bluuebunny/crossref_metadata_2025 huggingface dataset:
Quantification of the lithogenic carbon pump following a dust deposition event
Authors: Bressac M. , Guieu C. , Doxaran D. , Bourrin F. , Desboeufs K. , Leblond N. , Ridame C.
Published: August 2013

Abstract. Lithogenic particles, such as desert dust, have been postulated to influence particulate organic carbon (POC) export to the deep ocean by acting as mineral ballasts. However, an accurate understanding and quantification of the POC-dust association that occurs within the upper ocean is required in order to affine the "ballast hypothesis". In the framework of the DUNE project, two artificial seedings were performed seven days apart within large mesocosms. A suite of optical and biogeochemical measurements were used to quantify surface POC export following simulated dust events within a low-nutrient low-chlorophyll ecosystem. The two successive seedings led to a 2.3–6.7 fold higher POC flux as compared to the POC flux observed in controlled mesocosms. A simple linear regression analysis revealed that the lithogenic fluxes explained more than 85% of the variance in POC fluxes. At the scale of a dust deposition event, we estimated that 42–50% of POC fluxes were strictly associated with lithogenic particles through an aggregation process. Lithogenic ballasting also likely impacted the remaining POC fraction which resulted from the fertilization effect. The observations support the "ballast hypothesis" and provide a quantitative estimation of the surface POC export abiotically triggered by dust deposition. In this work, we demonstrate that the strength of such a "lithogenic carbon pump" depends on the biogeochemical conditions of the water column at the time of deposition. Based on these observations, we suggest that this "lithogenic carbon pump" could represent a major component of the biological pump in oceanic areas subjected to intense atmospheric forcing.
Eddy-covariance flux errors due to biases in gas concentration measurements: origins, quantification and correction
Authors: Fratini G. , McDermitt D. K. , Papale D.
Published: August 2013

Abstract. Errors in gas concentration measurements by infrared gas analysers can occur during eddy-covariance campaigns, associated with actual or apparent instrumental drifts or to biases due to thermal expansion, dirt contamination, aging of components or errors in field operations. If occurring on long time scales (hours to days), these errors are normally ignored during flux computation, under the assumption that errors in mean gas concentrations do not affect the estimation of turbulent fluctuations and, hence, of covariances. By analysing instrument theory of operation, and using numerical simulations and field data, we show that this is not the case for instruments with curvilinear calibrations; we further show that if not appropriately accounted for, concentration biases can lead to roughly proportional systematic flux errors, where the fractional errors in fluxes are about 30–40% the fractional errors in concentrations. We quantify these errors and characterize their dependency on main determinants. We then propose a correction procedure that largely – potentially completely – eliminates these errors. The correction, to be applied during flux computation, is based on knowledge of instrument calibration curves and on field or laboratory calibration data. Finally, we demonstrate the occurrence of such errors and validate the correction procedure by means of a field experiment, and accordingly provide recommendations for in situ operations. The correction described in this paper will soon be available in the EddyPro software (www.licor.com/eddypro).
Long-term dynamics of buried organic carbon in colluvial soils
Authors: Wang Z. , Van Oost K. , Lang A. , Clymans W. , Govers G.
Published: August 2013

Abstract. Colluvial soils are enriched in soil organic carbon (SOC) in comparison to the soils of upslope areas due to the deposition and subsurface burial of SOC. It has been suggested that the burial of SOC has important implications for the global carbon cycle, but the long-term dynamics of buried SOC remains poorly constrained. We address this issue by determining the SOC burial efficiency (i.e., the fraction of originally deposited SOC that is preserved in colluvial deposits) of buried SOC as well as the SOC stability in colluvial soils. We quantify the turnover rate of deposited SOC by establishing sediment and SOC burial chronologies. The SOC stability is derived from soil incubation experiments and the δ13C values of SOC. The C burial efficiency was found to decrease exponentially with time reaching a constant ratio of approximately 17%. This exponential decrease is attributed to the increasing recalcitrance of buried SOC with time and a less favourable environment for SOC decomposition with increasing depth. Buried SOC is found to be more stable and degraded in comparison to SOC sampled at the same depth at a stable site. This is due to preferential mineralization of the labile fraction of deposited SOC resulting in enrichment of more degraded and recalcitrant SOC in colluvial soils. In order to better understand the long-term effects of soil erosion for the global C cycle, the temporal variation of deposited SOC and its controlling factors need to be characterized and quantified.
The last 7 millennia of vegetation and climate changes at Lago di Pergusa (central Sicily, Italy)
Authors: Sadori L. , Ortu E. , Peyron O. , Zanchetta G. , Vannière B. , Desmet M. , Magny M.
Published: August 2013

