東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

The Lyric Mode of Voice: Song and Su...

Peritz, Jessica Gabriel.

Linked to FindBook

Google Book

Amazon

博客來

The Lyric Mode of Voice: Song and Subjectivity in Italy, 1769-1815.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Lyric Mode of Voice: Song and Subjectivity in Italy, 1769-1815./
Author:	Peritz, Jessica Gabriel.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	291 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-02, Section: A.
Contained By:	Dissertations Abstracts International81-02A.
Subject:	Music history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13858426
ISBN:	9781085561839

The Lyric Mode of Voice: Song and Subjectivity in Italy, 1769-1815.
Peritz, Jessica Gabriel.

The Lyric Mode of Voice: Song and Subjectivity in Italy, 1769-1815. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 291 p.

Source: Dissertations Abstracts International, Volume: 81-02, Section: A.

Thesis (Ph.D.)--The University of Chicago, 2019.

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

This dissertation traces the emergence in late eighteenth-century Italy of an ideological connection between voice and subjectivity, arguing that this link was forged as a means of assuaging anxieties about Italy's role in European culture. For most of the century, virtuosic voices had dominated Italian "serious" opera: onstage, singers flaunted flashy embellishments while projecting the static categories of the Cartesian passions. But after midcentury, as new epistemologies of emotion converged with neoclassical aesthetics, Italian musicians and literati increasingly criticized those voices as inauthentic and unfeeling. In order to redeem voice, and with it Italian culture, reform-minded singers and intellectuals rebranded Italy's most famous export as an agent of moral edification. They asserted that voice could make audible the interiority of a feeling subject, and potentially represent the political agency of that subject. Some reformers even attributed to certain voices the power to civilize humanity by cultivating feeling, inspired by the myth of Orpheus's lyric song. The resulting complex of discourses and practices is what the dissertation calls "the lyric mode of voice," a phrase which combines the ancient generic definition of lyric as musical poetry with the late-eighteenth-century literary mode characterized by emotional intensity, vivid subjectivity, and expressive immediacy. The dissertation explores the lyric mode of voice through representations of two archetypal poet-singers, or lyric figures: Orpheus and Sappho, who functioned both onstage and in literature as dynamic symbols of "authentic," subjective vocal expression. By articulating the ways in which the lyric voice was rendered as cultural and political power, this dissertation unpacks still-resonant myths about uniqueness and agency. It does so by interweaving historically-situated musical analysis with interpretive threads from literary theory and philosophy. It thus intervenes in musicology by placing historical musical-vocal practices into dialogue with intellectual history, and contributes to Italian studies, eighteenth-century studies, and the history of ideas by demonstrating how intellectual histories might be excavated from the residues of sonic practices. In approaching voice as both a discursive category and a set of culturally contingent practices, the dissertation ultimately considers how historical ideologies and practices of voice together inflected "modern" constructions of subjectivity.

ISBN: 9781085561839Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Eighteenth century

The Lyric Mode of Voice: Song and Subjectivity in Italy, 1769-1815.
LDR:03723nmm a2200385 4500 001 2271582
005 20201027145232.5
008 220629s2019 ||||||||||||||||| ||eng d
020 $a 9781085561839
035 $a (MiAaPQ)AAI13858426
035 $a AAI13858426
040 $a MiAaPQ $c MiAaPQ
100 1 $a Peritz, Jessica Gabriel. $3 3548993
245 1 4 $a The Lyric Mode of Voice: Song and Subjectivity in Italy, 1769-1815.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 291 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-02, Section: A.
500 $a Advisor: Feldman, Martha.
502 $a Thesis (Ph.D.)--The University of Chicago, 2019.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a This dissertation traces the emergence in late eighteenth-century Italy of an ideological connection between voice and subjectivity, arguing that this link was forged as a means of assuaging anxieties about Italy's role in European culture. For most of the century, virtuosic voices had dominated Italian "serious" opera: onstage, singers flaunted flashy embellishments while projecting the static categories of the Cartesian passions. But after midcentury, as new epistemologies of emotion converged with neoclassical aesthetics, Italian musicians and literati increasingly criticized those voices as inauthentic and unfeeling. In order to redeem voice, and with it Italian culture, reform-minded singers and intellectuals rebranded Italy's most famous export as an agent of moral edification. They asserted that voice could make audible the interiority of a feeling subject, and potentially represent the political agency of that subject. Some reformers even attributed to certain voices the power to civilize humanity by cultivating feeling, inspired by the myth of Orpheus's lyric song. The resulting complex of discourses and practices is what the dissertation calls "the lyric mode of voice," a phrase which combines the ancient generic definition of lyric as musical poetry with the late-eighteenth-century literary mode characterized by emotional intensity, vivid subjectivity, and expressive immediacy. The dissertation explores the lyric mode of voice through representations of two archetypal poet-singers, or lyric figures: Orpheus and Sappho, who functioned both onstage and in literature as dynamic symbols of "authentic," subjective vocal expression. By articulating the ways in which the lyric voice was rendered as cultural and political power, this dissertation unpacks still-resonant myths about uniqueness and agency. It does so by interweaving historically-situated musical analysis with interpretive threads from literary theory and philosophy. It thus intervenes in musicology by placing historical musical-vocal practices into dialogue with intellectual history, and contributes to Italian studies, eighteenth-century studies, and the history of ideas by demonstrating how intellectual histories might be excavated from the residues of sonic practices. In approaching voice as both a discursive category and a set of culturally contingent practices, the dissertation ultimately considers how historical ideologies and practices of voice together inflected "modern" constructions of subjectivity.
590 $a School code: 0330.
650 4 $a Music history. $3 3342382
650 4 $a Italian literature. $3 715637
653 $a Eighteenth century
653 $a Emotion
653 $a Lyric
653 $a Opera
653 $a Subjectivity
653 $a Voice
690 $a 0208
690 $a 0220
710 2 $a The University of Chicago. $b Music. $3 1673188
773 0 $t Dissertations Abstracts International $g 81-02A.
790 $a 0330
791 $a Ph.D.
792 $a 2019
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=13858426