friday - don wright faculty of music - western universitymusic.uwo.ca/graduate/pdf/wugsom 2016...
TRANSCRIPT
FridayAugust26,201612:00PM
OpeningReception—TalbotCollege,Room141
12:45PM
Dr.CatherineNolan,AssociateDean,GraduateStudies
OpeningRemarks
1:00PM
Session1:CompositionalApproachesandIdentities
Chair:StephenBright
MichaelLukaszuk,CollegeConservatoryofMusic—Universityof
Cincinnati“AspectsofComputerMusicCompositioninPrzypadek,for Fixed
Format Electronics”
GregoryWalshaw,EmmanuelCollege,UniversityofToronto
“TheCuriousCaseofDMinor:Re‐examiningArgumentsConcerningBWV565”
2:15PM
Session2:MusicinSocialContexts
Chair:Dr.EmilyAnsari
MitchellGlover,UniversityofWesternOntario
“‘NegotiatingHostility:theBerlinPhilharmonicOrchestraintheUnitedStates,1955”
RyanPersadie,UniversityofToronto
“TheQueensofSocaandChutney:TrinidadianNationalIdentity,DouglarizationandInter‐racialCollaboration”
FridayAugust26,2016
3:30PM
Session3:HarmonicFunction
Chair:MartinRoss
KyleHutchinson,UniversityofToronto
“WhenisaTriadNotaTriad?DisparateHarmonicEntranceandExitFunctions,andtheirRoleinTonalAnalysis”
MaryBlakeBonn,UniversityofWesternOntario
“TheOtherDominant:TheSubdominantasaScientificFictioninMusicTheoryBeforeandAfterRiemann”
4:45PM
Session4:Oratorio
Chair:Dr.CatherineNolan
MelissaPettau,UniversityofToronto
“CastingtheApocalypse:DramaticCharactersinRalphVaughanWilliams’OratorioSanctaCivitas”
StevenHicks,UniversityofToronto
“TimesChange:DistortedTemporality,RepresentationoftheDivine,andtheAudienceofAlessandroScarlatti’s‘ilprimoomicidio;’”
7:30PM
Reception,providedbytheSocietyofGraduateStudentsinMusic
SaturdayAugust27,2016
9:30AMSession5:PedagogicalStrategies
Chair:TBA
MeganneWoronchak,UniversityofOttawa
“TheValueofReflectiveJournalingwithAdvancedPianoStudents”
RebeccaLong,UniversityofMassachusettsAmherst
“There’saMapforThat:UsingMindMapstoEngageToday’sMusicStudent”
10:45AM
Session6:MusicintheColdWar
Chair:AprilMorris
MarkMcCorkle,UniversityofWesternOntario
“PathologizingtheIronCurtain:Jung,Copland,andColdWarMusical
Aesthetics”
AldwynHoggJr.
“CharlesIves,ColdWarRevisionism,andtheUSIA”
11:45PM
Lunch
SaturdayAugust27,2016
12:45PM
Session7:WomeninMusic
Chair:Dr.NormaCoates
ToniaPasswater,GraduateCenter,CityUniversityofNewYork
“ContestingIdeologiesofWomanhood:TheImpactoftheGreatDepressiononAmericanWomenModernistComposers”
TeganNiziol,UniversityofToronto
“TheKeyboardTriosofJosephHaydn:ShowcasingtheFemaleMusician”
2:00PM
Session8:Music,Text,andMeter
Chair:StevenJanisse
RobertKomaniecki,IndianaUniversity
“CoercingtheVerse:AnAnalysisofMusicalRelationshipsBetweenLeadandGuestRappers”
ChantalLemire,UniversityofWesternOntario
“Atthe‘Crossroads’:Speech/MusicInteractionsinSpoken‐WordSongs”
3:30PM
KeynotePresentation
Dr.KarenFournier,UniversityofMichigan
“PunkFeminism:NotesfromtheBritishUndergroundcirca1977”
2016WUGSOMSYMPOSIUMBOARD
SymposiumChair:
KristenWallentinsen
ProgramCommittee:
ElizabethMitchell
AdamRoy
ChristinaMcCreery
SOGSIMExecutiveBoard:
AprilMorris,Chair
ChristinaMcCreery,ViceChair
ElizabethKinghorn,Treasurer
KristenWallentinsen,Secretary
GillianCarrabre,SocialConvener
SpecialThanksto:
Dr.KarenFournierforgraciouslyagreeingtobeourkeynotespeaker
DonWrightFacultyofMusic
TheWesternMusicfacultyfortheirsupportandsuggestions
AudreyYardley‐JonesandRachelCondieforassistingwithpreparationsandpublicity
TheSocietyofGraduateStudents
WesternLibraries
Allofourgraduatestudentshostingout‐of‐townspeakers
ProgramAbstracts
CompositionalApproachesandIdentities
Chair:StephenBright
“AspectsofComputerMusicCompositioninPrzypadek,forFixed Format Electronics”
MichaelLukaszuk,CollegeConservatoryofMusic,UniversityofCincinnati
ThispaperwillprovideasurveyofthreesignificantaspectsofmyapproachtowritingfixedformatcomputermusicasdemonstratedinarecentcompositioncalledPrzypadek.Theseinclude:theuseofphysicalmodelingsoftwareinstruments,algorithmicdevicesandsplicingaudiomaterial.Thethreadthatconnectsthesethreeaspectsinmypieceishowtheycanworktogethertocreateanambiguousrelationshipbetweenreal‐worldandcomputer‐generatedsounds.
