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A Theory of Virtual Agency for Western Art Music by Robert S. Hatten

A Theory of Virtual Agency for Western Art Music by Robert S. Hatten Downloaded from http://read.dukeupress.edu/journal-of-music-theory/article-pdf/64/2/283/834971/0640283.pdf by DEEPDYVE INC user on 30 March 2022 R EV I EW S Robert S. Hatten A Theory of Virtual Agency for Western Art Music Indiana University Press, 2018: x + 326 pp. ($85.00 cloth, $32.00 paper, $31.99 ebook) Jonathan De Souza In “The Critic as Artist” Oscar Wilde describes several modes of listening: Sometimes, when I listen to the overture to Tannh, I s äusee rem indeed to see that comely knight treading delicately on the f lower-strewn grass, and to hear the voice of Venus calling to him from the caverned hill. But at other times it speaks to me of a thousand different things, of myself, it may be, and my own life, or of the lives of others whom one has loved and grown weary of loving, or of the passions that man has known, or of the passions that man has not known, and so has sought for. (quoted on 178) These experiences of the overture are varied—based on Wagner’s operatic narrative or the listener’s memories, relatively definite or indeterminate, playing out in external or inner worlds. As with all art, the music has many meanings, which according to Wilde are http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

A Theory of Virtual Agency for Western Art Music by Robert S. Hatten

Journal of Music Theory , Volume 64 (2) – Oct 1, 2020

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Copyright
Copyright © 2020 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-8550807
Publisher site
See Article on Publisher Site

Abstract

Downloaded from http://read.dukeupress.edu/journal-of-music-theory/article-pdf/64/2/283/834971/0640283.pdf by DEEPDYVE INC user on 30 March 2022 R EV I EW S Robert S. Hatten A Theory of Virtual Agency for Western Art Music Indiana University Press, 2018: x + 326 pp. ($85.00 cloth, $32.00 paper, $31.99 ebook) Jonathan De Souza In “The Critic as Artist” Oscar Wilde describes several modes of listening: Sometimes, when I listen to the overture to Tannh, I s äusee rem indeed to see that comely knight treading delicately on the f lower-strewn grass, and to hear the voice of Venus calling to him from the caverned hill. But at other times it speaks to me of a thousand different things, of myself, it may be, and my own life, or of the lives of others whom one has loved and grown weary of loving, or of the passions that man has known, or of the passions that man has not known, and so has sought for. (quoted on 178) These experiences of the overture are varied—based on Wagner’s operatic narrative or the listener’s memories, relatively definite or indeterminate, playing out in external or inner worlds. As with all art, the music has many meanings, which according to Wilde are

Journal

Journal of Music TheoryDuke University Press

Published: Oct 1, 2020

References