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Surviving Set Theory: a Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory
Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Angela N. Ripley, M.M. Graduate Program in Music The Ohio State University 2015 Dissertation Committee: David Clampitt, Advisor Anna Gawboy Johanna Devaney Copyright by Angela N. Ripley 2015 Abstract Undergraduate music students often experience a high learning curve when they first encounter pitch-class set theory, an analytical system very different from those they have studied previously. Students sometimes find the abstractions of integer notation and the mathematical orientation of set theory foreign or even frightening (Kleppinger 2010), and the dissonance of the atonal repertoire studied often engenders their resistance (Root 2010). Pedagogical games can help mitigate student resistance and trepidation. Table games like Bingo (Gillespie 2000) and Poker (Gingerich 1991) have been adapted to suit college-level classes in music theory. Familiar television shows provide another source of pedagogical games; for example, Berry (2008; 2015) adapts the show Survivor to frame a unit on theory fundamentals. However, none of these pedagogical games engage pitch- class set theory during a multi-week unit of study. In my dissertation, I adapt the show Survivor to frame a four-week unit on pitch- class set theory (introducing topics ranging from pitch-class sets to twelve-tone rows) during a sophomore-level theory course. As on the show, students of different achievement levels work together in small groups, or “tribes,” to complete worksheets called “challenges”; however, in an important modification to the structure of the show, no students are voted out of their tribes. -
Resistance Through 'Robber Talk'
Emily Zobel Marshall Leeds Beckett University [email protected] Resistance through ‘Robber Talk’: Storytelling Strategies and the Carnival Trickster The Midnight Robber is a quintessential Trinidadian carnival ‘badman.’ Dressed in a black sombrero adorned with skulls and coffin-shaped shoes, his long, eloquent speeches descend from the West African ‘griot’ (storyteller) tradition and detail the vengeance he will wreak on his oppressors. He exemplifies many of the practices that are central to Caribbean carnival culture - resistance to officialdom, linguistic innovation and the disruptive nature of play, parody and humour. Elements of the Midnight Robber’s dress and speech are directly descended from West African dress and oral traditions (Warner-Lewis, 1991, p.83). Like other tricksters of West African origin in the Americas, Anansi and Brer Rabbit, the Midnight Robber relies on his verbal agility to thwart officialdom and triumph over his adversaries. He is, as Rodger Abrahams identified, a Caribbean ‘Man of Words’, and deeply imbedded in Caribbean speech-making traditions (Abrahams, 1983). This article will examine the cultural trajectory of the Midnight Robber and then go on to explore his journey from oral to literary form in the twenty-first century, demonstrating how Jamaican author Nalo Hopkinson and Trinidadian Keith Jardim have drawn from his revolutionary energy to challenge authoritarian power through linguistic and literary skill. The parallels between the Midnight Robber and trickster figures Anansi and Brer Rabbit are numerous. Anansi is symbolic of the malleability and ambiguity of language and the roots of the tales can be traced back to the Asante of Ghana (Marshall, 2012). -
Bibliography
BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. -
Pierrot Lunaire Translation
Arnold Schoenberg (1874-1951) Pierrot Lunaire, Op.21 (1912) Poems in French by Albert Giraud (1860–1929) German text by Otto Erich Hartleben (1864-1905) English translation of the French by Brian Cohen Mondestrunken Ivresse de Lune Moondrunk Den Wein, den man mit Augen trinkt, Le vin que l'on boit par les yeux The wine we drink with our eyes Gießt Nachts der Mond in Wogen nieder, A flots verts de la Lune coule, Flows nightly from the Moon in torrents, Und eine Springflut überschwemmt Et submerge comme une houle And as the tide overflows Den stillen Horizont. Les horizons silencieux. The quiet distant land. Gelüste schauerlich und süß, De doux conseils pernicieux In sweet and terrible words Durchschwimmen ohne Zahl die Fluten! Dans le philtre yagent en foule: This potent liquor floods: Den Wein, den man mit Augen trinkt, Le vin que l'on boit par les yeux The wine we drink with our eyes Gießt Nachts der Mond in Wogen nieder. A flots verts de la Lune coule. Flows from the moon in raw torrents. Der Dichter, den die Andacht treibt, Le Poète religieux The poet, ecstatic, Berauscht sich an dem heilgen Tranke, De l'étrange absinthe se soûle, Reeling from this strange drink, Gen Himmel wendet er verzückt Aspirant, - jusqu'à ce qu'il roule, Lifts up his entranced, Das Haupt und taumelnd saugt und schlürit er Le geste fou, la tête aux cieux,— Head to the sky, and drains,— Den Wein, den man mit Augen trinkt. Le vin que l'on boit par les yeux! The wine we drink with our eyes! Columbine A Colombine Colombine Des Mondlichts bleiche Bluten, Les fleurs -
