Music

Background: The composer Richard Wagner often expressed his distaste for “number” operas and other contrived forms used in the Italianate works of his forerunners and contemporaries. In place of these operatic conventions, Wagner drew upon the Tragedy of Ancient Greece to propose a “total artwork” (Gesamtkunstwerk)) with no contrived breaks for conventional form. Despite, or perhaps because of, his aversion toward operatic formal conventions, Wagner turned to one such form for his music for King Mark in Tristan und Isolde.

Background: The composer Richard Wagner often expressed his distaste for “number” operas and other contrived forms used in the Italianate works of his forerunners and contemporaries. In place of these operatic conventions, Wagner drew upon the Tragedy of Ancient Greece to propose a “total artwork” (Gesamtkunstwerk)) with no contrived breaks for conventional form. Despite, or perhaps because of, his aversion toward operatic formal conventions, Wagner turned to one such form for his music for King Mark in Tristan und Isolde. Methods: This poster demonstrates Wagner’s use of lament tropes from the poetry of Greek Tragedy and from seventeenth-century Italian opera within his own revolutionary practice of the dramatic narrative to create a formal operatic lament for the King in Act Two, Scene Three. Discussion: This apparent contradiction between theory and practice seems to be intentional—by turning to the poetic and musical form of the operatic lament, Wagner presents King Mark as repr...

Si le XX e siècle apparaît comme le siècle des guerres, la figure du prisonnier est longtemps restée comme oubliée. Or, les captifs se comptèrent par millions lors des deux conflits mondiaux, se sont affirmés comme un enjeu central des guerres de décolonisation et révèlent aujourd'hui les mutations, stratégiques et juridiques, des conflits du XXI e siècle.

The complexities of Ludwig van Beethoven’s late string quartets have from their inception confounded audiences. These complexities are often incredibly intertwined, at times as tightly wound as the fabled Gordian knot. Therefore, the complexities require extra attention to unravel and understand. Through the lens of metrical dissonance, as pioneered by Harald Krebs in Fantasy Pieces, this article aids the listener and performer in unwinding some of the rhythmic complexities of the second movement of Beethoven’s String Quartet No. 16, Op. 135. With three central dissonances (D3+1, D3-1, and G3/2), Beethoven ties melodic motives, dynamics, and musical form together thereby utilizing the dissonances as organizational tools of composition. This article explores each dissonance in turn and offers one explanation for the ambiguity that has often arisen from performances of Beethoven’s late works. Musicological Explorations 76

Supervisory Committee Dr. Jonathan Goldman, School of Music Supervisor Dr. Michelle Fillion, School of Music Departmental Member Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Gorecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for th...

