Nota Bene: Canadian Undergraduate Journal of Musicology最新文献_第2页

The Postminimal is Political: Social Activism in the Music of Julius Eastman and Ann Southam 后极主义是政治性的:尤利乌斯·伊士曼和安·索瑟姆音乐中的社会行动主义

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2022-06-18 DOI: 10.5206/notabene.v15i1.15033

C. Miller

{"title":"The Postminimal is Political: Social Activism in the Music of Julius Eastman and Ann Southam","authors":"C. Miller","doi":"10.5206/notabene.v15i1.15033","DOIUrl":"https://doi.org/10.5206/notabene.v15i1.15033","url":null,"abstract":"The emergence of postminimalism around 1980 allowed composers to combine minimalist musical techniques with their own distinct compositional approaches. Some composers, including American Julius Eastman and Canadian Ann Southam, exercised a consciousness-raising approach to composition by infusing their postminimalist works with political messages relevant to the gay liberation and feminist movements of the late twentieth century. In the work Gay Guerrilla (1979), Eastman pursued an original compositional approach, which he called ‘organic music,’ to explore themes of heroism and courage in the work’s climax. These musical themes resonated with the post-Stonewall gay liberation movement in the United States, particularly the assassination of Harvey Milk in San Francisco. Additionally, the repetitive processes of Southam's Glass Houses No. 5 (1981) constitute a highly organised compositional approach wherein the same music is constantly repeated in different contexts. These tight patterns referenced the contemporary genre of 'women's music' by physically resembling patient and cyclic work done by hand – work traditionally completed by women – and by critiquing this collective experience of ‘women’s work.’ By including these political associations in their art, Julius Eastman and Ann Southam created consciousness-raising critiques of contemporary trends of North American social activism. \u0000Content Note: This paper discusses violence against the queer and trans community, including an assassination, and also mentions two musical compositions which use a racial slur in their titles.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"16 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":"124268103","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 : 2022-06-18 DOI: 10.5206/notabene.v15i1.15028

Nota Bene Editors-In-Chief

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Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture 元现代主义与汽化:web2.0审美文化研究

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2021-06-16 DOI: 10.5206/notabene.v14i1.13361

Nicholas Morrissey

引用次数: 1

Foreword and Front Matter 前言和正文

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2021-06-16 DOI: 10.5206/notabene.v14i1.14033

Nota Bene Editors-In-Chief

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The Music Behind the Mask: Rossini’s Uncanny Salon 《面具背后的音乐:罗西尼的神秘沙龙

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2021-06-16 DOI: 10.5206/notabene.v14i1.13399

S. Cohen

{"title":"The Music Behind the Mask: Rossini’s Uncanny Salon","authors":"S. Cohen","doi":"10.5206/notabene.v14i1.13399","DOIUrl":"https://doi.org/10.5206/notabene.v14i1.13399","url":null,"abstract":"Despite receiving scant attention from scholars and performers, Rossini’s Péchés de vieillesse (Sins of Old Age), written between 1857 and 1868 for his private salon, have a unique and expressive stylistic language. In these works, the composer gives musical voice to the uncanny discourses that emerged around the idea of his “creative death.” This paper establishes how Rossini’s return to composition functioned as a musical “exhumation,” with his compositional activities functioning as a site for broader discourses about disease, aging, and death in nineteenth-century France. Close readings of visual depictions of Rossini by Eugène Delacroix and Antoine Etex shed light on changing attitudes toward the composer, which coincided with broader aesthetic shifts taking place at the time. The tensions engendered by Rossini’s precarious status as both living and dead, and his nostalgic relationship to the past, constitute a kind of doubleness that can be heard in his late compositions. Bringing together cultural history and musical analysis, I show that the privacy of Rossini’s salon gave rise to music with unique signifying potential that has not yet been duly acknowledged.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115317705","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

The English Catholic Dream of Gerontius: An Aesthetic Synthesis of Newman and Elgar 格罗尼修斯的英国天主教梦:纽曼与埃尔加的美学综合

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2021-06-16 DOI: 10.5206/notabene.v14i1.13398

Tavish Daly

引用次数: 0

“Oppressed by Sensual Delight”: On a Lesbian Relationship with Rebecca Clarke’s Viola Sonata “受感官愉悦的压迫”:论女同性恋与丽贝卡·克拉克的中提琴奏鸣曲的关系

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2021-06-16 DOI: 10.5206/notabene.v14i1.13390

Logan Imans

引用次数: 0

Completing Mahler’s Piano Quartet: A Study of Unfinished Music, Ethics, and Authenticities 完成马勒钢琴四重奏:未完成的音乐，伦理和真实性的研究

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2021-06-16 DOI: 10.5206/notabene.v14i1.13410

Isabella Spinelli

{"title":"Completing Mahler’s Piano Quartet: A Study of Unfinished Music, Ethics, and Authenticities","authors":"Isabella Spinelli","doi":"10.5206/notabene.v14i1.13410","DOIUrl":"https://doi.org/10.5206/notabene.v14i1.13410","url":null,"abstract":"Performers and scholars have argued for generations over what should be done with musical works that have been left incomplete by their composers. Though many attempts have been made to bring such works to completion, some scholars feel that these fragments should remain untouched because the pieces in question were left incomplete during the composer’s own career. With this debate in mind, I undertook a study and completion of Gustav Mahler’s Piano Quartet in A minor, a piece for which Mahler composed a complete first movement, Nicht zu schnell, and twenty-four bars of a second movement, Scherzo, when he was a student at the Vienna Conservatory. I began by analyzing Nicht zu schnell in order to understand Mahler’s treatment of motives, form, and harmony. In addition, I studied contemporary works by Schumann and Brahms. Based on my analyses, I then composed a completion of the Scherzo in a style that is, in my opinion, idiomatic of Mahler. After a performance of my completion, seventy percent of the audience responded with five on a scale of zero to six when asked in a survey how closely my Scherzo aligned with Nicht zu schnell. One hundred percent of the listeners ethically approved of the task of completing unfinished music. Adding to the discourse on musical completion, this paper addresses the musicological debate surrounding unfinished music, discusses my process of completing Mahler’s quartet, and assesses public reactions to the ethical issues, such as hubris, that often arise when an alternate composer completes an unfinished work.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121106702","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

"Up Close and Intimate": Catharsis, the Dark Side of Sexuality, and The Dresden Dolls “近距离亲密”:宣泄，性的阴暗面，和德累斯顿娃娃

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2020-06-15 DOI: 10.5206/notabene.v13i1.8559

Logan Imans

引用次数: 0

Fluctuating Tonality and Monotonality in Schoenberg’s Op. 6, No. 8 “Der Wanderer” 勋伯格作品6第8号《漫游者》中的波动调性与单调性

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2020-06-15 DOI: 10.5206/notabene.v13i1.8573

Vlad Praskurnin

引用次数: 0