Abstract. The aim of this study is to investigate climate changes and human activities under the lens of palynology. Based on a new high-resolution pollen sequence (PG2) from Lago di Pergusa (667 m a.s.l., central Sicily, Italy) covering the last 6700 yr, we propose a reconstruction of climate and landscape changes over the recent past in central Sicily. Compared to former studies from Lago di Pergusa (Sadori and Narcisi, 2001), this work provides a reconstruction of the evolution of vegetation and climate over the last millennia in central Sicily, indeed completing previous results with new pollen data, which is particularly detailed on the last 3000 yr. Joint actions of increasing dryness, climate oscillations, and human impact shaped the landscape of this privileged site. Lago di Pergusa, besides being the main inland lake of Sicily, is very sensitive to climate change and its territory was inhabited and exploited continuously since the Palaeolithic. The lake sediments turned out to be a good observatory for natural phenomena that occurred in the last thousands of years. Results of the pollen-based study are integrated with changes in magnetic susceptibility and a tephra layer characterization. The tephra layer was shown to be related to the Sicanians' event, radiocarbon dated at 3055 ± 75 yr BP (Sadori and Narcisi, 2001). We performed palaeoclimate reconstructions by MAT (Modern Analogues Technique) and WAPLS (Weighted Average Partial Least Square). Palaeoclimate reconstructions based on the core show important climate fluctuations throughout the Holocene. Climate reconstruction points out four phases of cooling and enhanced wetness in the last three millennia (2600–2000, 1650–1100, 850–550, 400–200 cal BP, corresponding to the periods between 650–50 BC, and 300–850, 1100–1400, 1550–1750 AD, respectively). This appears to be the evidence of local responses to global climate oscillations during the recent past.
From maps to movies: high resolution time-varying sensitivity analysis for spatially distributed watershed models
Authors: Herman J. D. , Kollat J. B. , Reed P. M. , Wagener T.
Published: August 2013

Abstract. Distributed watershed models are now widely used in practice to simulate runoff responses at high spatial and temporal resolutions. Counter to this purpose, diagnostic analyses of distributed models currently aggregate performance measures in space and/or time and are thus disconnected from the models' operational and scientific goals. To address this disconnect, this study contributes a novel approach for computing and visualizing time-varying global sensitivity indices for spatially distributed model parameters. The high-resolution model diagnostics employ the method of Morris to identify evolving patterns in dominant model processes at sub-daily timescales over a six-month period. The method is demonstrated on the United States National Weather Service's Hydrology Laboratory Research Distributed Hydrologic Model (HL-RDHM) in the Blue River watershed, Oklahoma, USA. Three hydrologic events are selected from within the six-month period to investigate the patterns in spatiotemporal sensitivities that emerge as a function of forcing patterns as well as wet-to-dry transitions. Surprisingly, events with similar magnitudes and durations exhibit significantly different performance controls in space and time, indicating that the diagnostic inferences drawn from representative events will be heavily biased by the a priori selection of those events. By contrast, this study demonstrates high-resolution time-varying sensitivity analysis, requiring no assumptions regarding representative events and allowing modelers to identify transitions between modeled hydrologic regimes a posteriori. The proposed approach details the dynamics of parameter sensitivity in nearly continuous time, providing critical diagnostic insights into the underlying model processes driving predictions. Furthermore, the approach offers the potential to identify transition points between hydrologic regimes under nonstationarity.
Influence of soil, land use and climatic factors on the hydraulic conductivity of soil
Authors: Jarvis N. , Koestel J. , Messing I. , Moeys J. , Lindahl A.
Published: August 2013

Abstract. Due to inadequate data support, existing algorithms used to estimate soil hydraulic conductivity, K, in (eco)hydrological models ignore the effects of key site factors such as land use and climate and neglect the significant effects of soil structure on water flow at and near saturation. These limitations may introduce serious bias and error into predictions of terrestrial water balances and soil moisture status, and thus plant growth and rates of biogeochemical processes. To resolve these issues, we collated a new global database of hydraulic conductivity measured by tension infiltrometer under field conditions. The results of our analyses on this dataset contrast markedly with those of existing algorithms used to estimate K. We show that the saturated hydraulic conductivity, Ks, in topsoil (< 0.3 m depth) is only very weakly related to texture. Instead, Ks depends more strongly on bulk density, organic carbon content and land use and management factors. In this respect, the results show that arable sites have, on average, ca. 2 to 3 times smaller Ks values than natural vegetation, forests and perennial agriculture. The data also clearly demonstrates that clay soils have smaller K in the soil matrix and thus a larger contribution of soil macropores to K at and near saturation.
Waveform classification of airborne synthetic aperture radar altimeter over Arctic sea ice
Authors: Zygmuntowska M. , Khvorostovsky K. , Helm V. , Sandven S.
Published: August 2013

Abstract. Sea ice thickness is one of the most sensitive variables in the Arctic climate system. In order to quantify changes in sea ice thickness, CryoSat-2 was launched in 2010 carrying a Ku-band radar altimeter (SIRAL) designed to measure sea ice freeboard with a few centimeters accuracy. The instrument uses the synthetic aperture radar technique providing signals with a resolution of about 300 m along track. In this study, airborne Ku-band radar altimeter data over different sea ice types have been analyzed. A set of parameters has been defined to characterize the differences in strength and width of the returned power waveforms. With a Bayesian-based method, it is possible to classify about 80% of the waveforms from three parameters: maximum of the returned power waveform, the trailing edge width and pulse peakiness. Furthermore, the maximum of the power waveform can be used to reduce the number of false detections of leads, compared to the widely used pulse peakiness parameter. For the pulse peakiness the false classification rate is 12.6% while for the power maximum it is reduced to 6.5%. The ability to distinguish between different ice types and leads allows us to improve the freeboard retrieval and the conversion from freeboard into sea ice thickness, where surface type dependent values for the sea ice density and snow load can be used.
Spontaneous Electrical Activity and Spikes in the Tail of Marine Cercariae
Authors: Tolstenkov O. O. , Zhukovskaya M. I. , Prokofiev V. V. , Gustafsson M. K. S.
Published: August 2013

