fbpx
Wikipedia

Doctrine of the affections

May 02, 2024

The doctrine of the affections, also known as the doctrine of affects, doctrine of the passions, theory of the affects, or by the German term Affektenlehre (after the German Affekt; plural Affekte) was a theory in the aesthetics of painting, music, and theatre, widely used in the Baroque era (1600–1750).[1][2] Literary theorists of that age, by contrast, rarely discussed the details of what was called "pathetic composition", taking it for granted that a poet should be required to "wake the soul by tender strokes of art".[3] The doctrine was derived from ancient theories of rhetoric and oratory.[4] Some pieces or movements of music express one Affekt throughout; however, a skillful composer like Johann Sebastian Bach could express different affects within a movement.[5]

History and definition edit

The doctrine of the affections was an elaborate theory based on the idea that the passions could be represented by their outward visible or audible signs. It drew largely on elements with a long previous history, but first came to general prominence in the mid-seventeenth century amongst the French scholar-critics associated with the Court of Versailles, helping to place it at the centre of artistic activity for all of Europe.[6] The term itself, however, was only first devised in the twentieth century by German musicologists Hermann Kretzschmar, Harry Goldschmidt, and Arnold Schering, to describe this aesthetic theory.[4][7]

René Descartes held that there were six basic affects, which can be combined into numerous intermediate forms:[8]

  1. Admiration (admiration)
  2. Amour (love)
  3. Haine (hatred)
  4. Désir (desire)
  5. Joie (joy)
  6. Tristesse (sorrow)

Another authority also mentions sadness, anger, and jealousy.[4] These were attributed to the physiological effects of humors. Lorenzo Giacomini (1552–1598) in his Orationi e discorsi defined an affection as "a spiritual movement or operation of the mind in which it is attracted or repelled by an object it has come to know as a result of an imbalance in the animal spirits and vapours that flow continually throughout the body".[9] 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 an objective physical effect on its consumer.[10]

"Affections are not the same as emotions; however, they are a spiritual movement of the mind".[11]

A prominent Baroque proponent of the Doctrine of the Affections was Johann Mattheson.[12]

Examples for affects and corresponding musical figures edit

The following table cites instructions from Johann Mattheson on how to express affects.[13]

"Since for example joy is an expansion of our soul, thus it follows reasonably and naturally that I could best express this affect by large and expanded intervals".[14]
"Whereas if one knows that sadness is a contraction of these subtle parts of our body,then it is easy to see that the small and smallest intervals are the most suitable for this passion".[15]
"Hope is an elevation of the soul or spirits; but despair is a depression of this: all of which are things which can very naturally be represented with sound, especially when the other circumstances (tempo in particular) contribute their part. And in this way one can form a sensitive concept of all the emotions and compose accordingly".[16]
"Pride, haughtiness, arrogance, and the like, are also usually depicted or expressed with their special colors in notes and sounds, for which purpose the composer usually draws upon a bold, pompous style. 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".[17]
"Anger, ardor, vengeance, rage, fury, and all other such violent affections, are actually far better at making available all sorts of musical inventions than the gentle and pleasant passions which are handled with much more refinement. Yet it is also not enough with the former if one only rumbles along strongly, makes a lot of noise and boldly rages: notes with many tails will simply not suffice, as many think; but each of these violent qualities requires its own particular characteristics, and, despite forceful expression, must still have a becoming singing quality: as our general principle, which we must not lose sight of, expressly demands".[18]
"That which is to a certain degree placed in opposition to hope and consequently gives rise to a contrasting arrangement of sounds is called fear, dejection, failure, etc. Fright and horror also belong here, which, if one thinks of them rightly and has a good mental picture of their natural character, yield very suitable musical passages corresponding with the condition of the affections".[19]

References edit

Citations edit

  1. ^ Harnoncourt 1983.
  2. ^ Harnoncourt 1988.
  3. ^ Alexander Pope, cited in Rogerson 1953, p. 68
  4. ^ a b c Buelow 2001.
  5. ^ Boetticher 2010.
  6. ^ Rogerson 1953, p. 70.
  7. ^ Nagley and Bujić 2002.
  8. ^ Descartes 1649, p. 94.
  9. ^ Giacomini Tebalducci Malespini 1597, p. [page needed].
  10. ^ Seaton 2010, pp. 166–168.
  11. ^ Palisca 1991, p. 3.
  12. ^ Poultney 1996, p. 107.
  13. ^ Mattheson 1739.
  14. ^ Mattheson 1981, part 1, chapter 3, section 56.
  15. ^ Mattheson 1981, part 1, chapter 3, section 57.
  16. ^ Mattheson 1981, part 1, chapter 3, section 59.
  17. ^ Mattheson 1981, part 1, chapter 3, section 72.
  18. ^ Mattheson 1981, part 1, chapter 3, section 75.
  19. ^ Mattheson 1981, part 1, chapter 3, section 78.

