Nota Bene: Canadian Undergraduate Journal of Musicology最新文献

"An Airy Spirit": Developing Identity Through Music, Performance, and Perception “一种飘逸的精神”:通过音乐、表演和感知发展身份

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2023-06-20 DOI: 10.5206/notabene.v16i1.16612

Kiara Hosie

{"title":"\"An Airy Spirit\": Developing Identity Through Music, Performance, and Perception","authors":"Kiara Hosie","doi":"10.5206/notabene.v16i1.16612","DOIUrl":"https://doi.org/10.5206/notabene.v16i1.16612","url":null,"abstract":"How do audiences come to understand a character who appears to lack a discrete performed identity? This paper explores how, in performance, music and theories of magic and reader response interact to create the identity of the musical spirit, Ariel, from William Shakespeare’s (1564-1616) The Tempest (1611). To facilitate this exploration, I outline Ariel’s characterisation across six productions from the Renaissance, Restoration, and modern-day on two levels: textual (concerning how culturally-bound theories of magic and gender affect interpretations of the play’s script), and performed (concerning practical decisions such gender casting, voice type, and visual design). Across both the textual and performed levels, I emphasise the roles of socio-cultural contexts and resultant audience perceptions in informing Ariel’s identity in each production, ultimately proposing that while Ariel’s textual identity as a genderless spirit remains relatively stable from the Renaissance to the modern-day, each production of The Tempest creates a new performed identity for the character through dynamic interactions between culture, history, directors, performers, and audiences.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124048597","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Ballroom Refuses to Burn: Exploitation versus Community Education in Documentaries about Voguing and the Ballroom Community 舞厅拒绝燃烧:关于时尚和舞厅社区的纪录片中的剥削与社区教育

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2023-06-20 DOI: 10.5206/notabene.v16i1.16614

Andie Winsor

{"title":"Ballroom Refuses to Burn: Exploitation versus Community Education in Documentaries about Voguing and the Ballroom Community","authors":"Andie Winsor","doi":"10.5206/notabene.v16i1.16614","DOIUrl":"https://doi.org/10.5206/notabene.v16i1.16614","url":null,"abstract":"Voguing and ballroom culture—unique forms of performance art which were incredibly important to the survival and artistic expression of LGBTQ+ Black and Latine communities during the height of the HIV/AIDS epidemic—have been captured and preserved in numerous documentaries. Building on a survey of the history of LGBTQ+ ballroom events and pageants in the United States, I then define the ballroom community as it is known today, discussing the inception of the community in the mid-twentieth century as a response to the racism faced by Black and Latine performers in the queer pagent competitions of the late nineteenth and early twentieth centuries, and the impact of the HIV/AIDS epidemic on the community. I then explore the practice of documenting this community, comparing explotive media such as the documentary Paris is Burning (1990), the television show Pose (2018), and music by Malcolm McLaren and Madonna to community-based, ethical media such as Tongues Untied (1989), Black Is…Black Ain’t (1995), and How Do I Look (2006), highlighting the key differences between these portrayals. Ultimately, I argue that community-based media is invaluable, countering the racism and queerphobia found in the more mainstream, exploitive examples with authentic portrayals of the ballroom communsity’s resilience and connectedness.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131143709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Foreword and Front Matter 前言和正文

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2023-06-20 DOI: 10.5206/notabene.v16i1.16616

Nota Bene Editors in Chief

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Reimagining the Music Classroom: Student Engagement with Learning and Self-Corrective Strategies through Play-Based Music Education 重新构想音乐课堂:通过以游戏为基础的音乐教育，学生参与学习和自我纠正策略

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2023-06-20 DOI: 10.5206/notabene.v16i1.16615

