A wolf interval occurs in the circle of fifths in certain temperament schemes. It is dissonant in the face of harmony. It is the interval whose imperfection makes the other fifths perfect. Tradition holds that its discord sounds like a wolf howling.
Editorial Introduction - Volume 13
Welcome to Volume 13 of The Wolf Interval: A Multimodal Journal of Student Work at Juilliard. This edition continues our tradition of celebrating the scholarly and artistic talents of Juilliard students, offering a venue for their voices to resonate within and beyond our community.
This year's volume, under the co-editorship of Sarah Bobrow, is notable for featuring a wide array in genres of expression, providing a balance of established forms and emerging creative expressions. It is also worth recognizing and celebrating that this issue marks the first time that The Wolf Interval includes student work from Tianjin Juilliard. Thank you Dean Katherine Chu and Director of English Language Studies Dan Cornish for helping to realize this instance of cross-campus collaboration. Collectively, our contributors’ works demonstrate technical prowess and a proclivity to challenge, innovate, and inspire.
Among the highlights in this volume is Joseph Shiner's essay on Robert Schumann's stylistic evolution. Shiner examines the thematic and structural similarities and differences between Schumann's first and last sets of variations for solo piano: the "ABEGG" Variations, Op. 1, and the "Ghost" Variations, WoO 24. His analysis highlights how these works bookend Schumann's compositional career, tracing the evolution of his musical style from the beginning to the final stage of his creative life.
Michael Chong's reflective piece, "Bridging My Own Cultures," offers insights into his experiences at the Tianjin Juilliard School. His narrative explores the complexities of cultural identity and the personal journey of connecting disparate parts of one's heritage. This piece will resonate with anyone who has ever contended with the notion of belonging.
Further enriching this edition is "Prelude to the Afternoon of a Faun" by Eloise Fox, an investigation of Claude Debussy’s composition by the same name. Fox interprets this piece through digital oil painting, capturing the essence of Debussy's music with an inventiveness that bridges impressionist and symbolist styles.
As always, the creation of The Wolf Interval is a collaborative endeavor. I extend my gratitude to all the student contributors. I also thank my colleagues in the Liberal Arts and Music History departments for their support in recognizing candidates for inclusion. Special thanks to Sarah Bobrow, whose graphical acumen shaped this edition.
We hope that The Wolf Interval continues to serve as a catalyst for conversation about the role of arts in education and society. We invite feedback and inquiries from our readers—your engagement is crucial to the ongoing evolution of this journal.
Please join us in celebrating the achievements of our students and the enriching discussions their works are sure to inspire.
In boca al lupo!
(into the mouth of the wolf!)
Robert Wilson,
Coyote-in-Chief, 2024