Sources edit

  • Aristotle (1959). Ars rhetorica, edited and translated by William David Ross. Scriptorum Classicorum Bibliotheca Oxoniensis. Publisher: Oxford: Clarendon Press.
  • Boetticher, Jörg-Andreas (2010), Einführung in die Kantaten vom 14. März 2010, Basel: Bachkantaten in der Predigerkirche: Dokumentation zur Aufführung sämtlicher geistlicher Kantaten Johann Sebastian Bachs in der Basler Predigerkirche, 2004–2012, retrieved 3 June 2014.
  • Buelow, George J. (2001), "Affects, Theory of the", in Stanley Sadie; John Tyrrell (eds.), The New Grove Dictionary of Music and Musicians, (editors) (second ed.). London: Macmillan Publishers.
  • Descartes, René (1649), Les passions de l'âme, Paris: Henry Le Gras.
  • Giacomini Tebalducci Malespini, Lorenzo (1597), Orationi e discorsi, Florence: Ne le case de Sermartelli.
  • Harnoncourt, Nikolaus (1983), Musik als Klangrede: Wege zu einem neuen Musikverständnis (in German), Salzburg: Residenz Verlag, ISBN 978-3-7017-0315-9
  • Harnoncourt, Nikolaus (1988), Reinhard G. Pauly (ed.), Baroque Music Today: Music As Speech, translated by Mary O'Neill, Portland, OR: Amadeus Press, ISBN 978-0-931340-91-8
  • Mattheson, Johann. 1739. Der Vollkommene Capellmeister, Das ist Gründliche Anzeige aller derjenigen Sachen, die einer wissen, können, und vollkommen inne haben muß, der einer Capelle mit Ehren und Nutzen vorstehen will. Hamburg: Christian Herold. Facsimile reprint, edited by Margarete Reimann. Documenta musicologica 1. Reihe, Druckschriften-Faksimiles 5. Kassel: Bärenreiter, 1954. ISBN 978-3-7618-0100-0. Study edition with the text and notes newly typeset, edited by Friederike Ramm. Kassel, Basel, London, New York, and Prague: Bärenreiter, 1999. Third edition, 2012. ISBN 978-3-7618-1413-0.
  • Mattheson, Johann. 1981. Johann Mattheson's Der vollkommene Capellmeister: A Revised Translation with Critical Commentary, edited and translated by Ernest Charles Harriss. Studies in Musicology, no. 21. Ann Arbor: UMI Research Press. ISBN 978-0-8357-1134-0.
  • Nagley, Judith, and Bojan Bujić (2002). "Affections, Doctrine of". The Oxford Companion to Music, edited by Alison Latham. Oxford and New York: Oxford University Press. ISBN 978-0-19-866212-9.
  • Palisca, Claude V. (1991), Baroque Music (3rd Edition), Prentice Hall History of Music Series, Englewood Cliffs, N. J.: Prentice Hall, ISBN 978-0-13-058496-0.
  • Poultney, David (1996), Studying Music History: Learning, Reasoning, and Writing about Music History and Literature (2nd ed.), Upper Saddle River, N.J.: Prentice Hall, ISBN 978-0-13-190224-4.
  • Quintilian (1920–22). The Instituto Oratoria of Quintilian, edited and translated by Harold Edgeworth Butler, 4 vols. Loeb Classical Library 124–27. Cambridge, Mass.: Harvard University Press; London: W. Heinemann.
  • Rogerson, Brewster (1953), "The Art of Painting the Passions", Journal of the History of Ideas, 14 (1): 68–94, doi:10.2307/2707496, JSTOR 2707496.
  • Seaton, Douglas (2010), Ideas and Styles in the Western Musical Tradition (third ed.), Oxford and New York: Oxford University Press