Theuseofthecomputerasatoolforreplicatingacousticsounds,especiallythesoundsofmusicalinstrumentsgivescomputermusiciansauniqueopportunitytodevelopmaterialthatfeelsquitenaturalandfamiliarbutcanbeextendedbeyondthephysicallimitationsoftheobjectsthatweusetocreatesuchsoundsintherealworld.Withthemanywaysthatthedistributionandsynthesisofsoundcanbeautomatedusingcomputermusiclanguages,thisapproachtocomposingwithambiguousorextra‐realsoundsbecomesevenmoreflexible.
Wearenowina“golden‐age”ofelectronicmusicinwhichtechnologyisnolongertoocumbersometorealizethecomposer’svisioninrealtime.Ialsowishtodiscusstheimportanceofsplicinginmyworktodemonstratehowsuchafundamentalcompositionaltechniquecanalsobeusedcreatepowerfulandeffectivesonicgestures.
Iintendtosupportmyideasusingsamplesfromtheaudiorecordingofmypiece,imagesofspectralanalysesandbydemonstratingsmall,andsimplecomputermusicprogramsthatIwrotetogeneratethesoundmaterialinPrzypadek.
“TheCuriousCaseofDMinor:Re‐examiningArgumentsConcerningBWV565”
GregoryWalshaw,EmmanuelCollege,UniversityofToronto
IntheJuly1981issueofEarlyMusic,PeterWilliamsarguedthattheToccataandFugueinDMinor(BWV565)wasunlikelytobetheworkofJ.S.Bach.Herightlyraisestheveryopeningofthetoccataandthefinalcadenceofthefugueashighlyunusualandlikelyuniqueexamplesofwritingfortheorgan.Hecontends,bothinhis1981articleandinhissecondvolumeofOrganMusicofJ.S.Bach(2003),thattheworkismostlikelyatranscriptionforkeyboardofaworkforsoloviolin.Thispaperwillexaminehisarguments,offercorrectivesforunsupportableclaims,andseektoprovideamorebalancedviewonthequestionsthatremain.Williamsiscorrectthatitisahighlyunusualwork,yetmuchofwhathefindsobjectionableorquestionableispresentinotherBachorganworks.Further,whenworksofothercomposersaresurveyed,freeorganworksinDminorfrequentlypresentthemselvesasbelongingtoasub‐genrewithintherepertoireoftheperiod.ByexaminingsimilaritieswithworksbyPachelbel,Buxtehude,Fischer,Telemann,andLubeck,BWV565canbeseenasfollowing
patternsthatestablishasubsetoforganrepertoire–onewhichseeminglyinvitesmanyofthefeaturesofwhichWilliamscomplains.ThispaperseekstoestablishBWV565moresecurelyasaworkfororgan,sinceifWilliamswascorrectregardingastringoriginal,thiswouldseemtonowdemandthatmultipleworksbyseveralcomposerswerealsotranscriptionsofnow‐lostsolostringpieces.WhiletheevidencecannotsupportaclaimthatBWV565isdefinitivelytheworkofBach,theworkdoescontainfeaturesoverlookedbyWilliamswhichmaketheattributionreasonable.
MusicinSocialContexts
Chair:Dr.EmilyAnsari
“‘NegotiatingHostility:theBerlinPhilharmonicOrchestraintheUnitedStates,1955”
MitchellGlover,UniversityofWesternOntario
ThispaperconsidersthedevelopmentofAmericansocialandpoliticalsentimentstowardsWestGermanyafterWorldWarIIthroughanexaminationofconflictingreactionsinNewYorkCitytotheBerlinPhilharmonicOrchestra’s1955U.S.tour.ThissignificantculturaleventreceivedfundingfromtheChancellorofWestGermanyandStateDepartmentapproval.IarguethatbecausethetourtookplacethesameyearthatWestGermanyjoinedNATO,bothgovernmentsperceiveditasavaluablediplomatictooltofacilitatebetterrelationsbetweentheircountries.NewYorkersreactedinmanydifferentwaystothepresenceoftheBerlinPhilharmonicintheircity,buttheU.S.andWestGermangovernmentsworkedtogethertoensurethatthosewhoopposeditdidnotaffectthetour.
ScholarshaveshownmuchinterestinColdWarmusicaldiplomacyinrecentyears,particularlytheU.S.government’sdeploymentofAmericanmusiciansoverseas—includinginWestGermany.TheyhavealsoassessedtheimpactofGermanémigrésonmusicalcultureintheUnitedStates.YetreactiontothepresenceofformerNazimusiciansintheUnitedStatesduringthe1950shasbeenlittleconsidered.ImakeuseofgovernmentdocumentsandnewspaperarticlesfromtheperiodtointerprethowAmericansrespondedtothepresenceoftheseartistsintheircountryandalsousethetourasameanstobetterunderstandtheU.S.strategicapproachtorebuildingWestGermansociety.