This article explores the boundaries that lie between analysis and sketch study, as found in two works by American composer Steve Reich (b. 1936). The article begins by examining the relationship between analysis and sketch study in relation to minimalist music. From this initial overview, the authors propose that one of the dangers intrinsic to sketch study-not saying anything particularly revealing about the musical work-can also be found in musical analysis. To combat this inherent weakness, the article advocates what William Kinderman has described as an "'integrated approach' whereby musical analysis takes guidance from sources" (2009, 7). Kinderman's "integrated" approach is applied during the second half of the article, when two case studies relating to Reich's compositions-both of which have previously received detailed analytical attention by other scholars-are examined in more detail. In analyzing Reich's music, these scholars did not have access to the wealth of sketch materials now housed at the Paul Sacher Stiftung (PSS) Basel. In the first case study, John Roeder's account, published in 2003, of the first movement of Reich's popular New York Counterpoint (1985) is read against the authors' own research of the composer's extant sketches held at PSS. Likewise, a second case study examines Ronald Woodley's article, published in 2007, of Reich's Proverb (1996) in relation to the work's sketch materials. The article concludes by noting that while sketch studies should not be viewed as a kind of "holy grail"-revealing hidden truths or inner meanings about a work and unlocking the door to the composer's inner thoughts and working processes-the working documents can (and do) offer insights that analysis does not always provide. Der Beitrag untersucht die Grenzen zwischen Analyse und Skizzenstudien am Beispiel von zwei Werken des amerikanischen Komponisten Steve Reich (geb. 1936). Der Artikel beginnt mit einer Untersuchung des Zusammenhangs zwischen Analyse und Skizzenstudien in Bezug auf minimalistische Musik. Ausgehend von diesem Überblick wird vorgeschlagen, dass eine der Gefahren, die dem Skizzenstudium innewohnt-nämlich nichts besonders Aufschlussreiches über das musikalische Werk zu sagen-auch die Musikanalyse betreffen kann. Um diese inhärente Schwäche zu bekämpfen, befürwortet der Artikel das, was William Kinderman als »›integrativen‹ Ansatz« beschrieben hat, bei dem die musikalische Analyse von Quellen geleitet wird (2009, 7). Kindermans »integrativer« Ansatz wird in der zweiten Hälfte des Artikels angewendet. Dort werden zwei Fallstudien anhand von Steve Reichs Kompositionen-die beide zuvor von anderen Wissenschaftlern ausführlich analysiert worden sind-näher diskutiert. Bei ihren Analysen von Reichs Kompositionen hatten diese Wissenschaftler keinen Zugang zu dem umfangreichen Skizzenmaterial, das sich heute in der Paul Sacher Stiftung (PSS) Basel befindet. In der ersten Fallstudie wird John Roeders 2003 veröffentlichte Studie zum ersten Satz von Reichs populärem Werk New York Counterpoint (1985) vergleichend zur eigenen F orschung der Autor*innen über die vorhandenen Skizzen des Komponisten in der PSS gelesen. Ebenso untersucht eine zweite Fallstudie den 2007 veröffentlichten Artikel von Ronald Woodley über Reichs Proverb (1996) in Bezug auf die Skizzenmaterialien des Werks. Der Artikel schließt mit der F eststellung, dass Skizzenstudien zwar nicht als eine Art »heiliger Gral« angesehen werden sollten, die notwendigerweise verborgene Wahrheiten oder innere Bedeutungen über ein Werk enthüllten und die Tür zu den inneren Gedanken und Arbeitsprozessen des Komponisten öffneten. Dennoch können Skizzen als Arbeitsdokumente Einblicke bieten, die eine Musikanalyse nicht immer zu liefern vermag.

Introduction In the twenty-first century, digital technologies seem to disappear as 'they weave themselves into the fabric of everyday life until they are indistinguishable from it' (Weiser, 1991, p. 94). As these technologies are subsumed into our working lives, they are also brought into the creative realm. This digital shift has fundamentally changed the material nature of many musical sketches. Whereas pre-computer age composers working in the Western classical tradition primarily inscribed their thoughts on paper with pencil (another technology which has seemingly become invisible), they now direct cursors across screens, creating digital ephemera in place of hardcopy evidence. As hardware and software technologies develop, the ability to read these new e-materials is more transient than their hardcopy predecessors. This creates the possibility of rendering previous versions obsolete. The precariousness of the digital situation was recognised by the United Nations Educa...

This article explores aspects of transatlantic culture through the career and works of the baritone, librettist and impresario Henri Drayton (1822
72). Using the published operas as well as reviews from period newspapers, the author retraces the events of the Philadelphia-born Drayton’s professional life. Concentrating on the creative works, the author shows how Drayton went from playing stock roles at London’s Drury Lane Theatre to collaborating with composers such as Joseph Duggan and Edward James Loder. With his wife, the soprano Susanna Lowe, Drayton performed in what he termed ‘drawing-room’ operas. Their popularity attracted the attention of visiting US impresario P. T. Barnum, who brought Drayton to New York in 1859. When his success in the USA was cut short by the outbreak of the Civil War, Drayton returned to London and created a one-man ‘entertainment’, Federals and Confederates. Spending what would be his final years as a member of the Richings English Opera Company, Drayton returned to New York in 1869.


1850～72年におけるヘンリー・ドレイトン、イングリッシュ・オペラおよび英国系アメリカ人の関係
本稿は、バリトン歌手、オペラ台本作家、興行主であったヘンリー・ドレイトン(1822-72)の生涯と作品を通じて、大西洋両岸間の文化的諸相を考察する。出版されたオペラや当時の新聞に掲載されたレビュー記事を参照しながら、フィラデルフィアに生まれたドレイトンの音楽家人生の様々な出来事を辿る。創作作品を取り上げながら、ドレイトンがロンドンのドゥルリーレーン劇場で人気役を演じたことを始め、ジョセフ・ダガンやエドワード・ジェイムズ・ローダーなどの作曲家と協力するに至った経緯を明らかにする。ドレイトンは自身が「客間オペラ」と称した作品を、妻にしてソプラノ歌手のスザンナ・ロウと一緒に演じた。2人の人気は当地を訪問中だった米国の興行主P.T.バーナムの関心を引き、バーナムは1859年にドレイトンをニューヨークに連れていく。しかし、米国での成功が南北戦争の勃発によって短期に終わるとドレイトンはロンドンに戻り、独演の「エンターテインメント」である『北軍と南軍』を創作した。晩年はリッチングス・イングリッシュ・オペラ団の一員として過ごし、1869年にニューヨークに戻っている。