Further reading edit

  • Bayreuther, Rainer (2005). "Theorie der musikalischen Affektivität in der Frühen Neuzeit". In Musiktheoretisches Denken und kultureller Kontext, edited by Dörte Schmidt, 69–92. Forum Musikwissenschaft 1. Schliengen: Edition Argus. ISBN 978-3-931264-51-2.
  • Bartel, Dietrich (2003). "Ethical Gestures: Rhetoric in German Baroque Music". The Musical Times 144, no. 1885 (Winter): 15–19.
  • Campe, Rüdiger. Affekt und Ausdruck. Zur Umwandlung der literarischen Rede im 17. und 18. Jahrhundert (Tübingen: Niemeyer, 1990).
  • Bartel, Dietrich (2003). "Ethical Gestures: Rhetoric in German Baroque Music". The Musical Times 144, no. 1885 (Winter): 15–19.
  • Clark, Andrew (2013). Making Music Speak. In Speaking of Music: Addressing the Sonorous, edited by Keith M. Chapin and Andrew Clark, 70–85. New York: Fordham University Press. ISBN 978-0-8232-5138-4; ISBN 978-0-8232-5139-1.
  • Eusterschulte, Anne (1999), "'Effetti maravigliosi': Ethos und Affektenlehre in Musiktraktaten des 16. Jahrhunderts", Musiktheorie (in German), 14 (3): 195–212.
  • Fubini, Enrico. 2003. "La musica e il linguaggio degli affetti". In 'Et facciam dolçi canti': Studi in onore di Agostino Ziino in occasione del suo 65° compleanno, 2 vols., edited by Bianca Maria Antolini, Maria Teresa Gialdroni, and Annunziato Pugliese, 2:1467–76. Lucca, Italy: Libreria Musicale Italiana (LIM). ISBN 978-88-7096-321-2.
  • Harriss, Ernest. 1986. "Johann Mattheson and the Affekten-, Figuren-, and Rhetoriklehren". In La musique et le rite sacré et profane, 2 vols., edited by Marc Honegger, Christian Meyer, and Paul Prévost, 517–31. Strasbourg: Association des publications près les Universités de Strasbourg. ISBN 978-2-86820-107-2.
  • Kircher, Athanasius (1650), Musurgia Universalis Sive Ars Magna Consoni Et Dissoni, Rome: Corbelletti. Vol. 1 Vol. 2. Facsimile reprint, with a foreword and indexes by Ulf Scharlau, 2 vols. in 1. Hildesheim and New York: G. Olms, 1970.
  • Kircher, Athanasius (1650), Musurgia universalis sive ars magna consoni et dissoni in X. libros digesta (in Latin), Rome: Francisci Corbelletti.
  • Koch, Klaus-Peter. 2010. "Das Malen bei Telemann mit Hilfe von Gattungen der Melodien und ihren besondern Abzeichen". In Telemann, der musikalische Maler: Telemann-Kompositionen im Notenarchiv der Sing-Akademie zu Berlin, edited by Carsten Lange and Brit Reipsch, 114–25. Telemann-Konferenzberichte, no. 15. Hildesheim: Georg Olms. ISBN 978-3-487-14336-1.
  • Krones, Hartmut (2002). "Johann Gottfried Herder: Die Affektenlehre und die Musik". In Ideen und Ideale: Johann Gottfried Herder in Ost und West, edited by Peter Andraschke and Helmut Loos, 71–88. Rombach Wissenschaften: Reihe Litterae 103. Freiburg im Breisgau: Rombach Verlag. ISBN 978-3-79309-343-5.
  • Lachmirowicz, Ewa. 2010. "Technika wyrażania afektów według Francesca Geminianiego i Giuseppe Tartiniego". Muzyka 55 No. 4:219: 21–44.
  • Lippman, Edward A. (ed.). 1986. Musical Aesthetics: A Historical Reader. Volume 1: "From Antiquity to the Eighteenth Century". Aesthetics in Music 4. New York: Pendragon Press, ; ISBN 978-0-918728-41-8
  • Mackensen, Karsten. 2008. "Sinn und System: zur Auflösung der Topik in der Erfahrung bei Johann Mattheson". In Musiktheorie im Kontext, edited by Jan Philipp Sprick, Reinhard Bahr, and Michael von Troschke, 357–72. Berlin: Weidler. ISBN 978-3-89693-515-1.
  • Manika, Jürgen (1989), "Athanasius Kirchers Exemplifizierungen zur Affektenlehre: Ein Beitrag zur Geschichte der Musikpsychologie", Beiträge zur Musikwissenschaft (in German), 31 (1): 81–94.
  • Mersenne, Marin (1636). Harmonie universelle, contenant la théorie et la pratique de la musique, 3 vols. Paris: Sebastien Cramoisy. Facsimile reprint of the copy preserved in the Bibliothèque des arts et métiers, with annotations by the author, with an introduction by François Lesure, 3 vols. Paris: Centre national de la recherche scientifique, 1963.
