2024-03-28T11:23:56Z
http://ir.lib.uwo.ca/do/oai/
oai:ir.lib.uwo.ca:notabene-1000
2011-10-20T00:59:00Z
publication:notabene
Foreword and Front Matter
James, Aaron
2011-06-10T22:29:58Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol3/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1001
2011-10-20T00:43:54Z
publication:notabene
Venice's <em>Ospedali Grandi</em>: Music and Culture in the Seventeenth and Eighteenth Centuries
Curcio, Alison
2011-06-10T22:29:59Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol3/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1003
2011-10-20T00:44:56Z
publication:notabene
Cartesian Mind-Body Separation in the Characters of Monteverdi's <em>Orfeo</em>
Duerhammer, Kristen
2011-06-10T22:30:01Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol3/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1004
2011-10-20T00:45:23Z
publication:notabene
Modal Jazz and Miles Davis: George Russell's Influence and the Melodic Inspiration behind Modal Jazz
Boothroyd, Myles
2011-06-10T22:30:03Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol3/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1005
2011-10-20T00:45:52Z
publication:notabene
The Spectacle of Nineteenth-Century Virtuosity
Loveland, Alicia
2011-06-10T22:30:04Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol3/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1002
2011-10-20T00:44:28Z
publication:notabene
Impressions and Symbols: Analysing the Aesthetics of Debussy's Practices within His <em>Fin-de-Siècle</em> Mosaic of Inspirations
Hons, Tristan
2011-06-10T22:30:00Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol3/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1006
2011-10-20T00:46:25Z
publication:notabene
Tristan Murail's <em>Tellur</em>: A Piece of Spectral Music and an Exploration of Compositional Possibilities for the Classical Guitar
Bowen, Jeffrey
2011-06-10T22:30:06Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol3/iss1/7
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1007
2011-10-20T01:00:02Z
publication:notabene
Foreword and Front Matter
Clausius, Katharina
Duerhammer, Kristen
Varghese, Veena
2011-07-01T07:58:01Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1012
2011-10-20T00:49:10Z
publication:notabene
Messiaen’s Use of Plainchant After Vatican II: An Analysis of <em>Puer Natus est nobis from Livre du Saint Sacrement</em>
Ropchock, Alanna
2011-07-01T07:58:06Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1009
2011-10-20T00:47:49Z
publication:notabene
Duality and Ambiguity in Britten’s <em>Death in Venice</em>
Liu, Lucy Y.
2011-07-01T07:58:03Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1015
2011-10-20T00:50:25Z
publication:notabene
Redirecting Objectives: Music in Post-War Soviet Russia
Bonczyk, Patrick
2011-07-01T07:58:10Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/9
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1010
2011-10-20T00:48:14Z
publication:notabene
Evoking a Corner of Jewish Life: Moses Milner’s “In Kheyder” for Voice and Piano
Zerin, Samuel
2011-07-01T07:58:04Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1014
2011-10-20T00:49:59Z
publication:notabene
She Loves You: The Beatles and Female Fanaticism
Cura, Kimberly
2011-07-01T07:58:09Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/8
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1008
2011-10-20T00:47:10Z
publication:notabene
Marie, the Modern Feminist? Donizetti and the Heroine of <em>La fille du régiment</em>
Rostosky, Arreanna
2011-07-01T07:58:02Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1011
2011-10-20T00:48:42Z
publication:notabene
A Tribute to Nature: The Evolution of the Night-Music Style in Bartók’s Music
Curcio, Alison K.
2011-07-01T07:58:05Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1013
2011-10-20T00:49:34Z
publication:notabene
“Revolt Against the Modern World:” Exploring the Post-Industrial Romance of Neo-Folk
Kirk, Ryan
2011-07-01T07:58:07Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/7
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1016
2011-10-20T00:50:53Z
publication:notabene
Review: <em>Russian Music and Nationalism from Glinka to Stalin</em>
Gudesblatt, Melanie
2011-07-01T07:58:11Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol2/iss1/10
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1017
2011-10-20T01:00:38Z
publication:notabene
Foreword and Front Matter
Clausius, Katharina
Duerhammer, Kristen
Wang, Dan
2011-08-30T21:58:17Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol1/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1018
2011-10-20T00:51:45Z
publication:notabene
The Isolation and Assimilation of Native Americans in Herbert and Redding’s <em>Natoma</em>
Anderson, Natalie
2011-08-30T21:58:18Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol1/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1019
2011-10-20T00:52:16Z
publication:notabene
Don Giovanni: A Rake for All Seasons
Gudesblatt, Melanie
2011-08-30T21:58:19Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol1/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1021
2011-10-20T00:53:13Z
publication:notabene
Composing in America’s Closet: Queer Encoding in Barber and Menotti’s Opera <em>Vanessa</em>
Holmes, Jessica
2011-08-30T21:58:21Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol1/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1020
2011-10-20T00:52:46Z
publication:notabene
“Weird and Plaintive Utterances:” The Influence of Stravinsky’s <em>The Rite of Spring</em> on Bassoon Writing
Gray, Catherine
2011-08-30T21:58:20Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol1/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1022
2011-10-20T00:53:43Z
publication:notabene
Out of Africa: The Cakewalk in Twentieth-Century French Concert Music
Smith, Lindy
2011-08-30T21:58:22Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol1/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1023
2011-10-20T00:54:14Z
publication:notabene
The Liturgical Function of French Baroque Organ Repertoire
James, Aaron
2011-08-30T21:58:23Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol1/iss1/7
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1024
2011-10-20T00:54:37Z
publication:notabene
Becoming the Charioteer: Gandhi in Philip Glass’s <em>Satyagraha</em>
Varghese, Veena
2011-08-30T21:58:24Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol1/iss1/8
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1025
2011-10-21T23:32:36Z
publication:notabene
Foreword and Front Matter
Jay, Alayna
2011-10-20T01:43:53Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1026
2012-01-20T16:21:58Z
publication:notabene
The Little Man and the Masses: Expression, Form and Politics in Sofia Gubaidulina’s <em>Concerto for Bassoon and Low Strings</em>
Hopkins, Emily
2011-10-20T01:43:54Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1027
2011-10-20T01:28:03Z
publication:notabene
<em>Brundibar</em> in Terezin: Music as Spiritual Resistance During the Holocaust
Blackwell, Jennifer
2011-10-20T01:43:55Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1030
2011-10-20T01:35:14Z
publication:notabene
Shifting Voices and Changing Cultural Identities: Threats and Effects of Dominant Authorities on Newfoundland Traditional Folk Music 1910-1965
Young, Katie
2011-10-20T01:43:58Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1028
2011-11-02T00:04:52Z
publication:notabene
Well-Traveled Tunes: The Lives of Chansons in the Sixteenth Century
Jones, Margaret
2011-10-20T01:43:56Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1029
2011-10-20T01:32:39Z
publication:notabene