A Thesis Presented to the Faculty of Alfred University Clowning
A Thesis Presented to The Faculty of Alfred University Clowning as an Act of Social Critique, Subversive and Cathartic Laughter, and Compassion in the Modern Age by Danny Gray In Partial Fulfillment of the Requirements for The Alfred University Honors Program May 9th, 2016 Under the Supervision of: Chair: Stephen Crosby Committee Members: M. Nazim Kourgli David Terry “Behind clowns, sources of empathy, masters of the absurd, of humor, they who draw me into an inexplicable space-time capsule, who make my tears flow for no reason. Behind clowns, I am surprised to sense over and over again humble people, insignificant we might even say, stubbornly incapable of explaining, outside the ring, the unique magic of their art.” - Leandre Ribera “The genius of clowning is transforming the little, everyday annoyances, not only overcoming, but actually transforming them into something strange and terrific. It is the power to extract mirth for millions out of nothing and less than nothing.” - Grock 1 Contents Introduction 3 I: Defining Clown 5 II: Clowning as a Social Institution 13 III: The Development of Clown in Western Culture 21 IV: Clowns in the New Millennium 30 Conclusion 39 References 41 2 The black and white fuzz billowed across the screen as my grandmother popped in a VHS tape: Saltimbanco, a long-running Cirque du Soleil show recorded in the mid-90’s. I think she wanted to distract me for an hour while she worked on a pot of gumbo, rather than stimulate an interest in circus life. Regardless, I was well and truly engrossed in the program. -
Narrative Structure and Purpose in Arnold Schoenberg's Pierrot
Portrait of the Artist as a Young Clown: Narrative Structure and Purpose in Arnold Schoenberg’s Pierrot Lunaire Mike Fabio Introduction In September of 1912, a 37-year-old Arnold Schoenberg sat in a Berlin concert hall awaiting the premier of his 21st opus, Pierrot Lunaire. A frail man, as rash in his temperament as he was docile when listening to his music, Schoenberg watched as the lights dimmed and a fully costumed Pierrot took to the stage, a spotlight illuminating him against a semitransparent black screen through which a small instrumental ensemble could be seen. But as Pierrot began singing, the audience quickly grew uneasy, noting that Pierrot was in fact a woman singing in the most awkward of styles against a backdrop of pointillist atonal brilliance. Certainly this was not Beethoven. In a review of the concert, music critic James Huneker wrote: The very ecstasy of the hideous!…Schoenberg is…the cruelest of all composers, for he mingles with his music sharp daggers at white heat, with which he pares away tiny slices of his victim’s flesh. Anon he twists the knife in the fresh wound and you receive another thrill…. There is no melodic or harmonic line, only a series of points, dots, dashes or phrases that sob and scream, despair, explode, exalt and blaspheme.1 Schoenberg was no stranger to criticism of this nature. He had grown increasingly contemptuous of critics, many of whom dismissed his music outright, even in his early years. When Schoenberg entered his atonal period after 1908, the criticism became far more outrageous, and audiences were noted to have rioted and left the theater in the middle of pieces. -
This Work Has Been Submitted to NECTAR, the Northampton Electronic Collection of Theses and Research