  • Neu, Ulrike (1995). Harmonik und Affektgestaltung in den Lautenkompositionen von Silvius Leopold Weiss. Europäische Hochschulschriften. Reihe XXXVI, Musikwissenschaft; Publications universitaires européennes. Série XXXVI, Musicologie; European university studies. Series XXXVI, Musicology 141. Frankfurt am Main and New York: P. Lang. ISBN 978-3-631-48382-4.
  • Pečman, Rudolf (2001). "C.Ph.E. Bach und die Affektenlehre: Bemerkungen zur Aufführungspraxis". In Rudolfu Pečmanovi k sedmdesátinám/Rudolf Pečman zu seinem 70. Geburtstag, edited by Peter Macek, 17–22. Musicologica brunensia: Sborník prací Filozofické Fakulty Brněnské Univerzity. H: Řada hudebněvědná, 50–51(36–37).
  • Pontremoli, Alessandro (ed.) (2003). Il volto e gli affetti: Fisiognomica ed espressione nelle arti del Rinascimento. Biblioteca dell'Archivum Romanicum. I: Storia, letteratura, paleografia 311. Florence: Leo S. Olschki. ISBN 978-88-222-5256-2.
  • Pozzi, Egidio (2009). "Il primo Settecento e la Melodielehre di Mattheson, Riepel e Kirnberger". In Storia dei concetti musicali. III: Melodia, stile, suono, edited by Gianmario Borio, 53–70. Rome: Carocci. ISBN 978-88-430-5166-3.
  • Praetorius, Michael (1615–1620), Syntagma Musicum (in German), 3 vols. in 4. Wittenberg: Johannes Richter (vol. 1); Wolfenbüttel: Elias Holwein (vols. 2 & 3).
  • Rathey, Markus (2012). "Johann Mattheson's 'Invention': Models and Influences for Rhythmic Variation in Der vollkommene Capellmeister". Dutch Journal of Music Theory/Tijdschrift voor muziektheorie 17, no. 2 (May): 77–90.
  • Seedorf, Thomas, and Christian Schaper. 2013. Händels Arien: Form, Affekt, Kontext: Bericht über die Symposien der Internationalen Händel-Akademie Karlsruhe 2008 bis 2010. Veröffentlichungen der Internationalen Händel-Akademie Karlsruhe Bd. 10. ISBN 978-3-89007-389-7.
  • Selfridge-Field, Eleanor. 2013. "Associative Aspects of Perceived Musical Similarity and Their Intersections with Seconda-Prattica Affetti". In À Fresco: Mélanges offerts au professeur Étienne Darbellay, edited by Georges Starobinski and Brenno Boccadoro, 433–52. Bern: Peter Lang. ISBN 978-3-0343-1397-1.
  • Siegmund, Bert (ed.). 2003. Gestik und Affekt in der Musik des 17. und 18. Jahrhunderts: XXVIII. Internationale Wissenschaftliche Arbeitstagung, Michaelstein, 19. bis 21. Mai 2000: gewidmet dem Gedenken an Günter Fleischhauer. [Michaelstein]: Stiftung Kloster Michaelstein; Dössel: J. Stekovics, ; ISBN 978-3-89512-121-0 (Stiftung Kloster Michaelstein); ISBN 978-3-89923-034-5 (J. Stekovics).
  • Siekiera, Anna (2000), "Sulla terminologia musicale del Rinascimento. Le traduzioni dei testi antichi dal Quattrocento alla Camerata de' Bardi", in Nicolodi, F.; Trovato, P. (eds.), Parole della musica vol.III Studi di lessicologia musicale (in Italian), Florence: Olschki, pp. 3–30.
  • Siekiera, Anna (2000), "Tradurre per musica : lessico musicale e teatrale nel cinquecento", Cahiers Accademia (in Italian), vol. 2.[page needed].
  • Stoll, Albrecht D. 1981. Figur und Affekt: zur höfischen Musik und zur bürgerlichen Musiktheorie der Epoche Richelieu, second edition. Frankfurter Beiträge zur Musikwissenschaft 4. Tutzing: H. Schneider. ISBN 978-3-7952-0197-5.
  • Thieme, Ulrich (1984), Die Affektenlehre im philosophischen und musikalischen Denken des Barock: Vorgeschichte, Ästhetik, Physiologie (in German), Celle: Moeck Verlag, ISBN 978-3-87549-021-3.Ulrich Thieme
  • Watts, Isaac (1770), The Doctrine of the Passions Explain'd and Improv'd or, a Brief and Comprehensive Scheme of the Natural Affections of Mankind; With an Account of Their Names, Nature, Appearances, Effects, and Different Uses in Human Life; To Which Are Subjoin'd Moral and Divine Rules, corrected and enlarged (5th ed.), London: Printed for J. Buckland, and T. Longman; E. and C. Dilly; and T. Field.
  • Wiegmann, Hermann (1987), "Die Ästhetische Leidenschaft: Texte zur Affektenlehre im 17. und 18. Jahrhundert", Germanistische Texte und Studien (in German), 27, Hildesheim and New York: G. Olms, ISBN 978-3-487-07840-3. Hermann Wiegmann [de]

