“Oppressed by Sensual Delight”: On a Lesbian Relationship with Rebecca Clarke’s Viola Sonata

This paper explores Rebecca Clarke’s Viola Sonata (1919) through the experience of a lesbian relationship—a relationship that extends from the Sonata as experienced by a violist and scholar, to Clarke herself as a performer and composer. Inspired by the work of Suzanne Cusick, I examine the musical elements of the Viola Sonata that invite and enable a lesbian relationship in the music. Such elements include existence outside the phallic economy, porous ego boundaries, and a fluid positioning within the power/pleasure/intimacy triad. A central theme of Clarke’s compositional style is embodiment, which furthers the potential for a lesbian experience of the Viola Sonata through “body-aware” and performer-centric techniques. The poetic inscription for the Sonata, lines from Alfred de Musset’s “La nuit de mai,” serves to further construct a musical narrative of embodiment through the relationship of Poet and Muse. Without claiming that Clarke was a lesbian, this paper sheds light on the Viola Sonata by considering the relationships between performer, composer, and listener in a lesbian musical analysis.

The Music Behind the Mask: Rossini’s Uncanny Salon

Despite receiving scant attention from scholars and performers, Rossini’s Péchés de vieillesse (Sins of Old Age), written between 1857 and 1868 for his private salon, have a unique and expressive stylistic language. In these works, the composer gives musical voice to the uncanny discourses that emerged around the idea of his “creative death.” This paper establishes how Rossini’s return to composition functioned as a musical “exhumation,” with his compositional activities functioning as a site for broader discourses about disease, aging, and death in nineteenth-century France. Close readings of visual depictions of Rossini by Eugène Delacroix and Antoine Etex shed light on changing attitudes toward the composer, which coincided with broader aesthetic shifts taking place at the time. The tensions engendered by Rossini’s precarious status as both living and dead, and his nostalgic relationship to the past, constitute a kind of doubleness that can be heard in his late compositions. Bringing together cultural history and musical analysis, I show that the privacy of Rossini’s salon gave rise to music with unique signifying potential that has not yet been duly acknowledged.

Metamodernism and Vaporwave: A Study of Web 2.0 Aesthetic Culture

With the advent of Web 2.0, new forms of cultural and aesthetic texts, including memes and user generated content (UGC), have become increasingly popular worldwide as streaming and social media services have become more ubiquitous. In order to acknowledge the relevance and importance of these texts in academia and art, this paper conducts a three-part analysis of Vaporwave—a unique multimedia style that originated within Web 2.0—through the lens of a new cultural philosophy known as metamodernism. Relying upon a breadth of cultural theory and first-hand observations, this paper questions the extent to which Vaporwave is interested in metamodernist constructs and asks whether or not the genre can be classed as a metamodernist text, noting the dichotomy and extrapolation of nostalgia promoted by the genre and the unique instrumentality it offers to its consumers both visually and sonically. This paper ultimately theorizes that online culture will continue to play an important role in cultural production, aesthetic mediation, and even personal expression as media becomes more integrated into our systems of meaning.

Completing Mahler’s Piano Quartet: A Study of Unfinished Music, Ethics, and Authenticities

Performers and scholars have argued for generations over what should be done with musical works that have been left incomplete by their composers. Though many attempts have been made to bring such works to completion, some scholars feel that these fragments should remain untouched because the pieces in question were left incomplete during the composer’s own career. With this debate in mind, I undertook a study and completion of Gustav Mahler’s Piano Quartet in A minor, a piece for which Mahler composed a complete first movement, Nicht zu schnell, and twenty-four bars of a second movement, Scherzo, when he was a student at the Vienna Conservatory. I began by analyzing Nicht zu schnell in order to understand Mahler’s treatment of motives, form, and harmony. In addition, I studied contemporary works by Schumann and Brahms. Based on my analyses, I then composed a completion of the Scherzo in a style that is, in my opinion, idiomatic of Mahler. After a performance of my completion, seventy percent of the audience responded with five on a scale of zero to six when asked in a survey how closely my Scherzo aligned with Nicht zu schnell. One hundred percent of the listeners ethically approved of the task of completing unfinished music. Adding to the discourse on musical completion, this paper addresses the musicological debate surrounding unfinished music, discusses my process of completing Mahler’s quartet, and assesses public reactions to the ethical issues, such as hubris, that often arise when an alternate composer completes an unfinished work.

