bluuebunny/crossref_metadata_2025 huggingface dataset:
Gender, Genre and Electroacoustic Soundmaking Practices
Authors: McCartney Andra
Published: August 2013

This article is an exploration of how genres and practices of electroacoustic soundmaking are gendered, examining processes of gendering in language used in the early dichotomous categorization betweenmusique concrèteandelektronische Musik,then thinking about related arguments concerning abstraction, context, and compositional control in the writings of electroacoustic soundmakers including Pierre Schaeffer, Pierre Boulez, Daphne Oram, Pauline Oliveros, and several participants of the In and Out of the Sound Studio project. Analysis of their practices and ideas suggests different ways of conceptualising electroacoustic genres, their related practices, and roles of contemporary electroacoustic soundmakers (composers, artists, producers, mixers, audiences...), by examining the potentials of the concepts ofempathetic knowledgeandecologicalthinkingadvanced by feminist epistemologist Lorraine Code.
"A Confusion of Glory": Orthodox Visitors as Sources for Muscovite Musical Practice (Late 16th-mid 17th century)
Authors: Papadopoulos George-Julius , Jensen Claudia R.
Published: August 2013

Greek and other Orthodox travelers to Russia were important and knowledgeable witnesses to Muscovite liturgical singing practices. This article surveys several Greek sources from around 1600: a poem and a memoir by Archbishop Arsenios of Elasson (1550-1626); a poem describing events connected with the False Dmitrii (1606) by Matthaios Koletzides; and a report of the Moscow trip undertaken by Theophanes, Patriarch of Jerusalem (1619). We also consider the lengthy narrative by Paul of Aleppo, who accompanied Patriarch Makarios of Antioch to Moscow (1650s and 1660s). All of these sources provide rich examples of continuing exchanges among Russian and foreign Orthodox singers throughout this period.
Great-Rag-Sketches, Source Study for Stravinsky's Piano-Rag-Music
Authors: Gordon Tom
Published: August 2013

Sketches, drafts and the composer's fair copy for Piano-Rag-Music are explored in this study of Stravinsky's compositional process during his early neo-classicism. These autographs reveal the composers starting materials, his working methods, the weight of his compositional preoccupations and the surprising conditions of assemblage of the work. Further, they confirm that the three distinct elements fused by hyphen in the works title do indeed define both the works content and objective. Virtuoso pianism and the rhythmic vitality of ragtime improvisation are synthesized in a pure music form that is neither conventional nor hybrid, but an outgrowth of the materials themselves.
Group Investigation in Music Instruction: A Pedagogical Scenario
Authors: Andrews Bernard W.
Published: August 2013

Group investigation is a teaching strategy that requires students to work in small groups and solve problems by reaching a consensus or solution. Involvement in the investigative process enables a teacher to provide an environment which alleviates conflict and facilitates cooperation. Further, the quality of the solution is higher when reached through consensus. The students are positively motivated to learn and behavioral skills are expanded.

In this paper, the writer examines the history and effectiveness of group investigation since its inception as a teaching strategy by Herbert Thelen. Based upon this analysis and upon formative trials in varied classroom settings, he postulates how the strategy can be utilized by music educators in school and university settings.
Anton Webern's Six Pieces for Orchestra: A Comparison of the Two Published Versions
Authors: Falck Robert
Published: August 2013

There are two published versions of Anton Webern's Six Pieces for Orchestra, though the composer considered the 1928 revision to be the only valid one. The 1909 version was first performed in 1913, but in spite of at least two projected performances, the composer may never had heard the revision. Although the revision was not carried out for a specific performance, the ostensible motivation for it was to reduce the rather excessive orchestral demands of the first version, and thus make it more practical for performance. While many of the revisions do result from the reduced orchestration, there are many changes in dynamics, tempo, phrasing and instrumental emphasis which do not. In fact, the new score is a thorough rehearing of the pieces, and the revisions affect everything from their overall formal conception to often very subtle relationships among the elements of the individual movements. The revisions also reflect the changes both in Webern's personal style between 1909 and 1928, the year of the Symphonie, op. 21, but also the global change from the luxuriant and indulgent post-romantic style to the "lean, athletic" style of Neoclassicism.
Learning the Koto
Authors: Halliwell Patrick
Published: August 2013

This paper examines traditionally-oriented teaching and learning processes in Japanese koto music. Earlier evaluations (negative and positive) by Western scholars are introduced, together with a brief comparison to Western practices. A distinction is made between "inside" and "outside" students; the former have greater exposure to music and speech about music, and teaching methods also may differ. Traditional methods of learning through imitation are shown to have other musical goals besides the transmission of musical "text." Playing together is fundamental; teachers may use speech, shôga (oral representation of instrumental sound), or purely musical means to convey information to the student. Notation, often used nowadays, is nevertheless of relatively minor importance. The dominant values underlying traditional teaching methods are expressed through the phrase "if you can steal it, that's OK." Finally, concepts of "text" and "interpretation" are considered in relation to values concerning change in traditional koto music.
La musique de Wagner au Québec au tournant du XXe siècle
Authors: Lefebvre Marie-Thérèse
Published: August 2013

