Third Annual Graduate Student Music Conference

Transcription

1 Ackowledgemets Fudig for this coferece is provided by The Davee Fox Edowed Chair for Music Studies Coferece Coordiators Gwydoly Moreault, Miguel Arago, Olma Alfaro, Mariaa Mevas, Cecilio ovillo, Olga Savic, Faez Abdalla, Morga Block, Jules Streety, Blake Cesarz, Elizabeth Bli, Cadice Sierra THE UIVERSITY OF ARIZOA Third Aual Graduate Studet Music Coferece The Uiversity of Arizoa Compositio, Musicology, Theory ad Music Educatio Faculty Matthew Mugmo Davee Fox Edowed Chair for Music Studies Philip Alejo, theory Daiel Asia, compositio Joh T. Brobeck, musicology Daw Corso, music educatio Alyssa Cossey, music educatio Pamela Decker, theory, compositio Doald Hama, music educatio Robi Hor, music i geeral studies Bria Moo, music i geeral studies Matthew Mugmo, musicology Kari ola, music educatio Joh Muiz, theory Keith Pawlak, music i geeral studies, research collectios Boyd Pomeroy, theory Jeifer Post, ethomusicology, music i geeral studies Carol Reeves, music educatio Jay Roseblatt, musicology Jaet Sturma, ethomusicology, music i geeral studies Craig Walsh, theory, compositio Matthew Williams, music educatio The Uiversity of Arizoa College of Fie Arts, Fred Fox School of Music 1017 orth Olive Road - P.O. Box Tucso, Arizoa, phoe music.arizoa.edu Featurig Dr. Suzaah Clark (Harvard Uiversity) ad presetatios by studet scholars o topics related to cotemporary musicology, music theory ad music educatio February 9 & 10, 2018 Tucso, Arizoa Poster & Program Cover Art: Gustav Klimt, Music (1895) Bavaria State Paitig Collectios, Muich COLLEGE OF FIE ARTS Fred Fox School of Music

2 The Uiversity of Arizoa 2018 Graduate Studet Music Coferece FRIDAY, FEBRUARY 9 (Room 146) Featurig Dr. Suzaah Clark (Harvard Uiversity) February 9 & 10, 2018 P R O G R A M 9:30 a.m. Registratio ad Coffee 10:30 a.m. Workshop: The Hermeeutics of Sog: A Case Study by Liszt Dr. Suzaah Clark (Harvard Uiversity) 12:30 p.m. Luch Break 2:30 p.m. Pael 1: Music ad Meaig Yumi Kim (Temple Uiversity) Expressive Trasformatio of The Cross Motive I Liszt s Soata i B Mior Tyler Howie (Bosto Uiversity) I Kow Thigs ow: Messages, Symptoms, ad the Lacaia Subject i Ito the Woods 3:30 p.m. Coffee Break 4:00 p.m. Pael 2: Harmoy, Melody, ad Texture Clay Dowham (Uiversity of Colorado Boulder) Eric Dolphy s Out Yu Ye (The Uiversity of Texas at Austi) Aciet Melody ad ew Soud i Music from the Tag Court: A Heterophoic Perspective 6:00 p.m. Social Evet Social evet at Getle Be s, 865 E. Uiversity Boulevard aalysis employs three levels of aalysis. With schema, oce it is idetified, there is o eed for further reductio because schemata are a patter to be embellished. Therefore, oe ca coclude that a schema will rarely make its way ito the backgroud i a Schekeria readig. Despite this, however, schemata are frequetly foud at the middle groud level. Sice schemata are compositioal tools used by composers, they ca ofte help clarify a foregroud readig. The fact that schema ca appear throughout the various levels of a Schekeria graph, or ot at all, ca beg the questio, what is the true hearig of a piece. My paper uses Mozart s K.311 as a backdrop to explore how each of these two aalytical techiques iteract, both whe i cogruece ad i oppositio. I explore the complex relatioship ad iteractio betwee these two forms of aalysis ad coclude that schema theory ad Schekeria aalysis frequetly complemet each other ad whe employed i tadem, offer a more isightful aalysis. Text, Meter, Lie ad Music: Toward a Holistic Approach to Structural Aalysis of Ars Atiqua Polyphoy Eric Elder (Bradeis Uiversity) The ature of musical coherece i ars atiqua polyphoy has log bee shrouded i mystery. Felix Salzer, Saul ovack, ad Delores Pesce (followig Daiel Leech-Wilkiso s work o Machaut) have