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Volume XVI (2017-2018) ______ South Central Music Bulletin XVI (2017-2018) • A Refereed Journal • ISSN 1545-2271 • http://www.scmb.us _________________________________________________________________________________________ South Central Music Bulletin A Refereed, Open-Access Journal ISSN 1545-2271 Volume XVI (2017-2018) __________________________________________________________________________________________ Editor: Dr. Nico Schüler, Texas State University Music Graphics Editor: Richard D. Hall, Texas State University Editorial Review Board: Dr. Paula Conlon, University of Oklahoma Dr. Stacey Davis, University of Texas – San Antonio Dr. Lynn Job, North Central Texas College Dr. Kevin Mooney, Texas State University Dr. Dimitar Ninov, Texas State University Ms. Sunnie Oh, Round Rock Independent School District Dr. Robin Stein, Texas State University Dr. Leon Stefanija, University of Ljubljana (Slovenia) Dr. Paolo Susanni, Yaşar University (Turkey) Dr. Lori Wooden, University of Central Oklahoma Subscription: Free This Open Access Journal can be downloaded from http://www.scmb.us. Publisher: South Central Music Bulletin http://www.scmb.us Ó Copyright 2018 by the Authors. All Rights Reserved. 1 South Central Music Bulletin XVI (2017-2018) • A Refereed Journal • ISSN 1545-2271 • http://www.scmb.us _________________________________________________________________________________________ Table of Contents Message from the Editor by Nico Schüler … Page 3 Research Articles: Haydn and the Variation: An Analysis of Variation Form within Hob. V:8 and Hob. V:D3 by Gregory Bowen … Page 4 Political Commentary and Criticism in Rap Music by Amani Seay … Page 15 How Kevin Abstract’s Lyricism Subverts Homonegativity in Rap Music by Joshua Rogalski … Page 22 Ball Culture in New York City from 1986 to 1988 and its Roots in African Movement by Derek Miller … Page 31 Jazz and Prelude: A Synthesis of Styles in Gershwin’s Three Preludes for Piano by Dylan Ilseng … Page 39 Drake, Lil Wayne, and The Weeknd: Misogynistic Reflection or Influence by Josie Soehnge … Page 48 Book Reviews: Michael Linsin’s Guide for Classroom Management Targeted Toward Specialists by Maggie Grill … Page 53 Urban Music Education: A Practical Guide for Teachers by Lindsey Johnson … Page 55 2 South Central Music Bulletin XVI (2017-2018) • A Refereed Journal • ISSN 1545-2271 • http://www.scmb.us _________________________________________________________________________________________ Message from the Editor Nico Schüler, Texas State University, E-Mail: [email protected] As always, I would like to sincerely thank all mem- - short responses to articles published in previ- bers of our peer-review board for their hard work ous issues; and excellent suggestions for improving each arti- - bibliographies on any music-related topic, cle. which may or may not be annotated); All issues may contain articles and an- - reviews of books, printed music, CDs, and nouncements in the following categories: software; and - articles with a special focus on local music - reports on recent symposia, conferences, and traditions (any region in the world); music events. - research articles – generally, all music-related I would like to call for submissions that fit any of topics are being considered; these categories. Submissions by students are, as - opinion articles that are part of, or provide the always, very welcome. All submissions are ex- basis for, discussions on important music topics; pected via e-mail with attachments in Word format - composer portraits that may or may not in- or in Rich Text Format. For detailed submission clude an interview; guidelines visit http://www.scmb.us. 3 South Central Music Bulletin XVI (2017-2018) • A Refereed Journal • ISSN 1545-2271 • http://www.scmb.us _________________________________________________________________________________________ Research Articles Haydn and the Variation: An Analysis of Varia- The first movement of Hob. V:8 is written in tion Form within Hob. V:8 and Hob. V:D3 variation form, a form Haydn rarely applied within the context of a string trio. In fact, he made use of by Gregory Bowen this compositional device for the first movement of E-Mail: [email protected] only one other trio: Hob. V:D3. (Ibid., 126.) In her 1990 article for Acta Musicologica, Elaine Rochelle Joseph Haydn, considered the first of the three Sisman explained that “[v]ariation form is most apt- “Viennese Classics” (Haydn, Mozart, Beethoven), ly defined by a relationship between constant and “began his career in the traditional patronage sys- changing elements” (Sisman 1990, 152). Regarding tem of the late Austrian Baroque, and ended as a the structure of a movement written in this form, ‘free’ artist within the burgeoning Romanticism of William Earl Caplin indicated