“TheQueensofSocaandChutney:TrinidadianNationalIdentity,DouglarizationandInter‐racialCollaboration”
RyanPersadie,UniversityofToronto
Thepopularmusicgenreknownaschutney‐socaisnativetotheisland‐nationofTrinidadandTobago.DebatedwithintheWestIndiesandindiasporaasamarkerofTrinidadiannationalidentity,chutney‐socaisapartymusicthatisperformedandenjoyedatcarnivalevents,paradesandoutdoorpartiesknownasfêtes.Chutney‐socaisatraditionthatisaculturallysyncretizedamalgamationofbothIndianandWestAfricanmusical‐cultural
features,reflectiveofthetwodominantethnicgroupsofthenation.ThegenredrawsuponWestAfricanrhythmiccyclesthatarealsofeaturedinsuchAfro‐Trinidadianmusicssuchascalypso,whilesimultaneouslyincludingvocallinesthatincorporateBhojpuri‐HindilyricsandIndian‐derivedmelodicornamentations.Chutney‐socaaimstocreatesolidaritybetweenAfro‐andIndo‐Trinidadiansbyacknowledginginterweavinghistoricalpastsinslaveryandindenturedlabour,andbyilluminatingcolonialtensionsinapost‐colonialsociety.SinceachievingindependencefromtheBritishEmpire,Trinidadianculturaltheoristshavedebatedtheirunderstandingsofnationalcharacter,identityanddefinitionsof“Trininess”.However,chutney‐socahasremainedabsentfromthisdiscourse.Conclusionsfromthisdebatehaveresultedinarepresentationof“Trininess”thathasbeendominatedbyblackvoices,narrativesandsymbols,dramatically“othering”andisolatingIndo‐Trinidadiansintoadiscriminatoryimageoftheforeigner.ThishasledtoastarkdividebetweentheseethnicgroupsinTrinidad,oftenresultinginactsofviolenceandracialprejudice.
UponanalyzingtheinterracialcollaborationsofAfro‐andIndo‐Trinidadianpopularsingers,theconceptofdouglarizationcarriesmuchimportance.DefinedastheprocessofIndo‐Afroracialmixture,douglarizationisusedasamodelofanalysiswhendiscussingchutney‐socaasahybridizedmusicandmarkerofidentity.AnalyzingthecollaborationsofpopularartistsArti,DestraGarcia,AlisonHinds,DrupateeRamgoonaiandZoelah,Iarguethatchutney‐socaformsadouglarizedmusicalitythatallowstheAfro‐andIndo‐TrinidadiantomaintainaculturalidentityofTrininess,previouslydefinedbytheAfro‐Europeanmixturesofcreolization,whilesimultaneouslymaintainingculturaloriginswithAfricaandIndia.Assuch,chutney‐socadisruptstheracialdividebetweenAfro‐andIndo‐Trinidadiansallowingforamusicthatreflectsandreimaginesanon‐isolatingandnon‐discriminatorynationalcharacterandidentity.
HarmonicFunction
Chair:MartinRoss
“WhenisaTriadNotaTriad?DisparateHarmonicEntranceandExitFunctions,andtheirRoleinTonalAnalysis”
KyleHutchinson,UniversityofToronto
Theextensivechromaticsyntaxfoundinlatenineteenth‐centurymusicisoftenanimpedimenttotheundertakingofconvincingtonalanalyses.Thoseanalysesthathavebeenundertakenoftenfocusonmiddlegroundtonalitytotheexclusionoftheharmonicsurface(Darcy,1993;Marvin,2001;McCreless,1982).Whilevaluable,theseinsightsintodeeperlevelsofstructureareoftenunsupportedbytheharmonicsurfaceduetotheinabilityofcurrentharmonictheorytoaccuratelydescribetheroleextendedchromaticismplaysindeeper‐leveltonalexpansionsofStufen.Thispaperdevelopsanewtheoryofcomplexenharmonicreinterpretationthatallowsformoreconvincinganalysesofpassagesotherwiseresistanttotonality.