all attempted to lift the proverbial veil with aalytical techiques derived from the work of Heirich Scheker. Several shared features characterize their aalyses: recurrigpitches beamed together i prologatios that ofte blur the metric rule of the perfectio,obscured idividual lies with the music herded ito oe or two staves, eschewed texts, ad musical material that is left to drift aimlessly through soic space. I this paper, I reew Schekeria criticisms of this aalytical tred. Focusig o Pesce s 1990 article, A Case for Coheret Pitch Orgaizatio i the Thirteeth-Cetury Double Motet, ad employig a arrow defiitio of Schekeria prologatio, I examie the structural ramificatios of the toal implicatios preset i her aalyses. I coclude by proposig that more solidly grouded voice leadig aalysis may prove fruitful i cosiderig ars atiqua toal structures. Usig meter ad text as achors, ad preservig the speakig power of idividual lies, I revisit Pesce s prologatios before offerig a more extesive aalysis of the motet, I mari miserie/gemma pudicicie/maere (MO 61). Through this, I demostrate that a holistic aalytical approach, oe that embraces the multiple structures preset i ars atiqua polyphoic works, ca ot oly illumiate possible sources of toal coherece, but the text-expressive potetial of the music as well.

3 the importace of error detectio abilities, may istitutios demostrate a disparity i the amout of time dedicated to this skill. Several factors result i the eglect of error detectio i the aural skills curriculum, however, the astoishig lack of resources available for istructors is likely the most damagig. Throughout this paper, I argue that error detectio must be icorporated pervasively throughout aural skills classes ad that the developmet of more resources for istructors is required to accomplish this goal. The field of aural skills pedagogy has made sigificat gais i the past few decades, however the topic of error detectio has bee eglected. Stacey Davis 2010 article Error Detectio i the Aural Skills Class: Research ad Pedagogy is oe of few exceptios. Davis work brigs together aspects of music cogitio research ad music theory pedagogy to revise pre-existig error detectio exercises ito more effective activities. However, these exercises are limited i their cotet ad approach. I my paper, I build o Davis argumet by creatig a wide variety of ew exercises that demostrate the rage of cotet ad soft skills that ca be taught through this medium. The paper is divided ito three mai sectios. First, I explai that error detectio ca be preseted i two formats, soud-to-soud or soud-tootatio, ad show that these activities build several soft skills, icludig musical memory, establishig expectatios, ad audiatio. ext, I preset the curret literature o the topic, icludig Davis article, several cogitio studies, ad 15 aural skills texts, to demostrate that the resources for aural skills teachers are severely lackig i error detectio activities. Fially, I preset several examples of activities that alig with writte theory topics i a four-semester curriculum ad give detailed istructios o how to effectively carry out each exercise. Attedees will leave this presetatio with the uderstadig of why aural error detectio must be taught as part of the aural skills curriculum, as well as the materials required to begi teachig this skill i their classrooms. Pael 5: Scheker ad Beyod Schekeria Schematizatios: A Tale of Two Aalytical Leses Sammy Garder (Uiversity of orth Texas) Schekeria aalysis ad Robert Gjerdige s schema theory seem to fid themselves at odds. This is iroic whe oe cosiders that both forms of aalysis seek to aswer oe questio; that is, what are the voice-leadig dimiutios over musical patters. Schekeria aalysis examies the relatioship betwee the Urliie ad bass Stufe. With