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Articles 1 - 6 of 6
Full-Text Articles in Musicology
King Behind Colonial Curtains: Kasilag And The Making Of Filipino National Culture, Paul Gabriel L. Cosme
King Behind Colonial Curtains: Kasilag And The Making Of Filipino National Culture, Paul Gabriel L. Cosme
International Studies Honors Projects
Filipino National Artist Lucrecia “King” Kasilag sought to preserve folk cultures and melded these with her Western training to produce works—scholarly, pedagogical, and compositional—that shaped national music and culture. This thesis is a critical biography that combines perspectives from postcolonial studies, political economy, and musicology to highlight forces that shaped Kasilag’s life while illustrating her successes and shortcomings on national culture. Through this biography, I argue, Filipino national culture must originate from intersectional struggles and negotiation among elites and masses; that this culture is about both resistance and acceptance—a national culture that is syncretic and quintessentially dynamic.
Mozart’S Concerto For Piano And Orchestra In B-Flat Major, K. 450: A Performance And Formal Analysis, Yihao Zhou
Mozart’S Concerto For Piano And Orchestra In B-Flat Major, K. 450: A Performance And Formal Analysis, Yihao Zhou
Music Honors Projects
An examination of the formal designs of the three movements that comprise Wolfgang Amadeus Mozart’s Concerto for Piano and Orchestra in B-Flat Major, K. 450, this thesis, along with a performance of the work (April 16, 2016), completes my Honors Project in the Macalester College Music Department. Drawing connections with standard musical forms that had been developed by the late eighteenth century, the formal analysis of K. 450, through a hermeneutic approach, offers a way of understanding the formal aspects of the three concerto movements. Particularly, it reveals that this concerto simultaneously presents the distinction of an individual in the …
Agencies At War: Marshaling Places, Objects, And Sonorities In The Alta California Missions, Naomi R. Sussman
Agencies At War: Marshaling Places, Objects, And Sonorities In The Alta California Missions, Naomi R. Sussman
History Honors Projects
1769, Spanish Franciscan Junípero Serra initiated the missionization of Alta California. To transform California into a Spanish territory, Franciscan missions evangelized indigenous peoples. While traditional Alta California mission histories emphasize either Franciscan abuses or saintliness, reifying Native American subordination, most contemporary scholarship accentuates mutual hybridization but minimizes colonial power dynamics. Through archival and secondary research, this thesis argues that spatial interplay expressed neither syncretization nor unadulterated domination, but instead competing agencies within a physical and social “contact zone.” In this Alta Californian “contact zone,” material and sonic culture reinforced the continuous struggle for authority in the missions.
Illuminating The Infelice: Defiance And Transcendence In The 19th Century Operatic Madwoman, Claire Biringer
Illuminating The Infelice: Defiance And Transcendence In The 19th Century Operatic Madwoman, Claire Biringer
Music Honors Projects
The female protagonist’s mad scene, since coming into true vogue in the early nineteenth-century Italian opera tradition, has been prized for its dramatic and poignant emotive qualities. This project explores four nineteenth-century mad scenes; Donizetti’s Lucia di Lammermoor (1835), Bellini’s I Puritani (1835), Meyerbeer’s Dinorah (1859), and Verdi’s Macbeth (1847), surveying the literature of each scene and providing formal analysis of musical attributes such as harmony, melodic structure, and formal design, all in comparison to generic operatic conventions. Musical elements generally associated with the operatic madwoman include the orchestral recollection of significant past themes, virtuosic coloratura lines, and the presence …
Illuminating The Infelice: Defiance And Transcendence In The 19th Century Operatic Madwoman, Claire Biringer
Illuminating The Infelice: Defiance And Transcendence In The 19th Century Operatic Madwoman, Claire Biringer
Music Honors Projects
The female protagonist’s mad scene, since coming into true vogue in the early nineteenth-century Italian opera tradition, has been prized for its dramatic and poignant emotive qualities. This project explores four nineteenth-century mad scenes; Donizetti’s Lucia di Lammermoor (1835), Bellini’s I Puritani (1835), Meyerbeer’s Dinorah (1859), and Verdi’s Macbeth (1847), surveying the literature of each scene and providing formal analysis of musical attributes such as harmony, melodic structure, and formal design, all in comparison to generic operatic conventions. Musical elements generally associated with the operatic madwoman include the orchestral recollection of significant past themes, virtuosic coloratura lines, and the presence …
Re-Envisioning Tragedy: A Comparative Analysis Of Gender And Madness In Three Twentieth-Century Operas, Caolfionn Bhreidé Yenney
Re-Envisioning Tragedy: A Comparative Analysis Of Gender And Madness In Three Twentieth-Century Operas, Caolfionn Bhreidé Yenney
Music Honors Projects
This comparative analysis of three twentieth-century operas - Berg's Wozzeck, Britten's Peter Grimes, and Shostakovich's Lady Macbeth of the Mtsensk District - traces their respective discourses of gender and madness, specifically within the dramatization (musical and otherwise) of their title characters. Of the three, Wozzeck, because it adheres to strict gender roles, has been received most uniformly as a tragedy; by contrast Lady Macbeth is traditionally viewed in terms of satire. I argue that feminist musicological analysis allows for a re-envisioning of all three operas, in which the characters are received as tragic regardless of subverting societally …