Cette étude présente une série de faits mettant en évidence la présence de la musique de Wagner au Québec au tournant du siècle grâce aux échanges culturels entre les États-Unis, la France et le Canada et grâce à deux personnalités musicales importantes de cette période : le chef d’orchestre américain Theodore Thomas et le compositeur canadien Guillaume Couture. L’auteure étudie d’abord les premiers contacts entre l’Amérique et la musique de Wagner avant 1883, puis analyse les événements musicaux de la période 1884–1914 et termine par un survol des concerts de l’Orchestre symphonique de Montréal donnés entre 1938 et 1948.
Kitsch, Camp, and Opera: Der Rosenkavalier
Authors: Le Tourneau Gary
Published: August 2013

In her celebrated essay, "Notes on Camp," Susan Sontag identifies Richard Strauss’s most famous opera, Der Rosenkavalier as forming part of the canon of "camp." What is it about this work and its relationship to fin-de-siècle Vienna which gives it over to the "camp" aesthetic?

In this article, the author examines the essence of the style known as camp, as derived from kitsch, another mode of "failed seriousness." Central to this investigation is the manner in which certain aesthetic objects can inhabit the realms of "high" or "serious" art and also that of popular culture. Hermann Broch, Theodor Adorno, and others suggest that kitsch is a parasitic ingredient in bourgeois culture and that this element can invade and "negate" an aesthetic object or experience. The historical imperatives found in romantic opera, bourgeois culture, and marginalized groups form an important element in defining the creations of modernist culture.

Part of our understanding of what constitutes "serious" art has at its centre ways of maintaining autonomy and refusing the prospect of "negating" itself. One way of experiencing and examining those works which "refuse the burden of autonomy" is through the categories of questionable or marginal sensibilities, in this case: kitsch and camp.

Der Rosenkavalier, with its fawning tribute to eighteenth-century Vienna, overt homage to Mozart, and its heralding of the composer's withdrawal from the avant-garde, proves to be a superb example of alternative sensibilities.
Méthodologie schenkérienne et apprentissage de l’analyse musicale
Authors: Sabourin Carmen
Published: August 2013

Nous considérons ici les visées didactiques et certains aspects structurels de la théorie de Heinrich Schenker dans la perspective de l’apprentissage de l’analyse musicale en milieu universitaire de tradition musicologique française. Dans un premier temps, nous posons la question de la pertinence de l’enseignement de l’analyse schenkérienne. Nous mettons en évidence les aspects de la théorie qui la distinguent des théories tonales antérieures et qui représentent des acquis substantiels pour l’étude de la tonalité. Puis, nous évaluons les difficultés inhérentes à la diffusion des idées de Schenker dans les milieux pédagogiques, soit la complexité de son œuvre, l’absence d’un traité d’harmonie à teneur schenkérienne en langue française et l’exploration des niveaux de structure intermédiaire (Mittelgrund). Par la suite, nous définissons les étapes préalables à l’apprentissage des techniques schenkériennes, notamment l’étude des espèces fuxiennes et de l’harmonie, cette dernière enseignée dans une perspective linéaire. Enfin, nous analysons l’Invention 12 en la majeur, BWV 783, de Johann Sebastian Bach. L’analyse met en évidence la relation entre les principes contrapuntiques présentés dans les étapes préalables et les différents niveaux de structure de l’œuvre. Un graphe schenkérien illustre l’interdépendance des niveaux de structure.
Whither our Undergraduate Core Curriculum in Theory?
Authors: Dineen Murray
Published: August 2013

In this paper, the author considers three aspects of the core curriculum: the mixture of poetics (the craft of music making) and apologetics (the argument for a canon of masterworks), the theoretical training of literate musicians, and the vehicles for bringing about curriculum change. Within this framework, the author addresses the theory text of Edward Aldwell and Carl Schachter, as well as essays by Christopher Lewis, Richard Wollheim, James Clifford, and Estelle Jorgensen. The author finds in the present curriculum an uncomfortable balance of craft and argument, and an orientation toward rote learning of a canon rather than a critical approach to knowledge skills. He finds as well little or no scholarly mechanism for curriculum development.
The Composer's Voice: "What women can do"
Authors: Dalen Brenda
Published: August 2013

In this interview, conducted on 18 August 1994, Violet Balestreri Archer revisits her past, recreating the experiences of her youth from the earliest days of her childhood in Como and Montreal to her graduation from Yale University in 1949 and sharing highly personal memories of her family, teachers, and friends. She recalls her first visit to Italy, her school years, her piano lessons, her early attempts at composition, her participation in the Montreal Women's Symphony, and her compositional studies with Douglas Clarke at McGill University, Béla Bartók in New York, and Paul Hindemith at Yale University. In listening to her story, we discover "who" she is and "how" she succeeded in establishing her compositional voice and in creating a space or "room" for herself in a profession traditionally dominated by men.
Ida Halpern: A Post-Colonial Portrait of a Canadian Pioneer
Ethnomusicologist
Authors: Chen Kenneth
Published: August 2013