Spontaneous electrical activity is recorded in two species of marine cercariae,Cryptocotyle linguaandHimasthla elongata, with different types of swimming—by glass microelectrode recordings. Slow local field potentials (sLFPs) of low amplitude and fast high amplitude action potentials (APs) are found. The shape of the sLFPs is different in the species and correlates with the type of swimming. Fast high amplitude APs are recorded for the first time in cercariae. The limited number of APs included in the swimming pattern of larva suggests a key role for the spiking neurons in initiating the motility pattern in the cercaria and needs further research.
Fourier Analysis for Demand Forecasting in a Fashion Company
Authors: Fumi Andrea , Pepe Arianna , Scarabotti Laura , Schiraldi Massimiliano M.
Published: August 2013

In the fashion industry, demand forecasting is particularly complex: companies operate with a large variety of short lifecycle products, deeply influenced by seasonal sales, promotional events, weather conditions, advertising and marketing campaigns, on top of festivities and socio-economic factors. At the same time, shelf-out-of-stock phenomena must be avoided at all costs. Given the strong seasonal nature of the products that characterize the fashion sector, this paper aims to highlight how the Fourier method can represent an easy and more effective forecasting method compared to other widespread heuristics normally used. For this purpose, a comparison between the fast Fourier transform algorithm and another two techniques based on moving average and exponential smoothing was carried out on a set of 4-year historical sales data of a €60+ million turnover medium- to large-sized Italian fashion company, which operates in the women's textiles apparel and clothing sectors. The entire analysis was performed on a common spreadsheet, in order to demonstrate that accurate results exploiting advanced numerical computation techniques can be carried out without necessarily using expensive software.
Product Lifecycle Management as a Tool to Create Value in the Fashion System
Authors: D'Amico Simona , Giustiniano Luca , Nenni Maria Elena , Pirolo Luca
Published: August 2013

The aim of this paper is to present the fashion system as a “cluster” and to evaluate the characteristics of Product Lifecycle Management (PLM) taking into account various factors, in particular the different approaches to dealing with market needs. More specifically, the “ready-to-wear fashion” and “fast fashion” models will be presented and compared. The paper takes the Italian fashion system as the unit of analysis and assumes that consumer behavioural factors act in a non-predictable (i.e., random) way in the constantly changing social and cultural environment. Considering the internal complexity of a whole market system, a simplified system dynamics model is proposed.
Key Success Factors for Organizational Innovation in the Fashion Industry
Authors: De Felice Fabio , Petrillo Antonella
Published: August 2013

In the current phase of globalization, the fashion industry is an important sector where firm strategies are frequently oriented towards product personalization – more than product customization – with a reduced price. The fashion industry relates to the ability to provide customized products or services through flexible processes in high volume and at a reasonably low cost, which are currently key variables for the fashion supply chain. Performance concepts – which usually refer to three pillars, i.e., economic, environmental and social ones – are new paradigms in this industrial sector, namely “sustainable” mass customization. This paper proposes a multi-criteria methodological approach for evaluating the performance of the fashion industry based on the Balanced Scorecard (BSC) and the Analytic Network Process (ANP), called ‘MAB’ – Multi-criteria Assessment Balanced Scorecard. Firstly, key performance indicators (KPIs) are evaluated in order to assess the performance level of a typical fashion industry. The development of an index system and methods is aimed to form a set of useful tools for policy-makers to facilitate the transformation of an industrial development mode and support the performance of the fashion industry.
Musical Washing Machines, Composer-Performers, and Other Blurring Boundaries: How Women Make a Difference in Electroacoustic Music
Authors: Bosma Hannah
Published: August 2013

This essay explores the possibilities and limitations of an écriture féminine musicale in electroacoustic music. Theories by Cox, Dame, and Citron about "women's music" are discussed alongside research on women electroacoustic composers by McCartney and Hinkle-Turner, and analyses of works by Rudow, Isadora, and LaBerge. The operation of gendered musical categories is analysed in the appropriation of Cathy Berberian's "voice" by Berio. Strategies for destabilizing historically gendered categories in music are discussed, including feminine/feminist content, composer-performers, interdisciplinarity, and collaboration. The interdisciplinary character of many women's work may hamper its documentation and thus its survival. The author's research at NEAR/Donemus focuses on this problem.
Composer en tant que catholique : une relecture de la musique vocale de Lili Boulanger
Authors: Fauser Annegret , Benoit-Otis Marie-Hélène
Published: August 2013