Henri Frayton, 1850-72 期間的英國歌劇及英美關係
本文通過研究男中音、歌劇作詞人及經紀人 Henri Drayton(1850-72) 以探討跨大西洋文化. 本文作者以發表的歌劇及其報章評論追溯費城出生的Drayton 的職業生涯。本文作者通過研究 Drayton 及合作的作曲家如 Joseph Duggan 及 Edward James Loder 的創作以探討 Drayton 作為倫敦 Drury Lane 劇院的歌劇供應角色。他與女高音妻子 Susanna Lowe 合演他自己稱為的‘畫室歌劇’(‘Drawing-room’ opera)，他們受歡迎的演出吸引到訪美國的經紀人 P.T. Barnum 並於1859年帶他們到紐約。他在美國的成功由於內戰爆發而中斷並且返回倫敦創作一人‘娛樂’作品—美國聯邦及其同盟國。後期的Drayton作為Richings英國歌劇公司成員，他於1869年回到紐約。

This article explores the U.S. career of the Dutch immigrant violinist Jacques Oliveira. Following successful performances in Britain, Oliveira sailed for the United States in the fall of 1859. Under P.T. Barnum's management, the twenty-three-year-old became a fixture on New York's theatrical scene, as an instrumental soloist with Tom Thumb's company, with the Drayton Parlor Opera troupe, and with Hooley and Campbell's Minstrels. After a year, he traveled south, settling in occupied New Orleans, where he had family connections. Despite the economic difficulties of the time, he soon became an important figure in the city's cultural life, only to die during an outbreak of cholera and yellow fever in the summer of 1867.In the absence of letters or diaries, the article relies heavily on close examination of period newspapers, city directories and census data to reconstruct Oliveira's world. Oliveira's activities, his successes and struggles, offer insights into the place of the working musician, newly arrived in the Unites States in the late 1850s. Examining the events of his life enables us to contrast cultural life in New York and New Orleans at the time of the Civil War. The article illuminates the place of the instrumentalist in the theater, reveals how attitudes toward music were influenced by a cultural hierarchy, provides insights into the place of the violin in the musical life of the United States, and examines the impact of the Civil War on musical life in New Orleans.


倫敦、紐約及美國內戰期間音樂廳的政治
本文通過研究美國內戰期間倫敦及紐約的音樂廳來探討英國及美國的關係。本文主要研究兩位於內戰期間遊走兩個城市的表演者: James Unsworth 及 Henri Drayton，他們均與兩個城市有所連繫並以文字和音樂表達他們的政見。我們可以通過兩位表演者來看看音樂廳以及樂手如何作為政見抒發的渠道。我們亦可看見政治、經濟及文化的改變開始影響美國。


ある移民ヴァイオリニストの遍歴: 南北戦争期のニューヨークとニューオリンズにおけるジャック・オリベイラ
本稿では、オランダ人移民のヴァイオリニスト、ジャック・オリベイラの米国における音楽家人生について考察する。英国で成功を収めたオリベイラは、1859年秋に船で渡米した。P.T.バーナムのマネジメント下に、この23歳の若者はソロ演奏家としてニューヨークの演劇シーンの常連になり、親指トム一座、ドレイトン・パーラー・オペラ団、フーリー・アンド・キャンプベルズ・ミンストレルで演奏した。1年後に南部に赴き、家族のツテがあった北軍占領下のニューオリンズに住み着く。当時の経済的困難にもかかわらず、オリベイラはすぐに同市の文化生活における重要人物の1人となったが、結局はコレラや黄熱病の流行した1867年夏に死去した。オリベイラの世界を再構築するにあたっては、手紙や日記がないために、当時の新聞、市の住民名簿、人口調査データなどを主に参照した。オリベイラの音楽活動やその成功と葛藤からは、1850年代末に新たに米国に辿り着いたこの音楽家の置かれた状況が明らかになる。また、生涯の出来事を調べることで、南北戦争時におけるニューヨークとニューオリンズの文化的生活が比較できる。本稿は、劇場における同演奏家の位置付けに光を当て、文化的階層性が音楽の嗜好にどう影響するかを明らかにすると共に、米国の音楽生活におけるヴァイオリン音楽の位置付けや、ニューオリンズの音楽生活に対する南北戦争の影響を考察する。

