Constructions of gender in Monteverdi's dramatic music

1989 ◽  
Vol 1 (3) ◽  
pp. 203-223 ◽  
Author(s):  
Susan McClary
Keyword(s):  
Seventeenth Century ◽  
Affective States ◽  
Dramatic Characters ◽  
Dramatic Music

One of the great accomplishments of seventeenth-century culture was the development of a vocabulary by means of which dramatic characters and actions could be delineated in music. The techniques for emotional and rhetorical inflection we now take for granted are not, in fact, natural or universal: they were deliberately formulated during this period for the purposes of music theatre. Monteverdi's descriptions of how he invented the semiotics of madness for La finta pazza Licori or of war for the Combattimento di Tancredi e Clorinda reveal how very self-consciously he designed methods for ‘representing’ affective states.

‘I’ve Got a Little List’

2017 ◽  
Author(s):  
Amy Schmitter
Keyword(s):  
Seventeenth Century ◽  
Affective States

Although taxonomy is often a dull and dusty business, it thrived among seventeenth-century writers on the passions. Most authors followed earlier taxonomies found in Aristotle, the Stoics and Aquinas. But a few adventurous souls such as Descartes and Hobbes produced genuinely innovative enumerations, which differed from what had gone before by identifying different lists and numbers of passions, positing novel principles of divisions, and redrawing ‘family’ groupings. A particularly telling innovation is their identification of distinctive focal passions: wonder for Descartes, and glory for Hobbes. This chapter analyses a few features of these novel enumerations in order to show the important role the leading passions played in developing both their accounts of mind and their distinctive approaches to philosophical explanation as a whole. It also indulges in some meta-historical speculations about the possibility and significance of finding truly divergent conceptions of human affective states in our history.

Drolls, Drolleries and Mid-Seventeenth-Century Dramatic Music in England

1979 ◽  
Vol 15 ◽  
pp. 117-173
Author(s):  
Mary Chan
Keyword(s):  
Seventeenth Century ◽  
Civil War ◽  
Good Deal ◽  
Public Performance ◽  
Dramatic Music

During the Civil War and Commonwealth periods in England (1642–60), public dramatic performances were, with some exceptions, officially prohibited. Rollins (1921; 1923) has shown at length, however, that a good deal of clandestine and semi-public performance of drama and related arts did in fact take place over these years. One anthology which brings together short dramatic pieces that were allegedly acted surreptitiously during the period is Kirkman's collection of ‘drolls’,The Wits, published after the Restoration (part 1, 1662–72; part 2, 1673).

Orpheus, Ovid and Opera

1988 ◽  
Vol 113 (2) ◽  
pp. 172-202 ◽  
Author(s):  
Frederick W. Sternfeld
Keyword(s):  
Seventeenth Century ◽  
Early Stage ◽  
Stage I ◽  
Stage Music ◽  
English Stage ◽  
Dramatic Music

It was in the Shakespeare year of 1964 that I first realized to what extent my work on English stage music lacked foundation and depth without a better knowledge of the practices of dramatic music in Italy. Even at that early stage I recognized that the key plot for intermedi and the first operas was the story of Orpheus which looms so impressively, both in quantity and in quality, at the birth of opera. Indeed, it is a plot that continues to act as a springboard for the imagination of composers of operas and ballets, even after the seventeenth century, as witnessed by the works of Gluck, Offenbach and Stravinsky.

Group Experiences and Individual Differences in Stuttering

2019 ◽  
Vol 62 (12) ◽  
pp. 4335-4350 ◽  
Author(s):  
Seth E. Tichenor ◽  
J. Scott Yaruss
Keyword(s):  
Individual Differences ◽  
Support Groups ◽  
Support Group ◽  
Affective States ◽  
Life Outcomes ◽  
Self Help ◽  
Wide Range ◽  
Group Experiences ◽  
History Of ◽  
Adults Who Stutter

Purpose This study explored group experiences and individual differences in the behaviors, thoughts, and feelings perceived by adults who stutter. Respondents' goals when speaking and prior participation in self-help/support groups were used to predict individual differences in reported behaviors, thoughts, and feelings. Method In this study, 502 adults who stutter completed a survey examining their behaviors, thoughts, and feelings in and around moments of stuttering. Data were analyzed to determine distributions of group and individual experiences. Results Speakers reported experiencing a wide range of both overt behaviors (e.g., repetitions) and covert behaviors (e.g., remaining silent, choosing not to speak). Having the goal of not stuttering when speaking was significantly associated with more covert behaviors and more negative cognitive and affective states, whereas a history of self-help/support group participation was significantly associated with a decreased probability of these behaviors and states. Conclusion Data from this survey suggest that participating in self-help/support groups and having a goal of communicating freely (as opposed to trying not to stutter) are associated with less negative life outcomes due to stuttering. Results further indicate that the behaviors, thoughts, and experiences most commonly reported by speakers may not be those that are most readily observed by listeners.

Heart Rate Variability, Homeostasis, and Brain Function

2012 ◽  
Vol 26 (4) ◽  
pp. 178-203 ◽  
Author(s):  
Francesco Riganello ◽  
Sergio Garbarino ◽  
Walter G. Sannita
Keyword(s):  
Heart Rate ◽  
Heart Rate Variability ◽  
Vegetative State ◽  
Communication Disorders ◽  
Affective States ◽  
Experimental Conditions ◽  
Cardiovascular Research ◽  
Sensory Stimuli ◽  
Additional Information ◽  
Brain Injured

Measures of heart rate variability (HRV) are major indices of the sympathovagal balance in cardiovascular research. These measures are thought to reflect complex patterns of brain activation as well and HRV is now emerging as a descriptor thought to provide information on the nervous system organization of homeostatic responses in accordance with the situational requirements. Current models of integration equate HRV to the affective states as parallel outputs of the central autonomic network, with HRV reflecting its organization of affective, physiological, “cognitive,” and behavioral elements into a homeostatic response. Clinical application is in the study of patients with psychiatric disorders, traumatic brain injury, impaired emotion-specific processing, personality, and communication disorders. HRV responses to highly emotional sensory inputs have been identified in subjects in vegetative state and in healthy or brain injured subjects processing complex sensory stimuli. In this respect, HRV measurements can provide additional information on the brain functional setup in the severely brain damaged and would provide researchers with a suitable approach in the absence of conscious behavior or whenever complex experimental conditions and data collection are impracticable, as it is the case, for example, in intensive care units.

An Alternative to Self-Reports of Trait and State Affect

2014 ◽  
Vol 30 (3) ◽  
pp. 231-237 ◽  
Author(s):  
Markus Quirin ◽  
Regina C. Bode
Keyword(s):  
Self Report ◽  
Factorial Validity ◽  
Artificial Language ◽  
Cognitive Representation ◽  
Affective States ◽  
Novel Variants ◽  
Self Reports ◽  
State Affect ◽  
Affective Experiences ◽  
Automatic Activation

Self-report measures for the assessment of trait or state affect are typically biased by social desirability or self-delusion. The present work provides an overview of research using a recently developed measure of automatic activation of cognitive representation of affective experiences, the Implicit Positive and Negative Affect Test (IPANAT). In the IPANAT, participants judge the extent to which nonsense words from an alleged artificial language express a number of affective states or traits. The test demonstrates appropriate factorial validity and reliabilities. We review findings that support criterion validity and, additionally, present novel variants of this procedure for the assessment of the discrete emotions such as happiness, anger, sadness, and fear.

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