The work of Ida Halpern (1910–87), one of Canada's first musicologists and a pioneer ethnomusicologist, has been largely ignored. This essay illuminates her most important contribution to the musical development of this country: the documentation of Native musics. Halpern devoted some four decades to recording and analyzing over five hundred songs of the Kwakwaka'wakw, the Nuuchahnulth, the Haida, the Nuxalk, and the Coast Salish First Nations of British Columbia—a truly remarkable achievement considering that a large part of her fieldwork was conducted during a period when it was illegal for Native cultures to be celebrated, much less preserved. The author discusses the strengths and weaknesses of her methodology as well as some factors affecting the reception of her work by academic peers and by the communities she worked with. While Halpern did not always thoroughly investigate context, she endeavoured to write heteroglossically and to invent a theory that accounted for the music of these songs.
Les femmes musiciennes sous les Bourbon d’après les documents inédits de Marie Bobillier
Authors: La France Albert
Published: August 2013

À sa mort en 1918, Marie Bobillier (pseud. Michel Brenet) a laissé au Département des manuscrits de la Bibliothèque nationale à Paris un nombre impressionnant de notes, de citations et de relevés qu’elle avait accumulés au cours de sa carrière et qui, pour la plupart, demeurent inédits. Dans un dépouillement de ces volumes, l’auteur a extrait les citations, les rapports et les commentaires des auteurs des trois derniers siècles, tous sous le thème « femmes musiciennes ». Il en résulte un éventail assez étonnant des activités musicales des femmes de l’ancien régime sous les rois Bourbon, une espèce de sondage du passé à partir duquel tirer quelques conclusions plus éclairées. Malheureusement, le travail n’a servi qu’à confirmer ce que d’autres ont déjà conclu, à savoir que les femmes des XVIIe et XVIIIe siècles n’avaient qu’un rôle secondaire en musique, tout comme dans les autres aspects de la société, soit artistique, politique ou social. Il faudra attendre le XXe siècle pour que les femmes puissent commencer à prendre leur juste place dans les rangs de la profession musicale.
Une femme musicienne dans un monde masculin : la voix de Begum Akhtar
Authors: Burckhardt Qureshi Regula
Published: August 2013

L’article situe la vie de musicienne d’une grande chanteuse dont la carrière va du milieu féodal et colonial des cours et des salons jusqu’aux scènes fréquentées par la classe moyenne urbaine d’une Inde indépendante. On y retrouve la question habituellement problématique de l’identité sociale de cette musicienne héréditaire, qui est le corollaire inévitable de l’association entre hommes et interprètes, mais aussi la condition essentielle à l’apprentissage et à la pratique de l’art de la musique. Comment Begum Akhtar a rapidement acquis une réputation en musique grâce à l’appui des nobles, comment elle est « passée » dans le monde respectable du mariage, et comment elle a redéfini son art et sa personne, émergeant comme l’idole nationale de la culture musicale de cour de l’Inde — c’est seulement dans les marges que l’on peut voir tous ces aspects, et ce par le biais d’un kaléidoscope de sources positionnées et de l’expression musicale stylisée d’une artiste dépendante des hommes mais qui a aussi créé des liens musicaux avec des femmes (incluant l’auteure).
Violet Archer's Formative Years: A Bibliographical Catalogue
of Her Compositions, 1932–43
Authors: Whittle James
Published: August 2013

This chronological catalogue of Violet Archer's earliest completed compositions, including works written from 1932 to 1943, is based on manuscripts in her possession and on deposit at the University of Calgary Library, as well as published scores and reproductions of manuscripts in the University of Alberta Library and the libraries of the Canadian Music Centre. It provides the date of composition for each work and summarizes the supporting evidence, including dates found on manuscripts, the types of paper used, entries on lists of works compiled by the composer, and dates of first and early performances. Also included are the medium of performance of each work, a list of movements, the source of any text, and the location of scores and recordings.
Origins and Distinctions of the "World Music" and "World Beat" Designations
Authors: Klump Brad
Published: August 2013

This article traces the origins and uses of the musical classifications "world music" and "world beat." The term "world beat" was first used by the musician and DJ Dan Del Santo in 1983 for his syncretic hybrids of American R&B, Afrobeat, and Latin popular styles. In contrast, the term "world music" was coined independently by at least three different groups: European jazz critics (ca. 1963), American ethnomusicologists (1965), and British record companies (1987). Applications range from the musical fusions between jazz and non-Western musics to a marketing category used to sell almost any music outside the Western mainstream.
The Cult of the Folk: Ideas and Strategies after Ernest Gagnon
Authors: Smith Gordon E.
Published: August 2013

In this paper I discuss ideas of collectors (Édouard-Zotique Massicotte and Marius Barbeau) vis-à-vis the song collection of Ernest Gagnon. The Chansons populaires repertoire is viewed in different ways by Gagnon's successors as historically significant and/or insignificant, and/or an exhaustive, representative "canon" of songs. Approaches to fieldwork, transcription, and the "selection" of repertoire in these collectors' works are also studied. The second part of the paper sets up a critical frame of reference for these strategies based on current literature (e.g., Philip Bohlman, Ian MacKay). Within this discussion, Gagnon's nineteenth-century ideology of "le peuple" is considered alongside the preservationist "cult of the folk" inspiration of his successors.
"Chinese Harmony" and Contemporary Non-Tonal Music Theory
Authors: Rahn Jay
Published: August 2013

