This dissertation explores the construction of agencies and modalities in the Requiems of Hector Berlioz and Gabriel Fauré. After developing a theory of agency that draws strands from Edward T. Cone, Eero Tarasti, Anthony Newcomb, Carolyn Abbate, Eric Drott, and Robert Hatten, I introduce an analytical system of agency, an element that is currently lacking in the field of agential theory. This system incorporates two new models designed to define agential types, decipher agential shifts and interactions, and measure degrees of agential growth. These models work in tandem with the concept of modalities to decipher nuanced shifts in the mental attitude or emotional state of the agent with respect to the liturgical text.
In the second half of the dissertation, I apply this analytical system to Hector Berlioz's Grande messe des morts (1837) and Gabriel Fauré's Requiem (1899-1900). Through an analysis of the specific musical techniques and parameters, the agential models clarify agential presence, define the character and resulting modality of an agent, and explain relationships between seemingly dissimilar sections. These analyses then produce an agential trajectory for each movement, whereby the analyst is better able understand each movement's structure.
|School Location:||United States -- Indiana|
|Source:||DAI-A 70/06, Dissertation Abstracts International|
|Keywords:||Agency, Berlioz, Hector, Emotion, Faure, Gabriel, France, Modality, Requiem|
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