The English Catholic Dream of Gerontius: An Aesthetic Synthesis of Newman and Elgar

Due to inherent paradoxy and limited sample size, fin-de-siècle English Catholic aesthetics are difficult to define, especially in the case of music. At the turn of the nineteenth century, English music and Catholic theology underwent a period of intense development and reconstruction, yet the intersection of theology and musical aesthetics in this era is largely under-researched. This paper identifies one such intersection using two monumental figures in theology and music: John Henry Cardinal Newman (1801-1890) and composer Edward Elgar (1857-1934). Newman’s theology provided a basis on which fin-de-siècle artists and poets could express their faith; such figures are associated with decadence. For both Newman and Elgar, decadent Catholicism combined with the traditionally Protestant English environment resulted in a complex relationship with their country and the continent. This paper examines this complex and paradoxical relationship between faith and nationality, and thus defines English Catholic aesthetics as they are expressed by Newman and Elgar.

Waringin: Recording a Composition with Gamelan Salukat, a Crossroads of Music and Culture

As the subject of numerous studies over the last century, Balinese music has been presented in a particular light. In the 21st Century, it has been a priority for Western musicologists to renew our outdated or inaccurate conceptions. This paper joins that discourse by presenting an intercultural project as an opportunity to bring the perspective of Balinese musicians under consideration. Recently, I undertook a recording project in Bali, working on my composition “Waringin,” written for Gamelan Salukat. Gamelan Salukat is a 20-30-person bronze ensemble with a radical tuning system, comprised of young musicians (~18-30 yrs.) from around the Ubud region of Central Bali. The project became a crossroads of musicianship, uncovering many intriguing tensions—notation versus oral learning, counting rhythms versus feeling or embodying rhythms, and composition versus improvisation. The following ethnographic account explores how the young Balinese musicians tackled the problems we faced and discusses what implications these newly formed strategies have for Balinese music in a contemporary setting where East and West, self and other, participant and observer are no longer divided.

Fluctuating Tonality and Monotonality in Schoenberg’s Op. 6, No. 8 “Der Wanderer”

Briefly yet tantalizingly outlined in his Theory of Harmony, interpretation of Schoenberg’s concept of fluctuating tonality has proved fruitful in the discussion of his late tonal repertoire, leading to scholarship such as Christopher Lewis’s 1987 article “Mirrors and Metaphors: Reflections on Schoenberg and Nineteenth-Century Tonality.” In this paper, I review Schoenberg’s descriptions of fluctuating tonality and of monotonality, and examine the interaction between these concepts through a close reading of Schoenberg’s “Der Wanderer” (Op. 6, no. 8). The analysis features adapted Schenkerian methods used in conjunction with traditional Roman numeral and root/quality analysis. Rather than suggesting a background principle of paired tonics as argued by Lewis in his analysis of “Traumleben” and “Lockung” (Op. 6, no.1 and no. 7), I interpret fluctuating tonality as a surface- to middleground-level phenomenon that can obscure the tonality of a composition that ultimately remains monotonal.

Voices That Matter: Authenticity, Identity, and Voice in the Musical Career of Lana Del Rey

Discursive authentications of singing voices in pop music reception are often rooted in gendered expectations. Moving away from essentialist understandings of the ‘authentic voice,’ this article proffers that voices are formatively entangled in processes of subjectification. Lana Del Rey is a singer whose (vocal) career has been considered inauthentic in the discourse of journalists, particularly when she first rose to stardom in 2011 via YouTube. Del Rey is a prime example of the contemporary values of artistic personae in pop culture, as her career has been so bound to notions of authenticity and sounding authentic. Through an analysis of the vocal aesthetics of Del Rey and the discourse that surrounds her, the notion of ‘vocal ontogenesis’ is developed. This concept moves from subjectification as an ontologically complete instance to subjectification as a never-ending process. The notion of vocal ontogenesis becomes useful for comprehending the complex aggregations of which the voice is a component, and more broadly implies the need for further study of vocal materialism, setting an agenda for decentered examinations of voice, gender, and authenticity.

"Up Close and Intimate": Catharsis, the Dark Side of Sexuality, and The Dresden Dolls

The Dresden Dolls are a punk-cabaret band that use their music to delve into diverse and taboo subject matter including sexual assault, abortion, and trauma. Despite the morose and grotesque imagery invoked by their lyrics, this paper advocates for the therapeutic effects of catharsis as encouraged by The Dresden Dolls. This essay provides an overview of the applications of catharsis in the arts and psychotherapy, explores how the musical elements and performance contexts of punk-cabaret elicit catharsis, and develops a contemporary theory of catharsis as it pertains to the music of The Dresden Dolls. In considering manifestations of trauma and healing in the songs “Missed Me,” “Mandy Goes to Med School,” and “Lonesome Organist Rapes Page Turner,” this paper illustrates how, despite the potential challenges of confronting trauma through music, the approach of The Dresden Dolls is ultimately effective in cultivating catharsis and encouraging healing for their listeners.