Twentieth-century Chinese theorists and composers have developed a distinctively indigenous approach to harmony, based in part on earlier pentatonic traditions. Mixed as it is with conventions of diatonic and chromatic harmony imported from Europe and North America, the resulting "Chinese harmony" poses music-theoretical problems of coordinating diatonic and pentatonic scales, and tertial and quartal chords. A survey of Chinese harmony as expounded by Kang Ou shows these difficulties to be theoretically intractable within solely Chinese or Euro-American frameworks, but soluble through recent formulations in atonal—or more appropriately, non-tonal-theory, as advanced by such writers as John Clough.
Same As It Ever Was? Musicology Continues to Wrestle with Rock
Authors: Fast Susan
Published: August 2013

Popular music studies is approached from a number of disciplinary perspectives. Most recently, musicologists and music theorists have become interested in the analysis of popular music. This has sparked heated debates both within musicology and music theory, and outside it from sociologists and other cultural critics. The author traces some of that debate and argues for a popular music analysis that takes social meanings into account, using language that does not alienate those who are not professional musicians. It is argued that this is of paramount importance, since popular music is one of the most important means through which many people in the West shape their worlds.
An Interview with Rob Walser in Toronto
Authors: Walser Rob , Magdanz Teresa , Wood Simon
Published: August 2013

In late autumn of 2000, thousands of music scholars gathered at an international mega-conference in Toronto. On that occasion, Teresa Magdanz and Simon Wood met privately with Robert Walser, Professor of Musicology at UCLA, to discuss a number of questions pertinent to popular music studies, many of which were raised at the conference. In their interview they explore the trajectory of his work, his thoughts on the relationship between music scholarship and performance, and his reflections on popular music and the academy, the implications of which extend beyond popular music studies to challenge the broader scope and practice of musicological scholarship.
Phone-Crossed Lovers: Dehumanizing Technology in Cocteau's and Poulenc's La Voix humaine
Authors: Miller Gottlieb Lynette
Published: August 2013

Forty years after his previous collaboration with his former mentor Jean Cocteau, Francis Poulenc embarked on another joint work with the playwright, the opera La Voix humaine (1958). The sole character is a woman known as Elle, who converses with her former lover on the telephone, a device representative of the negative side of technological progress made during the first few decades of the twentieth century. This study considers the nature of the collaboration between Cocteau and Poulenc, then employs narrative theory to interpret the telephone's power in this drama.
Response to Lynn Cavanagh
Authors: Krebs Harald
Published: August 2013

Krebs's unusual monograph demonstrates that the writing of pure music theory remains an essential enterprise—particularly in the relatively neglected rhythmic domain—but only if the reader undertakes active reading and has prior knowledge of how the music goes. Within the monograph, perpetuation of the image of the misunderstood and suffering artist as a clue to the extramusical meaning Schumann associated with metrical dissonance leads to biased results. This essay's supplementary analysis of the first movement of Schumann's Symphony No. 3, informed by the history of ideas, proposes that in this movement metrical dissonance is used to reinterpret an emblem of the past so as to convey a vision of the future.
Modèles linguistiques et analyse des structures musicales
Authors: Nattiez Jean-Jacques
Published: August 2013

Au cours de la seconde moitié du XXesiècle, l’analyse musicale s’est tournée vers les modèles linguistiques d’inspiration structuraliste pour tenter de renouveler et de rendre plus explicites les méthodes traditionnelles. Dans cet article, qui est à la fois une bibliographie critique et un bilan épistémologique, Jean-Jacques Nattiez examine dans quel contexte musicologie et linguistique se sont rencontrées. Il présente tour à tour les applications du modèle phonologique, du modèle paradigmatique (avec une discussion des propositions et de la postérité de Ruwet) et les diverses grammaires musicales descriptives d’inspiration génératives qui ont été proposées. Il examine aussi bien les travaux qui portent sur la musique occidentale que sur les répertoires qu’étudient l’ethnomusicologie et les spécialistes de musique populaire.
Reflections in an Eastern Mirror, or Performance of a French Vaudeville in Russia
Authors: Woodside Mary S.
Published: August 2013

Exceedingly popular in their day, Russian vaudevilles and opera-vaudevilles of the first third of the nineteenth century are not available in modern orchestral scores. Although many of these musical comedies are known to be adapted from French works, for the most part the original French titles are unknown, as are the differences in French and Russian treatments of musical numbers. Focussing primarily on Pisarev'sBabushkiny popugai[Grandma's Parrots] (St. Petersburg, 1819), this article compares the original French vaudeville with its Russian adaptation on several points: libretto, performance venues, and musical treatment, the latter based in part on manuscript sources of Alexei N. Verstovsky's orchestral scores.
Family Values: The Trapp Family Singers in North America, 1938-1956
Authors: Saffle Michael
Published: August 2013

Overlooked or ignored for decades by music historians and specialists in performance practices, the real-life Trapp Family Singers achieved enormous success especially in Canada and the United States during the late 1930s, 1940s, and early 1950s through their appeal to—and consequent reception in terms of—"family values." These values included, but were not altogether limited to, the Trapp's Christian faith, patriotic activities, and contributions to charitable causes, as well as the wholesome image associated with the family's private lives, their Vermont "Sing Weeks," and their more than 1,800 estimated concert appearances.
The Roaring Lion: Critical Musicology, the Aesthetic Experience, and
the Music Department
Authors: Gramit David
Published: August 2013

