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Research Seminar: Postgraduate Papers

Wednesday 3 February 2021, 4.00PM

Speaker(s): Myles Hartley and Diana Kayser (University of York postgraduate Music students)

Diana Kayser: Can we predict ratings of aesthetic emotions with distinct facial expressions of emotion and measures of physiological activation?

Utilitarian emotions have been in the foreground in research on experienced emotions in music. However, Scherer (2004) suggests that music evokes a wider scope of emotions, including aesthetic and epistemic emotions that may lack the activation of the physiological reaction component due to their lack of associated behavioural tendencies.
 
The aim of the study presented is to see whether self-reported aesthetic emotions evoked by music are accompanied by physiological changes normally associated with utilitarian emotions (i.e. basic emotions such as happiness, sadness, etc.). We tested whether distinct facial expressions of emotion and physiological changes predicted participants’ subsequent ratings on the Aesthetic Emotions Scale (AESTHEMOS), which has been developed by Schindler, Hosoya and Menninghaus (2017) to assess experienced emotions in an aesthetic context such as listening to music. In this research seminar, I am presenting some of the results from a study that aimed to explore different emotion components (physiological arousal, facial expression, subjective feeling) in music listeners.
 
Diana Kayser is in her fourth year of her PhD at the University of York and has received funding from the Sir Jack Lyons Research Scholarship. The overarching research question of her PhD project is whether distinct facial expressions of emotion can be used to predict subjective feelings of emotion when listening to music. Diana obtained her BA in Musicology from the University of Cologne (2013) and her MA in Musicology (with focus on Music Psychology) from the University of Oslo (2016).  
 

Myles Hartley: ‘Newly Composed after the Italian Way’: The Motets of William Child (1606-1697), Musical Contexts and Latin Texts in Seventeenth-Century England

William Child was organist of St. George’s Chapel, Windsor Castle, for the majority of his working life, and an organist of the Chapel Royal following the Restoration of the Monarchy in 1660. Well known to church musicians and scholars as a prolific composer for Anglican liturgies, recent scholarship has also acknowledged Child’s indebtedness to techniques of composition developed by Italian composers. Based on my transcriptions from seventeenth-century musical manuscripts, this paper addresses the ‘new-style’ compositional features, distinct functions, texts and contexts of Latin motets composed in England by Child and close colleagues across the seventeenth century: years of political change and challenge, including civil wars and mid-century interregnum.  

Highlighting themes of migration and dissemination, the paper seeks to contextualise the compositional and performance techniques of the Italian stile nuovo in motets composed in England, including the stylistic influence of Alessandro Grandi (1586-1630), Monteverdi’s colleague at St. Mark’s Basilica, Venice. Non-liturgical contexts for motet performance in England will be outlined, including the Music School at the University of Oxford, and the significant role played by holders of the Professorship in Music, founded in 1626, with associated music manuscripts and scribes. A small, but distinct, number of motets by nine composers, including Child, which set biblical texts translated into Latin by leading sixteenth-century Calvinists, will also be addressed in relation to settings of the Latin Vulgate, the authoritative biblical translation for the Catholic Church from the 1540s onwards. The settings of ‘Calvinist’ translations, related through texts, contexts, sources and use, will provide a distinctive lens through which to view developments in motet composition in seventeenth-century England. The significant cultural role and influence of Queen Henrietta Maria (1609-1669) will be affirmed, also, in wider contexts of post-Reformation royal dedication of music and text.

Myles Hartley was born in Cumbria and is a PhD student in Historical Musicology at the University of York. He is excited to be researching the motets of William Child and colleagues, sources, contexts and Latin texts, in seventeenth-century England: with supervision and thesis advice by Professors Jo Wainwright and Peter Seymour. An organist by background, before moving to Ripon in 2018 with his wife, Helen-Ann, Myles was for ten years Director of Music at Harris Manchester College, Oxford, the only college in the University solely dedicated to the tuition of students over the age of twenty-one.

Myles has also worked as an organist and accompanist in New Zealand: in Auckland, Hamilton and the Waikato region of the North Island. Non-musical interests include cooking and conjuring, very occasionally at the same time!

Location: https://york-ac-uk.zoom.us/j/91580062656?pwd=NklpY01zNE56T0hGdUtiaDJDK0FBZz09 Meeting ID: 915 8006 2656 Passcode: 840125