Nota Bene: Canadian Undergraduate Journal of Musicology最新文献_第3页

Voices That Matter: Authenticity, Identity, and Voice in the Musical Career of Lana Del Rey 《重要的声音:拉娜·德雷音乐生涯中的真实性、身份和声音》

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2020-06-15 DOI: 10.5206/notabene.v13i1.8579

A. Blackburn

{"title":"Voices That Matter: Authenticity, Identity, and Voice in the Musical Career of Lana Del Rey","authors":"A. Blackburn","doi":"10.5206/notabene.v13i1.8579","DOIUrl":"https://doi.org/10.5206/notabene.v13i1.8579","url":null,"abstract":"\u0000 \u0000 \u0000Discursive authentications of singing voices in pop music reception are often rooted in gendered expectations. Moving away from essentialist understandings of the ‘authentic voice,’ this article proffers that voices are formatively entangled in processes of subjectification. Lana Del Rey is a singer whose (vocal) career has been considered inauthentic in the discourse of journalists, particularly when she first rose to stardom in 2011 via YouTube. Del Rey is a prime example of the contemporary values of artistic personae in pop culture, as her career has been so bound to notions of authenticity and sounding authentic. Through an analysis of the vocal aesthetics of Del Rey and the discourse that surrounds her, the notion of ‘vocal ontogenesis’ is developed. This concept moves from subjectification as an ontologically complete instance to subjectification as a never-ending process. The notion of vocal ontogenesis becomes useful for comprehending the complex aggregations of which the voice is a component, and more broadly implies the need for further study of vocal materialism, setting an agenda for decentered examinations of voice, gender, and authenticity. \u0000 \u0000 \u0000","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127024610","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

Waringin: Recording a Composition with Gamelan Salukat, a Crossroads of Music and Culture 瓦林金:用加麦兰·萨卢卡特录制作品，音乐与文化的十字路口

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2020-06-15 DOI: 10.5206/notabene.v13i1.8590

Oscar Smith

{"title":"Waringin: Recording a Composition with Gamelan Salukat, a Crossroads of Music and Culture","authors":"Oscar Smith","doi":"10.5206/notabene.v13i1.8590","DOIUrl":"https://doi.org/10.5206/notabene.v13i1.8590","url":null,"abstract":"As the subject of numerous studies over the last century, Balinese music has been presented in a particular light. In the 21st Century, it has been a priority for Western musicologists to renew our outdated or inaccurate conceptions. This paper joins that discourse by presenting an intercultural project as an opportunity to bring the perspective of Balinese musicians under consideration. Recently, I undertook a recording project in Bali, working on my composition “Waringin,” written for Gamelan Salukat. Gamelan Salukat is a 20-30-person bronze ensemble with a radical tuning system, comprised of young musicians (~18-30 yrs.) from around the Ubud region of Central Bali. The project became a crossroads of musicianship, uncovering many intriguing tensions—notation versus oral learning, counting rhythms versus feeling or embodying rhythms, and composition versus improvisation. The following ethnographic account explores how the young Balinese musicians tackled the problems we faced and discusses what implications these newly formed strategies have for Balinese music in a contemporary setting where East and West, self and other, participant and observer are no longer divided.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130653217","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: 1

Foreword and Front Matter 前言和正文

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2019-07-16 DOI: 10.5206/notabene.v12i1.8161

E. Chief

引用次数: 0

Not Quite Romeo: Berlioz, Smithson and the Unspoken Truth 《不完全是罗密欧:柏辽兹、史密森和未说出口的真相》

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2019-07-16 DOI: 10.5206/NOTABENE.V12I1.8144

Hope Salmonson

引用次数: 0

Magic and Enlightenment auf der Wiesen: Der Stein der Weisen and Die Zauberflöte 草地上的魔法与亲密无间魔法之笛

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2019-07-16 DOI: 10.5206/NOTABENE.V12I1.8145

M. Greenwald

{"title":"Magic and Enlightenment auf der Wiesen: Der Stein der Weisen and Die Zauberflöte","authors":"M. Greenwald","doi":"10.5206/NOTABENE.V12I1.8145","DOIUrl":"https://doi.org/10.5206/NOTABENE.V12I1.8145","url":null,"abstract":"This paper probes how the rational and the irrational interact in Enlightenment operatic plots, and explores the effect of this interaction on the Viennese public. To do this, I will investigate the fantastic worlds of two operas premiered by the same opera company, both with libretti written by Emanuel Schikaneder:Der Stein der Weisenoder Die Zauberinsel (1790)and Die Zauberflöte (1791). David J. Buch’s seminal book Magic Flutes and Enchanted Forests (2008) explores the intertextual threads of magical ideas in Der Stein der Weisen and Die Zauberflöte, that is, how librettists and composers translated and reprocessed magical themes. I will draw on Buch’s comparison to show how these intertextual connections can be read for their broad cultural resonances. In this paper, I will first establish the connections between Der Stein der Weisen and Die Zauberflötein plot and in music.Then I will show how the later operadiverges from its predecessor and discuss how it manages to diminish the polarity of rationality and irrationality considered central to Enlightenment thinking. Ultimately, I argue, Die Zauberflötefacilitates its audience’s access to Enlightenment values by magical means.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114237672","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

Nipplegate and the Effects of Implicit vs. Explicit Sexuality in Pop Music Performance 乳头门与流行音乐表演中内隐性与外显性的影响

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2019-07-16 DOI: 10.5206/NOTABENE.V12I1.8146