schema, the method is the embellishmet over the schemata themselves. The problem whe oe compares how these forms of aalysis iteract is the way i which they reduce the structural levels of the music Schekeria SATURDAY, FEBRUARY 10 (Room 146) 9:30 a.m. Pael 3: Meter, Rhythm, ad Form Matthew Chiu (Bosto Uiversity) Form as Meter: Metric Forms through Fourier Space Brya Hayslett (YU Steihardt) Liguistic Stress ad Its Relatioship to Phrase: Rhythm ad Meter i Lee Hyla s Dream of Iocet III 10:30 a.m. Coffee Break 11:00 a.m. Pael 4: Pedagogical Approaches 12:00 p.m. Luch Lysey Lambrecht (Michiga State Uiversity) Post-Toal Pedagogy: Teachig ad Learig Early Twetieth-Cetury Techiques at the Keyboard Alexadrea Joker (Michiga State Uiversity) A Argumet for Error Detectio: Why ad How It Should Be Taught i the Udergraduate Aural Skills Curriculum 2:00 p.m. Pael 5: Scheker ad Beyod Sammy Garder (Uiversity of orth Texas) Schekeria Schematizatios: A Tale of Two Aalytical Leses Eric Elder (Bradeis Uiversity) Text, Meter, Lie, ad Music: Toward a Holistic Approach to Structural Aalysis of Ars Atiqua Polyphoy 3:00 p.m. Coffee Break 3:30 p.m. Keyote: Cupid s Arrow ad the Covetios of Sog i the Medieval Motet Dr. Suzaah Clark (Harvard Uiversity)

4 About the Keyote Speaker SUZAAH CLARK, AKC, BMus, MMus, MFA, MA, PhD, is professor of music at Harvard Uiversity. Before movig to Harvard i 2008, she taught at Oxford Uiversity for eight years. Dr. Clark specializes i the music of Fraz Schubert, the history of music theory, ad medieval music. Her book, Aalyzig Schubert, was published by Cambridge Uiversity Press i She co-edited Music Theory ad atural Order from the Reaissace to the Early Twetieth Cetury (Cambridge Uiversity Press, 2001; pbk 2005) with Alexader Rehdig, ad co-edited Citatio ad Authority i Medieval ad Reaissace Musical Culture: Learig from the Leared (Boydell & Brewer, 2005) with Elizabeth Eva Leach. She is curretly workig o a book, Quirks i Toality: Aspects i the History of Toal Space, a book that focuses o major issues i the history of toal theory, such as chagig coceptios of modulatio, chagig perceptios of key relatios, costructios of diatoicism versus chromaticism, ad eve why theorists like to draw musical diagrams of what has come to be kow as toal space. Clark has give lectures i the UK, USA, Caada, Frace ad Germay ad has held fellowships from the Deutscher Akademischer Austausch Diest (Germay), Social Scieces ad Humaities Research Coucil (Caada), British Academy (UK), Arts ad Humaities Research Coucil (UK). Most recetly she was the William J. Bouwsma Fellow at the atioal Humaities Ceter i orth Carolia. She has served o the editorial boards of Music Aalysis ad Music Theory Spectrum ad is curretly o the advisory board for Music Aalysis. I 2012, she served as chair of the Publicatio Awards Committee for the Society for Music Theory. She curretly serves o Coucil for the America Musicological Society ad, sice 2013, she serves as reviews editor for the Joural of the America Musicological Society. meter, ad temporality cotributes to a uderstadig of phrasig, i terms of both iterpretatio ad perceptio, ad provides a framework withi which to uderstad structure i music that assimilates temporal structures from differet geres. Pael 4: Pedagogical Approaches Pedagogy: Teachig ad Learig Early Twetieth-Cetury Techiques at the Keyboard Lysey Lambrecht (Michiga State Uiversity) - Post-Toal Iovative music theory pedagogues ad scholars have created itesely musical classrooms that eable studets to lear cocepts through music-makig. Michael Callaha s article (2015) discusses the egagig ad practical uses of the keyboard as a teachig ad learig tool i udergraduate music theory courses. Callaha addresses learig outcomes, potetial activities structured for o-primary piaists, ad