Wagner’s <em>Isolde</em>: Questions of Female Representation in Opera
Blake, Grainne Eva
2011-10-20T01:43:57Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1031
2012-01-16T01:04:05Z
publication:notabene
Foreword and Front Matter
Jay, Alayna
2012-01-16T01:31:39Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss2/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1034
2012-01-20T16:15:38Z
publication:notabene
The Little Man and the Masses: The Politics of Sofia Gubaidulina’s <em>Concerto for Bassoon and Low Strings</em>
Hopkins, Emily
2012-01-16T01:31:43Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss2/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1032
2012-01-16T01:08:24Z
publication:notabene
Creating Legitimacy Through Music: A Study of Folk Music Under the Franco Regime
Siess, Ian
2012-01-16T01:31:40Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss2/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1033
2012-01-20T16:10:57Z
publication:notabene
A Musical Arms Race: Beethoven’s Ninth Symphony in East and West Germany and its “Reunification” in the <em>Ode To Freedom</em>
Dimond, Michela
2012-01-16T01:31:42Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss2/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1035
2012-01-16T01:17:44Z
publication:notabene
Beats Not Bombs: Hip-Hop To Create Peace In the Israeli-Palestinian Conflict
Heim, Karin
2012-01-16T01:31:44Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss2/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1036
2012-01-16T01:20:06Z
publication:notabene
Copywrong: A Glance at Media Conglomerates, Copyright Legislation, and Their Impact on the Music Industry
Chilli, Samantha
2012-01-16T01:31:45Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss2/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1038
2012-01-16T01:25:04Z
publication:notabene
Politics and Pergolesi: Examining How Eighteenth-Century Italian Politics Influenced the Growth of Pergolesi’s Neapolitan Style, and Opera Itself
Janik, Matthew
2012-01-16T01:31:48Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss2/8
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1037
2012-01-16T01:22:40Z
publication:notabene
The Politics of Black Sexuality in Classic Blues
Granda, Victoria C.
2012-01-16T01:31:46Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss2/7
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1039
2012-01-16T01:27:31Z
publication:notabene
Fanning the Flames: A Musician’s Role in the Rwandan Genocide
Gowan, Jennifer A.
2012-01-16T01:31:49Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol4/iss2/9
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music
oai:ir.lib.uwo.ca:notabene-1040
2013-04-07T04:16:56Z
publication:notabene
Forward and Front Matter
2013-04-07T04:10:30Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol5/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Musicology
oai:ir.lib.uwo.ca:notabene-1048
2013-04-07T04:07:01Z
publication:notabene
Toward Abstract Expressionism: Reconciling Nature in Modernist Works of Webern and Le Corbusier
Dalke, Leanne
2013-04-07T04:10:31Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol5/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Musicology
oai:ir.lib.uwo.ca:notabene-1047
2013-04-10T02:13:01Z
publication:notabene
Ut pictura musica: Carlo Farina’s <em>Capriccio stravagante</em> and <em>Kunstkammer</em> Paintings
Walden, Daniel
2013-04-07T04:10:30Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol5/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Musicology
oai:ir.lib.uwo.ca:notabene-1049
2013-04-10T02:10:21Z
publication:notabene
Finding Harmony in Times of Hardship: Prokofiev’s <em>War and Peace</em>
Paré-Morin, Tristan
2013-04-07T04:10:32Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol5/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Musicology
oai:ir.lib.uwo.ca:notabene-1052
2013-04-10T02:02:34Z
publication:notabene
“Adventure is out there!”: Pastiche and Postmodernism in the Music of <em>Up</em>
Spiers, Bradley
Film music scholarship has historically focused its attention between two clear-cut scoring practices; the classical Hollywood score and the popular music score. This study attempts to break that mould by investigating the pluralistic trends found in Michael Giacchino’s film score for the film Up(2009), examining the motivic growth of specific leitmotif, and charting how that musical theme is set in a variety of musical. Unlike the classical Hollywood scoring model that is outlined by writers like Claudia Gorbman and Jeff Smith, these diverse musical settings pass through a plethora of distinct genres and styles—both “highbrow” and “lowbrow”—that have hitherto been unseen in film music history. These musical settings allow Giacchino to imbue specific leitmotifs with connotation of diverse musical histories, styles and traditions. The ultimate result is a binary system of signification, with the leitmotifs introversively signifying themes and characters within the film’s diegesis, while the diverse musical settings extroversively signify sights and sounds in the wider world. By synthesizing diverse musical styles into one musical thread, Giacchino’s film scores illustrate the power of music to draw on well-known musical genres from Western culture to enhance audiences’ narrative understanding. In this way, Giacchino’s work in Up straddles inspiration from both the classical and popular Hollywood score, adopting the diverse timbres, styles and aesthetics of the popular score, while still retaining the consistent use and development of a leitmotif that is found in the classical score. I call this new hybridized scoring practice the “pastiche score.”
2013-04-07T04:10:33Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol5/iss1/7
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Film Music
Film Sound
Pixar
Giacchino
Semiotics
Musicology
Other Music
oai:ir.lib.uwo.ca:notabene-1051
2013-04-10T02:15:42Z
publication:notabene
Schools for the Banjo: A Primary Source Study of Nineteenth-Century Banjo Manuals
Crone, Catherine
2013-04-07T04:10:33Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol5/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Musicology
oai:ir.lib.uwo.ca:notabene-1050
2013-04-07T04:05:53Z
publication:notabene
A Neo-Riemannian Approach to Jazz Analysis
Briginshaw, Sara B.P.
2013-04-07T04:10:32Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol5/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Music Theory
oai:ir.lib.uwo.ca:notabene-1053
2013-08-21T19:22:54Z
publication:notabene
Forward and Front Matter
-Chief, Editors-in
2013-08-22T05:16:10Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol6/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
oai:ir.lib.uwo.ca:notabene-1054
2013-09-05T23:08:20Z
publication:notabene
Fleeting Fairy Footprints: Trails of Influence in a Debussy Prelude
Clark, Michael
The titles of Claude Debussy’s twenty-four preludes for solo piano contain many references to places, scenes, and characters, reflecting the composer’s extensive knowledge of music, art, and literature and their influence upon his work. This study explores the rich history of the fourth prelude from book two, “Les fées sont d’exquises danseuses" (“The Fairies Are Exquisite Dancers”). The title “Les fées sont d’exquises danseuses,” set in quotation marks by Debussy himself, indicates the immediate inspiration for the piece: the caption to an illustration by English artist Arthur Rackham in J.M. Barrie’s Peter Pan in Kensington Garden (Siglind Bruhn, Images and Ideas in Modern French Piano Music (Stuyvesant: Pendragon Press, 1997), 150.)
