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.