E<scp>motion in the</scp> G<scp>erman</scp> L<scp>utheran</scp> B<scp>aroque and the</scp> D<scp>evelopment of</scp> S<scp>ubjective</scp> T<scp>ime</scp> C<scp>onsciousness</scp>

Butt, John

doi:10.1111/j.1468-2249.2011.00325.x

Cited by 3 publications

(2 citation statements)

References 10 publications

(3 reference statements)

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“…With Bach’s cyclic but often unpredictable structures, music seems to have taken over something of the atmosphere of religious ritual, but coupled with the immediacy and emotional intensity of personal experience. … [I]t is clear that the music both evokes and tracks a sort of subjectivity which is close to what we might call “modern”—a kind sustained by the consciousness of oneself enduring over longer stretches of time … (Butt, 2010a, p. 31)…”

Section: Discussionmentioning

confidence: 99%

“…And the second, from a paper by John Butt (Butt, 2010a; and see also 2010b) on emotion and subjective time consciousness in music by Heinrich Schütz and J. S. Bach, points to similar issues of changing subjectivity and the emergence of a “modern” subjectivity in the experience of music:With Bach’s cyclic but often unpredictable structures, music seems to have taken over something of the atmosphere of religious ritual, but coupled with the immediacy and emotional intensity of personal experience. … [I]t is clear that the music both evokes and tracks a sort of subjectivity which is close to what we might call “modern”—a kind sustained by the consciousness of oneself enduring over longer stretches of time … (Butt, 2010a, p. 31)…”

Section: Discussionmentioning

confidence: 99%

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Lost and found in music: Music, consciousness and subjectivity

Clarke

2014

Musicae Scientiae

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"Strong experiences of music"-to use Alf Gabrielsson's (2011) term-commonly, but apparently paradoxically, seem to involve people in both losing themselves and finding themselves in music. How can this be? Who or what is lost, and, equally, who or what is found, and how can they both happen together? In this paper I offer an approach to these questions, framed within the perspectives of musical consciousness and musical subjectivity, that attempts to bring together perceptual, emotional and embodied components of musical experience, embedded in the ecology of everyday listening. In doing so, I also argue for the importance of paying proper attention to phenomenological qualities of listeners' experiences, for the historically specific and changing nature of human subjectivity experienced through music, and for a dynamic and animated understanding of musical engagement.

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Section: Discussionmentioning

confidence: 99%

Section: Discussionmentioning

confidence: 99%

Lost and found in music: Music, consciousness and subjectivity

Clarke

2014

Musicae Scientiae

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THE TRIUMPH OF TIME IN THE EIGHTEENTH CENTURY: HANDEL'SIL TRIONFO DEL TEMPOAND HISTORICAL CONCEPTIONS OF MUSICAL TEMPORALITY

Taylor¹

2014

Eighteenth Century Music

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Music is routinely held to be in a privileged position to reflect a particular historical consciousness of time and human temporality. This notion appears itself to be historical, in that it arises from the ‘temporalization’ of time widely attested to have occurred in Western Europe during the eighteenth century. Accordingly, numerous commentators have argued that music becomes increasingly temporalized across the century. Yet if music may convey human temporality without mediation, it remains unclear to what extent ‘pre-temporalized’ works from the early eighteenth century may be taken as temporally significant, given that the notion of time is not supposed to be such an issue during this period. This essay examines the methodological issues attendant to the claim for music's intrinsic historical temporality through an examination of a piece that appears explicitly to thematize the idea of time: Handel's oratorio-cantata Il trionfo del Tempo, which exists in three different versions spanning the fifty years between 1707 and 1757. Although my reading raises questions about the epistemological security of any claim for music's (or indeed language's) expression of historical temporality ‘as it really was’, I argue that a hermeneutic engagement with this problem is both valuable and indeed necessary for understanding music of the period.

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Musical Expression: Lessons From the Eighteenth Century?

Varwig¹

2020

Eighteenth Century Music

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This article outlines a number of potential contributions that a consideration of early eighteenth-century conceptions of musical expressivity might make to certain present-day philosophical and psychological accounts of musical emotions and their expression. Taking as its central case study a performance by Christian Gerhaher in Peter Sellars's 2014 staging of J. S. Bach's St John Passion, the article calls for closer attention to both the historical specifics of music's expressive capacities and the corporeal dimension of performance (past and present). It argues that a more sustained engagement with these domains can productively complicate some fundamental assumptions that underpin current approaches to musical expression.

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Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness

Abstract: belong to similar cultural and confessional environments, but the century that separates them is perhaps one of the most

Cited by 3 publications

References 10 publications

Lost and found in music: Music, consciousness and subjectivity

Lost and found in music: Music, consciousness and subjectivity

THE TRIUMPH OF TIME IN THE EIGHTEENTH CENTURY: HANDEL'SIL TRIONFO DEL TEMPOAND HISTORICAL CONCEPTIONS OF MUSICAL TEMPORALITY

Musical Expression: Lessons From the Eighteenth Century?

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