May 02, 2024
doctrine, affections, doctrine, affections, also, known, doctrine, affects, doctrine, passions, theory, affects, german, term, affektenlehre, after, german, affekt, plural, affekte, theory, aesthetics, painting, music, theatre, widely, used, baroque, 1600, 175. The doctrine of the affections also known as the doctrine of affects doctrine of the passions theory of the affects or by the German term Affektenlehre after the German Affekt plural Affekte was a theory in the aesthetics of painting music and theatre widely used in the Baroque era 1600 1750 1 2 Literary theorists of that age by contrast rarely discussed the details of what was called pathetic composition taking it for granted that a poet should be required to wake the soul by tender strokes of art 3 The doctrine was derived from ancient theories of rhetoric and oratory 4 Some pieces or movements of music express one Affekt throughout however a skillful composer like Johann Sebastian Bach could express different affects within a movement 5 Contents 1 History and definition 2 Examples for affects and corresponding musical figures 3 References 3 1 Citations 3 2 Sources 4 Further readingHistory and definition editThe doctrine of the affections was an elaborate theory based on the idea that the passions could be represented by their outward visible or audible signs It drew largely on elements with a long previous history but first came to general prominence in the mid seventeenth century amongst the French scholar critics associated with the Court of Versailles helping to place it at the centre of artistic activity for all of Europe 6 The term itself however was only first devised in the twentieth century by German musicologists Hermann Kretzschmar Harry Goldschmidt and Arnold Schering to describe this aesthetic theory 4 7 Rene Descartes held that there were six basic affects which can be combined into numerous intermediate forms 8 Admiration admiration Amour love Haine hatred Desir desire Joie joy Tristesse sorrow Another authority also mentions sadness anger and jealousy 4 These were attributed to the physiological effects of humors Lorenzo Giacomini 1552 1598 in his Orationi e discorsi defined an affection as a spiritual movement or operation of the mind in which it is attracted or repelled by an object it has come to know as a result of an imbalance in the animal spirits and vapours that flow continually throughout the body 9 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 an objective physical effect on its consumer 10 Affections are not the same as emotions however they are a spiritual movement of the mind 11 A prominent Baroque proponent of the Doctrine of the Affections was Johann Mattheson 12 Examples for affects and corresponding musical figures editThe following table cites instructions from Johann Mattheson on how to express affects 13 Since for example joy is an expansion of our soul thus it follows reasonably and naturally that I could best express this affect by large and expanded intervals 14 Whereas if one knows that sadness is a contraction of these subtle parts of our body then it is easy to see that the small and smallest intervals are the most suitable for this passion 15 Hope is an elevation of the soul or spirits but despair is a depression of this all of which are things which can very naturally be represented with sound especially when the other circumstances tempo in particular contribute their part And in this way one can form a sensitive concept of all the emotions and compose accordingly 16 Pride haughtiness arrogance and the like are also usually depicted or expressed with their special colors in notes and sounds for which purpose the composer usually draws upon a bold pompous style 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 17 Anger ardor vengeance rage fury and all other such violent affections are actually far better at making available all sorts of