Ibeginbysuggestingthatchordssuchasviio7#3andviio7b5existaschromaticalterationsofdiminishedseventhchords:apossibilitysuggested,butneverfully‐developed,bytheoristssuchasSchenker(1906),Louis&Thuille(1907),andSmith(1986).Itheorizethatsuchchords
retaindominantfunctiondespitethealterationsifthediminishedseventh(oraugmentedsecond)interval—exclusivetothediminishedseventhchordintonalharmony—isunalteredandresolvesconventionally,andillustratethisusingapassagefromStrauss’TillEulenspiegel.Afterestablishingthesechordsasviableharmonicpossibilities,Ipresentmynextexample:Schoenberg’sanalysisoftheTodestrankmotiffromWagner’sTristanundIsolde.SchoenbergsuggeststhattheA‐majortriadfoundinthemotifisnotdirectlyrelatabletothepassage’sC‐minortonality,andsuggestsabrief,albeitanalyticallyunconvincing,modulationtoaccountforitspresence.MyanalysissuggeststhattheA‐majortriadcanbeenharmonicallyreinterpretedasE‐()‐Bbb‐Db,orviio7b5(withomittedthird)ofF;F‐minorbeingindeedwheretheA‐majortriadresolves.IsupportthisanalysisbynotingthatthevoiceleadingbetweentheA‐majortriadandsubsequentF‐minortriadmatchesexactlythevoiceleadingofconventionaldiminished‐seventhresolutions.Igeneralizethisasatheoryofdisparateharmonicentranceandexitfunctions,whereinachord’sresolutionisincongruentwithhowitisexpectedtofunction.TheremainderofthepaperappliesthistheorytoincreasinglycomplexpassagesfromBrahms,Riemann,andWagner,emphasizingtonalreadingsofthesepassagesdespitetheirabundantchromaticism.
“TheOtherDominant:TheSubdominantasScientificFictioninMusicTheoryBeforeandAfterRiemann”
MaryBlakeBonn,UniversityofWesternOntario
AcentralthemeofAlexanderRehding’s2003bookHugoRiemannandtheBirthofModernMusicalThoughtistheroleofharmonicdualisminthedevelopmentofRiemann’stheory.InvokingtheworkofthephilosophersHermannRudolfLotzeandHansVaihinger,Rehdingframesharmonicdualismasascientificfiction:adeviationfromrealityusedasanexpedientlogicalcrutch.FollowingRehding,IexploreanotherscientificfictioninRiemann’sthinking:thesubdominant.Alongwiththetonicanddominant,thischordholdsacentralplaceintheoriesofharmonicfunction.However,tonalspaceisnotperfectlysymmetrical,anditishardlyself‐evidentthatthesubdmominantmusthaveaplaceatthetablewiththetonicanddominant.Thescientificfictionofthesubdmominantasunderdominant,equalandoppositetothedominant,wasneverthelesscentraltoRiemann’sconceptionoftonality.ThispaperexplorestherootsofRiemann’ssubdmominantanditsramificationsforlatertheoriesoftonalandatonalmusic.
IbeginbyexaminingtheroleofthesubdominantinthetheoriesofJean‐PhilippeRameau,MoritzHauptmann,ArthurvonOettingen,andHugoRiemannthroughthelensofthescientificfiction.ItracethesubdominantfromitschristeninginRameau’sNouveausystèmedemusiquethéorique(1726)throughitsappropriationinHauptmann’striadoftriads,andIdiscussitscentralplaceinRiemann’sdualisticconceptionoftonalspace.IthenexploretheroleofthesubdominantandthelegacyofRiemannianthoughtinthemorerecenttheoriesofDanielHarrisonandDavidLewin.IndiscussingHarrison’swork,IfocusinparticularonthetwopostulatesonwhichhebaseshisHarmonicFunctioninChromaticMusic(1994):that
dualisticallypairedconceptscanbeusedintonalmusicandthatthetonicisflankedbytwosalientscalleddominantandsubdominant.InmydiscussionofLewin,IexplorehisfascinationwithinversionalbalanceinhiswritingsprecedingGeneralizedMusicalIntervalsandTransformations(1987).IconcludebyjuxtaposingLewinwithRiemann,discussingtheroleofpsychologyinRiemann’smusicalthoughtandtheroleofthemindandtheimaginationinLewin’stheories.
Oratorio
Chair:Dr.CatherineNolan
“CastingtheApocalypse:DramaticCharactersinRalphVaughanWilliams’OratorioSanctaCivitas”
MelissaPettau,UniversityofToronto
CompiledfromtheBiblicalBookofRevelation,thetextforRalphVaughanWilliams'onlyoratorio,SanctaCivitas(1926),describesthedestructionofBabylonandthecomingofanewHolyCity.Theoratoriocallsfordistant,full,andpartialchoruses,andabaritonesoloist.VaughanWilliamsdividesthenarrationofthepieceamongstthechorusesandsoloist,butdoesnotdefineanyspecificcharacterswithintheoratorio.CharlesMcGuire(2004)assertsthatthereareindeednocharactersinthispiece,anddescribesitasalaudaoratorio,praisingGodwithouttellingastory,andallowingthelistenerstoimmersethemselvesinacommunitycelebration.However,throughanalysisoftextualdistributionbyvocalpart,anddistinctivemusicalfeatures,Iwillshowthatthispiecedoesindeedcontainimplicitcharacters,allowingtheindividualvocalpartstofunctionasdramatispersonae.