My research asserts that Debussy’s musical portrayal of this illustration draws heavily on characteristics of nineteenth century fairy style, popularized by Mendelssohn in his Overture to A Midsummer Night’s Dream (1826). My study compares the musical content of Debussy’s prelude to the characteristic features of fairy style pioneered by Mendelssohn. In addition, this essay includes an overview of Debussy’s great admiration for the music of Carl Maria von Weber and contends that musical features that Debussy admired in Weber can be seen in Debussy’s own composition through both a direct reference and broader musical principles at work in the middle section of the piece.
2013-08-22T05:16:11Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol6/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Fairy
Music
Debussy
Mendelssohn
Weber
Rackham
Musicology
Music Performance
oai:ir.lib.uwo.ca:notabene-1055
2013-09-02T05:34:09Z
publication:notabene
Performing Ritual: Physical and Musical Gesture in Benjamin Britten’s <em>Curlew River</em>
Tucker, Helen
Benjamin Britten’s Curlew River (1964) defies traditional genre labels, exhibiting characteristics of opera, Japanese Noh drama, and religious ritual. Set in medieval England and given a Christian theme, Curlew River is based on the Noh play Sumidagawa and uses a unique language of physical gesture inspired by Noh traditions. The integration of these physical gestures with the music is one of the ways in which Curlew River projects an atmosphere of ritual. In this paper I examine two passages from Curlew River, each of which demonstrates a close connection between the development of individual musical gestures and the progression of physical actions performed at the same time. In the arietta “Near the Black Mountains,” sung by the character of the Madwoman, the subtle development of a single musical figure is linked to the gradual transformation of the actor’s posture. A similar relationship is present in the Ferryman’s introductory scene, in which physical movements act as punctuation for a sequence of musical statements. In both instances, musical and physical gesture are integrated into a unified form of expression, the intensity and focus of which lend Curlew River its ritual quality.
2013-08-22T05:16:12Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol6/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Benjamin Britten
Curlew River
Gesture
Ritual
Noh
Musicology
oai:ir.lib.uwo.ca:notabene-1056
2013-08-22T01:04:27Z
publication:notabene
Figures Pointing to an End: Operatic Analysis and Modern Sound Design
Dawson, Martin
In a 2003 production of Jean Racine’s Phèdre, the director Patrice Chéreau introduces into the play a bevy of sound effects. The sounds range from solo cello accompaniment to electronically produced crackling noises. This use of sound bears a resemblance to the way music functions in operas of Jean-Philippe Rameau and Richard Wagner. By interpreting these sounds according to models in recent work in operatic analysis, this paper shows how Chéreau’s sound effects achieve new significance as leitmotifs and as commentary on the events of the play. The study of theatre semiotics also provides a pathway for interpreting these sounds as symbols of fate and indications of Hippolyte’s death at the climax of Phèdre. Chéreau highlights the relationships among the tragedy’s characters by surrounding certain words and phrases with specific sound effects, or by inserting sound effects at particular moments of turmoil and at the dramatic climax. In particular, Chéreau emphasizes the themes of forbidden love and deceit in connecting these moments throughout the play. This analysis provides a way for expanding research in sound design by incorporating methods traditionally used for analysing opera.
2013-08-22T05:16:13Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol6/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Theatre Semiotics
Sound Design
Phèdre
Opera
Rameau
Wagner
Musicology
oai:ir.lib.uwo.ca:notabene-1057
2013-08-22T01:08:10Z
publication:notabene
Performance Practice of Early American Hymnody: Tempo and the “Moods of Time”
Fulton, Erin
Modern time signatures indicate metrical organization in notated music. However, in most American hymnals and psalters published between 1721 and 1809, time signatures also signify very specific tempi. This notational practice, further removed from modern usage than any other element of this music, derives from proportional notations abandoned in art music in the seventeenth century. As technically complex music was published using this notation in the 1760s, these time signatures began to be used more subtly. In combination, they provide metrical effects unlike those possible with modern time signatures: doubling or halving tempo, or maintaining the pulse while altering its division or larger metric organization. Viewed from the perspective of modern notation, these functions diverge from their appearance. This article clarifies the correlation between time signature and tempo indicated in eighteenth- and early nineteenth-century American tunebooks (hymnals), arguing for its inclusion in modern performances of this repertoire. Internal evidence and related pedagogical practices suggest these tempi were intended to be observed; most early American theorists, composers, and compilers advocated adherence. Any revival of repertoire first published in this notation, including the works of such composers as William Billings, Daniel Read, and Supply Belcher, would profit by observing these tempi. In a repertoire frequently devoid of interpretive markings, time signatures provide invaluable clues to performers.
2013-08-22T05:16:13Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol6/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Hymnody
Performance Practice
Tempo
Dispersed Harmony
Musicology
oai:ir.lib.uwo.ca:notabene-1058
2013-09-04T21:07:58Z
publication:notabene
“Wir Arme Leut”: Undignified Death and Madness in Berg’s <em>Wozzeck</em>
Parker, Meaghan
Images in Western art of the tragic hero meeting his end typically conjure Romantic topics of honour, stoicism, and transcendence, yet it is questionable whether these projections of artistic death translate to the lived experiences of the dying. The titular protagonist of Alban Berg’s 1922 opera, Wozzeck, experiences death in a way that starkly contrasts Romantic ideals. Wozzeck does not die the honourable, ‘masculine’ death that might be expected from a tragic hero; rather, he capitulates to madness, misery, and poverty. Spurned by those who socially outrank him, Wozzeck is condemned to a shameful death, his fate sealed by his destitution and the sanctimonious prejudice against his ‘immoral’ life. These considerations provide a fascinating starting point for an examination of Berg’s poignant representation of Wozzeck’s death — a death that reflects early twentieth century attitudes that shaped and stigmatized the death experience. In this article I will frame my discussion of Wozzeck by considering the history of death in Western society, particularly the stigmas surrounding the gender and class of the dying individual. This history will inform my analysis of the symbolism in Berg’s music. Detailed analysis of Wozzeck sheds a critical light on the social stigma and class structure mapped onto the suffering, madness, and death of Wozzeck and his lover Marie.
