School of the Arts, Media, Performance & Design (AMPD)
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Item Open Access Constructs for Modality, ca. 1300-1550(Canadian Association of University Schools of Music Journal, 1978) Rahn, JayItem Open Access Melodic and textual types in French monophonic song, ca. 1500([New York: s.n.], 1978) Rahn, JaySeveral monophonic songs in French survive from the period 1480-1520. These songs appear in about twenty manuscript and printed sources of the time. Most of these sources can be assigned fairly precise dates. The songs found in these sources are inter-related by a network of concordances but are seldom found in collections of courtly poetry and vice versa. This suggests that the monophonic sources represent a distinctive tradition of poetry. The songs are also associated with different social groups than are courtly products: preachers (e.g., Jean Tisserand and Olivier Maillard), nuns (e.g., the Madelonnettes), law clerks (e.g., members of the Basoche), itinerant entertainers, and members of the general public -- both literate (but not necessarily wealthy) and illiterate -- composed, performed, or listened to the pieces. Monophonic songs differ considerably in prosody and diction from elite poetry and in melodic style from contemporary polyphonic works based on courtly poems. Nevertheless, the systematic bases of both the courtly and monophonic repertoires are substantially similar allowing comparisons to be made between them. Furthermore, recurrent features of the monophonic corpus generally accord well with systems of versification and music theory expounded at the time by writers such as Pierre Fabri, Henri de Croy, L'Infortuné, Johannes Tinctoris, Franchinus Gaffurius, Pietro Aaron, and Heinrich Glarean. Musical features selected for analysis include meter, text underlay, phrase lengths, range (or ambitus), maneria (or mode), phrase finals (or differentiae), initial tones, cadence formulas, melismas linking phrases, leaps (i.e., disjunct motion), form, and variation. The melo-textual forms of the songs are related to the formes fixes: ballade, virelai, and rondeau, as well as contemporary developments of these (including the bergerette and chanson jolie). One can discern stereotyped rhyme schemes and patterns of phrase finals and melodic repetition. These appear to be described best in terms of a hierarchical arrangement of prosodic, rhythmic and tonal units, and all three types of organization are found to be closely connected with one another. The polyphonic songs with which the monophonic corpus is compared consist of settings of courtly rondeaux by Compère, Agricola, and Josquin, as well as other rondeau settings which appear in Petrucci's Odhecaton and Canti B. Throughout the study, the songs of Paris, Bib. nat., f. fr. 9346, the "Bayeux manuscript", are found to resemble the polyphonic pieces more than the monophonic songs of MS 12744 of the same collection. The latter in turn are found to resemble printed collections of monophonic song texts more closely in prosody than "Bayeux." Some special features of the study include the use of statistical tests (e.g., chi-square, Student's t, x- and z-scores, and r rank), an annotated index of the monophonic songs, transcriptions of all the previously unpublished texts, and re-transcriptions of MSS 12744 and Bayeux. Finally, a minimal list of undefined concepts required to describe the prosodic and musical regularities of the songs is developed and the findings corroborated by comparing the corpus with monophonic songs preserved in MS Dijon, Bib. mun. 517 (ca. 1475).Item Open Access Structure, Frequency, and Artificiality in South Indian Melas(Greater Cleveland Ethnographic Museum, Cleveland, Ohio, 1981-04-01) Rahn, JayItem Open Access Research for Standard Pitch and Scale of Thai Music(College of Music, Mahidol University, 1997) Charoensook, SugreeItem Open Access Recent Diatonic Theory and Curwen's Tonic Sol-Fa Method: Formal Models for a Kinesic-Harmonic System(European Society for the Cognitive Sciences of Music (ESCOM), 1997-06-01) Rahn, JayItem Open Access The First Noëls(Camargo Foundation, 1998) Rahn, JayItem Open Access A Theory for All Music: Problems and Solutions in the Analysis of non-Western Forms(University of Toronto Press, 1998) Rahn, JayProfessor Rahn takes the approach to the analysis of Western art music developed recently by theorists such as Benjamin Boretz and extends it to address non-Western forms. In the process, he rejects recent ethnomusicological formulations based on mentalism, cultural determinism, and the psychology of perception as potentially fruitful bases for analysing music in general. Instead he stresses the desirability of formulating a theory to deal with all music, rather than merely Western forms, and emphasizes the need to evaluate an analysis and compare it with other interpretations, and demonstrates how this may be done. The theoretical concepts which form the basis of Rahn's approach are discussed and applied: first to individual pieces of non-Western music which have enjoyed a fairly high profile in ethnomusicological literature, and second to repertoires or groups of pieces. The author also discusses the fields of anthropology and psychology, showing how his approach serves as a starting point for studies of perception and the concepts, norms, and values found in specific