Ofthefourvocalparts,onlythebaritonesoloistfunctionsasanindividualcharacter,whilethefull,partial,anddistantchoruseseachserveasgroupsofpeoplecommentingfromauniqueperspective.Theallocationofthebaritonesoloisttoasinglecharacterisclearfromnarrativelinesthatbeginwith“Isaw”or“Iheard,”andthroughtheplacementofthebaritone’ssolosinthepiece.Thedistantchoirgainsitscharacterizationasaheavenlychorusfromthedistanttrumpetthatalwaysaccompaniesit,andbysingingtextonlyinpraiseofGod,ratherthannarratingtheeventstakingplacewithinBabylonandtheHolyCity.Thoughthefullandpartialchorusessharemanymusicalandtextualfeatures,evensingingtogetherforportionsoftheoratorio,theemphasisofeachfallsondifferentaspectsofthenarration.Forexample,thepartialchorussingsanascendingperfectfifth,reminiscentofthedistanttrumpetcall,whichisansweredbythefullchorus,indicatingthatthepartialchorusisclosertoHeavenandtheHolyCitythanthefullchorus.Closemusicalandtextualanalysisshowthatimplicitcharacterizationsofthevocalpartsenhancethedramaticfunctionofthispiece,suggestingare‐evaluationofSanctaCivitasfromalaudaoratoriointoadramaticoratorio.
“TimesChange:DistortedTemporality,RepresentationoftheDivine,andtheAudienceofAlessandroScarlatti’s‘ilprimoomicidio’”
StevenHicks,UniversityofToronto
TheoratoriosofAlessandroScarlattibetray,incontentandorganization,astylisticallegiancetotheoperaticstylestypicallyassociatedwiththecomposer.Indeed,throughthelateseventeenthcentury,inthehandsofScarlattiandhiscontemporaries,theoratoriogenrewoulddivergeconsiderablyfromhumblebeginningsintheliturgicaloratoryandbecomeaformofpublicentertainmentsupplementing,andinsomecases,substitutingforopera.Scarlatti'suseoftypically‐operaticcompositionalprocedurespointstowardsthisalteredsocialcontextoftheoratorio;IarguethatScarlatti'sinvocationofdacapioariaformalsogeneratesnewlayersofmeaningwithinthequasi‐sacredcontextsoftheoratoriogenre.Inthispresentation,IwilldemonstratehowtheuseofthedacapoariainScarlatti'sCain,overoilprimoomicidioisnotonlyappropriatetotheoratorioasaformofpublicentertainment,butaswell,distortsthetemporalflowofthenarrative,supersedingEarthboundconceptionsoftimecontributingtothedivinesubjectmatter.
Alteringnotionsof'time'inmusicalstructurehavebeenconsideredatlengthbyKarolBerger(2007,2012).Inshort,hesuggeststhatinthemusicoftheseventeenthcentury,timedoesnotfollowalineartrajectoryasdoes,forexample,aWagnerianmusic‐drama.Wherenotionsoflinearityinmusicrequireepistemologicalconsiderationsofgreaterbreadththancanbeachievedinthetimeallotted,inthispresentationIwillbringtoattentionthewaysdistortedtemporarilyfunctionswithinthenarrativetocontributetotherhetoricalforceofthestory.Specifically,IwilldiscussthecharacterizationofAbel,themurderedbrother.Wherethedacapoariadistortstimeandforceseachcharacterintotherealmofthesacred,Abel'sdeathlikewiseoccursnotoncebuttwice,evidencingBerger'sclaimthat"thereisnotimelikeGod'stime"(2007).ThetemporalorganizationofScarlatti'soratoriothenisappropriatetothesocialcontexts,becomingasubstituteforoperaandmirroringitsconventionsandwhiledoingsoenforcesthedefiningsacredsubjectmatteroftheoratoriogenre.
PedagogicalStrategies
Chair:TBA
“TheValueofReflectiveJournalingwithAdvancedPianoStudents”
MeganneWoronchak,UniversityofOttawa
Fromapedagogicalperspective,thispaperexploreshowmyengagementwithreflectivejournalingwithmypianopracticeasanundergraduatestudentevolvedintoamaster'sthesisaboutthevalueofthisactivitywithadvancedpianostudents.Forcontext,Iprovideanoverviewofmyliteraturereviewthatshowsresearchedbenefitstousingareflectivejournal.Theseinclude:developingcriticalawarenessandnewperspective,problem‐solvingskills,andindependentlearningskills.Giventhesuccessofreflectivejournalingintheliterature,Ihypothesizedthatthetrainingofadvancedpianostudentscouldbeenhancedbythe addition of journals to assist with their piano practice, specifically when learning new repertoire. I conducted a reflective journal study, which is the first of its kind with piano students. Using the model by Plack and colleagues (2005) for developing and assessing reflection in reflective journal entries, I examined the journal entries of 18 advanced piano students to explore the development of reflection over a period of four weeks. Results of my research study suggest that reflectively trained piano students develop more critical reflection compared to a control group. Also, reflectively trained students perceive the same benefits to journaling as their counterparts in other disciplines. The most frequently referenced reflective elements include listing practice strategies and expressing feelings about the learning process. In this paper, I expand on the study results as well as share feedback provided by the participants. Concluding remarks promote reflective journaling in the context of the piano studio, provide tips for mindful piano practice, and suggest pathways for further piano pedagogy research on this topic.