2013-08-22T05:16:14Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol6/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Alban Berg
Wozzeck
twentieth-century opera
Death
Second Viennese School
Musicology
oai:ir.lib.uwo.ca:notabene-1064
2014-08-18T17:13:06Z
publication:notabene
Foreword and Front Matter
-Chief, Editors-in
2014-08-21T01:16:52Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol7/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Ethnomusicology
French and Francophone Literature
Musicology
Music Performance
Music Practice
Music Theory
Other Film and Media Studies
Other Music
oai:ir.lib.uwo.ca:notabene-1065
2014-09-09T16:17:34Z
publication:notabene
<i>Emmanuel Chabrier</i> de Francis Poulenc
Duguay, Michèle
La correspondance de Francis Poulenc, ses entretiens avec Claude Rostand et tout particulièrement la biographie publiée en 1961, Emmanuel Chabrier, révèlent la grande admiration que Poulenc vouait à ce compositeur. Pour Nicholas Southon, cet unique ouvrage de Poulenc représente l'aboutissement d'un projet d'écriture planifié depuis longtemps. Il est vrai que le livre de Poulenc témoigne de l'appréciation profonde que son auteur portait à Chabrier, pourtant il est possible de considérer que d'autres motivations ont également animé l'écriture de cet ouvrage. Certains de ses aspects peuvent être vus comme un effort conscient de la part de Poulenc pour se créer une place dans la même tradition musicale française que Chabrier. Premièrement, Poulenc emploie un ton informel et familier, et fournit des explications détaillées sur l'interprétation de pièces de Chabrier, se donnant ainsi une autorité sur le sujet. Il minimise également l'influence de compositeurs étrangers tels que Wagner sur Chabrier, accentuant plutôt son appartenance aux traditions francaises ainsi que son influence sur la génération de Poulenc lui-même. Finalement, Poulenc crée plusieurs parallèles entre sa propre vie et celle de Chabrier. Ce faisant, il est parvenu à contrôler le discours biographique l'entourant: plusieurs des premiers biographes de Poulenc, comme Henri Hell, reprennent presque exactement ses propos en le plaçant automatiquement dans la même lignée de compositeurs français que Chabrier.
2014-08-21T01:16:53Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol7/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Francis Poulenc
Emmanuel Chabrier
Biography
20th-century French Music
Nationalism
French and Francophone Literature
Musicology
oai:ir.lib.uwo.ca:notabene-1066
2014-08-21T01:47:11Z
publication:notabene
House of Cards: Valuing Music in the Digital Age
Chan Huggins, Alexander
2014-08-21T01:16:54Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol7/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Musicology
Music Practice
Other Film and Media Studies
Other Music
oai:ir.lib.uwo.ca:notabene-1067
2014-08-27T03:07:36Z
publication:notabene
<i>Lachrimae, or Seaven Teares</i> by John Dowland: Tears of Lost Innocence
Shaw, Rebecca
Perhaps the best known English lutenist of the sixteenth and seventeenth centuries, John Dowland (1563? – 1626) wrote numerous pieces for the lute, as a solo and ensemble instrument, including Lachrimae, or Seaven Teares figvred in Seaven Passionate Pavans. Written in 1604, this piece was his final exploration of the popular melody that he had previously used in the lute pavan, “Lachrimae” (1596), and the lute song, “Flow my teares” (1600). Seaven Teares, for five viols and lute, is a series of seven variations whose provocative Latin titles, like Lachrimae Gementes and Lachrimae Verae, have caused some scholars to speculate that the music symbolizes either Elizabethan melancholy or the Fall of Man. However, as seventeenth-century scholarship suggests, the Elizabethan concept of melancholy was intrinsically connected to their perception of the Fall, and a close examination of Dowland’s Seaven Teares corroborates their relationship.
2014-08-21T01:16:55Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol7/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
John Dowland
Elizabethan Melancholy
Fall of Man
Lachrimae
Renaissance Music
oai:ir.lib.uwo.ca:notabene-1069
2014-08-21T01:07:29Z
publication:notabene
Sounds of Australia: Aboriginal Popular Music, Identity, and Place
Jun Wu, James
During the late twentieth century, Australia started to recognize the rights of the Aboriginal people. Indigenous claims for self-determination revolved around struggles to maintain a distinct cultural identity in strategies to own and govern traditional lands within the wider political system. While these fundamental challenges pervaded indigenous affairs, contemporary popular music by Aboriginal artists became increasingly important as a means of mediating viewpoints and agendas of the Australian national consciousness. It provided an artistic platform for indigenous performers to express a concerted resistance to colonial influences and sovereignty. As such, this study aims to examine the meaning and significance of musical recordings that reflect Aboriginal identity and place in a popular culture. It adopts an ethnomusicological approach in which music is explored not only in terms of its content, but also in terms of its social, economic, and political contexts. This paper is organized into three case studies of different Aboriginal rock groups: Bleckbala Mujik, Warumpi Band, and Yothu Yindi. Through these studies, the prevalent use of Aboriginal popular music is discerned as an accessible and compelling mechanism to elicit public awareness about the contemporary indigenous struggles through negotiations of power and representations of place.
2014-08-21T01:16:57Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol7/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Aboriginal Popular Music
Bleckbala Majik
Warumpi Band
Yothu Yindi
Australia
Ethnomusicology
Musicology
Music Performance
Music Practice
Other Languages, Societies, and Cultures
Race, Ethnicity and Post-Colonial Studies
oai:ir.lib.uwo.ca:notabene-1068
2014-08-21T01:03:13Z
publication:notabene
Progressive Chromatic Processes in Rachmaninoff's <i>Étude-Tableau</i> op. 33, no. 8
Niziol, Tegan G. E.