music cultures. In conclusion, he lists what he considers to be musical universals and takes up the more controversial issues implicit in his discussion.Item Open Access Establishing the Modern Advertising Languages: Patent Medicine Newspaper Advertisements in Hong Kong, 1945-1970(Oxford University Press, 2000) Wong, WendyThis article traces the formation of modern advertising languages in Hong Kong when this society was developing into the industrialization stage and was experiencing steady economic growth in the period from 1945 through 1969 It argues that Hong Kong advertising culture developed under the influence of Western advertising techniques, images and ideology, which shaped the modern advertising languages of Hong Kong Newspaper advertisements for patent medicines from Sing Tao Daily, one of the earliest newspapers in Hong Kong, formed the study sample This article also outlines the role and contribution of patent medicine advertisements in the history of advertising in Hong Kong, where they ushered in a new era of advertising sophistication and a new collection of techniques that are still in use as advertising strategies today The role and content of Hong Kong patent medicine advertisements were similar in many ways to those of the West, but Hong Kong did not experience the growth necessary to establish advertising until after the end of the Second World War when the society finally achieved economic stabilityItem Open Access The Rise of Consumer Culture in a Chinese Society: A Reading of Banking Television Commercials in the 1970s of Hong Kong(Taylor & Francis (Routledge), 2000) Wong, WendyIn this article, I analyze 2 case studies of television advertising campaigns for banking services during the 1970s and early 1980s in Hong Kong, those of Hang Seng Bank and HongkongBank. Advertising from this period saw consumer society emerge as traditional values and themes were adjusted to fit the imperatives of capitalism. The earlier Hang Seng Bank campaign focused on the traditional banking practice of saving, encouraging customers to work hard and gradually accumulate wealth. The later HongkongBank campaign encouraged spending, immediate gratification of material desires, and symbolic status achieved through acquisition of goods. As the case studies show, this process entailed the reconfiguration of traditional Chinese values to accommodate the arrival of consumerism in Hong Kong, a Chinese society.Item Open Access Detachment & Reunification: A Chinese Graphic Design History in Greater China since 1979(Massachusetts Institute of Technology Press, 2001) Wong, WendyItem Open Access Manhua: The Evolution of Hong Kong Cartoons and Comics(Wiley-Blackwell Publishing, 2002) Wong, WendyItem Open Access Implicit learning of Indian music by Westerners(2004) Rahn, JayStudies by Bigand and Barrouillet (1996), Perruchet, Bigand, and Benoit-Gonin (1997), Bigand, Perruchet, and Boyer (1998),Tillmann, Bharucha, and Bigand (2000) show that listeners exposed to only a few minutes of stimuli organized according to inherent rules of an artificial grammar successfully distinguish between stimuli that obey and disobey the rules. The present study considers the extent to which subjects learn rules of a musical tradition with which they have had no contact. Although master musicians have differed in detail for centuries concerning the rules or conventions of particular North Indian (Hindustani) rags, within Bhatkande's (1966) monumental anthology the examples of rag Alhaiya Bilawal are sufficiently regular in their melodic progressions to provide a basis for inferring quite precise specifications of what happens, or tends to happen, in particular realizations, and these specifications also accord with Bhatkande's explicit prescriptions. Of importance to the present study are the following regularities: i) Relative to a tambura drone comprising C and G, each melody employs all and only the tones C D E F G A B-flat and/or B, i.e., 7-35 or 8-23 in Forte's numbering (1973) -- the second understood as a 'chromatic' version of the first (Rahn 1991); ii) Among all the melodies, each possible stepwise progression between two of these tones occurs, except between B-flat and B. The study tested the hypothesis that after 15 minutes of exposure to Alhaiya Bilawal subjects who had not previously encountered classical North Indian music would correctly distinguish between instances of the rag and examples that diverged.Item Open Access From Drawings by the Blind to Music by the Deaf(2004-11-01) Rahn, JayItem Open Access Trance as Artefact: De-Othering transformative states with reference to examples from contemporary dance in Canada(2007) Cauthery, BridgetReflecting on his fieldwork among the Malagasy speakers of Mayotte in the Indian Ocean, Canadian anthropologist Michael Lambek questions why the West has a “blind spot” when it comes to the human activity of trance. Immersed in his subject’s trance practices, he questions why such a fundamental aspect of the Malagasy culture, and many other cultures he has studied around the world, is absent from his own. This research addresses the West’s preoccupation with trance in ethnographic research and simultaneous disinclination to attribute or situate trance within its own indigenous dance practices. From a Western perspective, the practice and application of research suggests a paradigm that locates