Par la mise en musique de textes des psaumes, Lili Boulanger s’est retrouvée partie prenante du débat sur le catholicisme dans la composition musicale qui faisait rage dans la France de lafin de siècle.Son choix de traduction des psaumes et son style musical révèlent un sens de l’archaïsme et de l’historicité en rapport avec le modernisme catholique, un mouvement en porte-à-faux avec les tendances néo-scolastiques de l’ultramontanisme romain des années précédant la Première Guerre Mondiale.
Alexander Scriabin's and Igor Stravinsky's Influence upon Early Twentieth-Century Finnish Music: The Octatonic Collection in the Music of Uuno Klami, Aarre Merikanto and Väinö Raitio
Authors: Jurkowski Edward
Published: August 2013

This article examines a significant shift in musical style and compositional technique that occurred in Finland during the 1920s, a time during which the music of Jean Sibelius exerted a strong influence. Specifically, I discuss how the octatonic collection, a prominent feature in the music of the two early twentieth-century Russian modernists Igor Stravinsky and Alexander Scriabin, is incorporated as a fundamental harmonic resource in three celebrated orchestral works: Uuno Klami's 1935 "The Creation of the Earth" (movement one from his five-movement Kalevala Suite), movement one from Aarre Merikanto's 1924 Ten Pieces for Orchestra, and Väinö Raitio's 1921 tone poem Fantasia estatica.
Northern Ways to Think About Music: Glenn Gould's Idea of North as an Aesthetic Category
Authors: Mantere Markus
Published: August 2013

This article discusses the role played by the concept of "North" in Glenn Gould's musical thought. In Gould's writings and interviews, the meaning of the "North" is twofold:

( 1) The concept refers to musical phenomena and qualities (counterpoint, non-virtuosity, sonic austerity) which were important for Gould's value judgments of music; (2) Gould used the concept as a metaphor, enabling him to bring together the ideas of isolation, the use of technology to creatively "opt-out," and the notion of non-competition into a coherent aesthetic and ethical perspective. Through a study of Gould's written documents, the concept of "North" will be examined to establish a hermeneutic framework within which to better appreciate and evaluate Gould's musicianship.
Glenn Gould's Idea of North and the production of place in music
Authors: Sallis Friedemann
Published: August 2013

This paper will examine the notion that music can create a sense of place and identity. The object of study is Glenn Gould'sIdea of North,which is made up primarily of texts extracted from interviews. Gould manipulated this material using techniques and concepts to produce what he would later call contrapuntal radio. It was through this technical manipulation, as much as through the content of the texts themselves, that Gould was able to express his 'idea of north'. A critical examination of thesemusicaltechniques provides an interesting example of how music is able to produce a sense of place and identity.
Finno-Ugric Rune Song Tradition Revisited: A Critical Discourse Analysis of Värttinä's "Äijö"
Authors: Heinonen Yrjö
Published: August 2013

Contemporary Finnish folk music, unlike internationally successful contemporary Finnish rock (HIM, Nightwish, The Rasmus), transmits Finnish and Finno-Ugric tradition in a reinterpreted form to international audiences. This article explores this transmission through a case analysis of Äijö, a song by Värttinä, "the brand name" of Finnish World Music. Critical Discourse Analysis (CDA) provides a unified framework, which allows for tan examination of how different folk music traditions and the practices of Western popular music have been used in Äijö. The data with which this research was undertaken consists of publicly available media texts representing different stages of the production, distribution and consumption of Äijö.
Yrjö Kilpinen: Finnish Composer and German Lieder in the 1930s
Authors: Deaville James
Published: August 2013

The Lieder of Finnish composer Yrjö Kilpinen (1892-1959) provide an interesting opportunity to study the interaction of national identity and musical aesthetics in National Socialist Germany. His German-language songs, above all to texts by Christian Morgenstern, enjoyed considerable success in Germany of the 1930s. Kilpinen's own political sympathies made him a model for Nazi ideologists, even as a non-German composing in the quintessentially German musical genre of the Lied. Reviews of his Lieder in the German-language press expound on the "Nordic" qualities of the work of this "Aryan" composer. Closer examination of the Lieder urn den Tod reveals a stark, at times heavy-handed compositional technique, which well suited the political ideology of the Third Reich.
Remembering a Dream: The Tragedy of Romantic Memory in the Modulatory Processes of Schubert's Sonata Forms
Authors: Black Brian
Published: August 2013

The idea of the dream as a longed-for alternative to reality imbues many of Schubert's finest sonata forms with what Charles Rosen has isolated as the tragedy of Romantic memory, the yearning for "that which never was." Here the unusual methods Schubert uses to modulate in his transitions create a sense of something alluring, yet insubstantial, in the subordinate key/theme, an effect that is maintained across the movement, whose progress thus ultimately suggests the tragic pursuit of an illusion.
La musique de chambre de Darius Milhaud
Authors: Duchesneau Michel
Published: August 2013

