The Doctrine of Affections: Emotion and Music
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1 Cedarville University The Research and Scholarship Symposium The 2018 Symposium Apr 11th, 2:30 PM - 3:00 PM The Doctrine of Affections: Emotion and Music Kristen E. Jarboe kjarboe@cedarville.edu Follow this and additional works at: research_scholarship_symposium Part of the Composition Commons, Music Practice Commons, and the Music Theory Commons Jarboe, Kristen E., "The Doctrine of Affections: Emotion and Music" (2018). The Research and Scholarship Symposium This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact digitalcommons@cedarville.edu.
2 The Doctrine of Affections Music in the Baroque Period
3 Thesis The Doctrine of Affections was based off of an ancient philosophy that viewed music as a stimulus which could move the affects in the body. This theory greatly influenced composers in the Baroque period and how they composed music.
4 The Theory Term coined by German musicologists Hermann Kretzchmar, Harry Goldschmidt, and Arnold Schering Effect of music on the body Aesthetics in other art mediums Personal emotions are separated from music Emotion is evoked from music, not composer Drawn from Ancient Greek Doctrine of Ethos
5 The Doctrine of Ethos Music can affect the character, morals, and behaviors of a person Different scales had different characteristics Dorian= calm, easy to listen to Phrygian= made people become more passionate and able to inspire Lydian= caused weakness of the mind because of its simplicity
6 The Affects The body would stay in one affection unless acted upon by a stimulus A stimulus moves an affect, and then the affect informs your mind of the emotion you re feeling Affect: state of mind and body that is related to feelings or emotions
7 Johann Mattheson Der vollkommene Capellmeister ( The Perfect Chapelmaster ) 1739 Examples of how to arouse a certain emotion in a listener Intervals: Large intervals= joy Small intervals= sadness Rough harmony/rapid melody= anger Supportive home life Took music lessons from the age of 7 Lost his hearing Studied ancient writings and began writing himself
8 Descartes and his Passions of the Soul 6 basic passions: Wonder Love Hatred Desire Joy Sadness / despair
9 Key Signatures C Major= innocently happy, completely pure C Minor= innocently sad Love sick C# Minor= despair D flat Major= grief and depression D Major= triumphant D Minor= serious and melancholy Feminine, continuous worries D# Minor= deep distress, existential angst of ghosts Fear, hesitation, anxiety, the language
10 E flat Major= cruel, hard, devotion E Major= quarrelsome, incomplete pleasure Delight, yet bickering E Minor= restless, grief, longing F Major= furious, quick-tempered, deeply angry but outwardly composed F Minor= obscure Deepest depression, lament F# Major= conquering difficulties, sigh of relief F# Minor= gloomy, passionate resentment
11 G Major= serious, magnificent, fantasy Calm and satisfied, friendship, gratitude, a gentle key full of peace G Minor= discontent, uneasiness, worry of the future A flat Major= death, eternity, judgement A flat Minor= grumbling, moaning, life-long struggles A Major= joyful, declaration of love, youthful and optimistic A Minor= womanly, graceful, tender and capable of soothing B flat Major= joyful, clear conscience, hopeful for a better world
12 B flat Minor= terrible, the night, mocking, turning away the world and the divine, giving up, belief in darkness B Major= harsh, strong, wild, rage, uncontrolled passions B Minor= the key of patience, calmly waiting for fate, destiny, submission, solitary
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