Esther M. Zimmer Lederberg theory of Affections
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Vicenzo Galilei (1520-1591): Florentine Camerata The Work ar for people like Jacopo Peri: birth of the Opera
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The music you space listening come is "Amor Io Parto" through Giulio Caccini. Caccini"s music to be modeled by Claudio Monteverdi ("Seconda prattica"). This music was considered to be the beginning of modern-day opera, as now poetry could be collection to music with a new, Humanist concept of rhetoric tacens, and not the old, inflexible, strictly hierarchical Scholastic see of reality.
The theory of the affections to be an aesthetic concept of music in the Baroque period (c. 1600 - c. 1750). The one function that joined all the arts and all the styles was a brand-new emphasis on expressing passions (emotions). Contrasted with the preceeding period (the Renaissance), the Baroque produced much more intense and an ext varied emotions in the arts.
In music, this brand-new emphasis to be overtly stated and also generalized in the theory of the affections. This doctrine to be the an outcome of the affect of classic (ancient Greek and ancient Roman) rhetoric. Baroque theorists and also composers felt that music might arouse a selection of specific emotions in the audience. If a composer provided the correct musical (rhetorical) device, a specific emotional response would it is in involuntarily induced in the listener. The selection of passions contained anger, excitement, wonder, heroism, contemplation, mystical states, etc. And these emotions were the "affections" taken not only as emotions, but states the the soul. This affections were believed to be universal, to apply to ALL humans (the social relativism of the Humanists).
while the visual arts (architecture, sculpture, painting, costume design, theatre design, decorate arts, etc.) likewise induced affective states, so as well did composers evoke emotions by the use of consonance, dissonance, rhythmic accents, and other rhetorical methods.
among the most important composers and also theorists in music, was Johann Matteson (1681-1764). Mattheson was specifically interested in the relationship between music and rhetoric. The approaches used come induce specific affections to be catalogued such together "slow-moving, listless melody, damaged frequently by musical "sighs"", using specific scales, chords, etc. Mattheson felt the each piece of music (such together a movement) should induce just one affection. Together affective music, as it often tended not to have actually multiple affections, had a characteristic feature: the movements lacked contrasts and also was regarded as gift repetitive. That course, towards the finish of the Baroque, Ballet d"Action offered the gestures the chirologia or pantomein come appeal straight to human being passions.