scholarly journals A Conversation with Robert Hatten about A Theory of Virtual Agency for Western Art Music

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Robert Hatten ◽  
Maria Lúcia Machado Pascoal ◽  
Cristina Capparelli Gerling ◽  
Flavio Santos Pereira ◽  
Diósnio Machado Neto ◽  
...  
Keyword(s):  
Music Theory ◽  
Art Music ◽  
Recent Book ◽  
Discussion Session ◽  
Western Art ◽  
Brazilian Society ◽  
Music Theory And Analysis ◽  
Western Art Music

From August to October 2020, the Brazilian Society for Music Theory and Analysis (TeMA) held a series of five online meetings, each featuring a well-stablished theorist who presented one of his/her recent publications. Following the guest speaker’s presentation, a discussion session ensued, featuring guests from TeMA. On August 20th, TeMA received Robert Hatten to open the series, who was invited to talk about his most recent book: A Theory of Virtual Agency for Western Art Music (2018). Six guests from TeMA joined Hatten for the discussion session: Maria Lúcia Machado Pascoal, Cristina Capparelli Gerling, Flavio Santos Pereira, Diósnio Machado Neto, Guilherme Sauerbronn de Barros, and Paulo de Tarso Salles. Aiming at bringing Hatten’s presentation and the lively ensuing discussion to a wider audience, this essay presents an edited transcription of this meeting.

THE NON-CANONIC STATUS OF MOZART’S CANONS

2006 ◽  
Vol 3 (1) ◽  
pp. 109-123 ◽  
Author(s):  
NEAL ZASLAW
Keyword(s):  
Art Music ◽  
Orchestral Music ◽  
Dance Music ◽  
Western Art ◽  
Circle Of Friends ◽  
Western Art Music ◽  
Peculiar Nature

Mozart's canons are rather inadequately represented in the Köchel catalogue and the Neue Mozart Ausgabe. The same may be said about other music for his immediate circle of friends, colleagues and patrons, as well as his dance music and his contributions to pasticcios. Neglect of these ‘minor’ genres perhaps arises at least in part from anachronistic paradigms, for instance ‘masterpieces for posterity’. And the canons suffer additionally from the peculiar nature of their sources and transmission, from uncertainty about the position of canons in the ‘canon’ of Western art music and probably also from embarrassment over some of Mozart’s texts. Mozart’s canons have been studied not only less often than his operatic, church, chamber and orchestral music, but also less well.

Hearing Film Music Topics outside the Movie Theatre

2021 ◽  
pp. 548-574
Author(s):  
Janet Bourne
Keyword(s):  
Statistical Analysis ◽  
Extraction Method ◽  
Film Music ◽  
Art Music ◽  
Film Scores ◽  
Western Art ◽  
Western Art Music ◽  
Movie Theatre

This chapter describes a cognitively informed framework based on analogy for theorizing cinematic listening; in this case, it tests the hypothesis that contemporary listeners might use associations learned from film music topics to make sense of western art music (WAM). Using the pastoral topic as a case study, a corpus of film scores from 1980–2014 determines common associations for this topic based on imagery, emotion, and narrative contexts. Then, the chapter outlines potential narratives a modern moviegoer might make by listening “cinematically” to a Sibelius movement. The hypothesis is empirically tested through an experiment where participants record their imagined narratives and images while listening to WAM and film music. The meaning extraction method, a statistical analysis for identifying associational themes, is used to analyze people’s responses.

scholarly journals The Evolution of GIM Programming

2010 ◽  
Vol 10 (3) ◽  
Author(s):  
Anthony Meadows
Keyword(s):  
Art Music ◽  
Music Programs ◽  
Western Art ◽  
The Core ◽  
Western Art Music ◽  
Music Programming ◽  
Bonny Method

This article traces the origins and evolution of the music programs central to the Bonny Method (also called GIM or BMGIM). These programmed, sequenced western art music selections shape the core experience of GIM, eliciting intra-, inter-, and trans-personal phenomena through a range of visual, auditory, and kinesthetic feelings, images, memories, and metaphoric fantasies. Bonny’s original programs will be described and discussed in relation to GIM, and developments in programming will demonstrate how the Bonny Method programs have been expanded, including adaptations to music programming and selection.