Darius Milhaud, musicien prolifique, a composé plus de 600 œuvres et nombre d’entre elles sont destinées à la musique de chambre. Ce corpus constitue, aux yeux mêmes du compositeur, une des parts principales dans l’ensemble de sa création. Cette étude tente de répondre à trois questions : (1) Quels liens peut-on établir entre le contexte et la création dans la musique de Milhaud? (2) La qualité spécifique de ces partitions peut-elle éclairer une vision globale du corpus? (3) En quoi le langage musical de Milhaud est-il propre à intégrer les éléments d’influences diverses tels que le folklore sud-américain ou le jazz? Ce corpus témoigne du fait que les relations entre les intentions du compositeur et le milieu artistique sont fondamentales. D’autre part, les principales qualités de la musique de chambre de Milhaud résident dans sa diversité plutôt que dans son caractère novateur. Milhaud exerçait un métier, celui de compositeur. Inspiré par la vie quotidienne, il revêt le manteau de l’artiste-artisan plus souvent qu’autrement.
Vers une approche critique de la théorie schenkérienne
Authors: Sabourin Carmen
Published: August 2013

Cette étude présente en premier lieu certains des éléments qui caractérisent les nouveaux espaces de réflexion en musicologie et en théorie de la musique. Puis, après avoir situé l’évolution récente de la théorie schenkérienne dans le panorama intellectuel, l’auteure expose une problématique qui vise à mettre en évidence la nécessité d’une interprétation éclairée de la réception et de l’appropriation des idées du théoricien autrichien Heinrich Schenker par les théoriciens-analystes anglo-américains. L’auteure suggère que la diversité et la complexité des paramètres en jeu dans la construction du discours schenkérien contemporain démontrent à l’évidence que seule une stratégie interprétative puissante pourra rendre compte de la richesse d’un phénomène aussi dense. Elle conclut en proposant que, face à la complexité de ce phénomène, il semble que seul le recours à des modèles de réflexion développés dans le domaine des sciences sociales et de l’anthropologie culturelle, et repris par les ethnomusicologues, permettra de formuler une révision critique du discours schenkérien.
Two Instrumental Arrangements from Early Sixteenth-Century Bohemia
Authors: Kovarik Edward
Published: August 2013

The Specialnik manuscript (HradKM II.A.7), from early sixteenth-century Bohemia, includes two well-known works with unique supplementary voices. One work, the final Agnus of Brumel's Missa Ut re mi fa sol la, includes an added bassus which deepens the composite range and animates the original without seriously disrupting it. An analysis of this movement shows why it was popular as an independent instrumental piece: it is clearly structured as statement and heightened reprise. The second work, Bedingham's "Fortune/Gentil madonna" contains a similar kind of bassus (as a substitute for the original contratenor) and also a triplum which exhibits characteristics of an idiomatic instrumental style. The Spec arrangement prompts a re-examination of the other sources and a demonstration that Bedingham's song originally called for a change from triple to duple mensuration in its B section.
When Women Play: The Relationship between Musical Instruments and Gender Style
Authors: Koskoff Ellen
Published: August 2013

In many societies, musical roles are divided along gender lines: women sing and men play. Men also sing and women sometimes play; yet, unlike men, women who play often do so in contexts of sexual and social marginality. This essay surveys the literature on women's use of musical instruments in a variety of social and cultural contexts and presents some contemporary anthropological theories regarding the interrelationship between social structure and gender stratification. The author concludes that women's use of musical instruments is related to broader issues of social and gender structure, and that changes in the ideology of these structures often reflect changes that affect women as performers.
Sonic and Parametrical Entities in Tetras: An Analytical Approach to the Music of Iannis Xenakis
Authors: Harley James
Published: August 2013

From his earliest works, Xenakis has conceived his music in terms of textures and sound masses. The analytical approach introduced here for a study of the recent string quartet, Tetras, takes such sonic entities as its point of departure. The inside-time structure is described in terms of the temporal succession of these entities and the outside-time relationships established between them by means of a whole range of parametrical entities. While the sonic and parametrical entities need to be specified for each piece, it is shown that this approach can be profitably applied to the complete Xenakis oeuvre.
Backyard World/Canadian Culture: Looking at Festival Agendas
Authors: Greenhill Pauline
Published: August 2013

Festivals enact agendas that are at times hegemonic, and at other times resistant. The Winnipeg Folk Festival and Folklorama, though otherwise disparate, have common concerns with both ethnicity and music but their multiculturalisms are fundamentally, structurally different. Folklorama reduces difference to make it palatable to mainstream culture; diversity gives way to standardization and sameness. In contrast, the Winnipeg Folk Festival, within circumscribed limits, opens a space for divergent expression. Folklorama is accessible financially, spatially, and temporally to people with a range of incomes. The Winnipeg Folk Festival requires more time and financial resources of its audiences.
First Nations Popular Music in Canada: Musical Meaning and the Politics of Identity
Authors: Scales Christopher
Published: August 2013

The musics of First Nations popular musicians "Wapistan" Lawrence Martin and the Innu group Kashtin are examined as polysemic signs whose meaning is mediated both socially and politically in the ongoing construction of First Nations socio-cultural identity. Musical meanings on individual, local, national, and international levels are dependent on the socio-political positioning of both the performers and the audience. Because socio-political positions are themselves fluid, political meanings are, as well, in constant flux. As a polysemic sign, First Nations popular music is a locus for these various meanings and a site for the construction and deconstruction of political discourse.
Music Theory as Productivity
Authors: Krims Adam
Published: August 2013