2014-08-21T01:16:56Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol7/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Musicology
Music Theory
oai:ir.lib.uwo.ca:notabene-1070
2015-07-26T20:19:30Z
publication:notabene
Foreword and Front Matter
Editors-in-Chief, Nota Bene
2015-07-26T21:41:03Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol8/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Ethnomusicology
Musicology
Music Performance
Music Practice
Music Theory
Other Film and Media Studies
Other Music
oai:ir.lib.uwo.ca:notabene-1071
2015-07-26T20:37:17Z
publication:notabene
Less is More, and More is Less, More or Less: The Historical Progression, Aesthetic Characteristics, and Physical Limitations of Minimalism
Boer, Sam
Since its emergence as an aesthetic category in the mid-twentieth century, minimalism has been contentious amongst scholars of all forms of art. It has been alternately celebrated, questioned, and condemned by not only its critics, but also the artists whose works have been given the historical title “minimalist.” This article explores the emergence of minimalist music, examining its relation to the earlier “avant-garde” works of John Cage and other eclectic influences, such as jazz and Eastern music. In doing so, this article attempts to establish a broad understanding of the elements integral to minimalist music, with a special focus on the composers La Monte Young, Terry Riley, and Steve Reich. The works of Riley and Reich are compared to the works of visual artists Barnett Newman and Sol LeWitt in order to highlight the pivotal elements of the minimalist aesthetic, including repetition, simplicity, and, to borrow Cage’s term, “Unfixity.” This article concludes that the minimalist compositions of the aforementioned composers ultimately demonstrate the integral characteristics of minimalism better than their visual counterparts, due to the temporal nature of music. However, the article seeks to demonstrate the importance of contemplating visual and musical interpretations of minimalism together, as they are complimentary windows into this modern movement.
2015-07-26T21:41:04Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol8/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Minimalism
Aesthetic
History
Art
Reich
Fine Arts
Interdisciplinary Arts and Media
Musicology
Music Performance
Music Practice
Other Music
oai:ir.lib.uwo.ca:notabene-1073
2015-07-26T20:48:04Z
publication:notabene
Harmonic Language in The Legend of Zelda: Ocarina of Time
Gervais, Nicholas
This paper examines the work of Koji Kondo in the 1998 video game The Legend of Zelda: Ocarina of Time. Using a variety of techniques of harmonic analysis, the paper examines the commonalities between teleportation pieces and presents a model to describe their organization. Concepts are drawn from the work of three authors for the harmonic analysis. William Caplin’s substitutions; Daniel Harrison’s fundamental bases; and, Dmitri Tymoczko’s parsimonious voice leading form the basis of the model for categorizing the teleportation pieces. In general, these pieces begin with some form of prolongation (often tonic); proceed to a subdominant function; employ a chromatically altered chord in a quasi-dominant function; and, end with a weakened cadence in the major tonic key. By examining the elements of this model in each piece, this paper explains how the teleportation pieces use unusual harmonic language and progressions while maintaining a coherent identity in the context of the game’s score.
2015-07-26T21:41:06Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol8/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Game
Zelda
Harmony
Analysis
Progression
Musicology
Music Theory
Other Film and Media Studies
Other Music
oai:ir.lib.uwo.ca:notabene-1072
2015-07-26T20:42:56Z
publication:notabene
Sonic Stereotypes: Jazz and Racial Signification in American Film and Television Soundtracks
Jackson, Kyle
This paper examines the use of jazz in contemporary American film and television soundtracks. Through processes of cultural signification, jazz music frequently maps racialized meaning onto the narrative. Often, a “black” jazz aesthetic signifies social and sexual deviance, while a “white” jazz aesthetic signifies elegance and high-culture. Such associations reinforce racial boundaries and essentialist stereotypes by perpetuating a dichotomy in which “blackness” figures as culturally dangerous (e.g. sexually deviant, unrestrained, threatening, and low-class) and “whiteness” as elite and culturally superior (e.g. civilized, educated, and high-class). To demonstrate this, the soundtracks of Anthony Minghella’s The Talented Mr. Ripley (1999); Ryan Murphy and Brad Falchuk’s American Horror Story: Coven (2013); and, Howard Gordon and Alex Gansa’s Homeland (2011) are examined. These examples are then compared to Spike Lee’s Do The Right Thing (1989), a film featuring sympathetic representations of African American identity. In Lee’s film, jazz challenges—rather than reinforces—racial discourse; a characteristic likely linked to Lee’s background as an African American with parents involved in the arts, black literature, and jazz composition. By comparing Lee’s alternative use of jazz to the preceding examples, it is argued that the use of the genre in film and television soundtracks as a stereotyping device reflects racial biases prominent in contemporary culture.
2015-07-26T21:41:05Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol8/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Jazz
Race
Signification
Film
Soundtracks
African American Studies
African Languages and Societies
American Film Studies
American Popular Culture
Musicology
Music Performance
Music Practice
Other Film and Media Studies
Other Music
Television
oai:ir.lib.uwo.ca:notabene-1074
2015-07-26T20:51:55Z
publication:notabene
Anton Weidinger and the Emergence of His Voice: The Keyed Trumpet
Sexton, Jeremy W.
This paper examines Anton Weidinger, the 18th- and early 19th-century keyed trumpet player for whom Joseph Haydn and Johann Nepomuk Hummel composed their trumpet concerti. As the most successful of many attempts to chromaticize the trumpet in the late 18th century, during which the Baroque clarino style of trumpet-playing was waning, Weidinger’s keyed trumpet enjoyed a short-lived period of prominence from about 1800 to 1804, the period during which Weidinger premiered these two concerti. Subsequently, the keyed trumpet declined in popularity, and eventually it was replaced by the valve trumpet. Both concerti emphasize the chromatic capabilities of the new instrument. A detailed examination of some passages from the third movements of the two concerti suggests a deliberate attempt on the part of Hummel (perhaps under Weidinger’s influence) to “quote” and outdo the most virtuosic passages in the Haydn concerto and to cast the new instrument as capable of playing in a “singing” operatic style. Musical quotation from Luigi Cherubini’s opera Les Deux Journées further cements the implicit connection Hummel draws between the keyed trumpet and opera (and, by extension, the human voice). The paper concludes that Weidinger and Hummel sought, in Hummel’s concerto, to announce to the musical world that the trumpet was ready to move beyond its Classical status as a tutti instrument. Though the success of Weidinger and his keyed trumpet was transient, the two concerti composed for him today stand as cornerstones of the solo trumpet literature.
2015-07-26T21:41:07Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol8/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Anton Weidinger
Joseph Haydn
Johann Nepomuk Hummel
Keyed Trumpet
Trumpet Concerto
Musicology
Music Performance
Music Practice
Other Music
oai:ir.lib.uwo.ca:notabene-1075
2015-07-26T20:57:55Z
publication:notabene
The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen
Timmermans, Matthew
This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. . The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme. From this research I hope to encourage scholars to critically examine the connections between theatre design, composition and performance so that we may better understand the process by which works are manifested in performance.