Playing for the Big Time: Musicians, Concerts, and Reputation-Building in Cincinnati, 1872–82

2010 ◽  
Vol 9 (2) ◽  
pp. 145-165
Author(s):  
Karen Ahlquist
Keyword(s):  
National Level ◽  
The United States ◽  
Art Music ◽  
Institution Building ◽  
Civic Leaders ◽  
Western Art ◽  
Large Numbers ◽  
Significant Achievement ◽  
Western Art Music ◽  
High Level

Like many midwestern cities in the nineteenth century, Cincinnati, Ohio, was home to large numbers of German immigrant musicians, among them the founders of the Cincinnati Grand Orchestra in 1872. Their model of musician-based organization eventually ran counter to the prestige-building potential of Western art music, which made it attractive to local civic leaders determined to earn respect for their city at a national level. The successful Cincinnati May festivals beginning in 1873 under the artistic leadership of conductor Theodore Thomas brought the city the desired renown. But the musical monumentality needed for large festival performances could not be obtained locally, leaving Cincinnati's players with opportunities to perform at a high level but without a way to define their performance as a significant achievement in the world of high art. Although their orchestra was ultimately unsuccessful, however, these musicians demonstrated an agency that transcends their historical obscurity and helps incorporate aesthetic and practical aspects of institution-building into the social arguments common to discussions of Western art music in the United States.

‘The Timpani Beats Just Hit on My Heart!’ Music, Memory, and Diplomacy in the Philadelphia Orchestra's 1973 China Tour

2021 ◽  
Vol 18 (3) ◽  
pp. 395-418
Author(s):  
BESS XINTONG LIU
Keyword(s):  
Cold War ◽  
Cultural Revolution ◽  
Art Music ◽  
Western Art ◽  
History Of ◽  
Western Art Music ◽  
Historical Trajectory ◽  
The Cold War ◽  
Musical Diplomacy

AbstractThis article examines the underexplored history of the 1973 Philadelphia Orchestra China tour and retheorizes twentieth-century musical diplomacy as a process of ritualization. As a case study, I consult bilingual archives and incorporate interviews with participants in this event, which brings together individual narratives and public opinions. By contextualizing this musical diplomacy in the Cold War détente and the Chinese Cultural Revolution, I argue for the complex set of relations mobilized by Western art music in 1973. This tour first created a sense of co-dependency between musicians and politicians. It also engaged Chinese audiences by revitalizing pre-Cultural Revolution sonic memories. Second, I argue that the significance of the 1973 Orchestra tour lies in the ritualization of Western art music as diplomatic etiquette, based on further contextualization of this event in the historical trajectory of Sino-US relations and within the entrenched Chinese ideology of liyue (ritual and music).

Early Country Music

2020 ◽  
pp. 19-42
Author(s):  
Stephanie Vander Wel
Keyword(s):  
Middle Class ◽  
Art Music ◽  
Country Music ◽  
Western Art ◽  
Western Art Music ◽  
Musical Styles

Chapter 1 explores the theatrical context of 1930s country music on radio, specifically daily and weekly shows, including the National Barn Dance, on Chicago’s WLS. Similar to vaudeville, radio programmed the diverse strands of vernacular expression with music (including Western art music) that pointed to the high and popular aesthetics of the middle-class mainstream. With an emphasis on reception, this chapter demonstrates that listeners debated the merits of early country music as well as other musical styles and genres with a class-based understanding of aesthetics. The syncretic nature and theatrical characters of early country music (such as the singing mountaineer, the crooning cowboy, and the rustic buffoon) fit radio’s attempts to negotiate the crossing and blurring of the serious and the popular, the urban and the rural, and the sentimental and the parodic. Thus, through the technology of radio, early country music first secured a place in the American consciousness by rubbing against other styles and genres that transgressed cultural and musical divides.

Beyond synchronization

2021 ◽  
pp. 182-188
Author(s):  
Laura Bishop ◽  
Carlos Cancino-Chacón ◽  
Werner Goebl
Keyword(s):  
Visual Cues ◽  
Eye Gaze ◽  
Art Music ◽  
Body Motion ◽  
Western Art ◽  
Ensemble Performance ◽  
Visual Interactions ◽  
Western Art Music ◽  
Music Tradition

In the Western art music tradition, among many others, top ensembles are distinguished on the basis of their creative interpretation and expressivity, rather than purely on the precision of their synchronization. This chapter proposes that visual cues serve as social motivators during ensemble performance, promoting performers’ creative engagement with the music and each other. This chapter discusses findings from a study in which skilled duo musicians’ use of visual cues (eye gaze and body motion) was examined across the course of a rehearsal session. Results show that performers are driven to interact visually: (1) by temporal irregularity in the music and (2) by increased familiarity with the music and their co-performer. Synchronization success was unimpaired during a “blind” performance where performers could not see each other. Ensemble musicians thus choose to supplement their auditory interactions with visual cues despite their visual interactions offering no apparent benefit to synchronization.

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