This paper argues that a number of recent responses within North American musicology to critical scholarship that has challenged disciplinary conventions have in common a deep loyalty to the aesthetic experience of music as a supreme value. The vigour with which this value is defended has close parallels in religion, and such defences have indeed sometimes resorted to explicitly religious terminology. The institutional situation of North American musicology in university music departments dominated by Western classical music instruction strengthens this ideology, which continues to resist socially oriented study of music.
La représentation des avant-gardes à la Semaine internationale de
musique actuelle (Montréal, 1961)
Authors: Rivest Johanne
Published: August 2013

Les avant-gardes des années 50 et 60 ont été marquées par l’appropriation de la technologie à des fins créatives. Elles visaient également la démocratisation de l’art en favorisant la participation simultanée de plusieurs intervenants et de diverses formes artistiques, d’une part, et en désinvestissant le créateur du pouvoir décisionnel absolu, d’autre part. La Semaine internationale de musique actuelle, organisée par Pierre Mercure à Montréal en 1961, exemplifie ces aspects par le recours à la multidisciplinarité et à la musique électroacoustique, alors en plein essor. Elle accueillait donc certains des plus illustres représentants de l’avant-garde mondiale d’alors, en musique surtout, mais également en danse, en cinéma et en arts visuels, et ce, malgré les contraintes économiques de l’époque, qui ont pourtant eu un impact sur la provenance des œuvres.
Une œuvre et son titre : à propos du Carnaval, op. 9, de Robert Schumann
Authors: Vachon Pierre
Published: August 2013

Qu’y a-t-il dans le titre d’une œuvre musicale qui permettrait de mieux comprendre l’œuvre elle-même, sa genèse, sa construction, sa signification et le symbolisme dont elle pourrait se réclamer? Au-delà d’une constellation de fragments, le Carnaval, op. 9, de Robert Schumann porte en lui une logique motivique et symbolique que l’étude du titre permet de démasquer. L’auteur tente de montrer qu’une étude titrologique mettra au jour les liens très intimes entre musical et extramusical ainsi que le réseau de référents très complexe vers lequel le titre dirige. Le titre agit bien souvent comme interface entre l’œuvre musicale et son symbolisme.
The Music of Wagner in Toronto before 1914
Authors: Morey Carl
Published: August 2013

Wagner's music was first heard in Toronto in the 1860s, and in the years before 1914 it achieved extraordinary popularity. Orchestral and vocal excerpts became standard repertoire and the city enjoyed performances conducted by such notable Wagnerians as Walter Damrosch and Anton Seidl and other visitors, as well as by local musicians. There were enthusiastic local Wagnerians such as the conductors Herbert Torrington and Frank Welsman, and the pianist W. Waugh Lauder who had a personal association with Wagner through his teacher, Franz Liszt. Fully staged performances were rarer and depended entirely on touring companies, but nevertheless there were productions of Der fliegende Holländer, Tannhäuser, Lohengrin, Die Walküre, and Parsifal.
Cohésion compositionnelle dans Image de Germaine Tailleferre
Authors: Harbec Jacinthe
Published: August 2013

L’article présente une étude analytique d’Image pour huit instruments (1918) de Germaine Tailleferre. La démonstration fera la preuve de la cohésion compositionnelle du travail de Tailleferre en se penchant sur deux aspects fondamentaux : le motif et la forme. La démarche analytique proposée consiste à considérer le motif sur divers plans de la composition. La représentation graphique des structures linéaires qui résulte de l’analyse permet d’illustrer comment les notes du motif initial de surface se tiennent à l’arrière-plan de la composition, lesquelles notes s’enchaînent en synchronisme avec les diverses composantes de la structure formelle de l’œuvre.
Wolf Music: Style, Context, and Authenticity in R. Murray Schafer's And Wolf Shall Inherit the Moon
Authors: Waterman Ellen
Published: August 2013

R. Murray Schafer's environmental music functions as a model for his ideal of an authentic Canadian musical identity. Schafer's idea of the North is embodied both in the music's style and in its context. Three works from the music drama Patria the Epilogue: And Wolf Shall Inherit the Moon serve as examples of the influence of the northern soundscape on Schafer's musical style.
Apropos Aesthetic Autonomy
Authors: Sallis Friedemann
Published: August 2013

The present contribution to the Colloquy takes issue with problematic positions on aesthetic autonomy in music, which have appeared over the past couple of years in the pages of this journal. The tone is frank, the intention is constructive and the point is to engage in an exchange of ideas with colleagues who may have different points of view on these matters.
"I See the Fretboard in Diagrams": An Examination of the Improvisatory Style of Herbert Lawrence "Sonny" Greenwich
Authors: Scott Andrew
Published: August 2013

In this article, the author examines the improvisatory style of jazz musician Herbert Lawrence "Sonny" Greenwich. While numerous extra-musical sources inform the guitarist's performances, the cubist paintings of Paul Klee are particularly meaningful. Through transcription, analysis and interview, the author demonstrates that fretboard "diagrams"—which Greenwich suggests originate from Klee—act in a threefold manner. First, they afford Greenwich a personal way of discussing his craft, second they offer a formulaic and perceptual strategy for traversing various harmonic terrains and third these diagrams act as a surrogate music theory for the self-taught musician, affording him a unique method of organizing the guitar.
Octatonicism and Chromatic Harmony
Authors: Boulay Jean-Michel
Published: August 2013