solutios to challeges that are posed by usig the keyboard i a theory class; however, the use of the keyboard as a teachig ad learig tool is ot exteded to teachig musical techiques of the early twetiethcetury. To help studets build a aural, tactile, ad visual uderstadig of musical techiques i the early twetieth-cetury, I have created keyboardig activities that are shaped by research from the scholarship of teachig ad learig. These exercises provide opportuities for studets to gai commad of techiques through a multi-modal approach by egagig with the keyboard, icludig melodic scales, harmoic idioms, improvisatio, melody harmoizatio, recompositio, model compositio, sig ad play, play ad talk, ad represetative repertoire. These examples are exteded to crucial cocepts from the early twetieth-cetury curriculum, icludig symmetrical collectios, harmoic textures, diatoic collectios, composer characteristics, set theory, ad twelve-toe serialism. Represetative materials for the keyboard demostrated at this presetatio ca be immediately implemeted, tailored to a specific cohort, ad expaded upo to deepe studet learig ad egagemet. Attedees will leave this presetatio with the uderstadig of how keyboardig activities ehace studet proficiecy i a early twetieth-cetury course. A Argumet for Error Detectio: Why ad How It Should Be Taught i the Udergraduate Aural Skills Curriculum Alexadrea Joker (Michiga State Uiversity) The ability to aurally compare performaces ad perceive errors is imperative for every musicia. Although most musicias ackowledge

5 i his succict, 5-page article O Harmoy ad Meter i Brahms Op.76, o.8, proposed a coectio betwee the toal ad metric fuctios withi the piece - after which, a subsequet lie of metricform theorists exteded his cocepts. Amog these metric-formal theorists are Richard Coh ( Complex Hemiolas, Ski-Graphs, ad Metric Spaces ), Scott Murphy ( Metric Cubes i Some Music of Brahms ), ad Samuel g ( Phrase Rhythm as Form i Classical Istrumetal Music ). I Form as Meter, I build o previous approaches to metric form by exhibitig how the Discrete Fourier Trasform (DFT) presets these theorists ideas i a ew perspective, while simultaeously demostratig how it ca formally address other metric-aalytic problems. The DFT, first itroduced to music theory by David Lewi, is a aalytical tool, which was later developed by Ia Qui. Theorists such as Jaso Yust, William Sethares, ad Adrew Mile have expaded o Qui s work. Though it was origially desiged for pitch-class spaces, Emmauel Amiot has explored the DFT i the rhythmic domai, ad has recetly used it to explai aalytical coudra (such as tilig). I this paper, I will use the DFT i the cotext of various musical timelies to demostrate its applicability to rhythm, before subsequetly implemetig the model to study the music of Brahms. I doig so, I hope to demostrate how the DFT represets a cofiguratio of metric forms. Liguistic Stress ad Its Relatioship to Phrase: Rhythm ad Meter i Lee Hyla s Dream of Iocet III Brya Hayslett (ew York Uiversity Steihardt) Rhythm ad meter are essetial to the compositioal aesthetic of Lee Hyla ( ), which reveals the diverse iflueces of Captai Beefheart, Cecil Taylor, ad Ludwig va Beethove. More tha pitched elemets or harmoy, rhythm ad meter are the primary structural ad stylistic determiats. While his music features sectios of groove, Hyla also works withi the metric framework of o-isochroous meter. May passages feature o discerible pulse or periodic meter; rhythms i these metric cotexts ofte comprise varyig combiatios of duple ad triple subdivisios of the otated beat. Although evets are otated withi a metric framework, that framework is ot part of the music as heard. The improvisatory ature of Hyla s rhythms suggests a liguistic ispiratio, ad cocepts from laguage, particularly