affections, doctrine of

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.

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.

3 Descartes, 11. period, the Doctrine of Affections governed musical composition through the musical elements of intervals, key, and tempo. This Baroque practice of relating music with various emotions dates back to ancient Greece and the teachings of the temperaments.

Affections in baroque usage refers to. emotional states or moods of music.

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).

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.

One of the most noticeable results of Baroque composers' adherence to the Doctrine of Affections was the practice of breaking a longer text up into shorter phrases and setting each as a separate movement with music designed to express a single emotion or affect.

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.

One of the most noticeable results of Baroque composers' adherence to the Doctrine of Affections was the practice of breaking a longer text up into shorter phrases and setting each as a separate movement with music designed to express a single emotion or affect.

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.

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).

One of the most noticeable results of Baroque composers' adherence to the Doctrine of Affections was the practice of breaking a longer text up into shorter phrases and setting each as a separate movement with music designed to express a single emotion or affect.