2015-07-26T21:41:08Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol8/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Richard Wagner
Performance Practice
Architecture
Philosophy
Opera
Architectural History and Criticism
Interior Architecture
Musicology
Music Performance
Music Practice
Other Architecture
Other Music
Other Philosophy
oai:ir.lib.uwo.ca:notabene-1076
2015-07-29T11:52:45Z
publication:notabene
Lustmord or Liebestod? Death in Ernst Krenek and Oskar Kokoschka's Orpheus und Eurydike
Harrington, Leo
In 1923, Ernst Krenek composed an operatic setting of Orpheus und Eurydike, a drama by painter and occasional playwright Oskar Kokoschka. Because musicologists and opera houses alike have overlooked this work, credit afforded to Krenek for his role in Weimar modernity is often confined to the Zeitoper vein of 1920s European culture: the cosmopolitan, jazz-inspired, contemporary aesthetic of Krenek’s 1927 Jonny Spielt Auf. This article, the first English-language study devoted to Orpheus und Eurydike, explores Krenek’s contribution to another crucial facet of Weimar culture: the Austro-German identity crisis provoked by defeat in World War I and social upheaval.
After tracing the opera’s rich genealogy and situating it in the lives of its creators (Alma and Gustav Mahler, among others, influenced Kokoschka's original play), this paper focuses on the drama’s multiple death scenes. Drawing on scholar Maria Tatar’s study of the Weimar obsession with sexually-tinged female death, I argue through score and libretto analysis that Krenek and Kokoschka synthesize aspects of the contemporary Lustmord (sexual murder) trope with elements of the Wagnerian Liebestod (love death) archetype. Rather than reconcile them with their artistic predecessors, however, this synthesis fleshes out the Lustmord latent in any Liebestod. With its first performance in 1926, this opera joined the ranks of “progressive” works by male artists who used aesthetic violence against women to navigate the Weimar identity crisis—in many ways, a crisis of masculinity. Paying Orpheus und Eurydike the attention it deserves underscores Krenek’s seminal but underappreciated role in both the glittering and dark sides of Weimar culture, and reveals just how interrelated those two sides are. Though it retells a well-worn classical myth, this Orpheus is as much an “opera of its time” as Jonny.
2015-07-26T21:41:09Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol8/iss1/7
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Krenek
Kokoschka
Orpheus
Lustmord
Weimar
Musicology
Music Performance
Music Practice
Other Feminist, Gender, and Sexuality Studies
Other Music
oai:ir.lib.uwo.ca:notabene-1079
2016-05-12T17:32:50Z
publication:notabene
Zarlino, Anamorphosis, and Cinquecento Italy
Li, Edwin
This paper examines the relationship between Gioseffo Zarlino’s personal considerations and the socio-cultural circumstances in Cinquecento Italy on the basis of anamorphosis—the idea that an object can be understood from multiple angles. Arguably one of the most important theorists of the sixteenth century, Zarlino, although cognizant of chords as vertical constructs, deliberately disguised tonality as modality. This prompts a myriad of questions as to why he did not further develop his theory into a major-minor schema, given that he had already emphasized the Ionian and Aeolian modes in Le Istitutioni Harmoniche. This paper explores the reasons behind his conservatism, arguing that Zarlino’s religious posts and the tumultuous religious-cultural-political climate of late-sixteenth-century Venice influenced his anamorphic inclinations. The paper also attributes his constraint to the prevalent Renaissance concept of the imitation of nature. By looking into the essential qualities of nature, notably eternality, this paper claims that the imitation of nature can explain both the perpetuation of modality and Zarlino’s adoption of tonality. The paper concludes that Zarlino’s belief in God can be seen as an overarching force in his theoretical formulation, positing a hierarchical relationship among the factors discussed.
2016-05-12T17:54:38Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol9/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Zarlino
Anamorphosis
Cinquecento Italy
modality
tonality
European History
Liturgy and Worship
Musicology
Music Theory
oai:ir.lib.uwo.ca:notabene-1078
2016-05-12T16:55:12Z
publication:notabene
Performing Feminine Aging: The Marschallin’s Body in <i>Der Rosenkavalier</i>
Krawetz, Alexandra
This paper applies theories from gerontology to analyze the music and text from Richard Strauss and Hugo von Hofmannsthal’s Der Rosenkavalier (1911) in order to examine the Marschallin’s attitude towards her aging female body. After illustrating the signifiers that code the Marschallin’s body as feminine, this paper incorporates Chris Gilleard’s idea from gerontology, that embracing feminine sexuality prevents the desexualizing process of aging, to examine the Marschallin’s sexual escapism. Then, with the incorporation of biographical accounts discussing reflection on past experiences and Marja Saarenheimo’s gerontological theory that memories are embodied processes, the paper analyzes how aspects of nostalgia relate to the Marschallin’s process of remembering her younger body through musical and textual repetition. The paper concludes with a brief examination of the extra-musical connotations of the waltz and an investigation of the Marschallin and waltz tempi through the lens of gerontology, which revisits the topics of sexual escapism and nostalgia. At the end of the opera, this analysis of the Marschallin shows that she accepts her aging body and exerts control over her own life.
2016-05-12T17:54:27Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol9/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Richard Strauss
Hugo von Hofmannsthal
Der Rosenkavalier
gerontology
opera
Gerontology
Musicology
Other Feminist, Gender, and Sexuality Studies
Women's Studies
oai:ir.lib.uwo.ca:notabene-1080
2016-06-16T23:58:14Z
publication:notabene
The Turkish <i>Bağlama</i>: A Sacred Symbol of Alevi Identity
Adams, Rashid Epstein
For the Alevi, the bağlama has become a powerful symbol of group identity. This paper discusses the important role that this Turkish folk instrument has in Alevi musical traditions and practices by first contextualizing the historical position of the Alevi in Turkish society, and then by examining the role of the bağlama in traditional ceremonial performance contexts. Finally, this paper examines the role Arif Sağ, a popular bağlama musician, played in cultural revival and how the sphere of his influence contributed directly to the bağlama becoming a sacred symbol of Alevi identity.
2016-05-12T17:54:46Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol9/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Bağlama
Alevi
Turkish Music
Identity
Arif Sağ
Cultural History
Ethnomusicology
History of Religion
Islamic Studies
Islamic World and Near East History
Music Performance
Music Practice
Near Eastern Languages and Societies
Political History
oai:ir.lib.uwo.ca:notabene-1081
2016-06-17T00:02:24Z
publication:notabene
Paris and the Awakening of Wagner's Nationalism
Mojsilovic, Jelisaveta
At the beginning of his career, Richard Wagner (1813–1883), was considered a universal composer—a true cosmopolitan. However, indigence, the “bad” tastes of the Parisian audiences, and poor relationships with the managers of French musical institutions had a huge impact on Wagner’s perception of foreign music. Furthermore, the representatives of Parisian music life were indifferent to foreign composers, particularly those of German nationality, and were wary of themes related to German culture. This paper explores Wagner’s first stay in Paris, from 1839 to 1842, through analysis of his writings during that time. A comparison of Wagner’s texts written before his time in Paris and those written after his return to Saxony reveals an emotional intensification towards the German tradition, foreshadowing its zenith in his mature writings and his unconditional turn towards the German tradition.