Jessica C MacIsaac

引用次数: 0

Not to Be Born Were Best? A Review of Henry Zajaczkowski's Article on Tchaikovsky's Hidden Program within the Pathétique Symphony 没有出生的人是最好的?评亨利·扎雅兹科夫斯基《柴可夫斯基在《帕萨迪奇交响曲》中隐藏的程序》一文

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2018-07-22 DOI: 10.5206/NOTABENE.V11I1.6615

Céleste Pagniello

{"title":"Not to Be Born Were Best? A Review of Henry Zajaczkowski's Article on Tchaikovsky's Hidden Program within the Pathétique Symphony","authors":"Céleste Pagniello","doi":"10.5206/NOTABENE.V11I1.6615","DOIUrl":"https://doi.org/10.5206/NOTABENE.V11I1.6615","url":null,"abstract":"Pyotr Ilyich Tchaikovsky’s death and final symphony have long been shrouded in mystery. The well-known myth of the symphony’s program suggests that Tchaikovsky left behind a program for his Sixth, to whose existence he hinted throughout his letters and diaries. However, his original program has not been found and divulged after his death. Musicologists have since attempted to reconstruct it from the clues available, although his vague description of it has led to a wide range of speculations. This task is further complicated by the questionable legitimacy of much of the early scholarship surrounding the issue at hand, presenting today’s scholars with the challenge of separating fact from fiction. This paper will scrutinize musicologist Henry Zajaczkowski’s proposition, which is constructed around repression in the composer’s life, particularly regarding his sexuality and his familial relationships. The paper will also expand on Zajaczkowski’s research, and his refutation of Alexandra Orlova’s 1979 claim that the Russian government forced Tchaikovsky’s suicide. Today, the forced-suicide claim is widely regarded as false, and Tchaikovsky’s death seems to have been nothing more than misfortune. In light of this, the article will point to the impossibility in deciphering the Pathétique symphony’s true program despite the numerous clues that Tchaikovsky has left for us to piece it together.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122589184","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

Discriminating Ears: Critical Receptions of Blackness in the Music of George Gershwin and William Grant Still 辨析的耳朵:乔治·格什温和威廉·格兰特·斯蒂尔音乐中对黑人的批判接受

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2018-07-22 DOI: 10.5206/NOTABENE.V11I1.6618

Hannah Edgar

{"title":"Discriminating Ears: Critical Receptions of Blackness in the Music of George Gershwin and William Grant Still","authors":"Hannah Edgar","doi":"10.5206/NOTABENE.V11I1.6618","DOIUrl":"https://doi.org/10.5206/NOTABENE.V11I1.6618","url":null,"abstract":"At the apex of their careers, composers George Gershwin and William Grant Still produced what they believed were their finest works: respectively, Porgy and Bess (1935), an opera by a white American composer about African American subjects, and Troubled Island (1949), an opera by an African American composer about Haitian subjects. However, both works fared poorly upon their premiere, with critics decrying Porgy and Bess and Troubled Island as “unoperatic.” Besides providing historical context to both operas, this paper argues that the critical rhetoric surrounding them was tinged by racialized notions of what musical “blackness” sounded like, or should sound like, to white ears. This paper focuses on critics’ coinage of “the cheap” or “popular” as a euphemism for music inspired by African American musical traditions like jazz, the blues, and spirituals. The paper concludes that, while the art music canon can be responsive to social justice movements, critics’ scorn of works like Porgy and Bess and Troubled Island contributes to the entrenchment of an implicitly racialized high–low musical dichotomy.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128772901","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 : 2018-07-22 DOI: 10.5206/notabene.v11i1.6619

Nota Bene Editors-in-Chief

引用次数: 0

Cover Songs and Tradition: A Case Study of Symphonic Metal 翻唱歌曲与传统:以交响乐金属为例

Nota Bene: Canadian Undergraduate Journal of Musicology Pub Date : 2018-07-22 DOI: 10.5206/NOTABENE.V11I1.6617

Benjamin Hillier

{"title":"Cover Songs and Tradition: A Case Study of Symphonic Metal","authors":"Benjamin Hillier","doi":"10.5206/NOTABENE.V11I1.6617","DOIUrl":"https://doi.org/10.5206/NOTABENE.V11I1.6617","url":null,"abstract":"This paper examines the role of cover songs in the continuation of tradition, and in the formation of a musical canon. It explores the connections between ‘classical’ and heavy metal music as expressed by musicians of said genres, specifically those who partake in both. Furthermore, I argue that the practice of covering works from the Western art music canon in the metal genre, evinces the consequent development of the symphonic metal sub-genre. An embedded investigation attests to Western art music having inspired numerous metal musicians, who have in turn covered said music as a means to show their respect for the tradition. As such, cover versions are essential to continue one tradition in a new direction. Ultimately, these cover versions of classical works liaise classical music and heavy metal, resulting in the formation of the symphonic metal tradition. Covering music also strengthens a musicians’ position as authentic artists by demonstrating their belonging to two rites, and through their work of synthesizing grounds for the fusion of aforementioned rites. This research provides a further basis for examining the same phenomenon in other genres of music that demonstrate inter- and intra-generic links. It also provides a base for research into how rock and metal bands construct their own notions of tradition, canon, and authenticity through the music that they create and adapt.","PeriodicalId":429335,"journal":{"name":"Nota Bene: Canadian Undergraduate Journal of Musicology","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132208745","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