In this paper, the author looks at the relationship between octatonic structures and chromatic harmony. The discussion concentrates on two major aspects of late-tonal octatonicism: the use of alternative bass tones for the diminished seventh chord and the development of these sonorities into hexachordal and pentachordal combination chords. A number of late nineteenth-century and early twentieth-century chromatic passages are analyzed. Complex harmonies in chromatic passages are explained by formulating reductive models comprised of simpler, octatonic constructs.
Completion and Antithesis in Piano Sonata No. 6 by S.C. Eckhardt-Gramatté
Authors: Colton Glenn
Published: August 2013

The Piano Sonata no. 6 by S.C. Eckhardt-Gramatté evolved as a composite work spanning two distinct phases of the composer's career. The first movement (1928), for left hand alone, is representative of the neo-romanticism of her early works, while the atonal second movement (1952), for right hand, typifies the composer's later style. As a synthesis of the first two movements, the finale re-interprets these conflicting tonal and stylistic paradigms, contextually transforming the preceding movements and imbuing each with new meaning. This process is closely analogous to a concept Harold Bloom describes in poetic terms as tessera, or "completion and antithesis."
So You Want to Be a Rock'n'Roll Scholar — Well You Need to Get an MBA
Authors: Bowman Rob
Published: August 2013

Stax Records was a record label based in Memphis, Tennessee from the late 1950s through December 1975, when it was forced into involuntary bankruptcy. "So You Want to Be a Rock and Roll Scholar — Well You Need to Get an MBA" uses Stax Records as a case study to problematize what has often been a tendency within popular music scholarship to attempt to understand the political economy of the record industry primarily via the mechanical application of Marxist theory on a macro level. In looking in detail at the relationship between CBS Records and Stax from 1972 through 1975, the author concludes that to fully understand the nature of the distribution agreement between the two companies, its ramifications, and the consequent subsequent actions of the various principals involved, all of which eventually led to Stax's bankruptcy, one needs to take into account on a micro level the different modi operandi of independent and major labels, differences in the retail world of black and white America, and individual agency. Finally, all of the above needs to be considered very specifically within a temporal framework. The final conclusions prove to be significantly different from what would have resulted from solely from a Marxist analysis on a macro level.
White Noise: Composition, Colonization, and Colour
Authors: Finn Geraldine
Published: August 2013

This paper examines the links between Western music, Western metaphysics, and Western imperialism. Taking Derrida's reading of "White Mythology" and "Violence and Metaphysics" as its point of departure, the paper explores the relationship between the theories and practices of musical composition formalized in Europe in the eighteenth and finalized in the nineteenth century, and the theories and practices of race, racial differentiation, and empire that coincide(d) with it.
Music Trouble: Desire, Discourse, Education
Authors: Lamb Roberta
Published: August 2013

"Music Trouble" is an experimental paper, a linear re-presentation of the multi-media performance (which included costume, poetry, photographs, and musical scores, in addition to the paper) designed for the Ottawa Border Crossings Conference. "Music Trouble" explores identity construction through music and music education, specifically in relation to issues of sexuality. Judith Butler's idea of "gender is drag" and Sue-Ellen Case's "butch-femme aesthetic" are employed in conjunction with feminist auto/biography to critique current theories and practices supporting music education.
La critique féministe étasunienne en musique : pertinence en milieu francophone Québécois
Authors: Sabourin Carmen
Published: August 2013

L’auteure examine la pertinence de la critique féministe étasunienne en musique en milieu francophone québécois. Dans un premier temps, elle propose une réflexion critique sur le féminisme étasunien en musique. Puis, elle pose la question de la pertinence de ses fondements et de ses méthodologies pour les jeunes musicien(ne)s issus du milieu culturel francophone du Québec qui, au moment d’entreprendre des études avancées, envisageraient de se consacrer à la recherche sur la pensée féministe.
Leonora Unbound: Tonality as Allegory
Authors: Dineen Murray
Published: August 2013

Tonality has both a literal and a figurative or allegorical aspect. Tonal unity, a commonplace among much current music theory, is a superficial entity, a literal facade beneath which lies a sustained and discursive domain, where tonality is made and remade in a continual process of fracturing and reinterpretation. Like the frought persona of Beethoven's Leonora-cum-Fidelio, the tonality of the aria "Abscheulicher! ... Komm Hoffnung ..." defies analysis as a unified structural whole. Like the behaviour of the piano teacher in Bonnie Burnard's short story "Music Lessons," the conventional behaviour of tonality can be seen to crack and buckle in the aria, albeit only briefly, before it is smoothed over and fractious elements suppressed behind a facade of the calibre of a Fidelio.
L’animal au théâtre ou la mise en jeu d’une altérité radicale
Authors: Nutting Stéphanie
Published: August 2013