CONTENTS Abstract Resume List of Illustrations Acknowledgments  Introduction: Around and About Marius Barbeau / Lynda Jessup, Andrew Nurse, and Gordon E. Smith  1. "Their Ancient Customs are Gone": Anthropology as Cultural Process / Andrew Nurse  2. Artistic Labour and the Embodiment of Culture: Marius Barbeau's Canadian Anthropology of Art as a Vision from Oxford and Paris / Frances M. Slaney  3. The French Connection: Marius Barbeau, the Annee Sociologique, and the Societe des Americanistes, 1911-30 / Derek G. Smith and Benoit Theriault  4. Kurt Seligmann et Marius Barbeau: Chronique d'une rencontre decisive / Yannick Meunier  5. Marius Barbeau and Ramsay Traquair: Establishing Authenticity on l'Ile d'Orleans / Nicola J. Spasoff  6. Marius Barbeau chez Louis Jobin, statuaire / Francois-Marc Gagnon  7. Marius Barbeau and Sam Borenstein / Loren Lerner  8. Marius Barbeau as a Promoter of Folk Music Performance and Composition / Elaine Keillor  9. Marius Barbeau: Une eminence grise dans milieu musical canadien-francais / Marie-Therese Lefebevre  10. Marius Barbeau et le Moyen-Age / John Haines  11. Genese de l'enquete enthomusicologique collective au Canada francais / Jean-Nicolas de Surmont  12. Ethnomusicological Modelling and Marius Barbeaus's 1927 Nass River Field Trip / Gorden E. Smith  13. The Urgency of Myth: Marius Barbeau, Jori Smith, and the Narrations of Nation / Marielle Aylen  14. Transforming Knowledge: The Nisga'a and the Marius Barbeau Collection / Allison Nyce  15. Marius Barbeau and Early Ethnographic Cinema / Lynda Jessup  16. "A Playground for Tourists from the East": Marius Barbeau and Candian Artists in Gitxszn Territory / Sandra Dyck  Contributors Index

This article explores the activities of the French-born musician Charles Gustave Smith in post-Civil War New Orleans. It shows Smith to be employed as organist at the Bishop's chapel and deeply engaged in the city's musical community, organizing concerts and teaching, but ultimately unable to make ends-meet in the harsh economic conditions of the time.


Gustave Smith 於路易斯安那州的經歷
本文探討法國出生的音樂家 Charles Gustave Smith 內戰前在新奧爾良的生活。他受聘為教堂風琴手及融入城市中的音樂社區、組職音樂會及教學，可是最終還是不能在經濟惡劣的環境下達到收支平衡。


ルイジアナでのギュスターヴ・スミスのエピソード
本稿は、南北戦争後のニューオリンズにおけるフランス生まれの音楽家、チャールズ・ギュスターヴ・スミスの音楽活動について考察する。司教教会にオルガン奏者として雇われたスミスは、同市の音楽コミュニティに深くかかわり、コンサートや音楽教育を企画したが、最後は当時の厳しい経済状況のために運営が立ち行かなくなった。

This article provides a chronology and other information on the photographs and engravings of the 19th-century French-Canadian musician Calixa Lavallée (1842-1891) and his family, placing them within the context of his life.


ラヴァレの肖像: 国民的音楽家のイメージ
本稿では、19世紀のフランス系カナダ人音楽家、カリサ・ラヴァレ(1842-1891)と家族に関する年代別の出来事やその他に写真や銅版画などの情報を提供し、それらを生涯の文脈の中に位置づけてみる。


Lavallée的照片: 國家音樂家的形象
本文提供法國-加拿大音樂家 Calixa Lavallée (1842-1891)及其家庭的照片和雕刻的年表及其他資料並將這些照片和雕刻連繫他的生活背景。