Which statement best describes the Doctrine of affections best?
The Doctrine of the Affections is best described as a Baroque idea that as many feelings as possible should be communicated in a piece of music. There are six basic affects, according to Rene Decartes: admiration, love, hatred, desire, joy, and sorrow….
Who came up with the doctrine of the affections?
43 In the height of the baroque era, René Descartes published his important treatise Les passions de l’âme (1649), which detailed a systematic theory of the affections.
What is the doctrine of the affections quizlet?
What is the doctrine of the affections? The Baroque inherited from the Renaissance an impressive technique of text painting, in which the music vividly mirrored the words. It was generally accepted that music ought to arouse the emotions, or affections – joy, anger, love, fear, or exaltation.
Did Classical era composers create music with the doctrine of affections in mind?
The doctrine fell out of use in the Classical era, when composers and theorists began to find it excessively mechanical and unnatural. “Affections are not the same as emotions; however, they are a spiritual movement of the mind” (Palisca 1991, 3).
What is a ritornello apex?
ritornello. In Baroque concerti, a recurring theme played by the entire orchestra. relative minor. a minor key that shares the same key signature (the number of sharps or flats) as its relative major key.
What is concerto grosso?
concerto grosso, plural concerti grossi, common type of orchestral music of the Baroque era (c. 1600–c. 1750), characterized by contrast between a small group of soloists (soli, concertino, principale) and the full orchestra (tutti, concerto grosso, ripieno).
At what point did England fully embrace opera?
However, the work had no successors, and England did not develop a native tradition of fully sung opera until the late 19th century.
What did baroque philosophers like Descartes believe was the cause of human passions?
He said that his passions depend on bodily fluids known as humors, which controlled ones state of mind according to whether they were watery or thick and whether they rose to the head or flowed downward.
Why is the affection doctrine important?
doctrine of the affections, also called Doctrine Of Affects, German Affektenlehre, theory of musical aesthetics, widely accepted by late Baroque theorists and composers, that embraced the proposition that music is capable of arousing a variety of specific emotions within the listener.
What is a serenade apex?
serenade. an 18th century instrumental work intended to be played in the evening. divertimento. secular, instrumental piece of the 18th century in several short movements. A form of chamber music, it was meant as light entertainment.
What is the difference between a solo concerto and a concerto grosso?
Unlike a solo concerto where a single solo instrument plays the melody line and is accompanied by the orchestra, in a concerto grosso, a small group of soloists passes the melody between themselves and the orchestra or a small ensemble.
What is the doctrine of the affections best described as?
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) ( Harnoncourt 1983; Harnoncourt 1988 ).
How was the doctrine of the affections best described as?
The Doctrine of Affections was a widespread understanding of music and musicality during the Baroque era. The Doctrine was a result of the philosophy of reason and science as it coincides with music. It aimed to reconcile what man knew about science and the human body, and what man thought he knew about music. It was a reconciliation of practical musicianship and theoretical music which had
What did the doctrine of the affections refer to?
Doctrine of the affections, also called Doctrine Of Affects, German Affektenlehre, theory of musical aesthetics, widely accepted by late Baroque theorists and composers, that embraced the proposition that music is capable of arousing a variety of specific emotions within the listener.
Who wrote doctrine of the affections?
Mattheson methodically developed the Doctrine of Affections (incorporating the influence of Descartes, Hobbes, and Locke) and detailed the concept, describing twenty “affections” along with their appropriate musical expressions: “Sorrow, for example, should be portrayed with a slow-moving, listless melody frequently broken with musical ‘sighs’.”1