“There’saMapforThat:UsingMindMapstoEngageToday’sMusicStudent”
RebeccaLong,UniversityofMassachusettsAmherst
Ashighereducationmovestowardsalearner‐centricmodelincorporatingflippedclassroomsandpeereducation,educatorssearchfornewmethodstohelptheirstudentslearnandsynthesizeinformation.Thisnewmodelheavilyemphasizestheuseoftechnology,collaborationbetweenstudents,andengagingstudents’creativity.Mindmapsrespondtothehighlyvisually‐orientedculturetoday’sstudentcomesfrombyaskingstudentstoconstructanequallyvisualmapofsuper‐andsubordinatenodesthatorganizesinformation.Byallowingstudentstoexperimentwithvariouswaysofpresentinginformationvisually,mindmapsinvolveacreativeprocessthatasksstudentstosynthesizethelargerpicturefromwhattheyhavelearned.Farfromtherealmofcrayonsanderasuremarksmanyinstructorsrememberfromtheiryouth,mindmapstodayrelyontechnologyfortheireaseofeditingandcollaboration.Withappsavailableoncomputer,tablet,andsmartphone,studentsandteacherscaneasilydiscuss,edit,andreviewvirtualmindmapsfromthecomfortoftheirofficeordorm.
Otherfields,includingmathematicsandeconomics,successfullyimplementmindmapsintheirclassrooms.Thepotentialapplicationsofmindmappingtothemusiccurriculumareboundless.Inmusichistory,astudentcoulduseamaptomodelthelifeofacomposerortheoverallstyleofaperiod.Inmusictheory,onecanenvisionmappingchordfunction,cadence,orform.Mindmapsalsoallowaresearchertogroupandtracksourcesortoconstructandeditanoutline,creatingaresourceusefulforundergraduates,graduatestudents,andprofessionalsalike.Thispresentationfirstexaminesbasicexamplesofmindmapsandhowotherfieldsusethistoolintheclassroom.Then,Iprovideexamplesofhowaneducatormightimplementmindmapsinhisorherclassroom.Finally,abriefcomparisonofthevariousmindmappingappsavailablewillaidinstructorslookingtoexploretheirpotentialfurther.
MusicintheColdWar
Chair:AprilMorris
“PathologizingtheIronCurtain:Jung,Copland,andColdWarMusicalAesthetics”
MarkMcCorkle,UniversityofWesternOntario
ColdWarmusicologyfrequentlydiscussesthedivisiveeffectsofthepost‐warpoliticalseparationbetweenEastandWestonmusic.ForAaronCoplandinthe1950s,anawarenessthattonalitywasincreasinglyassociatedwithCommunismandserialismwithdemocraticcapitalismledhimtoseektobalancehismusicalandpoliticalidentities.JenniferDeLapp‐Birketthasarguedthatinhisfirstatonalwork,theQuartetforPianoandStrings(1950),Coplandusedserialismtoprotecthimselfpoliticallyinananti‐communistAmericanculture.However,Coplandmaintainedhisfamous“open”andaccessiblesoundbyimplyingtonalassociationsinhisemploymentofthetwelve‐tonemethod.
Iviewthissynthesisof“opposing”musicalstylesasbotharepresentationofCopland’sindividualandsocialidentitiesandacritiqueofthedivisiveIronCurtain.ToinformanewreadingofthePianoQuartetIconsultthe“dualityofman,”apsychologicaltheorybyCarlJungthatdescribesthehumanmindasthesumtotalofnumerousperceptualdichotomies.JungusestheColdWarconstructoftheIronCurtainasametaphorforaproblematicsplitwithinthepsyche.HediscusseshowtheIronCurtain’ssplittingoftheworldputsthemindinaconstantstateofpathologicaltensionandthusformsacritiqueofglobalColdWarculture.BothCoplandandJungwishedforthedeconstructionofthedivisive‘IronCurtain,’bothasapsychologicalandpoliticalphenomenon:thePianoQuartetcanthusbeunderstoodtoarticulateCopland’sconceptionofthekindofpost‐ColdWarutopiaJungdescribes.
“CharlesIves,ColdWarRevisionism,andtheUSIA”
AldwynHogg Jr.,UniversityofWesternOntario
DuringtheColdWar,theUnitedStatesInformationAgency(USIA)usedthemusicofCharlesIvesasculturalpropaganda.Forthosewithsomefamiliaritywiththispropagandaagency’saimsandactivities,thisstatementwouldprobablyseemunexceptional.TheUSIAco‐optedtheculturalproductsofmanyprominentAmericanartiststobothengagetheSovietUnioninaglobal“warofideas,”andtopromoteandspreadAmericanidealsaroundtheglobe.Ivesfeaturedprominentlyinthisventure.HismusicandnarrativeweretoutedduringtheColdWarbytheagencyasbeingemblematicofAmericanfreedomandindividuality,andhismusicwaspraisedindiscourseatthetimeforitsartisticautonomyandindependencefromEuropeantraditions.