that “[t]he basic plan the early 19th century” (Feder and Webster 2018). is simple: a main theme, constructed either as a Often called the “Father of the Symphony,” Haydn small ternary or a small binary or a small binary, is composed a total of 106 symphonic works. His out- followed by an indefinite number of varied repeti- put of chamber music was also rather sizeable, hav- tions” (Caplin 1998, 217). In his 1973 dissertation, ing produced 68 string quartets and 21 string trios. Robert William Demaree, Jr. expanded upon the A large number of these pieces were composed dur- relationship between the theme and its variations ing his tenure as vice-Kapellmeister within the Es- (Demaree 1973, 64): terházy court, and, in keeping with one of his most important duties, Haydn produced many of them “Variation” implies the restatement of materials al- ready presented with one or more features altered; it specifically to be performed in court, first for Prince is assumed that in this operation, if the variation is to Paul Anton and then for his older brother, Prince be understood, the relationship between the basic unit Nikolaus I. Among his chamber works, his “Diver- and the variant remains aurally recognizable. The timento in B-Dur No. 8 für Streichtrio Hob. V:8” is composer may alter the pitch and interval order, the especially unique. Written in 1765, a year before he rhythmic values, the tonality, the texture, or any combination of these or other parameters. would succeed Gregor Joseph Werner as Ober- Kapellmeister (ibid.), it is the “only trio in the Variation form, sharing tendencies with the rondo ‘modern’ scoring of violin, viola, and bass (cello) and sonata (symphony allegro) forms, is comprised instead of two violins over the bass, vaguely remi- of multiple, successive period figures. However, niscent of the trio sonata” (Sisman 1993, 125). The variation form differs from its formal counterparts formal plan and motivic organization within the in that all periods after the first are essentially treat- first movement of Divertimento in B-Dur only fur- ed as elaborative repetitions (variations) of the ini- ther distinguishes the trio from Haydn’s other com- tial period (theme) (Sisman 1982, 445; see Table 1). positions. 4 South Central Music Bulletin XVI (2017-2018) • A Refereed Journal • ISSN 1545-2271 • http://www.scmb.us _________________________________________________________________________________________ Table 1: Heinrich Cristoph Koch’s Levels of Musical Structure (Sisman 1982, 445) The first movement of the Divertimento in the greatest departure from the structure of the B-Dur, Hob. V:8, is organized and varied primarily theme. This, however, is the only variation that ex- through the use of rhythmic motives. Elaine Sisman hibits the descending stepwise motives from the pointed out that “the rhythmic motives dominating original theme and its counterpoint. Variation V each variation are not clearly derived from the features extended syncopations, a unique practice theme, and thus sound generic.” (Sisman 1993, for Haydn. The effect, “especially given the viola 125.) The note durational values of each variation partly doubling the cello (and varying the bass line) become increasingly smaller, with the exception of is to turn the bass line into a cantus firmus with spe- the third and fifth variations (see Example 1). Var- cies counterpoint” (ibid., 126-127; see Example 2). iation III, written in a more cantabile style, presents 5 South Central Music Bulletin XVI (2017-2018) • A Refereed Journal • ISSN 1545-2271 • http://www.scmb.us _________________________________________________________________________________________ Example 1: Haydn, String Trio Hob. V:8/i, Variation I, II, IV, & VI Motives (Haydn 2016, 1-3) Example 2: Haydn, String Trio Hob. V:8/i, Variation III & V Motives (Haydn 2016, 2-3) 6 South Central Music Bulletin XVI (2017-2018) • A Refereed Journal • ISSN 1545-2271 • http://www.scmb.us _________________________________________________________________________________________ From the sixteenth to mid-nineteenth centuries, var- question. (Au 2003, 6.) Close examination of the iation form has been used in a multitude of different first movement of Streichtrio in B-Dur, Hob. V:8, ways. By determining which elements are varied reveals that one major element is perfectly pre- and which remain constant, we can classify the type served throughout the theme and every subsequent of variation the composer used for the movement in variation: the bass line (see Example 3). Example 3: Haydn, Theme of Divertimento in B-Dur, Hob. V:8/i (Haydn 2016, 1) The homophonic texture and central harmony pro- the development of variation-type compositional duced above this bass is also maintained for the du- tendencies (ibid.,
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