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A Philosophy of Operatic Storytelling.

Penner, Nina.

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A Philosophy of Operatic Storytelling.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	A Philosophy of Operatic Storytelling./
作者:	Penner, Nina.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:	332 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
標題:	Orchestras. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28266299
ISBN:	9798708705426

A Philosophy of Operatic Storytelling.
Penner, Nina.

A Philosophy of Operatic Storytelling. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 332 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--McGill University (Canada), 2015.

This item must not be sold to any third party vendors.

This dissertation presents the first theoretical model for understanding narration and point of view in opera, examining repertoire from Richard Wagner to Benjamin Britten. Prior music scholarship on musical narratives and narrativity has drawn primarily on continental literary theory and philosophy of the 1960s to the middle of the 1980s. This study, by contrast, engages with current debates in the analytic branch of aesthetic philosophy.One reason why the concept of point of view has not been more extensively explored in opera studies is the widespread belief that operas are not narratives. This study questions key premises on which this assumption rests. In so doing, it presents a new definition of narrative. Arguably, a narrative is an utterance intended to communicate a story, where "story" is understood to involve the representation of a particular agent or agents exercising their agency. This study explores the role of narrators in opera, introducing the first taxonomy of explicit fictional operatic narrators. Through a close analysis of Britten and Myfanwy Piper's Owen Wingrave, it offers an explanation of music's power to orient spectators to the points of view of opera characters by providing audiences with access to characters' perceptual experiences and cognitive, affective, and psychological states. My analysis also helps account for how our subjective access to fictional characters may engender sympathy for them.The second half of the dissertation focuses on opera in performance. Current thinking in music scholarship predominantly holds that fidelity is an outmoded concern. I argue that performing a work-for-performance is a matter of intentionally modelling one's performance on the work-for-performance's features and achieving a moderate degree of fidelity or matching between the two. Finally, this study investigates how the creative decisions of the performers and director impact the point of view from which an opera is told.

ISBN: 9798708705426Subjects--Topical Terms:

3556292
Orchestras.
Subjects--Index Terms:

Musicology

A Philosophy of Operatic Storytelling.
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520 $a This dissertation presents the first theoretical model for understanding narration and point of view in opera, examining repertoire from Richard Wagner to Benjamin Britten. Prior music scholarship on musical narratives and narrativity has drawn primarily on continental literary theory and philosophy of the 1960s to the middle of the 1980s. This study, by contrast, engages with current debates in the analytic branch of aesthetic philosophy.One reason why the concept of point of view has not been more extensively explored in opera studies is the widespread belief that operas are not narratives. This study questions key premises on which this assumption rests. In so doing, it presents a new definition of narrative. Arguably, a narrative is an utterance intended to communicate a story, where "story" is understood to involve the representation of a particular agent or agents exercising their agency. This study explores the role of narrators in opera, introducing the first taxonomy of explicit fictional operatic narrators. Through a close analysis of Britten and Myfanwy Piper's Owen Wingrave, it offers an explanation of music's power to orient spectators to the points of view of opera characters by providing audiences with access to characters' perceptual experiences and cognitive, affective, and psychological states. My analysis also helps account for how our subjective access to fictional characters may engender sympathy for them.The second half of the dissertation focuses on opera in performance. Current thinking in music scholarship predominantly holds that fidelity is an outmoded concern. I argue that performing a work-for-performance is a matter of intentionally modelling one's performance on the work-for-performance's features and achieving a moderate degree of fidelity or matching between the two. Finally, this study investigates how the creative decisions of the performers and director impact the point of view from which an opera is told.
520 $a Cette these propose le premier modele theorique visant a expliquer la narration et le point de vue narratif dans l'opera a travers l'analyse d'un repertoire s'etendant des oeuvres de Richard Wagner a celles de Benjamin Britten. Jusqu'a present, les etudes portant sur la narrativite en musique se sont basees principalement sur la theorie litteraire issue de la philosophie dite continentale elaboree entre les annees 1960 et la moitie des annees 1980. Inversement, cette these tient compte des debats contemporains de la branche analytique de la philosophie esthetique.Une des raisons pour lesquelles le point de vue narratif en opera n'a pas fait l'objet d'etudes approfondies est la notion generalisee que les operas ne sont pas des recits. Cette these remet en question les premisses de base sur lesquelles repose cette croyance. Ce faisant, elle presente une nouvelle definition de la narration. On peut soutenir qu'un recit, une narration, est un enonce ayant pour objet la communication d'une histoire, ou « l'histoire » implique la representation d'un ou plusieurs agent(s) exercant leur pouvoir d'action. Cette these explore le role des narrateurs dans l'opera, offrant la premiere taxonomie des narrateurs fictifs operatiques explicitement identifies comme tels. L'analyse rapprochee de Owen Wingrave de Britten et Myfanwy Piper revele les manieres dont la musique oriente les spectateurs vers le point de vue des personnages de l'opera en offrant au public acces a leurs experiences cognitives, affectives, de perception, et a leurs etats psychologiques. Cette analyse explique aussi comment notre acces subjectif a des personnages fictifs peut engendrer de la sympathie envers ces derniers.La seconde partie de cette these s'interesse a la representation d'operas. Le courant predominant dans la musicologie contemporaine considere la fidelite comme une preoccupation depassee. Je soutiens que la representation d'une oeuvre vouee a la representation necessite un modelage intentionnel de la representation en tant que telle aux caracteristiques de l'oeuvre vouee a la representation, afin d'atteindre un certain degre de fidelite ou une adequation entre les deux. Enfin, cette etude explore l'impact des decisions creatives des interpretes et metteurs en scene sur le point de vue a partir duquel un opera est raconte.
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