Sarah P. Howard, Specialization in Music Research Objectives

Faculty Sponsor: Professor and Vice-Dean Research Lori A. Burns, School of Music, Faculty of Arts Undergrad Research Opportunity Program Laureate: Sarah P. Howard, Specialization in Music Research Objectives 3. Interpretation of Dialogue through Cotextuality and 1. Subversion, Alteration, and Ironic Commentary 2. Analysis of Performative Gestures Cosubjectivity To explore how artists: To examine covering vocal, instrumental, and performative gestures in To demonstrate the dynamic interplay between the original • subvert and alter thematic messages relation to the original song and video. • create ironic commentary on thematic messages in cover and cover videos, revealing emergent themes: gender, versions of popular songs. sexuality, dominance and subordination. Species of Covers Performative Gestures in Cover and Original Videos Cotextuality and Cosubjectivity in Cover and Original Videos (Mosser, 2008) (Lori A. Burns) “Sensual “Sensual Figure 11: “Sensual”shot illustrates cotextuality (see table left) - stylistic and material interaction - and Bitches” Dogg’s cosubjectivity (see table below) - Figure 3: “Sensual Seduction”, Verse 1, “I’m Figure 4: “Sensual Seduction”, Verse 1, thematic messages and the gonna get mine before he gets his”, more powerful “I’m gonna take it slow”, stronger, more interaction of “persona” and vocals in a higher register than the original, more exaggerated melismatic vocal passage on presence authoritative stance “slow”, use of seductive back-up dancer Konichiwa Video Snoop of Video Cover Art Cover Art Seduction” and her own “ Seduction” and her Figure 1: an example of gestural reduplication Figure 5: “Konichiwa”, Verse 1, “Thrilla’ in Figure 6: “Konichiwa”, B section of Verse 1, in Robyn’s studio reduplication of her original my nilla’, you’ll be killer bee stung”, voice “Count you out, like a mathematician”, video for “Konichiwa Bitches” fits the criteria of doubled, original video gestures to bee’s accented eighth note pattern in all parts to Kurt Mosser’s reduplication “species” (2-3) Robyn’s “medley” “medley” Robyn’s “stinger” while Robyn gestures to her lower represent “counting”, duplication of hand abdomen in studio version gesture Figure 12: Strong use of the original video contributes tocotextuality - the viewer is Figure 7: Introduction, acoustic Figure 8: Verse 1, “But I know who you are...”, reminded of materials from the instrumentation vs. industrial/futuristic contrast of instrumentation, vocals are more original song – yet supports high electronic effects of the original, use of subtle, use of Britney’s sightline in original cosubjectivity because of the strong Video of Britney Spears’ Spears’ Britney of Video Britney as highly sexualized to capture video to bring attention to lead in cover band presence of the original “persona” viewers’ attention Cover Art Cover Art “Womanizer” Figure 2: The strong use of humour and reference to the original video Figure 10: Final version of Chorus and suggests the breakdown, “Womanizer” in cover replaces cover moves Figure 9: Chorus 2, “Womanizer!”, “I know just what you are...” in original, beyond the percussion, yelling, instrumental pause to place emphasis on the word as opposed to the multiple female voices replaced by single The All The All American Rejects’ ironic send-up male voice, elaborate instrumentation replaced species elaborate instrumentation of the original, use of Britney’s choreography to place even more by a lack of instrumentation, use of Britney emphasis facing lead singer, blowing a kiss .

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