musical inventions than the gentle and pleasant passions which are handled with much more refinement Yet it is also not enough with the former if one only rumbles along strongly makes a lot of noise and boldly rages notes with many tails will simply not suffice as many think but each of these violent qualities requires its own particular characteristics and despite forceful expression must still have a becoming singing quality as our general principle which we must not lose sight of expressly demands 18 That which is to a certain degree placed in opposition to hope and consequently gives rise to a contrasting arrangement of sounds is called fear dejection failure etc Fright and horror also belong here which if one thinks of them rightly and has a good mental picture of their natural character yield very suitable musical passages corresponding with the condition of the affections 19 References editCitations edit Harnoncourt 1983 Harnoncourt 1988 Alexander Pope cited in Rogerson 1953 p 68 a b c Buelow 2001 Boetticher 2010 Rogerson 1953 p 70 Nagley and Bujic 2002 Descartes 1649 p 94 Giacomini Tebalducci Malespini 1597 p page needed Seaton 2010 pp 166 168 Palisca 1991 p 3 Poultney 1996 p 107 Mattheson 1739 Mattheson 1981 part 1 chapter 3 section 56 Mattheson 1981 part 1 chapter 3 section 57 Mattheson 1981 part 1 chapter 3 section 59 Mattheson 1981 part 1 chapter 3 section 72 Mattheson 1981 part 1 chapter 3 section 75 Mattheson 1981 part 1 chapter 3 section 78 Sources edit Aristotle 1959 Ars rhetorica edited and translated by William David Ross Scriptorum Classicorum Bibliotheca Oxoniensis Publisher Oxford Clarendon Press Boetticher Jorg Andreas 2010 Einfuhrung in die Kantaten vom 14 Marz 2010 Basel Bachkantaten in der Predigerkirche Dokumentation zur Auffuhrung samtlicher geistlicher Kantaten Johann Sebastian Bachs in der Basler Predigerkirche 2004 2012 retrieved 3 June 2014 Buelow George J 2001 Affects Theory of the in Stanley Sadie John Tyrrell eds The New Grove Dictionary of Music and Musicians editors second ed London Macmillan Publishers Descartes Rene 1649 Les passions de l ame Paris Henry Le Gras Giacomini Tebalducci Malespini Lorenzo 1597 Orationi e discorsi Florence Ne le case de Sermartelli Harnoncourt Nikolaus 1983 Musik als Klangrede Wege zu einem neuen Musikverstandnis in German Salzburg Residenz Verlag ISBN 978 3 7017 0315 9 Harnoncourt Nikolaus 1988 Reinhard G Pauly ed Baroque Music Today Music As Speech translated by Mary O Neill Portland OR Amadeus Press ISBN 978 0 931340 91 8 Mattheson Johann 1739 Der Vollkommene Capellmeister Das ist Grundliche Anzeige aller derjenigen Sachen die einer wissen konnen und vollkommen inne haben muss der einer Capelle mit Ehren und Nutzen vorstehen will Hamburg Christian Herold Facsimile reprint edited by Margarete Reimann Documenta musicologica 1 Reihe Druckschriften Faksimiles 5 Kassel Barenreiter 1954 ISBN 978 3 7618 0100 0 Study edition with the text and notes newly typeset edited by Friederike Ramm Kassel Basel London New York and Prague Barenreiter 1999 Third edition 2012 ISBN 978 3 7618 1413 0 Mattheson Johann 1981 Johann Mattheson s Der vollkommene Capellmeister A Revised Translation with Critical Commentary edited and translated by Ernest Charles Harriss Studies in Musicology no 21 Ann Arbor UMI Research Press ISBN 978 0 8357 1134 0 Nagley Judith and Bojan Bujic 2002 Affections Doctrine of The Oxford Companion to Music edited by Alison Latham Oxford and New York Oxford University Press ISBN 978 0 19 866212 9 Palisca Claude V 1991 Baroque Music 3rd Edition Prentice Hall History of Music Series Englewood Cliffs N J Prentice Hall ISBN 978 0 13 058496 0 Poultney David 1996 Studying Music History Learning Reasoning and Writing about Music History and Literature 2nd ed Upper Saddle River N J Prentice Hall ISBN 978 0 13 190224 4 Quintilian 1920 22 The Instituto Oratoria of Quintilian edited and translated by Harold