O Clap Your Hands

O Clap Your Hands

Composer: Stephen Chatman

Publisher: Galaxy Music Corporation

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Forever, Remember Me

Composer: Stephen Chatman

Text author: Tara Wohlberg

Publisher: Galaxy Music Corporation

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Dawn of Night

Composer: Stephen Chatman

Text author: Tara Wohlberg

Publisher: Galaxy Music Corporation

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Interactions of Folk Melody and Transformational (Dis)continuities in Chen Yi’s Ba Ban

Author: Roeder, John

Publication details: Presented at the Society for Music Theory 40th Annual Meeting in Arlington, Virginia, 3 November 2017

Weblink: https://societymusictheory.org

Abstract: Chen Yi’s Ba Ban (1999) for solo piano, like many works of Western-trained Chinese composers, situates fragments of evocative traditional folk melody within a post-tonal discourse that is well described by transformation theory. The eponymous qupai (“named tune”) that it quotes is a standard of the sizhu (“silk – and – bamboo”) repertoire of Jiangnan and elsewhere (Thrasher 1989). In sizhu performance practice, the evenly pulsed rhythm of the 68 – beat melody is greatly augmented and each pitch is highly “flowered,” that is, decorated. Even the plain version of the tune has a distinctive temporality that arises from its multivalent grouping structure (Roeder 2011), but the partly improvised flowering process also affords special sensations of time that are simultaneously unpredictable locally yet highly directed across longer timespans. Chen’s piece, often simulating the timbral quality of siz hu heterophony with mistuned octaves, reproduces some of these temporal qualities by quoting distinctive phrases and elaborating their pitches. Intermingled with this discourse, though, it presents multilinear threads of motivic transformation through virtuoso figurations typical of Western piano repertoire. This paper examines how the distinctive pitch, rhythmic, and grouping continuity of the tune sometimes takes command of the otherwise transformational temporality of these post-tonal materials, while at other times the transformational logic fractures and absorbs it. Without presuming compositional intent, but in tribute to the 30th anniversary of the SMT CSW, I suggest how this hybridity might resonate with some ideas of third – wave feminist theory.

How to Create Meter and Why

Author: Roeder, John

Publication details: Presented at the Society for Music Theory 40th Annual Meeting in Arlington, Virginia, 3 November 2017

Weblink: https://societymusictheory.org

Dawn of Night

Composer: Steven Chatman
Ensemble: University of Toronto MacMillan Singers
Recording details: CMC Centrediscs, 2017

Harpocrates at Work: How the God of Silence Protected Eighteenth-Century French Iconoclasts

Author: Law, Hedy

Publication details: The Oxford Handbook of Music Censorship, edited by Patricia Hall. New York, NY: Oxford University Press, 2017.

Weblink: http://oxfordhandbooks.com

Abstract: This article examines music censorship in the Old Regime France by focusing on the politics of theater. More specifically, it analyzes the politics of silence in eighteenth-century pantomime, a type of theatrical dumb show made popular by the Forains. As an example, it considers Les Oracles d’Harpocrate, ou le dieu du silence à la foire by Charles-François Pannard, performed by the troupe Nouveau Spectacle-Pantomime in August 1746. The article shows how Pannard’s pantomime politicizes silence by featuring Harpocrates, the Egyptian god of silence. Using Harpocrate as a trope indicative of a culture of politicized silence, this essay offers a putative model correlating silence and singing, arguing that Harpocrates helps explain silence as a counter-censorship strategy in late eighteenth-century French operas and plays, including Beaumarchais’s Figaro plays and his opera Tarare (1787).

The Ballad in American Popular Music: From Elvis to Beyoncé

Author: Metzer, David

Publication details: Cambridge University Press, 2017.

Weblink: https://cambridge.org

Abstract: While ballads have been a cornerstone of popular music for decades, this is the first book to explore the history and appeal of these treasured songs. David Metzer investigates how and why the styles of ballads have changed over a period of more than seventy years, offering a definition of the genre and discussing the influences of celebrated performers, including Frank Sinatra, Aretha Franklin, and Whitney Houston. The emotional power of the ballad is strongly linked to the popular mood of the time, and consequently songs can tell us much about how events and emotions were felt and understood in wider culture at specific moments of recent American history. Tracing both the emotional and stylistic developments of the genre from the 1950s to the present day, this lively and engaging volume is as much a musical history as it is a history of emotional life in America.

Everything in its Right Place: Analyzing Radiohead by Brad Osborn

Author: Hesselink, Nathan

Publication details: Popular Music 36, no. 3 (2017): 446-48.

Weblink: https://cambridge.org