The author here proposes Julia Kristeva's notion of "productivity" as a way of conceiving of the relations between different theories of music. By such a notion, rather than confirming, disconfirming, or exemplifying a theory, a particular musical work (or works) may redistribute the theory. The redistribution, in fact, might not only modify the initial theory—something certainly not original to productivity—but may also bring it into articulation with fundamentally opposed models of musical function, without which, nevertheless, the original theory remains incomplete. An extended example is adduced from Schubert's Schubert's Impromptu in G-flat Major, D. 899, in connection with, first, Schenker's Free Composition (Der freie Satz), and second, Schoenberg's Theory of Harmony (Harmonielehre); Schenker's inconsistent practice with respect to first-order neighbours, along with certain issues in the Impromptu, become the occasion for examining a case of productivity.
Tracing the Chiasmus: A Response to William Renwick
Authors: Krims Adam
Published: August 2013

This response addresses those of Renwick's critiques that can be addressed briefly: the status of a Schenker analysis not done by Schenker, whether or not the original article was a "deconstruction," and whether Julia Kristeva can be assimilated satisfactorily to structural linguistics. More fundamentally, the response proposes that, despite his stated ambitions, Renwick, in fact, provides a deeply heterogeneous Schenker; and finally, that Renwick's claim for music theory's current practices rests on a conflation of productivity, as I describe it, with electicism.
Back to the Future: Celebrating Thirty Years of Diversity
Authors: Deaville James
Published: August 2013

A survey of the history of the CAUSM Journal/Canadian University Music Review from its founding in 1971 reveals how the journal, its contents, and policies have reflected conditions within Canada in general and Canadian musical academe in particular, whereby it has been a scholarly publication that above all has been marked by diversity and border crossing throughout its history.
Theory's Children; or, The New Relevance of Musicology
Authors: McClatchie Stephen
Published: August 2013

The recent theoretical turn in musicology has made the discipline more relevant, both within the university itself, and in the larger society within which it is situated. I consider what this development may mean for younger scholars, both as graduate students and as new faculty members, and explore the paradox that critical theory is often attacked for its impenetrability, yet has allowed us to communicate more easily with our colleagues in other disciplines. Finally, I argue that the primary aim for music study in the twenty-first century should be an ethical one: the creation of whole, musical human beings, literate in, and accustomed to thinking about, musics, plural, rather than Music.
The Project Ahead: Some Thoughts on Developing a Popular Music Curriculum
Authors: Théberge Paul
Published: August 2013

Arguing that past attempts at introducing popular music into the curriculum have taken place primarily at the level of the individual course, the author argues that a more extensive and integrated approach to developing academic programs in popular music is now needed. The model for such a program must be both multidisciplinary and interdisciplinary in character and must include the full participation of departments and faculties of music. Consideration is given to the special demands placed on music programs in terms of the need to rethink the structures and pedagogical practices associated with present-day higher education in music.
What's the Difference? Reflections on Discourses of Morality, Modernism, and Mosaics in the Study of Music in Canada
Authors: Diamond Beverley
Published: August 2013

In different periods of Canadian cultural history, social difference has been articulated by means of discourses of morality, modernism, or mosaics (among others). Each realm of discourse has negotiated various fields of tension between, for instance, the local and the global, tradition and hybridity, or mediated and live performance. These fields of tension are not easily apparent unless we compare discourses relating to different genres of music and sociomusical spheres. The ways in which Canadian ethnomusicology has been complicit with strategies of "managing difference" become clearer with such analysis. Possible post-colonial strategies for empowering voices of difference are also considered in relation to Canadian studies.
Music Education and Post-Secondary Music Studies in Canada
Authors: Bowman Wayne D.
Published: August 2013

This essay questions the efficacy of conventional disciplinary boundaries in post-secondary music studies, boundaries that reductively define music education as a training ground for public school music teachers. Our expectations of music education and its sphere of influence have been far too modest. To the extent we segregate music education from the goals and objectives of music studies more broadly, we neglect our collective responsibility for the musical life of our country. We have focused inwardly, engrossed in our specialties, leaving the design of school music curricula and the fragile environments in which they must compete for survival to the whims of non-musician bureaucrats and politicians. We have been less than successful in our collective obligation to enhance the musical well-being of the country. Changing these circumstances is among our greatest challenges in the decades ahead.
Le hasard et la technologie chez John Cage : subsistance de la modernité
Authors: Rivest Johanne
Published: August 2013

Bien que l’on range communément John Cage dans le camp postmoderne, l’auteure entend démontrer que plusieurs traits de la modernité se retrouvent dans sa pratique artistique. Deux aspects principaux en ont été retenus, soit le hasard et la technologie, lesquels se rapportent à la modernité par la manière dont Cage les utilise. D’autres traits de la modernité servent également de points d’ancrage à cette thèse — comme la distanciation objective et l’autonomie de l’œuvre, la critique du convenu en art ou du « musical » en musique, l’idée de progrès ou de changement — à quoi s’opposent certains éléments de l’avant-garde à laquelle Cage se rattache également, paradoxalement.
Erik Satie's Vexations—An Exercise in Immobility
Authors: Dawson Christopher
Published: August 2013

