Rocio Paulina Behler
The Story Behind the Music
This research paper and lecture recital explores the magnitude that words, plot and history behind the music grants to classical musicians in an innovational way by performing the results of this study. Many musicians, while practicing, do not examine the literature that served as the source of the composer’s inspiration and thus miss important prompts that can inform performance. Using the example of Franz Liszt’s Liebestraum No. 3, written for voice and piano, and later adapted to piano solo, I will show through lecture and performance how the translation of words into sounds and the message behind them affect the analysis and interpretation of the musical work. I will also use the example of Liszt’s Mephisto Waltz No. 1, inspired from “Der Tanz in der Dorfschenke” by Lenau’s Faust. I will present the story, the concrete images and emotions that this episode conveys, and how these affect the sound quality and the intonation of its musical phrases by performing the outcome of this study. Thus, studying the relationship between German Literature and musical Romanticism gives the performer insight into the composer and material that can help performers create the proper atmosphere for a specific work.
Rocio Paulina Behler obtained a B.M. in piano performance, and a B.A. from the University of Arkansas. Behler has two passions, music and German, which she wants to combine in her work. Behler began her studies in music, focusing on piano performance at the age of 7. She has performed as a soloist in Mexico, Germany and the United States. In 2008, she received the Yamaha Piano Teacher Certificate, and a scholarship from the Universität Mozarteum to study there in Salzburg Austria with Peter Lang. In 2009, she won the Stella Boyle Smith Piano Scholarship to study with the known pianist Jura Margulis at the University of Arkansas. Behler lived and worked in Germany for three years. She is a member of the National Music Honor Society Pi Kappa Lambda and the Deutsche Ehrenverbindung Delta Phi Alpha. Currently, Behler is doing her Master’s in German at the University of Arkansas.
Voices Remapping the Space: Negotiation of Presence in a Literary Analysis of Novecento by Alessandro Baricco
The paper examines the construction of the ‘presence’ of a character on stage and the way he is perceived in the exchange between the stage and the audience. To do this, the discussion will focus on the analysis of the monologue Novecento by the Italian writer and musicologist Alessandro Baricco, and especially on the use of the elements of sound employed in the performance, such as the voice of the teller and the music which characterises the life and personality of protagonist both on stage and on the page. The investigation will touch the hybrid nature of the work as a written novel, a performative monologue and, using the words of the author, ‘a tale to be told out loud’. The exploration of the linguistic and theatrical spaces created by the voice of the storyteller and the music will move from the reality of Novecento to the space of the stage, in order to discuss how the ‘presence’ of the characters is limited and evoked on different levels of the work, and how it is ultimately constructed by the same audience.
Fabia Brustia is a Graduate student and a teaching assistant at the University of Guelph, Ontario. She is part of the Erasmus Mundus Crossways in Cultural Narratives Master programme, which has led her to spend the first four months of this academic year in Santiago de Compostela, Spain, and it will be completed in 2018 in Perpignan, France. Guelph is her home university, where she will produce her final dissertation.
Former student at the University of Aberdeen, Scotland, she developed a thesis on the role of storytelling as an element of performance in contemporary Italian literature. Following this study, her research interest matured into an enquiry on the place of orality and folk literature in the modern society. Her current role of teaching assistant for the courses of Linguistics and European Culture from the Mid 18 th to the Mid 19 th century revealed to be a further help for her to develop this investigation.
“The List” is the third scene from 5’10 and Unconscious. 5’10 is the product of an arts based research project which uses theatrical mechanics to explore the formation and function of identity and stereotype. “The List”, approximately 10 minutes in length, follows two students on the streetcar working against their unreachable unconscious to understand and expose the workings and contradiction of stereotype. The scene depicts the project’s methodology as part of a larger argument relating to the two-way harm of stereotype. By combining realism with absurdism, “The List” challenges the existence of performative categories. The script is composed of a rearrangement of only the words heard on the Spadina streetcar. This work draws on Homi Bhabha’s understanding of stereotype, operating in four stages: objectification, subjectification, substitution, and fixation (Bhabha 2003). 5’10 focuses on the stage of fixation which marks the contradiction of stereotype: it is fixing, yet fluid. 5’10 juxtaposes the mundane with spectacle to argue that both highly common and outlying words function as markers of the stage of fixation. The commuting stereotype is both what is present and absent, revealing its potential for harm as multifaceted: the reduction to the already and the restriction of the not yet.
Currently a Master’s candidate in Gender Studies and Feminist Research at the University of McMaster, Keira Mayo uses arts based methodologies to interrogate the processes by which communication might both be regulated and regulate our future imaginative potential. Specifically, her upcoming major research project combines Critical Disability Studies with Philosophy of Language to investigate occurrences of silence and pause in improvised theatre. Her ongoing work seeks to resist and obscure the boundaries between Philosophy, Gender Studies, Performance Studies, and Communication studies. She pursues the affective and epistemological potential of performance within, alongside, and outside of the academy. In 2016, her theatrical work was showcased at the Women’s and Gender Studies Institute Honours Symposium at the University of Toronto. Currently Keira volunteers with the Social Planning and Research Council of Hamilton where she co-organizes coffee houses and arts programming for UNIQORN, an event for LGBTQ+ young adults.
Jennifer – Janet Truong
Mona – Haley Tibbitts
Sonia – Lisa Ziegler
Heather – Dayle Mayo