Edgeworth Butler 4 vols Loeb Classical Library 124 27 Cambridge Mass Harvard University Press London W Heinemann Rogerson Brewster 1953 The Art of Painting the Passions Journal of the History of Ideas 14 1 68 94 doi 10 2307 2707496 JSTOR 2707496 Seaton Douglas 2010 Ideas and Styles in the Western Musical Tradition third ed Oxford and New York Oxford University PressFurther reading editBayreuther Rainer 2005 Theorie der musikalischen Affektivitat in der Fruhen Neuzeit In Musiktheoretisches Denken und kultureller Kontext edited by Dorte Schmidt 69 92 Forum Musikwissenschaft 1 Schliengen Edition Argus ISBN 978 3 931264 51 2 Bartel Dietrich 2003 Ethical Gestures Rhetoric in German Baroque Music The Musical Times 144 no 1885 Winter 15 19 Campe Rudiger Affekt und Ausdruck Zur Umwandlung der literarischen Rede im 17 und 18 Jahrhundert Tubingen Niemeyer 1990 Bartel Dietrich 2003 Ethical Gestures Rhetoric in German Baroque Music The Musical Times 144 no 1885 Winter 15 19 Clark Andrew 2013 Making Music Speak In Speaking of Music Addressing the Sonorous edited by Keith M Chapin and Andrew Clark 70 85 New York Fordham University Press ISBN 978 0 8232 5138 4 ISBN 978 0 8232 5139 1 Eusterschulte Anne 1999 Effetti maravigliosi Ethos und Affektenlehre in Musiktraktaten des 16 Jahrhunderts Musiktheorie in German 14 3 195 212 Fubini Enrico 2003 La musica e il linguaggio degli affetti In Et facciam dolci canti Studi in onore di Agostino Ziino in occasione del suo 65 compleanno 2 vols edited by Bianca Maria Antolini Maria Teresa Gialdroni and Annunziato Pugliese 2 1467 76 Lucca Italy Libreria Musicale Italiana LIM ISBN 978 88 7096 321 2 Harriss Ernest 1986 Johann Mattheson and the Affekten Figuren and Rhetoriklehren In La musique et le rite sacre et profane 2 vols edited by Marc Honegger Christian Meyer and Paul Prevost 517 31 Strasbourg Association des publications pres les Universites de Strasbourg ISBN 978 2 86820 107 2 Kircher Athanasius 1650 Musurgia Universalis Sive Ars Magna Consoni Et Dissoni Rome Corbelletti Vol 1 Vol 2 Facsimile reprint with a foreword and indexes by Ulf Scharlau 2 vols in 1 Hildesheim and New York G Olms 1970 Kircher Athanasius 1650 Musurgia universalis sive ars magna consoni et dissoni in X libros digesta in Latin Rome Francisci Corbelletti Koch Klaus Peter 2010 Das Malen bei Telemann mit Hilfe von Gattungen der Melodien und ihren besondern Abzeichen In Telemann der musikalische Maler Telemann Kompositionen im Notenarchiv der Sing Akademie zu Berlin edited by Carsten Lange and Brit Reipsch 114 25 Telemann Konferenzberichte no 15 Hildesheim Georg Olms ISBN 978 3 487 14336 1 Krones Hartmut 2002 Johann Gottfried Herder Die Affektenlehre und die Musik In Ideen und Ideale Johann Gottfried Herder in Ost und West edited by Peter Andraschke and Helmut Loos 71 88 Rombach Wissenschaften Reihe Litterae 103 Freiburg im Breisgau Rombach Verlag ISBN 978 3 79309 343 5 Lachmirowicz Ewa 2010 Technika wyrazania afektow wedlug Francesca Geminianiego i Giuseppe Tartiniego Muzyka 55 No 4 219 21 44 Lippman Edward A ed 1986 Musical Aesthetics A Historical Reader Volume 1 From Antiquity to the Eighteenth Century Aesthetics in Music 4 New York Pendragon Press ISBN 978 0 918728 41 8 Mackensen Karsten 2008 Sinn und System zur Auflosung der Topik in der Erfahrung bei Johann Mattheson In Musiktheorie im Kontext edited by Jan Philipp Sprick Reinhard Bahr and Michael von Troschke 357 72 Berlin Weidler ISBN 978 3 89693 515 1 Manika Jurgen 1989 Athanasius Kirchers Exemplifizierungen zur Affektenlehre Ein Beitrag zur Geschichte der Musikpsychologie Beitrage zur Musikwissenschaft in German 31 1 81 94 Mersenne Marin 1636 Harmonie universelle contenant la theorie et la pratique de la musique 3 vols Paris Sebastien Cramoisy Facsimile reprint of the copy preserved in the Bibliotheque des arts et metiers with annotations by the author with an introduction by Francois Lesure 3 vols Paris Centre