Le bestiaire dramatique du répertoire théâtral québécois et franco-canadien se présente comme une vaste ménagerie hétéroclite. Cependant, la récurrence du chien et des animaux de basse-cour (dont la poule et la vache) mérite une attention toute particulière. Force est de constater qu’en vertu de son altérité plus ou moins radicale, la figure de l’animal est exploitée afin d’interroger les traits de l’humanité. Par exemple, ses diverses représentations exercent toutes une torsion esthétique et sémantique sur la parole. De plus, elles soulèvent des questions d’ordre éthique, liées surtout à la douleur et à l’expérience de la mort, et enfin, elles obligent à sonder la force primitive associée à la présence animale et ses différents épiphénomènes dont les pouvoirs de guérison et l’érotisme.
Figures du mélodrame dans les écritures d’aujourd’hui
Authors: Ryngaert Jean-Pierre
Published: August 2013

Il est possible de déceler des traces de « genres » dramatiques dans certains textes contemporains. L’auteur rappelle donc les figures caractéristiques du mélodrame historique et analyse la présence du pathétique dans certaines fables de textes dramatiques québécois d’aujourd’hui. L’auteur se réfère à plusieurs auteurs dans cette perspective (Daniel Danis, Michel Marc Bouchard, Wajdi Mouawad). Le mélodrame s’avère un genre qui s’écarte des idées reçues et qui a le mérite d’autoriser l’expression des sentiments refoulés. Est-ce une des raisons de l’intérêt des spectateurs français pour ces fictions « loin de chez eux » ?
Light‐Gating Titania/Alumina Heterogeneous Nanochannels with Regulatable Ion Rectification Characteristic
Authors: Zhang Qianqian , Hu Ziying , Liu Zhaoyue , Zhai Jin , Jiang Lei
Published: August 2013

Bioinspired artificial nanochannels exhibiting ion transport properties similar to biological ion channels have been attracting some attention for biosensors, separation technologies, and nanofluidic diodes. Herein, an easily available artificial heterogeneous nanochannel shows both ion gating and ion rectification characteristics when irradiated by ultraviolet light. The fabrication of heterogeneous nanochannels includes the coating of an anatase TiO2 porous layer on an alumina porous supporter, followed by a chemical modification with octadecyltrimethoxysilane (OTS) molecules. The irreversible decomposition of OTS molecules by TiO2 photocatalysis under ultraviolet light results in a change of surface wettability and an asymmetric distribution of surface negative charges simultaneously, which contributes to the ion gating and ion rectification. The asymmetric distribution of negative charges in the TiO2 porous layer can be controlled by the irradiation time of ultraviolet light, which regulates the ion rectification characteristic.
Work‐Function Engineering of Graphene Anode by Bis(trifluoromethanesulfonyl)amide Doping for Efficient Polymer Light‐Emitting Diodes
Authors: Kim Donghyuk , Lee Dongchan , Lee Yonghee , Jeon Duk Young
Published: August 2013

Graphene has been considered to be a potential alternative transparent and flexible electrode for replacing commercially available indium tin oxide (ITO) anode. However, the relatively high sheet resistance and low work function of graphene compared with ITO limit the application of graphene as an anode for organic or polymer light‐emitting diodes (OLEDs or PLEDs). Here, flexible PLEDs made by using bis(trifluoromethanesulfonyl)amide (TFSA, [CF3SO2]2NH) doped graphene anodes are demonstrated to have low sheet resistance and high work function. The graphene is easily doped with TFSA by means of a simple spin‐coating process. After TFSA doping, the sheet resistance of the TFSA‐doped five‐layer graphene, with optical transmittance of ≈88%, is as low as ≈90 Ω sq−1. The maximum current efficiency and power efficiency of the PLED fabricated on the TFSA‐doped graphene anode are 9.6 cd A−1and 10.5 lm W−1, respectively; these values are markedly higher than those of the PLED fabricated on pristine graphene anode and comparable to those of an ITO anode.
Pesticides present in migrant farmworker housing in North Carolina
Authors: Arcury Thomas A. , Lu Chensheng , Chen Haiying , Quandt Sara A.
Published: August 2013

Background

Migrant farmworkers are exposed to pesticides at work. Housing provided to migrant farmworkers may also expose them to pesticides, increasing their health risks. This analysis (1) describes the presence of organophosphorous (OP) and pyrethroid pesticides in North Carolina migrant farmworker houses, and (2) delineates associations of farmworker camp characteristics with pesticide detection and concentration.

Methods

In 2010, 186 migrant farmworkers camps in NC were recruited (participation rate of 82.3%); pesticide wipe samples for 176 houses were analyzed. Tobacco is the predominant hand‐harvested crop in this region. Two farmworkers per camp completed interviews; a third assisted with a housing inspection. Gas chromatography–mass spectrometry was used to detect OP and pyrethroid pesticides. Covariates of pesticide detection and concentration were determined with ANOVA and Tobit regression.

Results

OPs were found in 166 of 176 houses (average of 2.4/house); pyrethroids were found in 171 houses (average of 4.3/house). The number of different OPs detected in each camp and concentrations of these OPs were not associated with camp and housing characteristics. The number of different pyrethroids detected in each camp and concentrations of these pyrethroids were associated with camps having residents with H2‐A visas, a posted North Carolina Department of Labor Certificate of Inspection, no barracks, fewer residents, no bedroom weather protection or floor violations, and no roaches.

