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The theory of the doctrine of affections

Tristesse sorrow Another authority also mentions sadness, anger, and jealousy Buelow 2001. These were attributed to the physiological effects of humors. Descartes also proposed that the affections were reliant upon humors. Contemporary beliefs were that the humors' consistency or location could be affected by external factors.

This allowed for an expectation of contemporary art to have the theory of the doctrine of affections objective physical effect on its consumer Seaton 2010pp. Examples for affects and corresponding musical figures[ edit ] In the following table, the left column cites instructions from Mattheson 1739 how to express affects.

The right column cites baroque compositions expressing the same affects with, where available, moving musical scores. And in this way one can form a sensitive concept of all the emotions and compose accordingly" Mattheson 1981part 1, chapter 3, section 59. He thus has the opportunity to use all sorts of majestic musical figures which require a special seriousness and grandiloquent motion; but he must never permit a musical line that is fleeting and falling, but always ascending" Mattheson 1981part 1, chapter 3, section 72.

Yet it is also not enough with the former if one only rumbles along strongly, makes a lot of noise and boldly rages: Fright and horror also belong here, which, if one thinks of them rightly and has a good mental picture of their natural character, yield the theory of the doctrine of affections suitable musical passages corresponding with the condition of the affections" Mattheson 1981part 1, chapter 3, section 78.

References[ edit ] Aristotle 1959. Ars rhetorica, edited and translated by William David Ross. Scriptorum Classicorum Bibliotheca Oxoniensis. Bachkantaten in der Predigerkirche: Ne le case de Sermartelli. Harnoncourt, Nikolaus 1983Musik als Klangrede: Facsimile reprint, with a foreword and indexes by Ulf Scharlau, 2 vols. Hildesheim and New York: Facsimile reprint, edited by Margarete Reimann. Study edition with the text and notes newly typeset, edited by Friederike Ramm. Johann Mattheson's Der vollkommene Capellmeister: Studies in Musicology, no.

Centre national de la recherche scientifique, 1963. Oxford and New York: Poultney, David 1996Studying Music History: Loeb Classical Library 124—27. Harvard University Press; London: Rhetoric in German Baroque Music". The Musical Times 144, no. In Speaking of Music: Addressing the Sonorous, edited by Keith M. Chapin and Andrew Clark, 70—85. Eusterschulte, Anne 1999"'Effetti maravigliosi': Ethos und Affektenlehre in Musiktraktaten des 16.

Jahrhunderts", Musiktheorie in German14 3: Kircher, Athanasius 1650Musurgia universalis sive ars magna consoni et dissoni in X. In Telemann, der musikalische Maler: Die Affektenlehre und die Musik". In Ideen und Ideale: Aesthetics in Music 4.

Mersenne, Marin 1636Harmonie universelle, contenant la theorie er la pratique de la musique in FrenchParis: Frankfurt am Main and New York: Bach und die Affektenlehre: Geburtstag, edited by Peter Macek, 17—22.

Il volto e gli affetti: Fisiognomica ed espressione nelle arti del Rinascimento. Storia, letteratura, paleografia 311. In Storia dei concetti musicali. Melodia, stile, suono, edited by Gianmario Borio, 53—70. Praetorius, Michael 1615—1620Syntagma Musicum in German3 vols.

Doctrine of the affections

Seedorf, Thomas, and Christian Schaper. Gestik und Affekt in der Musik des 17. Internationale Wissenschaftliche Arbeitstagung, Michaelstein, 19. Siekiera, Anna 2000"Sulla terminologia musicale del Rinascimento.

doctrine of affections

Siekiera, Anna 2000"Tradurre per musica: Texte zur Affektenlehre im 17.