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    Wikipedia. Doctrine of Affections (Affektenlehre) Traducido Del Aleman

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    The doctrine of affects originated in ancient Greece and refers to the theory that specific musical elements can express and induce emotions like joy, grief, or pain in the listener. In the Baroque period, affects and their musical representation were studied extensively. Theorists like Praetorius and Mersenne explored how affects could be represented musically through elements like melody, harmony, and rhythm. Composers aimed to deliberately induce the desired affect in the listener through their technically proficient music. The doctrine of affects continued influencing music theory and practice into modern times.

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    Wikipedia. Doctrine of Affections (Affektenlehre) Traducido Del Aleman

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    sercast99
    114 views3 pages
    The doctrine of affects originated in ancient Greece and refers to the theory that specific musical elements can express and induce emotions like joy, grief, or pain in the listener. In the Baroque period, affects and their musical representation were studied extensively. Theorists like Praetorius and Mersenne explored how affects could be represented musically through elements like melody, harmony, and rhythm. Composers aimed to deliberately induce the desired affect in the listener through their technically proficient music. The doctrine of affects continued influencing music theory and practice into modern times.

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    Wikipedia. Doctrine of Affections [Affektenlehre] Traducido Del Aleman

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    Wikipedia. Doctrine of Affections [Affektenlehre] Traducido Del Aleman

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    The doctrine of affects originated in ancient Greece and refers to the theory that specific musical elements can express and induce emotions like joy, grief, or pain in the listener. In the Baroque period, affects and their musical representation were studied extensively. Theorists like Praetorius and Mersenne explored how affects could be represented musically through elements like melody, harmony, and rhythm. Composers aimed to deliberately induce the desired affect in the listener through their technically proficient music. The doctrine of affects continued influencing music theory and practice into modern times.

    Copyright:

    © All Rights Reserved
    Download as DOCX, PDF, TXT or read online from Scribd
    Download as docx, pdf, or txt
    114 views3 pages

    Wikipedia. Doctrine of Affections (Affektenlehre) Traducido Del Aleman

    Uploaded by

    sercast99
    The doctrine of affects originated in ancient Greece and refers to the theory that specific musical elements can express and induce emotions like joy, grief, or pain in the listener. In the Baroque period, affects and their musical representation were studied extensively. Theorists like Praetorius and Mersenne explored how affects could be represented musically through elements like melody, harmony, and rhythm. Composers aimed to deliberately induce the desired affect in the listener through their technically proficient music. The doctrine of affects continued influencing music theory and practice into modern times.

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    © All Rights Reserved
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    of 3

    Doctrine of affections [Affektenlehre] (traducido del alemán)

    The theory of affects goes back to Greek antiquity and states that affects such as joy, grief or pain can be
    musically expressed and the music can evoke such emotions in the listener.
    The theory of affect is a field of music theory of the Baroque period , which deals with the connection
    between the affect and the possibilities of representation in music. It is closely linked to the doctrine of
    rhetoric based on the assumption of a common basis of language and musical language ( Musica Poetica ).

    Origin of the word affect :


     lat. affectus : state, constitution, feeling, passion , desire , affection , love
     lat. afficere, affectum : treat, put into a state, stimulate the mind, vote

    History

    The theory of affect is rooted in music theory in ancient Greece (ethical evaluation of music in Plato).
    In the Middle Ages , many affections are reflected in the ethos of church modes used for Gregorian chants .
    [1]

    Already in the Renaissance and early Baroque , the emotional content of texts is also expressed through
    musical means in madrigals . These stylistic devices are also used in instrumental music and especially in
    opera .

    In the 17th and 18th centuries, the theory of affect in the music theory works of Michael Praetorius (
    Syntagma musicum , 1619), Marin Mersenne ( harmony universal , 1636), Athanasius Kircher ( Musurgia
    universalis , 1650), Johann Mattheson ( The Perfect Kapellmeister , 1739 ). A systematization and
    canonization of the doctrine of affections was undertaken by Friedrich Wilhelm Marpurg (1718-1795). How far
    these theoretical concepts apply to the contemporary music practice is controversial and has caused
    misunderstandings in older research. At that time it can not be assumed that such an intimate correlation
    between theory and practice as existed in the 19th century.
    The musical realization of the affects was particularly intensively pursued by Johann Sebastian Bach ( Albert
    Schweitzer : Bach , 1908. Immanuel Tröster: Johann Sebastian Bach , 1984)
    The doctrine of affects continues to the present day and may have had a greater impact on practice in recent
    times than in the Baroque period. The pursuit of "immediate" expression since the end of the 18th century
    was directed against Baroque formulas and thus also against the theory of affections and figures. On the
    other hand, currents of music in the twentieth century, as well as neoclassicism , revalued the symbolic
    representation of the emotions of the theory of affections in order to oppose the increased expression of late
    Romanticism .

