A Theory of Virtual Agency for Western Art Music (eBook)
334 Seiten
Indiana University Press (Verlag)
978-0-253-03801-2 (ISBN)
1. This book draws on theories of musical gesture and emotion to develop the first comprehensive theory of virtual musical agency in Western art music. It uses examples from tonal music of well-known Western composers.
2. The work of a mature scholar, this book represents the culmination of a scholarly career studying the theory of agency in music and compliments the other two books by Robert Hatten published by IUP.
3. The author is internationally known as a leading scholar in the field of music theory and also serves as the well-respected and very active editor for our Musical Meaning and Interpretation series.
In his third volume on musical expressive meaning, Robert S. Hatten examines virtual agency in music from the perspectives of movement, gesture, embodiment, topics, tropes, emotion, narrativity, and performance. Distinguished from the actual agency of composers and performers, whose intentional actions either create music as notated or manifest music as significant sound, virtual agency is inferred from the implied actions of those sounds, as they move and reveal tendencies within music-stylistic contexts. From our most basic attributions of sources for perceived energies in music, to the highest realm of our engagement with musical subjectivity, Hatten explains how virtual agents arose as distinct from actual ones, how unspecified actants can take on characteristics of (virtual) human agents, and how virtual agents assume various actorial roles. Along the way, Hatten demonstrates some of the musical means by which composers and performers from different historical eras have staged and projected various levels of virtual agency, engaging listeners imaginatively and interactively within the expressive realms of their virtual and fictional musical worlds.
lt;P>Robert S. Hatten is Marlene and Morton Meyerson Professor in Music at The University of Texas at Austin and President of the Society for Music Theory. He is the author of Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation and Interpreting Musical Gestures, Topics, and Tropes: Mozart, Beethoven, Schubert.
Acknowledgments
Introduction
Prelude: From Gesture to Virtual Agency
1. Foundations for a Theory of Agency
2. Virtual Environmental Forces and Gestural Energies: Actants
3. Virtual Embodiment: From Actants to Agents
4. Virtual Identity and Actorial Continuity
Interlude I: From Embodiment to Subjectivity
5. Staging Virtual Subjectivity
6. Virtual Subjectivity and Aesthetically Warranted Emotions
7. Staging Virtual Narrative Agency
8. Performing Agency
9. An Integrative Agential Interpretation of Chopin's Ballade in F Minor, Op. 52
Interlude II: Hearing Agency: A Complex Cognitive Task
10. Other Perspectives on Virtual Agency
Postlude
Bibliography
Index of Names and Works
Index of Concepts
| Reihe/Serie | Musical Meaning and Interpretation |
|---|---|
| Zusatzinfo | 2 b&w illus., 88 music exx. |
| Verlagsort | Bloomington |
| Sprache | englisch |
| Maße | 160 x 160 mm |
| Themenwelt | Kunst / Musik / Theater ► Musik |
| Schlagworte | 524 C.E."Am leuchtenden Sommermorgen" • actorial continuity • Adagio Cantabile from Beethoven’s Piano Sonata in C Minor • Adagio Cantabile from Beethoven’s Piano Sonata in C Minor, meta-agency, philosophers of music, Jenefer Robinson, Charles O. Nussbaum, IUP, IU Press, Indiana University Press, virtual embodiment • Adagio Cantabile from Beethoven’s Piano Sonata in C Minor, meta-agency, philosophers of music, Jenefer Robinson, Charles O. Nussbaum, IUP, IU Press, Indiana University Press, virtual embodiment • Aesthetics • aesthetics, philosophy, cognition, expression, interpretation, Bach, Haydn, Mozart, Beethoven, Schubert, Berlioz, Schumann, Chopin, Wagner, Brahms, Fauré, Debussy, Stravinsky • agentially-motivated counterpoint • a theory of agency • A Theory of Musical Narrative • Bach • Beethoven • Berlioz • Berlioz’s Harold in Italy • Boethius’s The Consolation of Philosophy • Brahms • Byron Almén • Charles O. Nussbaum • Chopin • Chopin’s Ballade in F Minor Op. 52 • Cognition • Cognitive • cognitive task • construction of our sense of Self • Debussy • Embodiment • Embodying • Emotion • enmindment • Expression • Fauré • fictionalizing • Friction • Gestural energies • Gestural energies, embodiment, identity, actorial continuity, subjectivity, virtual subjectivity, warranted emotions, narrative agency, narrative, performing agency, Chopin, Chopin’s Ballade in F Minor Op. 52 • Gesture • Gravity • Haydn • Haydn cadenza • hearing • hearing agency • hearing, hearing agency, cognitive, cognitive task, Robert Hatten, Indiana University Press, IUP, IU Press, Musical Meaning and Interpretation, IU School of Music, Jacobs, series editor, performance, performer • Hildegard of Bingen • historical evidence • Identity • Indiana University Press • Inertia • interiorizing • Interpretation • IUP • IU Press • IU School of Music • Jacobs • Jenefer Robinson • Lady Macbeth of the Mtsensk District • magnetism • Melos • meta-agency • Momentum • Mozart • Mozart’s Piano Sonata in F • Mozart’s Piano Sonata in F, Berlioz’s Harold in Italy, Byron Almén, A Theory of Musical Narrative, Lady Macbeth of the Mtsensk District, Haydn cadenza, Mozart thematic return, Stravinsky, Hildegard of Bingen • Mozart thematic return • music • musical gesture • Musical Meaning and Interpretation • Music History • Music, music history, Music theory, virtual agency, western art music, musical gesture, emotion, tonal music, western composers, Gesture, a theory of agency, virtual environment, virtual environmental forces • music theory • narrative • Narrative agency • Performance • Performer • performing agency • philosophers of music • Philosophy • re-embodiment • refractive counterpoint • relationship of body and mind • Repulsion • Robert Hatten • Schoenberg • Schoenberg, Shostakovich, virtualizing, embodying, fictionalizing, interiorizing, re-embodiment, enmindment, refractive counterpoint, agentially-motivated counterpoint, melos, Steve Larson • Schubert • Schubert’s Quartet in G Major • Schumann • self-aware person • self-aware person, historical evidence, Boethius’s The Consolation of Philosophy, 524 C.E."Am leuchtenden Sommermorgen", the twelfth song in Dichterliebe, Schubert’s Quartet in G Major • self-aware person, historical evidence, Boethius’s The Consolation of Philosophy, 524 C.E.“Am leuchtenden Sommermorgen”, the twelfth song in Dichterliebe, Schubert’s Quartet in G Major • sense of self • series editor • Shostakovich • Steve Larson • Steve Larson’s theory of musical forces • Steve Larson’s theory of musical forces, gravity, magnetism, inertia, momentum, friction, repulsion, relationship of body and mind, construction of our sense of Self, sense of self • Steve Larson’s theory of musical forces, gravity, magnetism, inertia, momentum, friction, repulsion, relationship of body and mind, construction of our sense of Self, sense of self • Stravinsky • Subjectivity • the twelfth song in Dichterliebe • tonal music • virtual agency • virtual embodiment • Virtual Environment • virtual environmental forces • virtualizing • virtual subjectivity • Wagner • warranted emotions • Western art music • western composers |
| ISBN-10 | 0-253-03801-4 / 0253038014 |
| ISBN-13 | 978-0-253-03801-2 / 9780253038012 |
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