Indeed,IvestodayissowidelyregardedastheFatherofAmericanMusic,thathisco‐optationbytheUSIAmightseemunremarkable.However,asIwillargue,itwasonlyafterarevisionistreconceptionofIves’personaandcompositionalethosthatbeganinthe1930’sthatthepotentialofhismusicandbiographycouldberealizedasviableAmericanpropagandabytheUSIA.CulminatinginSidneyandHenryCowell’sbiographyofIvespublishedin1954,CharlesIvesandHisMusic(thefirstofitskind),thediscourseonIveshadgraduallyshiftedfromexamininghisethnographicconcernsanduseoffolk‐materialtotypecastinghim—throughtheexaggerationofhisrelationshipwithTranscendentalismattheexpenseofotherelementsofhisnarrative—asabastionofruggedAmericanindividualism,freedom,andartisticautonomy.ByinvokingPierreBourdieu’sideasoncapital,IwillfurtheraccountforIves’co‐optationbytheUSIAbylikeningtheincreaseofhismusic’sprestigeandpopularitytoanincreaseinitsculturalcapital.
InadditiontocontributingtotherichfieldofscholarshipexaminingIves‐historiography,itismyhopethatthispaperwillbothstimulatemoreresearchonthepoliticaluseandreceptionofIves’musicduringtheColdWar—anareainIvesscholarshipthatis,mostcuriously,hithertonotwellexplored—andspeakmorebroadlytotheimplicationsofrevisionismintheColdWar.
WomeninMusic
Chair:Dr.NormaCoates
“ContestingIdeologiesofWomanhood:TheImpactoftheGreatDepressiononAmericanWomenModernistComposers”
ToniaPasswater,GraduateCenter,CityUniversityofNewYork
TheimpactofgenderonthecareersofAmericanwomenmodernistsintheearlytwentiethcenturyisundeniable.Theexactnatureofthatimpact,however,iscontested.Inher1994essay,“ADistinguishingVirility,”CatherineParsonsSmitharguesthatmodernismisinherentlymasculineandprecludesthesuccessoffemalemodernists.EllieHisama,inher2001bookGenderingMusicalModernism,arguestothecontrarythatwomencreatedadistinctivespacewithinmodernism.Icomplicatebothstoriesbyillustratingtwodistinctphasesinmusicalmodernism:beforetheDepression,whenwomencouldridethewaveoffeminismtoaplaceintheavant‐gardeandduringandaftertheDepression,whenanti‐feministrhetoricemergedaseconomicinsecurityincreased,creatingamuchmorehostileenvironmentforwomencomposers.UsingnewspaperreviewsandreviewsfromspecializedpublicationssuchasModernMusicandTheMusicalLeader,Iillustratethechangingnatureofthereceptionofmusicbymodernistwomenduringtheyearsfrom1925to1945.
Duringthesedecades,Americaexperiencedanideologicalshiftfromfirst‐wavefeminismbacktotheVictorianismofanearliertime.Thistransition,provokedbytheDepression,alteredviewsconcerningacceptablerolesforwomen.Inthispaper,Ishowtheimpactoftheseviewsonthelives,careers,andmusicoffemalemodernists,includingRuthCrawford,JohannaBeyer,MarionBauer,andJessieBaetz.IarguethatideologicalshiftsduringtheDepressionandtheresultant“contestingideologiesofwomanhood”hadastrongerimpactonthecareersofmodernistwomenthanhasheretoforebeenacknowledged.
“TheKeyboardTriosofJosephHaydn:ShowcasingtheFemaleMusician”
TeganNiziol,UniversityofToronto
ThekeyboardwasaprominentfixtureinJosephHaydn'sprolificmusicaloutput,inspiringapproximatelysixtysolosonatas,adozendivertimentosandconcertinos,andoverfortykeyboardtrioswithcelloandviolin.Bothsoloandaccompanied,hiskeyboardmusicwasanexpressionofprivatesentiment,intendedforperformanceinthehomeorsalon.Mostoften,theseworkswereperformedbywomen,forwhomtheinstrumenthadbecomeafocalpointoftheireducationandsocialization(Fillion2005).Keyboardproficiencywastheculturalmarkoffemininityandtheclassstatusofwomen.Althoughmusicwasviewedasanecessaryfemaleaccomplishment,dangerexistedinmusicalexcess.Becausewomenweredeemedintellectuallyinferior,theywereexpectedtoperformonlysimplemusic(Leppert1988,1993).Femaleperformanceofdifficult,virtuosic,orimprovisatorymusicwasconsideredhighlyinappropriateandimmodest(Helyard2011).Thesocially‐constructedconflationofwomen
andkeyboardsprovidesarichopportunitytoexplorehowconsiderationsofgendermayhaveinfluencedHaydn'scompositionofkeyboardmusic.
OfHaydn'sabundantkeyboardoutput,thetriosareespeciallysuitedforanalysingtheeffectsofgenderonhiscompositionalstyle.Althoughthekeyboardpartwouldhavebeenperformedbyawoman,thestringpartswouldhavebeenperformedbymen,allowingforexaminationoftheinteractionbetweenmusicalpartsintendedforoppositegenders.Unlikethestringquartets,whichexhibitindependentimportanceofeachmusicalline,Haydn'strioslocatethekeyboardatthefocalpoint,relegatingthestringstosecondarypositions.Analysesofseveraltriosofthe1790s,HobXV:14,18,20,and27,revealvariousmusicalfeaturesinthekeyboardpartthatwouldbedeemedinappropriateforwomentoperformbyprevailingsocialprotocolsofthetime.Thesecharacteristicspositionthekeyboardistasanensembleleaderandinclude:grandgesturestypicalofpublicperformance,virtuosicandimprovisatorypassages,andperformanceindicationsthatpresentastrikingvisualimageofthekeyboardist.Althoughopposing“proper”femaleetiquette,thesemusicalfeaturesservetohighlightthegreatskillandmasteryofthekeyboardistandsuggestHaydncreatedaroleforthefemaleperformerthatradicallydifferedfromcontemporaryexpectationsofwomen.