Montanna Teh

{"title":"Reimagining the Music Classroom: Student Engagement with Learning and Self-Corrective Strategies through Play-Based Music Education","authors":"Montanna Teh","doi":"10.5206/notabene.v16i1.16615","DOIUrl":"https://doi.org/10.5206/notabene.v16i1.16615","url":null,"abstract":"The phenomenon of musical play has gained significant traction in recent research pertaining to music education. However, despite the popularity of this topic in both educational and research settings, investigation into the pedagogical potential of play has largely been limited to elementary-aged students. As such, middle and high school students (13-18 years) often experience rigid pedagogies that fail to appreciate the complexity of the adolescent stage of development. In response, this article draws on a single case study of play-based music education in middle school, and examines the ways in which social learning environments promote student engagement with learning and self-correction strategies. Based on analysis of the collected data, the research found that learning in play-based environments is cyclical, where the adoption of self-correction strategies is largely driven by the adolescent’s desire to participate in social interactions and experience the resulting sense of belonging. Therefore, the results indicate that student learning is enhanced by utilising pedagogies that respect the socio-cultural environments that adolescents experience. ","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117238019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Requiem for Fanny: The Final Creative Efforts of Felix Mendelssohn 范妮的安魂曲:菲利克斯·门德尔松最后的创作

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2023-06-20 DOI: 10.5206/notabene.v16i1.16608

Kristen Whittle

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The Wicked Weeping Woman: A Reconsideration of Women's Agency in the Lament 邪恶的哭泣的女人:对《哀歌》中女性主体的再思考

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2023-06-20 DOI: 10.5206/notabene.v16i1.16613

A. Williams

{"title":"The Wicked Weeping Woman: A Reconsideration of Women's Agency in the Lament","authors":"A. Williams","doi":"10.5206/notabene.v16i1.16613","DOIUrl":"https://doi.org/10.5206/notabene.v16i1.16613","url":null,"abstract":"Drawing on philosophical frameworks of agency, autonomy, and vulnerability as developed by feminist opera scholars, this paper examines the use of the lament in the expression of female unhappiness through a comparison of the representations of the sorceress Alcina in Francesca Caccini’s La Liberazione di Ruggiero dall'isola d'Alcina, and George Frideric Handel’s Alcina. This paper begins by exploring how Caccini’s Alcina’s lament, “Ferma, ferma crudele,” exposes her journey through anger, confusion, and finally grief over her lost love. Alcina’s vulnerable expression of grief inspires another woman to join her in lamenting, an act which instills Alcina with greater emotional agency. The paper then considers Handel’s Alcina, suggesting that his Alcina’s aria, “Ombre Pallide,” functions as a lament rather than an invocation aria. The presence of lament characteristics following her abandonment of the musical conventions of the invocation aria see Alcina gain the freedom and autonomy to act without her self-destructive magical powers, showing that this loss of power is actually her liberation. Ultimately, these considerations question existing assumptions that composers reject lament conventions in order to lend agency to their women characters, and create space for nuanced understandings of women’s vulnerability and agency.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116569894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“Be Yourself”: Frank Ocean’s Blonde and Hip-Hop “做你自己”:弗兰克·奥申的金发女郎和嘻哈

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2022-06-18 DOI: 10.5206/notabene.v15i1.15032

Benjamin Heffernan

{"title":"“Be Yourself”: Frank Ocean’s Blonde and Hip-Hop","authors":"Benjamin Heffernan","doi":"10.5206/notabene.v15i1.15032","DOIUrl":"https://doi.org/10.5206/notabene.v15i1.15032","url":null,"abstract":"Upon the release of Frank Ocean’s 2016 album, Blonde, its minimalist yet textured musical aesthetic saw critics compare the album to works by rock auteurs such as Brian Wilson and Brian Eno. However, Blonde, while not necessarily a hip-hop album, makes extensive reference to hip-hop in both its musical and lyrical content as well as its extra-musical implications. This essay argues that Blonde’s various connections to a “hip-hop tradition” are more important to understanding the album’s identity than any comparison to a rock-influenced musical aesthetic. This essay defines a “hip-hop tradition” as determined by factors other than the musical aesthetic of the released album, which include the album’s cultural standing, the intention behind the creation, composition or release of the work, the style of lyricism, and the artist’s history and identity: in Blonde’s case, all these factors remain largely indebted to hip-hop conventions. This type of consideration represents a more holistic method of assessing the core identity of a musical work as opposed to solely relying on sonic or commercial considerations. This paper next examines Blonde’s various connections to a “hip-hop tradition” through a study of Ocean’s own personal and musical history, Ocean’s rebellion against the neocolonial establishment of the music industry, his highly collaborative creative process, and the album’s hip-hop-influenced lyrical content.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124096600","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Music of Contingency: A Musical Topic of Cosmic Horror in Depictions of “The Music of Erich Zann” 偶然性的音乐:《埃里希·赞恩的音乐》描写中的宇宙恐怖的音乐主题