    Affects
     Plato divides affects into four categories: pleasure , suffering , desire , fear .
     Aristotle characterizes eleven affects, which are nothing more than mixtures of pleasure (pain) and
    suffering: desire, anger , fear , courage , envy , joy , love , hate , longing , jealousy, and compassion .
     René Descartes (1596-1650) describes in his work Traité des passions de l'âme (Paris 1649) six
    basic forms of affects that can be combined into numerous intermediate forms:
    1. Joy ( joie )
    2. Hate
    3. Love ( amour )
    4. Mourning ( sadness )
    5. Craving ( désir )
    6. Admiration
    Implementation in music

    Quintilian (~ 35 to ~ 100 AD) regards vocal music as an equal discipline alongside rhetoric due to structural
    similarities. He saw analogies between tone in speech and melody in music. In the Renaissance, the
    appropriation of linguistic design principles in music began to support the emotional content of the text.
    There are two options for this:
     The musical theory of affect
    In the theory of affect of the music are assigned to the respective types of affect very specific musical
    means of representation. This assignment has the character of a natural law [2] . In the baroque
    period, the composer did not try to portray his own feelings, but to trigger the desired affect on the
    listener in a technically perfected, deliberate and artistic way. However, this effect depends to the
    same extent on the interpreter [3] .
     The musical figure theory
    In the doctrine of figures , the compositional means are shown with which objectified affects can be
    represented. In doing so, a text should not only be implemented musically in terms of declamation
    (emphasis, uplift, reduction, length, brevity), but also clarify the affects contained in the text.

    Motif and melody formation

    Motifs and melodies are designed according to the affect content of the whole text or single important words
    (keywords). Examples:

     Appearance of the fright by interruption of the melody line ( apocope ) in the word "fear"
     Descending tetrachord to represent mourning as in the lamento , whose best-known example is the
    Lamento d'Arianna of Monteverdi .

    1 Apocope in the word "dreads" in soprano I, II and tenor


    Comments
    1 Markus Bautsch: About the ethos of church tones , retrieved on 23 November 2014
    2 According to the mechanistic conception of Descartes, there is a natural law connection between musical
    and spiritual movement.
    3 See Johann Joachim Quantz (1697-1773), attempting an instruction to play the flute , XI. Main piece From
    the good lecture in singing and playing at all

    Literature
     Rolf Dammann: The concept of music in German Baroque. People, Cologne 1967 (at the same time:
    Freiburg, Univ., Habil.-Schr.).
     Corinna Herr: Medea's wrath. A "strong woman" in operas of the 17th and 18th centuries. Centaurus,
    Herbolzheim 2000, ISBN 3-8255-0299-6 ( Contributions to the cultural and social history of music 2),
    (At the same time: Bremen, Univ., Diss., 2000).
     Burkhard Meyer-Sickendiek : affect poetics. A cultural history of literary emotions. Königshausen &
    Neumann, Würzburg 2005, ISBN 3-8260-3065-6 .
     Ulrich Michels: dtv atlas on music. Volume 2: Historical Part: From the Baroque to the Present.
    German Taschenbuchverlag, Munich and others 1985, ISBN 3-423-03023-2 .
     Hans-Heinrich Unger: The Relationships between Music and Rhetoric in the 16.-18. Century. Triltsch,
    Würzburg 1941 ( music and intellectual history 4, ZDB ID 528421-1 ), (at the same time: Berlin, Univ.,
    Diss., 1940), (8 reprint Olms, Hildesheim et al. 2009, ISBN 978-3-487- 02308-3 ).

    Literatur
     Rolf Dammann: Der Musikbegriff im deutschen Barock. Volk, Köln 1967 (Zugleich: Freiburg, Univ., Habil.-Schr.).
     Corinna Herr: Medeas Zorn. Eine „starke Frau“ in Opern des 17. und 18. Jahrhunderts. Centaurus, Herbolzheim
    2000, ISBN 3-8255-0299-6 ( Beiträge zur Kultur- und Sozialgeschichte der Musik 2), (Zugleich: Bremen, Univ.,
    Diss., 2000).
     Burkhard Meyer-Sickendiek : Affektpoetik. Eine Kulturgeschichte literarischer Emotionen. Königshausen &
    Neumann, Würzburg 2005, ISBN 3-8260-3065-6 .
     Ulrich Michels: dtv-Atlas zur Musik. Band 2: Historischer Teil: Vom Barock bis zur Gegenwart. Deutscher
    Taschenbuchverlag, München ua 1985, ISBN 3-423-03023-2 .
     Hans-Heinrich Unger: Die Beziehungen zwischen Musik und Rhetorik im 16.–18. Jahrhundert. Triltsch,
    Würzburg 1941 ( Musik und Geistesgeschichte 4, ZDB -ID 528421-1 ), (Zugleich: Berlin, Univ., Diss., 1940), (8.
    Nachdruck. Olms, Hildesheim ua 2009, ISBN 978-3-487-02308-3 ).

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