Erik Satie's piano piece Vexations contains a Note de l’auteur in which the composer apparently instructs his interpreters to repeat the piece 840 times. Opinion among Satie's biographers is divided as to whether Satie intended a "full" performance of the piece. In this article I assess how a literary interpretation of the Note can throw light on Satie's intentions. My conclusion is that Vexations is not so much a performance piece as an exercise piece: a musical passage designed to pull his interpreters away from conventional Western notions of linear development and cumulative reception and towards his own non-developmental style of music, in preparation for a performance of a piece such as a Gymnopédie or a Gnossienne.
Hans Rosbaud and the Music of Arnold Schoenberg
Authors: Evans Joan
Published: August 2013

This study documents the efforts of Hans Rosbaud (1895–1962) on behalf of the music of Arnold Schoenberg. It is largely based on the twenty-year correspondence between conductor and composer, most of which remains unpublished. Rosbaud's efforts already bore fruit during his tenure at Frankfurt Radio in the early 1930s. After the forced hiatus of the Nazi years (during which he worked in Germany and occupied France), Rosbaud achieved an international reputation as the Schoenberg conductor par excellence. His activities on Schoenberg's behalf involved a plan, previously unremarked in the Schoenberg literature, to bring the aging composer back to Germany.
La semaine annuelle de musique de Montréal sous les auspices du Delphic Study Club, 1923–1937
Authors: Lefebvre Marie-Thérèse
Published: August 2013

L’étude présente d’abord le contexte dans lequel fut créé la Semaine de musique annuelle (1923–1937) à Montréal et propose une analyse du mode de fonctionnement, inspiré du modèle américain créé par Charles Milton Tremaine en 1920. L’auteure commente les données sur les collaborateurs, les commanditaires, les bourses, les lieux de concerts, les interprètes, le répertoire et les conférenciers, et fait ressortir les principaux éléments de la critique de ces événements. La conclusion met en évidence la dualité culturelle anglophone-francophone dans la conception de la musique et son rôle dans l’éducation, et souligne l’action des femmes dans la gestion d’organismes de diffusion de la musique au Québec.
Efforts to Astonish
Authors: Gordon Tom
Published: August 2013

Cocteau always dated his epiphany in the avant-garde to the shock of Stravinsky's revolutionary Le Sacre du Printemps. Diaghilev famously enjoined Cocteau in 1913: "Étonne-moi!" The most tantalizing of Cocteau's efforts to astonish was his proposed 1914 collaboration with Stravinsky, the ballet David, a work previously thought to have left few traces. But even before, Cocteau had embarked on the "molting" which he later credited as his true birth as an artist. Classed by its author as a novel, Le Potomak is part graphic fable, part somnambulant stream-of-consciousness, part compendium of inflammatory aphorisms or, as Cocteau himself declared, a "fever chart"—an aftershock reverie indebted to the composer of Le Sacre. This paper evaluates Le Potomak in the narrative of Cocteau's "astonishment" as an index of the understanding of the musical avant-garde in France during the first decades of the twentieth century.
Postmodern Interpretations of Satie's Parade
Authors: Albright Daniel
Published: August 2013

If postmodernism can be considered ahistorically, as a stylistic category operative at any time and in any place, then there are many older works that suddenly seem to speak strongly to our present age. This paper argues the case for taking Erik Satie as a postmodernist: his music is marked by bricolage (the E-driophthalma movement from Embryons desséchés, 1913, borrows a theme, according to the score, "from a celebrated mazurka by Schubert"); by polystylism (the cabaret songs written for Vincent Hyspa, or Parade with its quotation from Irving Berlin); and by materialism of the signifier (what Satie calls furniture music).
Synchronization by the Grace of God? The Film/Music Collaboration of Jean Cocteau and Georges Auric
Authors: Deaville James , Wood Simon
Published: August 2013

Jean Cocteau's relationship with music has never been explored in detail with regard to his films. Given his well-known statements against synchronization, Cocteau appears upon first glance not to have paid much attention to the relationship between image, word and music, entrusting the music to his long-term friend Georges Auric. However, a closer examination of Auric's scores in the context of their films reveals a much closer corraboration of music and film than previously thought by specialists (or admitted by Cocteau). Analysis of musical and filmic elements in Le Sang d'un poète (1932), La Belle et la Bête (1946) and Orphée (1949) presents a complex and rich yet traditional approach to film scoring both by Auric and Cocteau.
Expecting Surprise Again: Neil Young and the Dialogic Theory of Genre
Authors: Echard William
Published: August 2013

This paper has two aims: (i) to develop a dialogic theory of genre and stylistic reference, especially but not exclusively for application to rock music; and (ii) to offer a detailed reading of genre play and associated issues—instability, authenticity, and unpredictability—in the music of Neil Young. Under this approach authors, performers, styles, and genres are all treated as various forms of persona, allowing for a fully dialogic analysis of their relationships and mutual interpenetrations.
Multiculturalism, Diversity and Containment on MuchMusic (Canada) and MTV (US)
Authors: Pegley Karen
Published: August 2013