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2022-06-18 DOI: 10.5206/notabene.v15i1.15030

Graeme Dyck

{"title":"Music of Contingency: A Musical Topic of Cosmic Horror in Depictions of “The Music of Erich Zann”","authors":"Graeme Dyck","doi":"10.5206/notabene.v15i1.15030","DOIUrl":"https://doi.org/10.5206/notabene.v15i1.15030","url":null,"abstract":"H.P. Lovecraft was a twentieth-century American writer whose short story “The Music of Erich Zann” has inspired musical works in several genres. This story was written within Lovecraft’s aesthetic of cosmic horror, an aesthetic which portrays the disintegration of a subject following exposure to the unknown terrors of reality. While cosmic horror shares some characteristics with Immanuel Kant’s and Edmund Burke’s sublime, it differs in that it denies the objective distance and foundation of reason required by Kant and Burke to allow the subject to gain pleasure from the experience. Considering two musical responses to “The Music of Erich Zann” by composers Raymond Wilding-White and Alexey Voytenko, this paper finds a similar distinction between musical expressions of the sublime and cosmic horror. Both compositions use some techniques from the musical topics of ombra and tempesta that scholar Clive McClelland describes as musical emanations of the sublime; however, both also present techniques beyond these topics that deny the listener a foundation in familiarity and any single musical frame. As a result, this paper argues that these compositions exemplify a musical topic of cosmic horror that is similar to but distinct from the topics of musical sublimity. This ‘music of contingency,’ titled in reference to philosopher Quentin Meillassoux’s work, emerged to express the new anxieties and pluralities of the twentieth century.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128592836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Assimilationist Messaging in Fromental Halévy’s La Juive 同化主义信息在Fromental halevy的La Juive

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2022-06-18 DOI: 10.5206/notabene.v15i1.15031

Miriam Nisonen Oliver

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Felix Mendelssohn’s Religious Hybridity Revealed Through His Oratorios 从门德尔松的清唱剧看他的宗教杂糅性

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2022-06-18 DOI: 10.5206/notabene.v15i1.15034

Adam MacNeil

{"title":"Felix Mendelssohn’s Religious Hybridity Revealed Through His Oratorios","authors":"Adam MacNeil","doi":"10.5206/notabene.v15i1.15034","DOIUrl":"https://doi.org/10.5206/notabene.v15i1.15034","url":null,"abstract":"Over the course of the last century, scholars and musicologists have debated the piety of Felix Mendelssohn. It is plausible to argue that Mendelssohn was purely Jewish, and that his musical contributions to the liturgy of the Christian Church are merely a consequence of cultural pressure and widespread Anti-Semitism. However, it is also conceivable that Mendelssohn not only embraced the Christian tradition for himself, but also endeavoured to reform its theology and doctrine. How then, should we understand Mendelssohn’s faith? Given that the oratorio functions as a vehicle for religious expression, I employ three of Mendelssohn’s most widely discussed oratorios as the main subjects of the paper’s investigation. By analyzing the text, musical characteristics, and historical context of Mendelssohn’s St. Matthew Passion, Paulus, and Elias, I explore the ways in which Mendelssohn was deeply and inwardly conflicted with his faith. Moreover, such oratorios illustrate how Mendelssohn’s religious discernment was a non-linear evolutionary process; by the time Mendelssohn composed Elias (1846), his trajectory of religious discernment culminated in the reconciliation of both the Jewish and Christian aspects of his identity. While Mendelssohn’s music narrates the ancient Judeo-Christian story, it also simultaneously exposes his own account of religious polarization and the subsequent desire for harmonization.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"324 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132528395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0