectives revealed in these two reviews (University of Cambridge, UK) Alexandra Lamont point up the continuing need for ESCOM to act as a bridge facilitating effective (University of Liege, Belgium) Mare Melen communication and understanding between different disciplines and research traditions in the cognitive sciences of music, and as an umbrella under which these Information about the Society and subscriptions can be obtained trom: different disciplines and traditions ca n grow and interact. We hope that these ESCOM Secretariat aspirations will be continue to be met by Musicae Scientiae and by our pages on 16 Place du Vingt Aout the World-Wide Web. B-4000 Liege We apologise to readers of Elizabeth Giakoumaki's paper in Newsletter 9 (April Belgium 1996) and to the author herseit for a printing mi x- up in the Engli sh version of this paper, and have reprinted the entire article within thi s iss ue. This is the final issue of the ESCOM Newsletter. The World-Wide Web page ot the Societ at http://www.mus.cam.ac.uk/ESCOM/ a~d t~e Journ~l . of the Soc~ety, Music~e Scientiae, will continue to publish contnbut1ons t_hat 1n111ate or contlnue !an Cross Newsletter Editor debate on topics in the field of the cognitive sciences of mus1c. Daisy Bertrand Gontributions to the World-Wide-Web page must be in English and in French; a Alexandra Lamont version in both languages should be submitted. They should not exceed gener~lly Mare Melen word s. They should be submitted by e-ma1l to l an Cross at 2500 Associate Editors ic1 08@ cam.ac.uk. Information tor contributors to Musicae Scientiae can be tound on page 34 of the Newsletter, or on the World-Wide-Web page. Book Review: Arnold SCHOENBERG: c. Deliege E-3 (1) Coherence, Counterpoint, Instrumentation, lnstruction in Form. Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre) (ZKIF). keen foliower of the activities of the musician. However, Schoenberg's remarks on Severine Netf, ed., trans. by Ch. Cross & S. Neff. University of science are no more sophisticated than tho se of the man in the street: Nebraska Press, Lincoln and London, 1994, lxxii + 135 pp. (2) The Musicalldea and the Logic, Technique, and Art of its "The difference between art and science lies herein: that even where both aim to Presentation. ( Der musikalische Gedanke, und die Logik, Technik, und represent the same area, scie nce must try to include all conceivable cases, whereas art confines it se lf to those that are characteristi c, appropriate, or otherwise 'fitting'. Kunst seiner Darstellung) (MGKD). Patricia Carpenter & Severin Neff While science will therefore have to place every case in the clearest light, art may eds., trans, and Commentary. Columbia University Press, New York, change the relationships of meaning to heighten their effect. While sc ience proceeds 1995, xxiv + 462 pp. toward an all-encompassing and all-explaining goal, through the laying down and ordering of its principles, art will focus on bringing its main points into the Celestin Deliege foreground of attention through its manner of presentation. II science provides facts that it orders according to common principles, art produces images in which facts are freely joined to common principies , so that the sense of what is to be stated can be This review is concerned with two previously unpublished volumes by Schoenberg clearly grasped and at once' (MGKD : 114-15). from the archives of the Schoenberg Institute. 8oth te xts will be of interest to anyone with a serious interest in music. They will be referred to here respectively by "How does one become a man on one's own?", Schoenberg wendered one day; "by their German initials: ZKIF and MGKD. The editions are in both German and English, thinking beyond any reference point", one might misch ievously have suggested. and the editorials are in English. The bilingual sections are laid out on facing pages, Few scientists would be content with such comparative definitions. thus making it easy to compare the vocabulary employed, which may help to clarify problems of terminology !hat previous works only in eilher English or French have The archives of the Arnold Schoenberg Institute contain twelve manuscripts defining not managed to resolve. or developing on the theme of musical thought and its presentation which were drafted between 1917 and 1937, including two undated manuscripts (MGKD : xv Historians will find the opportunity for a new approach in understanding the genesis xvi). ln their commentary (ibid.: 1-86), the editors review this collection by of Schoenbergian concepts in these two manuscripts dating from 1917 (ZKIF) and evaluating its relationship with the different perspectives considered by the author 1934-6 (MGKD). The two works can be read in two different ways: the way in his desire to unify music theory. Three appendices outline these manuscripts; the preferred by the editors, which is to arrange the material according to thematic contents of the tenth (transcribed and translated in MGKD) are indexed in their content conforming to the index established by Schoenberg, or according to a order of succession. Figures and musical examples support and clarify the theory. chronological reconstitution which is not only possible but both tempting and easy due to the meticulousness of the author in dating and paginating his manuscripts. Why did Schoenberg write these manuscripts and why did he proceed with so much care and assiduity, when his perspicacity as a composer would appear to have been Psychologists, in approaching these texts, will become aware that Schoenberg, who able to Iead him towards effective teaching activities without the need to follow !hat is ollen reproached for the invention of a system which is unrelated to perception, particular path? II seems likely that the answer lies as much in the domain of logic has often been misrepresented. Perception was, on the contrary, one of his as in that of psychology. The 1917 manuscript (ZKIF) can be seen as a lesson plan obsessions: as a primary concern for him since the time of ZKIF, the issue of written down by the master for his own use, as something !hat he could refer to coherence is related to !hat of comprehensibility. And psychoanalysts, no less than throughout his life. historians, may find it fruitful to reconsider the texts chronologically. We know quite weil that Schoenberg was a tormented man and there is a good chance that the ln 1917 Schoenberg was in Vienna, had just been demobilised, and was preoccupied chronicles of this "involuntary patient" might provide a roundabout route to the with the project of founding the future Private Society of Musical Execution and with discovery of the unconscious origins of some of his works.