Music AnalysisVolume 39, Issue 1 p. 135-141 CRITICAL FORUM S. Hatten, Robert, A Theory of Virtual Agency for Western Art Music. ( Bloomington: Indiana University Press, 2018). x + 312 pp. £70.00 (hb.). ISBN 9780253037978. Edward Klorman, Edward KlormanSearch for more papers by this author Edward Klorman, Edward KlormanSearch for more papers by this author First published: 30 March 2020 https://doi.org/10.1111/musa.12152Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Volume39, Issue1March 2020Pages 135-141 RelatedInformation

ABSTRACTPrevious analytical studies of trouvère song have tended to focus on the structural aspects of the songs. This leaves little room for a consideration of text‐music relationships beyond the first stanza of a song. This article proposes that the analytical constructs of structure and process may be used to reach a wider range of analytical readings. The study focuses on the Old French corpus ofjeux‐partis, sung debates composed by the trouvères (poet‐singers) in northern France in the thirteenth century. When a poet‐singer composed the first stanza of ajeu‐parti, they negotiated the stylistic conventions of the genre. These conventions are the first structure – a structure of expectation – with which trouvères are in dialogue in the process of composition. The first part of the article establishes what the stylistic conventions of thejeu‐partiare. After the first stanza of ajeu‐partiwas composed, the two opposing trouvères negotiated the melodic and poetic structure that was established in the first stanza by exploiting the structures latent in thejeu‐partimelody, creating interlocking structures of music and text that change from one stanza to the next. The second part of the article analyses onejeu‐partiin detail to demonstrate how this was done.

ABSTRACTThis article examines anger and one of the ways it was expressed by the secular clergy at Notre Dame Cathedral in Paris in the late twelfth and early thirteenth centuries. Applying Barbara Rosenwein's idea of an ‘emotional community’ to the secular clergy, I consider what we know about the authors and composers of the mostly anonymous conductus repertory and how these men might have acceptably expressed their anger at wrongdoing in the Church. I also examine George Lakoff and Zoltán Kövecses's responses to anger and discuss how the secular clergy react to feelings of anger through non‐prototypical responses. I examine briefly the texts of the nineteen two‐part conductus without melismas in the manuscript Florence, Biblioteca Medicea‐Laurenziana, Pluteus 29.1 (F), before focusing on five of these conductus, the texts of which convey anger. An analysis of the frequency and use of intervals in these works places their composition at the time when the celebrated theologian Peter the Chanter and his students were at Notre Dame; in addition, it demonstrates the way that intervals highlight significant words that convey the angry theme of the text. I also discuss the use of descending melodic motives, one of which occurs most frequently in the conductus with texts that express anger.

ABSTRACTLaura Mulvey coined the term ‘male gaze’ (1975), using Lacanian theory as a ‘political weapon’ against the standard mode of viewing in which the viewing subject turns onscreen women into fantasy objects. While politically laudable, her article misconstrues Lacan's concept of ‘the gaze’, the power of which emanates from the object itself. We might better serve Lacanian theory by inverting Mulvey's reading of Alfred Hitchcock's Vertigo to suggest that Scottie (James Stewart) is himself objectified by the mystique of the ‘object’ he watches and follows: Madeleine (Kim Novak). The screen's gaze reduces spectators to objects too. From this perspective, rather than watching the film, the film can be said to be watching us.This extends to Bernard Herrmann's soundtrack, famously influenced by the yearning of Wagner's Tristan und Isolde. Developing David Schwarz's (2006) musical gaze (in which repeated pedal points of Schubert songs gaze at us), I analyse Vertigo’s frequent emphasis on the pitch class D. A pedal D is often repeated in alluring yet sinister bare octaves as Scottie follows Madeleine. But at key moments in the film, the pitch becomes a sophisticated tool that captivates us in unique ways. Around this central pitch third‐relationships circle. These resonate with neo‐Riemannian theory, particularly in their hexatonic ‘poles’, which Cohn shows to be agents of the Freudian ‘uncanny’ (2004) and which here also serve as an alternative gaze to the reiterated D. Other pitch constellations, in symmetries or spirals, form similar obsessional musical ‘gazes’ that, using Lacanian theory, prompt the question about whether we are listening to the music or the music is listening to us.

iii. Extrafictional narration and audience address iv. Nondiegetic and diegetic music a. Narratology, the diegesis and music -some

ABSTRACT This essay explores the interplay between states of syntactic completion and incompletion in the text and music of Brahms's O kühler Wald and how the composer thereby conveys an interpretation of the poetic text to create an experience for the listener that bears a striking resemblance to the experience of the poem's lovelorn persona.