...Ben Duane This article examines the phenomenon in which musical lines establish what Edward T. Cone calls virtual agents , making the argument that listeners are more likely to ascribe such agency to lines that have high information content (in the formal, information-theoretic sense). I use...

... at a fourfold hierarchy of fictional agent types—the individuated element , the work-persona , the fictional composer , and the analyst —the study then examines their relational logic, with special interest in (1) the ways that explicit agency claims at one level can spin off implicit claims at another and (2...

... of each segment, phrase, and period), cadential hemiolas emerge as consonant agents, in the large rhetorical scheme of things. These hemiolas, which intensify the end-accented beats, assert the notated meter, not the metrical displacement. In so doing, they either reinforce the basic metrical premise...

...; points of contact between them provide insight into precise agents of musical change around the turn of the seventeenth century. Megan Kaes Long is assistant professor of music theory at the Oberlin College Conservatory of Music. © 2015 by Yale University 2015 Thomas Morley Giovanni...

... of virtuality from 1902 by the founder of semiotics, Charles Sanders Peirce: A virtual X . . . is something, not an X, which has the efficiency (virtus [literally, strength]) of an X (quoted on 1). A virtual agent in music is not an actual agent, Hatten explains, but its efficiency lies in its capacity...

...). Following a long analytical tradition, though, Almén tends to privilege syntax in developing musical narratives: we track harmonies, voice leading, and formal structures as if they were agents in a musical plot. As thrilling as it can be to see music’s “full analogy to our inner life...

... invented and deployed by human agents. And those human agents have indeed sometimes wielded tonal configurations in problematic ways. I perceive little violence in musical procedures from before the nineteenth century, even though many of the components Yust lists may be traced back as far...

... narrative, and that rejecting the use of tonality as a unified classifier is a major step in active pursuit of anti-racist research and pedagogical agendas against a white-normative current. I propose that turning to agent-centered perceptual predictions across multiple levels of analysis, such as for new...

... of Cox s argument that are less parsimonious. For example, in considering the idea of musical agency from the perspective of mimetic participation, Cox claims that we transfer what we would normally do from a first-person perspective to some imagined agent who is vicariously doing that same thing...

....; exclusive selling agent for the United States and Canada, Warner Bros. Publications, 1976) Example 3. “Hymn of the Seventh Galaxy,” mm. 84–92. From Chick Corea (Litha Music Co.; exclusive selling agent for the United States and Canada, Warner Bros. Publications. 1976...

..., as did Kant and his philosophical progeny, is to show how action itself—which presupposes the agent’s power to take on responsibilities and obligations, to assess the correctness of conduct, and to hold certain considerations to be decisive—entails subordination to norms of deliberation...

...) argues, “a kind of broken tonality . . . returns again and again to the traumatic loss of wholeness that pre-modernist music was able to rely on.” Harrison's schematic mapping (fig. 4.12, p. 116) of potential coloring agents (added sixths or sevenths, e.g.) within “amplified-tonic” chords represents...

..., (2) the goal, (3) the path leading from source to goal, (4) the trajectory of motion, and (5) the force propelling the motion. Relevant entailments of the source- path-goal schema include the following: (1) Motion is carried out by an agent who wills the motion to take place. (2) Goal...

... the most obvious answer would be to distinguish the agents traversing the space: the composer on one hand, and the performer on the other. For example, we might argue that we know that Richard Cohn's ( 2011 : 134–38) Tonnetz-based spatial model of the development section of the first movement of Dvořák's...

... of the object shimmers through: that in the object which is not a subjective addition. Subject is the agent, not the constituent, of object. (254) Such an encounter with the object beyond what Adorno calls the “weave of forms cast by the subject...

... correspondence that move back and forth among theorists, performers, and others during collaboration of the type the book engages. It's also in this last pair of chapters that Leong introduces the concepts of shared goal (as the output of cross-disciplinary collaboration) and shared agent (e.g., theorist...

... as the prin- cipal agent of passionate expression. Largely on this basis, he outlines in book 11 a theory of what he terms “accents of the passions,” essentially the vocal inflections that singers use to convey emotional states to listeners. The accents of the passions, together with other elements...

... to free-floating Agendas, detached from individual agents and belonging to History or the World Spirit, is characteristic of Marxist and Hegelian historiography. It resonates with the teleology in statements like the following: [Harmonic function] is a tool that evolved in eighteenth-century Europe...

... that the instrument might not be an autonomous agent, but in a sense, neither am I (80 81). These are the aporias of the posthuman age. How can we think of the performer and the instrument as a true hybrid, a real cyborg? There are philosophical movements under way that address this problem. Harman (2005) opens up...

... and Blum 2023 : 88–90; see also Agawu 2016 . 12 Stephen Blum ( 2023 : 1–25) has recently highlighted the distinction between theory and theorizing , reminding us that it is easy to treat ourselves as objective reporters of musical practice when in fact we are creative agents bringing our own...