2016-05-12T17:54:54Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol9/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Richard Wagner
Paris
nationalism
German culture
reception history
European History
Musicology
oai:ir.lib.uwo.ca:notabene-1082
2016-05-12T17:33:24Z
publication:notabene
Socratic Dialogue as a Framework for Understanding Activist Music during the Ebola Outbreak in Liberia
Slaney, Evan
This paper argues that Plato’s Socratic Dialogues can effectively model the process through which musical activism is understood by listeners. The Socratic Dialogues, as an abstract model, are first analyzed for advantages and disadvantages when using them to understand musical activism. This analysis breaks the dialogues into two stages: “Deconstruction” and “Collaboration.” The model is then applied to the song “Ebola is Real” by F. A., Soul Fresh, and DenG, a work that arose from the outbreak of Ebola virus disease in Liberia in March 2014. The song was supported by UNICEF and has a clear activist agenda. The song structure, lyrics and commentary on the song are examined with the Socratic Dialogues in mind. The paper concludes that Plato’s Socratic Dialogues offer a clear model for understanding the complex processes and relationships at work in musical activism.
2016-05-12T17:55:02Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol9/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Activism
Ebola
Plato
Liberia
Ontology
Community Health and Preventive Medicine
Ethnomusicology
International Public Health
Medical Education
Music Education
Musicology
Music Performance
Public Health Education and Promotion
Virus Diseases
oai:ir.lib.uwo.ca:notabene-1083
2016-05-12T17:37:37Z
publication:notabene
Foreword and Front Matter
Editors-in-Chief, Nota Bene
2016-05-12T17:54:16Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol9/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Ethnomusicology
Music Education
Musicology
Music Performance
Music Practice
Music Theory
oai:ir.lib.uwo.ca:notabene-1084
2016-06-17T19:36:25Z
publication:notabene
Foreword and Front Matter
Editors-in-Chief, Nota Bene
2017-07-03T14:32:18Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol10/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Ethnomusicology
Music Education
Musicology
Music Performance
Music Practice
Music Theory
oai:ir.lib.uwo.ca:notabene-1086
2017-07-03T13:59:22Z
publication:notabene
<i>In coelo et in terra</i>: Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’s Megalynodia Sionia
Ross, Adrian D. J.
Michael Praetorius (1571–1621) ranks among the most prolific German musical figures of the seventeenth century. Despite his stature, many of his works, especially his earlier collections, remain largely understudied and underperformed. This paper examines one such early collection, the Megalynodia Sionia, composed in 1602, focussing on the relationship between formal structure of its first three Magnificat settings and the Lutheran theological ideal of uniting the Word of God with music. Structurally, these three Magnificats are distinguished by their interpolation of German chorales within the Latin text. In order to understand his motivations and influences behind the use of this technique unique at the time of composition, the paper explores Praetorius’s religious surroundings in both the personal and civic realms, revealing a strong tradition of orthodox Lutheran theology. To understand the music in light of this religious context, certain orthodox Lutheran liturgical practices are examined, in particular the Vespers service and alternatim, a compositional technique using alternating performing forces which Praetorius used to unite the Latin and German texts. Referencing Praetorius’s own theoretical writings, this paper proposes a relation between alternatim and the concerto principle. Analysis of Praetorius’s use of this technique as the large-scale form of the Magnificats in the context of his writings and beliefs ultimately suggests a union between Praetorius’s structural compositional decisions and Lutheran beliefs.
2017-07-03T14:32:22Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol10/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Praetorius
Magnificat
Concerto
Lutheranism
alternatim
Musicology
Music Practice
oai:ir.lib.uwo.ca:notabene-1088
2017-07-03T14:07:29Z
publication:notabene
Buying into the Ideal Performance of Womanhood: Gendered Marketing in the Recontextualization of “She’s Always a Woman” for John Lewis’ Advertising Campaign
Doherty, Emma
This paper investigates the role of Fyfe Dangerfield’s cover of “She’s Always a Woman” by Billy Joel, within the presentation of heteronormative gender roles in John Lewis’ 2010 advertising campaign. After outlining the narrative of the advertisement and the ways in which the female protagonist is gendered from girlhood to womanhood, this paper draws upon the work of feminist scholar Judith Butler to problematize John Lewis’s portrayal of gender to show how it perpetuates heteronormative stereotypes. Then, drawing on theories of popular music surrounding identity and the importance of lyrics, John Lewis’ use of Fyfe Dangerfield’s cover is analyzed, outlining the way in which the music strengthens a simplistic narrative of ideal girlhood and womanhood, as well as how it encourages potential customers to identify with the brand. The paper then questions whether John Lewis is able to challenge heteronormativity due to their established brand identity or whether the responsibility falls upon the society, and concludes that it is essential to challenge the function of gender and music within advertisements.
2017-07-03T14:32:27Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol10/iss1/3
https://ir.lib.uwo.ca/context/notabene/article/1088/filename/0/type/additional/viewcontent/_4__Emma_Doherty.pdf
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Gender
advertising
popular music
heteronormativity
womanhood
Musicology
Music Performance
Other Feminist, Gender, and Sexuality Studies
oai:ir.lib.uwo.ca:notabene-1089
2017-07-03T14:14:58Z
publication:notabene
The Poetry is the Pity: The War Requiem and Poetic Consolation
Ferrari, Gabrielle
Benjamin Britten’s War Requiem sets nine of Wilfred Owen’s war poems alongside the words of the Missa pro defunctis, allowing these texts to interrogate and comment on each other. Owen’s poems describe the horrors of trench warfare, and often, harshly indict both church and state for their complicity in war-mongering. Scholars such as Philip Rupprecht, Heather Wiebe, David B. Greene, and George D. Herbert have explored how Owen’s texts work to subvert the text of the Mass, and deny religious and musical consolation. Such readings place the War Requiem in line with Owen’s preface to his Collected Poems, in which he rejects consolatory mourning. This article, however, suggests that moments in the War Requiem work to deconstruct Owen’s preface. Britten’s juxtaposition of Owen’s poems with the text of the Missa pro defunctis, specifically in the Agnus Dei and Libera me, works to undermine Owen’s poetic goals as outlined in the preface, bringing out irony not immediately apparent in Owen’s work. This article closely examines Owen’s poems in the context of Britten’s settings and compares Owen’s poems to their Latin counterparts. It reveals moments in which Britten’s text setting alters the implications of Owen’s words to allow moments of consolatory mourning that directly contradict Owen’s purported poetic goals and cast doubt on the possibility of completely non-consolatory mourning. It concludes that the War Requiem offers a new kind of consolation, in which the acknowledgement of the impossibility of musical and poetic consolation becomes a tool to confront grief.