Since MTV and MuchMusic were launched in 1981 and 1984 respectively, both stations have been commended for their racially diverse video repertoires. As Homi Bhabha has observed, however, "multicultural" practices that encourage diversity should also be examined for simultaneous modes of containment and control (Bhabha, "The Third Space," 208). This analysis of both stations' video programming and rotation schedules from late 1995 suggests that as they expanded their repertories they established unique, carefully controlled, nationally-inflected relationships between dominant and marginalized musical traditions. Using examples by Euro-American and African diasporic performers, I explore how multiculturalism appears to be "celebrated" on MuchMusic and MTV while Western and non-Western representations are negotiated such that ethnocentric norms, which pervade North American cultural media, are never contested.
The Celluloid Waltz: Memories of the Fairground Carousel
Authors: Magdanz Teresa
Published: August 2013

This paper explores the idea that the fairground carousel and waltz are tightly linked in the popular imagination. But this ubiquitous cultural convention has come with a price. The decline in fairground attendance from the 1920s and on dovetailed with the increasing reenactment in movies and music of such entertainments and space. And the prime structure motivating such docudramatic images was a kind of public collective memory, often at odds with actual, historical experience.
Franz Joseph Haydn and the Five-Octave Classical Keyboard: Registral Extremes, Formal Emphases and Tonal Strategies
Authors: MacKay James S.
Published: August 2013

The Classical keyboard in its various forms (harpsichord, clavichord and fortepiano) typically had a modest five-octave range (FF–f3) prior to ca. 1800. This essay examines how this range influenced the tonal shape of Joseph Haydn's keyboard music written after 1765. The author explores how Haydn used registral extremes to emphasize major formal junctures, cadences and modulations. Finally, he explores how the presence or absence of the keyboard's extreme pitches contributes to key character, examining the different contexts in which Haydn uses them in three tonalities: D minor, C major and A major.
What News on the Rialto? Fundraising and Publicity for Operas in Seventeenth-Century Venice
Authors: Thorburn Sandy
Published: August 2013

Commercial operas of seventeenth-century Venice, the earliest public operas, are generally described as rigorously literary from 1637-1660. Various tools, including sets, machines, and musical forms helped audiences from various classes and places understand this Venetian Carnevale entertainment. The goal—to create a commercial entertainment industry that reflected and highlighted the wonders of Venice—was identified early in the history of Venetian commercial opera. This paper seeks to define the extent to which nascent commercial enterprises like newspapers, the mail, publishing, and advertising defined the content and nature of these early operatic works.
Karol Szymanowski and Richard Strauss: Of Diverging Epiphanies
Authors: Cadrin Paul
Published: August 2013

According to the philosopher Charles Taylor, since the beginning of the nineteenth century, with the advent of Romanticism, the work of art is defined by its epiphanic character. It is a manifestation of something of the highest moral or spiritual significance; this manifestation is not merely subjective, in which case it would be inaccessible to scholarly inquiry, but it has an objective character. The Third Symphony, op. 27, by Karol Szymanowski is analyzed in the light of Taylor's concept. The Deutsche Motette, op. 62, by Richard Strauss, which is based on a text similar to the one used by Szymanowski, serves as a foil to buttress the findings.
La Frauenseele dans tous ses états : les Altenberg lieder, opus 4, nos II et III de Berg comme réponse à la Frauenfrage viennoise
Authors: Pedneault Deslauriers Julie
Published: August 2013

Cet article effectue une analyse herméneutique desAltenberg Liederopus 4 nos2 et 3 d’Alban Berg. Les lieder sont analysés à la lumière de l’esthétique de la persona feminine développée par le controversé poète (et ami de Berg) Peter Altenberg, et qui prendrait le nom de «Frauenkult ».L’auteure démontre ici comment le traitement motivique, les stratégies de conduite des voix et leur relation avec les poèmes sélectionnés par Berg font résonner deux des conceptions principales duFrauenkult : la valorisation d’une sexualité féminine plus autonome et la transcendance de l’âme féminine.
Theory and Fieldwork
Authors: Shepherd John , Diamond Beverley
Published: August 2013

John Shepherd

This intervention suggests that the recent and welcome emergence of fieldwork as a prominent feature of much current work in popular music studies has deflected attention from an undertaking that characterized the early days of popular music studies: that of developing from within the various protocols of cultural theory concepts to explain the meanings, significances, and affects that music as a socially and culturally constituted form of human expression holds for people. In tracing a shift from theoretical to ethnographic concerns in work carried out in popular music studies by musicologists, ethnomusicologists, social anthropologists, and sociologists, it is suggested that a renewed emphasis on theory in musicological work in popular music studies may be of consequence for the academic study of music as a whole.

Beverley Diamond

In response to the editor's question concerning theory and fieldwork, this colloquy argues that the two are inseparable. Further, the importance of fieldwork in providing "alternative theory" which challenges the consistencies of academic thinking is emphasized. For this reason, the article eschews disciplinary history as a means of tracing important theoretical currents in music scholarship and, instead, presents arguments which confront the hegemonies of any history, any discourse of intellectual continuity, positing incidents which expose the social contingencies of theory.