doctrine of the affections

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.

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 - was a theory in the aesthetics of painting, music, and theater, 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.

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.

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 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.

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 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 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.

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.