Leseprobe
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A Theory of Virtual Agency for Western Art Music
Robert S. Hatten
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Geisteswissenschaften, Kunst, Musik / Musik
Beschreibung
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.
Kundenbewertungen
Stravinsky, Chopin, performing agency, melos, music history, gravity, virtual embodiment, Schumann, A Theory of Musical Narrative, cognition, a theory of agency, Chopin’s Ballade in F Minor Op. 52, narrative, interiorizing, refractive counterpoint, enmindment, expression, meta-agency, repulsion, western composers, Shostakovich, Mozart’s Piano Sonata in F, Haydn cadenza, Bach, Hildegard of Bingen, Lady Macbeth of the Mtsensk District, aesthetics, Steve Larson’s theory of musical forces, agentially-motivated counterpoint, Berlioz, construction of our sense of Self, Wagner, philosophers of music, subjectivity, Byron Almén, Beethoven, tonal music, Debussy, inertia, Mozart thematic return, musical gesture, Schubert, Mozart, Haydn, magnetism, interpretation, western art music, Brahms, Charles O. Nussbaum, philosophy, virtual subjectivity, Jenefer Robinson, actorial continuity, Gestural energies, Adagio Cantabile from Beethoven’s Piano Sonata in C Minor, Berlioz’s Harold in Italy, Schoenberg, re-embodiment, Music theory, Music, warranted emotions, Fauré, narrative agency, sense of self, momentum