Rhetoric and music

Wilson, Blake; Buelow, George J.; Hoyt, Peter A.

doi:10.1093/gmo/9781561592630.article.43166

Cited by 3 publications

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“…Han ställer frågan hur en viss musikalisk praktik kunde ha varit känd bland tonsättare som en generell princip utan förekomsten av en allmänt vedertagen terminologi (1983, s. 397-400). Wilson, Buelow och Hoyt (2001) skriver att "nyare forskning tydligt visat att det aldrig existerade ett koncept av stereotypa musikaliska figurer med specifika affektiva konnotationer i barocktonsättarens huvud eller i teoretiska förklaringar." Trots kritiken har den under 1900-talet konstruerade innebörden levt kvar.…”

Section: De Senaste Decenniernas Diskussion Om Affektlära I Betydelse...unclassified

“…Buelow (2001) hävdar att för musikteoretiker speciellt under 1600-och 1700-talen var affekterna (the affects) rationaliserade emotionella tillstånd eller passioner. Wilson, Buelow och Hoyt (2001) skriver om emotionella abstraktioner som kallades affekterna (the affects) och att en affekt (affect) består av ett rationaliserat emotionellt tillstånd eller passion. Även Bartel definierar 1600-talets och det tidiga 1700-talets affekt som ett rationaliserat emotionellt tillstånd (1997, s. 30, s. 31, fn 6).…”

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Om termen ”affektlära” och det svenska ordet ”affekt” i diskussioner om 1600-talets och det tidiga 1700- talets musik

Bania¹

2021

STM-SJM

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The term Affektenlehre (doctrine of the affections) and the Swedish word affekt indiscussions about 17th-century and early 18th-century music The meaning of words can shift or change over time, which can lead to misconceptions. This article discusses potential misconceptions in the use of, on the one hand, the term ‘doctrine of the affections’ or ‘theory of the affections’ (Swe. affektlära) and, on the other hand, the Swedish word affekt as an equivalent to the 18th-century German term Affect, in discussions about 17th century and early 18th-century music. The first of these misconceptions is that Affektenlehre was used in the 17th- and early 18th centuries for theories on how music could represent the affections. The second is that a systematic and schematic doctrine about the representation of the affections in music was commonly used during the 17th and early 18th centuries. The third is that the composers and performers of the early and mid-18th century were less emotionally engaged than the sources of the time suggest. To use the Swedish term affekt as an equivalent to the 18th-century German term Affect in discussions about 17th- and 18th-century music means risking confusion with the meaning of the term in today’s affect-theory. It might also promote an understanding of the term as referring to a more abstract and idealized emotional state than the sources support.

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Section: De Senaste Decenniernas Diskussion Om Affektlära I Betydelse...unclassified

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Om termen ”affektlära” och det svenska ordet ”affekt” i diskussioner om 1600-talets och det tidiga 1700- talets musik

Bania¹

2021

STM-SJM

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“…Musicologists Wilson, Buelow and Hoyt have likewise demonstrated that affect was a concern of Western music theorists as early as the late 15th century (Wilson et al . 2011). And, as Frith's study of 1970s rock music similarly shows, the view of music as ‘magical’ still operates in more contemporary Western genres (Frith 1981).…”

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‘More powerful than politics’: Affective magic in the DIY musical activism after Egypt's 2011 Revolution

Sprengel¹

2019

Pop. Mus.

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With a return to authoritarian rule only a few years after the initially successful 2011 revolution, some Egyptian DIY musicians have made it a point to avoid the political. These musicians consider the ordinary politics of discursive critique and public protest to be ineffective and have opted to continue the revolution by appealing to the ineffable properties of listening as a less ideologically driven way to produce social change. This article explores how and why the sonic ineffable is believed to be a more utopian form of politics. It argues that mobilizing ‘magic’ is a particularly positioned solution to political failure that obscures the relations of power it perpetuates. Building from 30 months of ethnographic research conducted in Egypt among DIY musicians between 2010 and 2017, it avoids a romanticisation of the ineffable, showing instead how utilising the ambiguity between the conscious and subconscious aspects of sonic experience is a political tool not removed from power.

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Quantitative Method as a Tool in Musicological Interdisciplinary Research of Musical Rhetoric

Kowal,

Woźniak

2022

10.14746/ism

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The choice of research method significantly affects the course of research itself. It is becoming increasingly common to see cases of methods from various fields combined to achieve the required results. This is exemplified by the use of a quantitative method in traditional score analysis to verify premises in the field of music psychology. The article addresses the previous views of tradi- tional musicology on the use of natural methods in the field and presents instances of the usefulness of the quantitative method in music research. In the second part, by referring to musical-rhetorical figures, it is shown how this method can deepen the knowledge of both musical-rhetorical figures and have a valuable contribution to the psychology of music.

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Rhetoric and music

Cited by 3 publications

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Om termen ”affektlära” och det svenska ordet ”affekt” i diskussioner om 1600-talets och det tidiga 1700- talets musik

Om termen ”affektlära” och det svenska ordet ”affekt” i diskussioner om 1600-talets och det tidiga 1700- talets musik

‘More powerful than politics’: Affective magic in the DIY musical activism after Egypt's 2011 Revolution

Quantitative Method as a Tool in Musicological Interdisciplinary Research of Musical Rhetoric

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