2017-07-03T14:32:31Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol10/iss1/4
https://ir.lib.uwo.ca/context/notabene/article/1089/filename/0/type/additional/viewcontent/_5__Gabrielle_Ferrari.pdf
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
War Requiem
consolation
Wilfred Owen
Benjamin Britten
deconstruction
Composition
Musicology
oai:ir.lib.uwo.ca:notabene-1090
2017-07-03T14:23:57Z
publication:notabene
The Synchretic Network: Linking Music, Narrative, and Emotion in the Video Game <i>Journey</i>
Mouraviev, Ivan
In the 2012 video game Journey, music is an important component of the playing experience. This study adopts an interdisciplinary approach, drawing on narratology, semiology, and film-sound theory to examine the relationship between music, narrative, and emotion in Journey. After first discussing video games’ interactivity in general, philosopher Dominic Lopes’ theory of digital art is presented as a means of articulating the interactive aspects of Journey’s soundtrack. Theories set out by scholars Jochen Kleres and Michel Chion—which deal with the narrativity of emotions and audiovisual meaning, respectively—are then integrated to produce the “synchretic network”: a theoretical framework for analyzing the effect of the juxtaposition of music, moving images, and an emotional response that occurs when a viewer or player engages with audiovisual art. This is followed by an analysis of a personal experience of Journey using the synchretic network to understand how the game’s music performs narrative functions. Finally, this study reflects on the synchretic network and its potential to be broadly applicable, including in the study of other audiovisual media such as film.
2017-07-03T14:32:35Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol10/iss1/5
https://ir.lib.uwo.ca/context/notabene/article/1090/filename/0/type/additional/viewcontent/_6__Ivan_Mouraviev.pdf
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Journey
synchresis
narrative
emotion
audiovisual media
Game Design
Musicology
Other Music
oai:ir.lib.uwo.ca:notabene-1099
2018-08-07T01:34:36Z
publication:notabene
Not to Be Born Were Best? A Review of Henry Zajaczkowski's Article on Tchaikovsky's Hidden Program within the <i>Pathétique Symphony</i>
Pagniello, Céleste
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.
2018-07-23T00:55:26Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol11/iss1/2
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Tchaikovsky
Program Music
Symphony No. 6 "Pathétique"
Repression
Suicide
Musicology
oai:ir.lib.uwo.ca:notabene-1102
2018-07-23T00:05:59Z
publication:notabene
Discriminating Ears: Critical Receptions of Blackness in the Music of George Gershwin and William Grant Still
Edgar, Hannah
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.
2018-07-23T00:55:46Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol11/iss1/5
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
William Grant Still
George Gershwin
music criticism
race
opera
Musicology
oai:ir.lib.uwo.ca:notabene-1101
2018-07-23T00:00:50Z
publication:notabene
Cover Songs and Tradition: A Case Study of Symphonic Metal
Hillier, Benjamin
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.
2018-07-23T00:55:39Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol11/iss1/4
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Cover songs
symphonic metal
Western Art Music
canon
authenticity
Musicology
oai:ir.lib.uwo.ca:notabene-1098
2018-07-23T00:07:43Z
publication:notabene
Behind the Bandstand: Jay G. Sims and the Internal Workings of the Sousa Band
McAlister, Caitlin D.
From 1919 to 1932 trombonist, Jay G. Sims, served as the personnel manager for the Sousa Band. The Harry Ransom Center at University of Texas at Austin holds Sim's business correspondences which divulge his crucial role in the band’s operations, shedding light on his contributions to the band's success as a touring group. Notwithstanding so, there is relatively little information about him in the existing scholarship on John Philip Sousa and the Sousa Band. This paper explores Sims’ position as personnel manager for the Sousa Band through an examination of his correspondences. There is particular focus on his day-to-day functions, including his input on hiring decisions and recruitment of members, as well as purchasing of equipment for the band’s performances. Furthermore, Sims’ correspondence offers a rare, behind-the-scenes glimpse of the Sousa Band, one of the most famous touring musical groups of the early-twentieth century. By using Sims’ own documents as a primary source, it is possible through letters and invoices, not only to determine the exact nature of Sims’ role within the Sousa Band, but also how his administrative position impacted the band’s operations.
2018-07-23T00:55:19Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol11/iss1/1
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
John Philip Sousa
band
20th century music
Sousa Band
Jay G. Sims
Musicology
oai:ir.lib.uwo.ca:notabene-1100
2018-07-25T20:48:51Z
publication:notabene
A Mythic Heroine in <i> Der Rosenkavalier </i>
Ramzy, Bridget
This paper explores the Allomatische—Strauss and Hofmannsthal's concept of transformation by means of taking risk—through its application to Der Rosenkavalier's Marie-Therese (the Marschallin). The Allomatische’s very apparent presence throughout Strauss and Hofmannsthal’s collaborations in their “mythic” operas, urges its examination in Der Rosenkavlier. This paper explores the Marschallin's risk in context of gender, arguing that her self-acceptance as an ageing woman is an exceedingly brave act, that in-turn transforms her. In this paper, a character study of the Marschallin in Act I before the transformation, and after in Act III is presented and corroborated by interspersed musical examples. A comparison with other characters, both male and female, further establishes the gendered context of the Marschallin's risk. In conclusion, the Marschallin's brave risk of self-acceptance as an aging woman transforms her, and places her in the pantheon of Strauss and Hofmannsthal's mythic heroines.
2018-07-23T00:55:32Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol11/iss1/3
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
opera
gender
Der Rosenkavalier
the Marschallin
Richard Strauss
Musicology
oai:ir.lib.uwo.ca:notabene-1104
2018-07-25T21:10:04Z
publication:notabene
Foreword and Front Matter
Editors-in-Chief, Nota Bene
2018-07-27T00:17:10Z
article
application/pdf
https://ir.lib.uwo.ca/notabene/vol11/iss1/6
Nota Bene: Canadian Undergraduate Journal of Musicology
Scholarship@Western
Musicology