Conclusions

Farmworkers are exposed to pesticides where they live. Policy on removing pesticides from farmworker houses is needed. Reducing pesticides in farmworker houses will reduce one health risk confronted by this vulnerable population. Am. J. Ind. Med. 57:312–322, 2014. © 2013 Wiley Periodicals, Inc.
The Global Network of Optical Magnetometers for Exotic physics (GNOME): A novel scheme to search for physics beyond the Standard Model
Authors: Pustelny Szymon , Jackson Kimball Derek F. , Pankow Chris , Ledbetter Micah P. , Wlodarczyk Przemyslaw , Wcislo Piotr , Pospelov Maxim , Smith Joshua R. , Read Jocelyn , Gawlik Wojciech , Budker Dmitry
Published: August 2013

A novel experimental scheme enabling the investigation of transient exotic spin couplings is discussed. The scheme is based on synchronous measurements of optical‐magnetometer signals from several devices operating in magnetically shielded environments in distant locations (≳ 100 km). Although signatures of such exotic couplings may be present in the signal from a single magnetometer, it would be challenging to distinguish them from noise. By analyzing the correlation between signals from multiple, geographically separated magnetometers, it is not only possible to identify the exotic transient but also to investigate its nature. The ability of the network to probe presently unconstrained physics beyond the Standard Model is examined by considering the spin coupling to stable topological defects (e.g., domain walls) of axion‐like fields. In the spirit of this research, a brief (∼2 hours) demonstration experiment involving two magnetometers located in Kraków and Berkeley (∼9000 km separation) is presented and discussion of the data‐analysis approaches that may allow identification of transient signals is provided. The prospects of the network are outlined in the last part of the paper.
Nucleus Rostrolateralis: An Expansion of the Epithalamus in Some Actinopterygii
Authors: Saidel William M.
Published: August 2013

The diencephalic nucleus rostrolateralis (RL) in the African butterfly fish (Pantodon buchholzi) is a brain nucleus identified in fewer than a dozen of the ∼25,000 species of actinopterygian fishes. Located in the rostrolateral diencephalon, this nucleus in Pantodon receives direct and indirect visual input from the superior visual field. Its lack of precedent or consistent phylogenetic expression creates a difficulty in interpreting the functional role of this nucleus within the visual system. By tracing experiments, RL was found to be afferent to nucleus interpeduncularis (IP) and the target of cells from the subpallium of the telencephalon. RL is a component of a descending telencephalic pathway involved in at least one behavior at the intersection of limbic and somatic activities—feeding. The parallelism between the ventral telencephalon—RL—IP and the limbic/striatal—habenula—IP pathway (the dorsal diencephalic conduction system, DDCS) suggests that RL is a component within the DDCS. Moreover, the hodological connections of RL suggest that RL is likely a hypertrophy of the lateral habenula. Anat Rec, 296:1594–1602, 2013. © 2013 Wiley Periodicals, Inc.
Synthesis, Pharmacophores, and Mechanism Study of Pyridin‐2(1H)‐one Derivatives as Regulators of Translation Initiation Factor 3A
Authors: Zhu Weixing , Shen Jie , Li Qianbin , Pei Qi , Chen Jun , Chen Zhuo , Liu Zhaoqian , Hu Gaoyun
Published: August 2013

Twenty‐seven 1,5‐disubstituted‐pyridin‐2(1H)‐one derivatives were synthesized and evaluated for their anti‐cancer and anti‐fibrosis activity by A549 and NIH3T3 cell viability assays, respectively. To study the selectivity between the cancer and fibrosis cell lines, pharmacophore models (F1–F4) were built in advance for compounds with pyridin‐2(1H)‐one scaffold, which revealed the relationship between the occupation of the aromatic sub‐site F4 and potent anti‐cancer activity. The relationship between structure and anti‐cancer activity for all target compounds is also reported herein: 1‐Phenyl‐5‐((m‐tolylamino)methyl)pyridine‐2(1H)‐one (22) displayed both potency and selectivity (IC50 = 0.13 mM) toward the A549 cell line through the inhibition of translation initiation, especially by eIF3a suppression, and can be treated as a lead for the design of novel eIF3a regulators and anti‐lung cancer agents.
Interactive deformation and cutting simulation directly using patient‐specific volumetric images
Authors: Li Shuai , Zhao Qinping , Wang Shengfa , Hao Aimin , Qin Hong
Published: August 2013

This paper systematically advocates an interactive volumetric image manipulation framework, which can enable the rapid deployment and instant utility of patient‐specific medical images in virtual surgery simulation while requiring little user involvement. We seamlessly integrate multiple technical elements to synchronously accommodate physics‐plausible simulation and high‐fidelity anatomical structures visualization. Given a volumetric image, in a user‐transparent way, we build a proxy to represent the geometrical structure and encode its physical state without the need of explicit 3‐D reconstruction. On the basis of the dynamic update of the proxy, we simulate large‐scale deformation, arbitrary cutting, and accompanying collision response driven by a non‐linear finite element method. By resorting to the upsampling of the sparse displacement field resulted from non‐linear finite element simulation, the cut/deformed volumetric image can evolve naturally and serves as a time‐varying 3‐D texture to expedite direct volume rendering. Moreover, our entire framework is built upon CUDA (Beihang University, Beijing, China) and thus can achieve interactive performance even on a commodity laptop. The implementation details, timing statistics, and physical behavior measurements have shown its practicality, efficiency, and robustness. Copyright © 2013 John Wiley & Sons, Ltd.