A Philosophy of Operatic Storytelling

This dissertation presents the first theoretical model for understanding narration and point of view in opera, examining repertoire from Richard Wagner to Benjamin Britten. Prior music scholarship on musical narratives and narrativity has drawn primarily on continental literary theory and philosophy of the 1960s to the middle of the 1980s. This study, by contrast, engages with current debates in the analytic branch of aesthetic philosophy. One reason why the concept of point of view has not been more extensively explored in opera studies is the widespread belief that operas are not narratives. This study questions key premises on which this assumption rests. In so doing, it presents a new definition of narrative. Arguably, a narrative is an utterance intended to communicate a story, where "story" is understood to involve the representation of a particular agent or agents exercising their agency. This study explores the role of narrators in opera, introducing the first taxonomy of explicit fictional operatic narrators. Through a close analysis of Britten and Myfanwy Piper's Owen Wingrave, it offers an explanation of music's power to orient spectators to the points of view of opera characters by providing audiences with access to characters' perceptual experiences and cognitive, affective, and psychological states. My analysis also helps account for how our subjective access to fictional characters may engender sympathy for them. The second half of the dissertation focuses on opera in performance. Current thinking in music scholarship predominantly holds that fidelity is an outmoded concern. I argue that performing a work-for-performance is a matter of intentionally modelling one's performance on the work-for-performance's features and achieving a moderate degree of fidelity or matching between the two. Finally, this study investigates how the creative decisions of the performers and director impact the point of view from which an opera is told.

A neural biomarker of psychological vulnerability to future life stress.

We all experience a host of common life stressors such as the death of a family member, medical illness, and financial uncertainty. While most of us are resilient to such stressors, continuing to function normally, for a subset of individuals, experiencing these stressors increases the likelihood of developing treatment-resistant, chronic psychological problems, including depression and anxiety. It is thus paramount to identify predictive markers of risk, particularly those reflecting fundamental biological processes that can be targets for intervention and prevention. Using data from a longitudinal study of 340 healthy young adults, we demonstrate that individual differences in threat-related amygdala reactivity predict psychological vulnerability to life stress occurring as much as 1 to 4 years later. These results highlight a readily assayed biomarker, threat-related amygdala reactivity, which predicts psychological vulnerability to commonly experienced stressors and represents a discrete target for intervention and prevention.