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Peculiar Attunements : How Affect Theory Turned Musical / Roger Mathew Grant.

By: Material type: TextTextPublisher: New York, NY : Fordham University Press, [2020]Copyright date: ©2020Description: 1 online resource (192 p.) : 1Content type:
Media type:
Carrier type:
ISBN:
  • 9780823288083
Subject(s): Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Notes on orthography and translation -- Introduction -- 1. Eighteenth-century opera and the mimetic affektenlehre -- 2. Comic opera: Mimesis exploded -- 3. “Sonate, que me veux-tu?” and other dilemmas of instrumental music -- 4. The attunement affektenlehre -- Coda: affect after the affektenlehre -- Acknowledgments -- Bibliography -- Index
Summary: Peculiar Attunements places the recent turn to affect into conversation with a parallel movement in European music theory of the eighteenth century. During that time the affects—or passions, as they were also called—formed a vital component of a mimetic model of the arts. Eighteenth-century critics held that artworks imitated or copied the natural world in order to produce copies of the affects in their beholders. But music caused a problem for such theories, since it wasn’t apparent that musical tones could imitate anything with any dependability, beyond the rare thunderclap or birdcall.Struggling to articulate how it was that music managed to move its auditors without imitation, certain theorists developed a new affect theory crafted especially for music, postulating that music’s physical materiality as sound vibrated the nerves of listeners and attuned them to the affects through sympathetic resonance. This was a theory of affective attunement that bypassed the entire structure of representation, offering a non-discursive, corporeal alternative. It is a pendant to contemporary theories of affect, and one from which they have much to learn. Inflecting our current intellectual moment through eighteenth-century music theory and aesthetics, this book offers a reassessment of affect theory’s common systems and processes. It offers a new way of thinking through affect dialectically, drawing attention to patterns and problems in affect theory that we have been given to repeating. Finally, taking a cue from eighteenth-century theory, it gives renewed attention to the objects that generate affects in subjects.
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780823288083

Frontmatter -- Contents -- Notes on orthography and translation -- Introduction -- 1. Eighteenth-century opera and the mimetic affektenlehre -- 2. Comic opera: Mimesis exploded -- 3. “Sonate, que me veux-tu?” and other dilemmas of instrumental music -- 4. The attunement affektenlehre -- Coda: affect after the affektenlehre -- Acknowledgments -- Bibliography -- Index

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Peculiar Attunements places the recent turn to affect into conversation with a parallel movement in European music theory of the eighteenth century. During that time the affects—or passions, as they were also called—formed a vital component of a mimetic model of the arts. Eighteenth-century critics held that artworks imitated or copied the natural world in order to produce copies of the affects in their beholders. But music caused a problem for such theories, since it wasn’t apparent that musical tones could imitate anything with any dependability, beyond the rare thunderclap or birdcall.Struggling to articulate how it was that music managed to move its auditors without imitation, certain theorists developed a new affect theory crafted especially for music, postulating that music’s physical materiality as sound vibrated the nerves of listeners and attuned them to the affects through sympathetic resonance. This was a theory of affective attunement that bypassed the entire structure of representation, offering a non-discursive, corporeal alternative. It is a pendant to contemporary theories of affect, and one from which they have much to learn. Inflecting our current intellectual moment through eighteenth-century music theory and aesthetics, this book offers a reassessment of affect theory’s common systems and processes. It offers a new way of thinking through affect dialectically, drawing attention to patterns and problems in affect theory that we have been given to repeating. Finally, taking a cue from eighteenth-century theory, it gives renewed attention to the objects that generate affects in subjects.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024)