Eglish liguistic stress, help i uderstadig Hyla s music. My study of Hyla s Dream of Iocet III presets a aalytical model ispired by Lerdahl ad Jackedoff s geerative theory of toal music ad the liguistic theories of Bruce Hayes. Examiig Hyla s music from the perspectives of rhythm, Abstracts Pael 1: Music ad Meaig Expressive Trasformatio of The Cross Motive I Liszt s Soata i B Mior Yumi Kim (Temple Uiversity) This paper will explore how the cross motive i Fraz Liszt s Soata i B Mior (1853), derived from the Gregoria chat Crux Fidelis, is trasformed throughout the piece ad what expressive effects result from that process. I Liszt s istrumetal music, motto themes become a vehicle for thematic trasformatio, ad their characteristics ad emotioal states chage over time like characters i a arrative. Michael Klei calls this chage i the musical arrative expressive trasformatio (2004, 32). Based o this idea, I will trace how the cross motive i Liszt s Soata i B Mior udergoes expressive trasformatios i its arrative jourey throughout the piece. The paper begis with a discussio of the soata s structure ad of several programmatic readigs. The, a arrative aalysis will illustrate how music ca have its ow life, ot oly opeig a hermeeutic widow o this soata as it relates to the composer s religious covictio, but also cosiderig itertextuality i the soata ad a recet film, The Reveat, which expresses a similar emotioal chage. The secodary theme i the Expositio with the cross motive expressig the glory of the Crucifixio through metric chages, a fortissimo accompaimet, ad double octaves. By the ed of the secodary theme, the cross theme is questioed because the music evades a cadece, aticipatig what will happe i the Developmet, where the motive s expressive state trasforms to tragic. I the Recapitulatio, the cross motive tries to attai victory ad accomplishes the glorious triumph with a apotheosis i the Coda, recoverig its religiousess ad magificece. I Kow Thigs ow: Messages, Symptoms, ad the Lacaia Subject i Ito the Woods Tyler Howie (Bosto Uiversity) This paper examies the dramatic arrative of James Lapie ad Stephe Sodheim s retellig of a classic folktale i the sog I Kow Thigs ow from Ito the Woods. It the examies the musical arrative, ad shows how it reflects the dramatic arrative of the musical, before turig to psychoaalysis particularly Lacaia psychoaalysis to aid the iterpretatio of the arrative(s) examied previously. The iterpretatio deals with the Lacaia cocept of the symptom, but must also, iheretly, tur to the Lacaia subject ad three orders of subjectivity: the Imagiary, the Symbolic, ad the Real.

6 The paper opes with a discussio of iterpretatio, ad how it pertais to both music ad psychoaalysis, before movig to aalysis. I Kow Thigs ow is sug by Lapie ad Sodheim s reicaratio of Little Red Ridig Hood; i it Little Red recouts her story of beig tricked ad eate by, ad cut out of, the Big Bad Wolf. Through the sog, Little Red attempts to iterpret ad cure her symptom a reflectio i the music of the trauma she experieces after her ecouter with the Wolf. The examiatio of the dramatic arrative attempts to facilitate uderstadig by examiig Lacaia cocepts i the cotext of a familiar folktale; the examiatio of the musical arrative attempts to show this Lacaia arrative s reflectio i the music. Pael 2: Harmoy, Melody, ad Texture Eric Dolphy s Out Clay Dowham (Uiversity of Colorado Boulder) A ardet force of the 1960s avat-garde, jazz musicia, multiistrumetalist, ad composer Eric Dolphy ( ) developed systematic musical strategies for playig out, despite aïve or racist perceptios of his music as radom, comical, or most famously atijazz. The metaphor of out or playig outside has pervaded discourses of jazz ad improvised musics sice the 1950s. I particular, George Russell