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Conference or Workshop Item Title: The fears of a clown Creator: Mackley, J. S. Example citation: Mackley, J. S. (2016) The fears of a clown. PapeRr presented to: The Dark Fantastic: Sixth Annual Joint Fantasy Symposium, The University of Northampton, 02 December 2016. A Version: Presented version T http://nectar.Cnorthampton.ac.uk/9062/ NE The Fears of the Clown J.S. Mackley – University of Northampton “The clown may be the source of mirth, but - who shall make the clown laugh?” Angela Carter, Nights at the Circus Many of us read Stephen King’s IT before we were re-terrorised by Tim Curry’s portrayal of Pennywise the Clown and his psychotic mania in the 1990 mini-series. It is said that “Stephen King’s movie IT … did for clowns what Psycho did for showers and what Jaws did for swimming in the ocean.”1 But, many of us had already had our psyches attuned to the danger of clowns when we saw the scene in Steven Spielberg’s 1982 film Poltergeist when we looked at the maniacal grinning face of the Robbie’s clown sitting on the chair during a thunderstorm. The viewers all knew that clown would come to life – changing from the friendly-faced doll, to the demonic entity that drags Robbie under the bed … For many of us, these two depictions of clowns may be the root of Coulrophobia – a “persistent, abnormal, and irrational fear of clowns”. Clowns hover on the peripheries of our fears. -
Lolita Fashion, Like Other Japanese Subcultures, Developed As a Response a to Social Pressures and Anxieties Felt by Young Women and Men in the 1970S and 1980S
Lolita: Dreaming, Despairing, Defying Lolita: D, D, D J New York University a p As it exists in Japan, Lolita Fashion, like other Japanese subcultures, developed as a response a to social pressures and anxieties felt by young women and men in the 1970s and 1980s. Rather than dealing with the difficult reality of rapid commercialization, destabilization of society, n a rigid social system, and an increasingly body-focused fashion norm, a select group of youth chose to find comfort in the over-the-top imaginary world of lace, frills, bows, tulle, and ribbons that is Lolita Fashion. However, the more gothic elements of the style reflect that behind this cute façade lurks the dark, sinister knowledge that this ploy will inevitably end, the real world unchanged. Background: What is Lolita Fashion? in black boots tied with pink ribbon. Her brown If one enters the basement of street fashion hair has been curled into soft waves and a small hub Laforet in Harajuku, Tokyo, one will come pink rose adorns her left ear. across a curious fashion creature found almost exclusively in Japan: an adult woman, usually Although the women (and occasionally men) in in her late teens or early twenties, dressed like Laforet look slightly different, they all share the a doll. Indeed, the frst store one enters, Angelic same basic elements in their appearance: long, Pretty, looks very much like a little girl’s dream curled hair, frilly dresses, delicate head-dresses doll house. The walls and furniture are pink or elaborate bonnets, knee-socks, round-toed and decorated with tea-sets, cookies, and teddy Mary Janes, round-collared blouses and pouffy, bears. -
A Subcategory of Neo Noir Film Certificate of Original Authorship
Louise Alston Supervisor: Gillian Leahy Co-supervisor: Margot Nash Doctorate in Creative Arts University of Technology Sydney Femme noir: a subcategory of neo noir film Certificate of Original Authorship I, Louise Alston, declare that this thesis is submitted in fulfillment of the requirements for the award of the Doctorate of Creative Arts in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the exegesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: 05.09.2019 2 Acknowledgements Feedback and support for this thesis has been provided by my supervisor Dr Gillian Leahy with contributions by Dr Alex Munt, Dr Tara Forrest and Dr Margot Nash. Copy editing services provided by Emma Wise. Support and feedback for my creative work has come from my partner Stephen Vagg and my screenwriting group. Thanks go to the UTS librarians, especially those who generously and anonymously responded to my enquiries on the UTS Library online ‘ask a librarian’ service. This thesis is dedicated to my daughter Kathleen, who joined in half way through. 3 Format This thesis is composed of two parts: Part one is my creative project. It is an adaptation of Frank Wedekind’s Lulu plays in the form of a contemporary neo noir screenplay. Part two is my exegesis in which I answer my thesis question. -
The Craftsman, the Trickster, and the Poet “Re-Souling” the Rational Mind