trance according to an imperialist West/non-West agenda. If the accumulated knowledge and data about trance is a by-product of the colonialist project, then trance may be perceived as an attribute or characteristic of the Other. As a means of investigating this imbalance, I propose that trance could be reconceived as an attribute or characteristic of the Self, as exemplified by dancers engaged in Western dance practices within traditional anthropology’s “own backyard.” In doing so, I examine the degree to which trance can be a meaningful construct within the cultural analysis of contemporary dance creation and performance. Through case studies with four dancer/choreographers active in Canada, Margie Gillis, Zab Maboungou, Brian Webb and Vincent Sekwati Mantsoe, this research explores the cultural parameters and framing of transformative states in contemporary dance. I argue that trance functions discursively and is rooted in a cultural and rhetorical context which is collaboratively constructed as both an embodied state or process, and as an artefact. As a discourse, trance problematizes issues of multiculturalism, decolonization, migration, embodiment, authenticity, neo-expressionism and the commodification of trance practice in a post-modern, transnational, economically globalized world. The West’s bias exists due to its investment in maintaining philosophical authority over the non-West and its attachment to notions of “high” culture. By expanding the range of possible sites for trance experience and by investing in previously unapplied theories such as flow, the potential exists to situate and to regard trance as other than Other to the West.Item Open Access Marchetto of Padua's Theory of Modal Ranges(Hawaii International Conference on the Arts and Humanities (HICH), 2007-01-01) Rahn, JayItem Open Access Sacred Camp: Transgendering Faith in a Philippine Festival(Cambridge University Press, 2007-02-01) Alcedo, PatrickBy embodying the paradoxes found in three webs of signification – panaad (devotional promise), sacred camp and carnivalesque during the Ati-atihan festival – Augusto Diangson, an individual of the ‘third sex’, was able to claim membership in the Roman Catholic community of Kalibo, Aklan in the Central Philippines while also negotiating the Churchʼs institution of heterosexuality. The narratives of mischief and the gender ambiguity of the Santo Niño or the Holy Child Jesus, the centre of Ati-atihanʼs religious veneration, further enabled Diangson to interact with Kaliboʼs Roman Catholicism. Through an analysis of Diangson and his participation in the festival, this article exposes how ordinary individuals in extraordinary events localise their faith through cross-dressing and dance performance. Seen throughout the Philippines, these processes of mimicry and gender transformation transport individuals into zones of ambivalence and contradictions in which they are able to navigate through the homogenising discourse of their culture and the Churchʼs homogenising myth of Roman Catholicism.Item Open Access Glenda del E Live Recording(GdelE Productions, 2008) Vitier, Jose Maria; Lecuona, Ernesto; Cervantes, Ignacio; Saumell, Manuel; del Monte-Escalante, GlendaThis repertoire represents a continuous tradition of Cuban Piano Music dating from the nineteenth century. It has its origins in England, Spain, France, while its rhythm and syncopated style derive from Africa.Item Open Access Mapping the Multicoloured Inukshuk in Canada's Multicultural Landscape(2009-08) Harris, Rachel; Hudson, AnnaMy paper is a study of the sixty year history of the inukshuk’s cultural appropriations from humanoid-rock-formation to Canadian-Nunavut-Olympics icon. It traces the inukshuk variant in Canadian visual culture from its Inuit source in southern Canada to its cultural appropriations in popular culture, state insignia and in the monuments and stone formations that thread the Canadian wilderness into an east to west tundra simulacra. It focuses on issues of cultural appropriation and Canadian identity representation, which are significant for current cultural property relations between nation-state, the Fourth World and the Olympics. Comparing the interrelationship between the references to Canada’s northern landscape in the Vancouver 2010 Olympics logo, known as Ilanaaq, and the Nunavut and Canadian flags’ foregrounds the complexity of the cultural property debate. I posit that the visual pairing of the inukshuk and the maple leaf in the design of Ilanaaq demonstrates how the idea of Canada-as-North has evolved into a multicultural tundra simulacrum. This evolution has occurred in tandem with official recognition of Inuit voice in the formation of Nunavut. I come to the assertion that in the image of Ilanaaq the essentialist division between Aboriginal and non-Aboriginal Canadians nevertheless persists in an idea of Canada as multicultural nation. Unless Ilanaaq’s likeness to the Nunavut flag provides an alternative reading for the Canadian-Olympics icon as reapreappropriated symbol of Inuit self-representation, the VANOC logo is nothing more than a problematic form of Canadian identity representation.Item Metadata only The Legacy of George Cook and Picton's Regent Theatre(2009-10-08T19:04:01Z) Lester, JenniferItem Open Access The Element of Truth in the History of Picton's Regent Theatre(2009-10-08T19:13:12Z) Lester, Jennifer