Music,Text,andMeter
Chair:StevenJanisse
“CoercingtheVerse:AnAnalysisofMusicalRelationshipsBetweenLeadandGuestRappers”
RobertKomaniecki,IndianaUniversity
Sincetheemergenceofrapmusicin1970sManhattan,manyscholarshavestudiedthegenrefromvariousculturalandethnomusicologicalperspectives.Inrecentyears,musictheoristshavebeguntoanalyzerapmusicinconsiderabledetail,focusingonsuchaspectsasrhymescheme,microtiming,production,andflow(i.e.,“alloftherhythmicalandarticulativefeaturesofarapper’sdeliveryofthelyrics”).
Thepurposeofthispresentationistodemonstratethewaysinwhichrappersandtheirfeaturedguestartistsmusicallyinfluenceoneanother,imposingcertainquantifiableaspectsoftheirdeliveryuponeachothertocreateamoreunifiedflowstylethroughoutatrack.Thepresentationwillbeginwithabriefoverviewofnecessaryrapmusicjargon(endrhyme,enjambment,compoundrhyme,etc.)beforelaunchingintoseveralpointedanalysesofraptracks,utilizingrhythmicstaffnotation,lyricgrids,andcolor‐codingtodemonstratevariousmusicalaspects.
Musicalinfluenceandimpositioninrapmusiccantakemanyforms—asaresult,eachanalyzedtrackwillexemplifydifferenttypesofflowcohesionbetweenrappers.AnanalysisofDr.Dre’s“ForgotAboutDre”(1999)featuringEminemwillshowarhythmiccellbeingtransferredanddevelopedbetweenthetworappers,aswellasanidiosyncratic“framed”rhymeschemethatisemployedbybothartists.Raekwon’s“HouseofFlyingDaggers”(2009)
featuringInspectahDeckandMethodManwillexemplifyunityinend‐rhymetechnique,aswellasrhythmicdelivery.Inhistrack“BloodHound”(2003),rapper50CentimposesnearlyallquantifiableaspectsofflowonfeaturedartistYoungBuck.
Theexampleslistedabovedemonstratemanydifferentwaysinwhichtheinfluenceofatrack’smainrappercanbeheardonhisorherfeaturedartists,includingunitybetweenrhymeschemes,similarrhythmiccells,anduseofmulti‐syllabicrhymes.Throughthisanalysis,wecannotonlygetabettersenseofcharacteristicstylesofindividualrappers,butalsodevelopadeeperunderstandingofthecollaborativenatureofrapmusic.
“Atthe‘Crossroads’:Speech/MusicInteractionsinSpoken‐WordSongs”
ChantalLemire,UniversityofWesternOntario
Ifwecanconceiveofmusicasperformance—indeed,ifwetendtoagreewithdirectoranddramatheoristRichardSchechnerthat“justaboutanythingcanbestudied‘as’performance,”—thenjustaboutanythingthatcanbestudiedasperformancemightbestudiedforitsmusicality.Ofcourse,someperformancesaremoreconducivetomusicalstudythanothers,andthepresentstudyconcernsonesuchtypeofperformanceactivity:spoken‐word.Spoken‐wordisaninfluentialgenreofthe20thcenturythatincorporatesaspectsspeechandmusic,creatingitsownuniquespacebetweenthosetworealms.Spokenwordiswrittenforperformance,andthespecificrhythms,pitches,contours,andaccentsofaspoken‐wordperformancearecrucialelementsinitsdesign.Whilespoken‐wordhasbeenstudiedasaliterarygenreandaculturalmovement,therehasbeenlittleanalysisofitsmusicalpropertiesinperformance.
Thispaperexaminestheinteractionbetweentextandmusicinsinger/songwriterTomWaits’s1993spoken‐wordsong,“Crossroads,”examiningwhathappenstotheprosodywhenitisspokenoverametricaccompaniment.DoesWaitsadjusthisrecitations?Doesourperceptionofhisspeechchange?Usingmethodologiesfromphonology(BruceHayes’smetricalstressgrids)andmusictheory(ChristopherHasty’sprocess‐basedtheoryofrhythmicprojection),Iexaminetheinteractionoftheaccompanyingmusicandthetextrecitationinmomentswheretheiralignmentsareespeciallyunconventional.Oftentimes,thesemomentsarethemost“musical”anddemonstrateahighlydeliberaterhythmicorganization.Thecombinedmethodologiesofferonewaytosignifyhowspokenwordartistsuserhythminawaythattransformsspeechintomusic.