THE CRAFTSMAN, THE TRICKSTER, AND THE POET “RE-SOULING” THE RATIONAL MIND Edith K. Ackermann The human psyche seems to be the forgotten middle ground between brain and body, mind and matter, and cognition and emotion.1 And yet, without the imaginative, the creative, and the heartfelt, there is no intelligence, experience, or meanings to speak of. The highest forms of human achievements can’t be understood in terms of scienti!c conquests alone. No one says it better than Cassirer in An Essay on Man (1944), when he says that man is set above animals, not because he possesses higher sensibility, longer memory, or an abil- ity for quicker association, but because of his power to create and manipulate symbols—to endow things with meaning and with life. Clearly, the symbols that humans manipulate, or the “metaphors we live by” (Lako" and Johnson 1981), come in varying shades of gray. They can be thoughts, words, images, or actions, such as enactments and performances. They can be used, alone or together, to invoke, evoke, mediate, delegate, signify, signal, subvert, or give orders. They can be emit- ted and recieved knowingly—for example, when I wink at a friend and she smiles back at me—or unknowingly, without my noticing, tacitly, on my behalf. I suggest that art as a way of knowing is about “re-souling” the rational mind. This, in turn, occurs as a consequence of being mindfully engaged, playful in spirit, and disposed to use !ction—or the powers of myth—as windows into our inner and outer realities. -
Louis Fleury and the Early Life of Pierrot Lunaire
VOLUME 3 9 , NO . 1 F ALL 2 0 1 3 THE LUTI ST QUARTERLY Louis Fleury and the Early Life of Pierrot lunaire The Center of Gravity in Flute Pedagogy and Performance The Inner Flute: A Transcript of Music and Words THEOFFICIALMAGAZINEOFTHENATIONALFLUTEASSOCIATION, INC 695RB-CODA Split E THE ONLY SERIES WHERE CUSTOM Sterling Silver Lip Plate IS COMPLETELY STANDARD 1ok Gold Lip Plate Dolce and Elegante Series instruments from Pearl offer custom performance options to the aspiring C# TrillC# Key student and a level of artisan craftsmanship as found on no other instrument in this price range. Choose B Footjoint from a variety of personalized options that make this flute perform like it was hand made just for you. Dolce and Elegante Series instruments are available in 12 unique models starting at just $1600, and like all Pearl flutes, they feature our advanced pinless mechanism for fast, fluid action and years of reliable service. Dolce and Elegante. When you compare them to other flutes in this price range, you’ll find there is no comparison. pearlflutes.com Table of CONTENTSTHE FLUTIST QUARTERLY VOLUME 39, NO. 1 FALL 2013 DEPARTMENTS 11 From the Chair 47 Passing Tones 13 From the Executive Director 52 Honor Roll of Donors to the NFA 16 High Notes 54 New Products 36 From the Research Chair 56 Reviews 37 Across the Miles 37 The Inner Flute: A Transcript of 70 NFA Office, Coordinators, Music and Words Committee Chairs 43 Notes from Around the World 75 Index of Advertisers 20 FEATURES 20 Louis Fleury and the Early Life of Pierrot lunaire by Nancy Toff Front and center in new-music happenings of the early 1900s, Louis Fleury helped introduce Schönberg’s seminal work in Paris, London, and Italy. -
French Romanticism and the Reinvention of Love by Maxime A
French Romanticism and the Reinvention of Love By Maxime A. Foerster A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: French) In the University of Michigan 2012 Doctoral Committee: Professor Michèle A. Hannoosh, Chair Professor Cristina Moreiras-Menor Associate Professor Jarrod L. Hayes Associate Professor Nadine M. Hubbs Lecturer Esther Newton © Maxime A. Foerster 2012 Dedication Au charchour ii Acknowledgements I would like to express my gratitude to David Halperin, David Caron and Frieda Ekotto for having encouraged me to start my PhD at UM, Ann Arbor. I have been honored and stimulated to work with Michèle Hannoosh who taught me coherence and rigor throughout these years of thinking and writing. I feel privileged to have been able to write my dissertation with those I called my dream team, composed of Professors Michèle Hannoosh, Jarrod Hayes, Cristina Moreiras, Esther Newton and Nadine Hubbs. For their friendship, support and fabulousness, I would like to thank Aaron Boalick, Jennifer Bonnet, Virginie Brinker, Neil Doshi, Matthieu Dupas, Gilles Freissinier, Aston Gonzales, Melanie Hawthorne, Trevor Hoppe, Lauren Kennedy, Gérard Koskovich, Charline Lafage, Larry La Fountain, Nicolas Lamorte, Bertrand Metton, Pedro Monaville, Marie-Pierre Pruvot, Pantxika Passicot, Steve Puig, Marie Stoll, Marcelino Viera, and Yannick Viers. I will never thank my parents enough for their love and understanding. Above all, thank you, H.N. iii Table of Contents