s Lydia Chromatic Cocept of Toal Orgaizatio (1953, 1st ed. & 1959, 2d ed.), the most ifluetial music-theoretic treatise to arise from Africa-America musical commuities, establishes a uiverse of toal possibilities for musicias to explore, icludig coditios for igoig melodies ad outgoig melodies. Through its iclusive ad experimetal philosophy, Russell s LCCOTO cotributed to the techologies of performace ad aesthetic agecies of Africa-America musicias ad others, particularly followig its secod publicatio i However, Russell s music-theoretic work, the metaphor of out, ad Dolphy s music have received little scholarly attetio despite their ubiquitous positios i avat-garde music durig the 1960s ad beyod. Eric Dolphy ad his music provide a ideal case study of how Russell s LCCOTO ca be appreheded by musicias ad take ito a uique outward boud trajectory. I this presetatio, I focus o two recordigs from the last several moths of Dolphy s life i 1964: Take the A Trai live video footage with the Charles Migus Sextet ad Gazzelloi from Dolphy s last studio record, Out to Luch!. For example, Dolphy s sketchbooks iclude voice-leadig sketches of ii-v-i progressios i C, which places a quartal harmoy (Eb-Ab-Db-Gb) i lieu of the domiat G7 chord. Servig as a outgoig melody i Russell s sese, this quartal harmoy the appears i the form of a Ab blues scale (Ab-B-Db-D-Eb-Gb) i Dolphy s solo o Take the A Trai. I the case of Gazzelloi, Dolphy bases his compositio o a two-octave sythetic scale he desiged (F#,G,A,C,D,E,F,G#,B,C#,D#,F#), which establishes a 13-bar form that is egotiated durig the course of collective improvisatio. Based o my research with Dolphy s persoal music mauscripts (Eric Dolphy Collectio at the Library of Cogress), I demostrate how Eric Dolphy devised ovel strategies for playig out by extedig both Russell s theories ad previous compositioal ad improvisatioal schemata. Aciet Melody ad ew Soud i Music from the Tag Court: A Heterophoic Perspective Yu Ye (The Uiversity of Texas at Austi) Heterophoy is a musical texture which features accidetal or itetioal variatios of oe sigle melody withi differet vocal or istrumetal parts simultaeously. I Chiese traditioal musics, heterophoy is oe of the predomiat textures i various geres. Due to the ifluece of Wester-cetrism ad social Darwiism, heterophoy oce was cosidered less advaced tha Wester approach of harmoizatio or couterpoit. I recet decades, with the appreciatio of cultural relativism, heterophoy has bee highly valued as oe of the essetial musical tools to costruct atioal idetity. However, i geeral, heterophoic writig is still far from fulfillig its potetial i the cotext of Chiese cotemporary music. Shaghai composer YE Guohui s Music from the Tag Court (2013) provides a recet fasciatig case of itesive heterophoic writig. I am goig to focus o its grad orchestra versio (2013) ad strig quartet versio (2014), which premiered i Shaghai ad Sa Fracisco respectively. Both versios demostrate the composer s attempt to recostruct the musical experiece of the Tag dyasty yet i a cotemporary way. The istrumetatio relates to the musical performace scee of the teth cetury Chiese paitig ight Revels of Ha Xizai. The compositio is primarily based o the heterophoic iterpretatio of Jiuhuzi (The Wie Puppet), a aciet melody preseted i ethomusicologist Laurece Picke s multi-volume moograph Music from the Tag Court. By aalyzig the iterval structures ad pitch cells withi the compositio, I will discuss how Ye costructs the Chiese soud with the alterative use of heterophoic ad chordal harmoy. Pael 3: Meter, Rhythm, ad Form Form as Meter: Metric Forms through Fourier Space Matthew Chiu (Bosto Uiversity) Several sigificat music theorists have directly addressed, or alluded to, meter s relatioship with form. Amog them is David Lewi who,