national de la recherche scientifique 1963 Neu Ulrike 1995 Harmonik und Affektgestaltung in den Lautenkompositionen von Silvius Leopold Weiss Europaische Hochschulschriften Reihe XXXVI Musikwissenschaft Publications universitaires europeennes Serie XXXVI Musicologie European university studies Series XXXVI Musicology 141 Frankfurt am Main and New York P Lang ISBN 978 3 631 48382 4 Pecman Rudolf 2001 C Ph E Bach und die Affektenlehre Bemerkungen zur Auffuhrungspraxis In Rudolfu Pecmanovi k sedmdesatinam Rudolf Pecman zu seinem 70 Geburtstag edited by Peter Macek 17 22 Musicologica brunensia Sbornik praci Filozoficke Fakulty Brnenske Univerzity H Rada hudebnevedna 50 51 36 37 Pontremoli Alessandro ed 2003 Il volto e gli affetti Fisiognomica ed espressione nelle arti del Rinascimento Biblioteca dell Archivum Romanicum I Storia letteratura paleografia 311 Florence Leo S Olschki ISBN 978 88 222 5256 2 Pozzi Egidio 2009 Il primo Settecento e la Melodielehre di Mattheson Riepel e Kirnberger In Storia dei concetti musicali III Melodia stile suono edited by Gianmario Borio 53 70 Rome Carocci ISBN 978 88 430 5166 3 Praetorius Michael 1615 1620 Syntagma Musicum in German 3 vols in 4 Wittenberg Johannes Richter vol 1 Wolfenbuttel Elias Holwein vols 2 amp 3 Rathey Markus 2012 Johann Mattheson s Invention Models and Influences for Rhythmic Variation in Der vollkommene Capellmeister Dutch Journal of Music Theory Tijdschrift voor muziektheorie 17 no 2 May 77 90 Seedorf Thomas and Christian Schaper 2013 Handels Arien Form Affekt Kontext Bericht uber die Symposien der Internationalen Handel Akademie Karlsruhe 2008 bis 2010 Veroffentlichungen der Internationalen Handel Akademie Karlsruhe Bd 10 ISBN 978 3 89007 389 7 Selfridge Field Eleanor 2013 Associative Aspects of Perceived Musical Similarity and Their Intersections with Seconda Prattica Affetti In A Fresco Melanges offerts au professeur Etienne Darbellay edited by Georges Starobinski and Brenno Boccadoro 433 52 Bern Peter Lang ISBN 978 3 0343 1397 1 Siegmund Bert ed 2003 Gestik und Affekt in der Musik des 17 und 18 Jahrhunderts XXVIII Internationale Wissenschaftliche Arbeitstagung Michaelstein 19 bis 21 Mai 2000 gewidmet dem Gedenken an Gunter Fleischhauer Michaelstein Stiftung Kloster Michaelstein Dossel J Stekovics ISBN 978 3 89512 121 0 Stiftung Kloster Michaelstein ISBN 978 3 89923 034 5 J Stekovics Siekiera Anna 2000 Sulla terminologia musicale del Rinascimento Le traduzioni dei testi antichi dal Quattrocento alla Camerata de Bardi in Nicolodi F Trovato P eds Parole della musica vol III Studi di lessicologia musicale in Italian Florence Olschki pp 3 30 Siekiera Anna 2000 Tradurre per musica lessico musicale e teatrale nel cinquecento Cahiers Accademia in Italian vol 2 page needed Stoll Albrecht D 1981 Figur und Affekt zur hofischen Musik und zur burgerlichen Musiktheorie der Epoche Richelieu second edition Frankfurter Beitrage zur Musikwissenschaft 4 Tutzing H Schneider ISBN 978 3 7952 0197 5 Thieme Ulrich 1984 Die Affektenlehre im philosophischen und musikalischen Denken des Barock Vorgeschichte Asthetik Physiologie in German Celle Moeck Verlag ISBN 978 3 87549 021 3 Ulrich Thieme Watts Isaac 1770 The Doctrine of the Passions Explain d and Improv d or a Brief and Comprehensive Scheme of the Natural Affections of Mankind With an Account of Their Names Nature Appearances Effects and Different Uses in Human Life To Which Are Subjoin d Moral and Divine Rules corrected and enlarged 5th ed London Printed for J Buckland and T Longman E and C Dilly and T Field Wiegmann Hermann 1987 Die Asthetische Leidenschaft Texte zur Affektenlehre im 17 und 18 Jahrhundert Germanistische Texte und Studien in German 27 Hildesheim and New York G Olms ISBN 978 3 487 07840 3 Hermann Wiegmann de Retrieved from https en wikipedia org w index php title Doctrine of the affections amp oldid 1182984461, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.