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Crossing Confessional BoundariesThe Patronage of Italian Sacred Music in Seventeenth-Century Dresden$
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Mary Frandsen

Print publication date: 2006

Print ISBN-13: 9780195178319

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195178319.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 18 April 2021

Musica pathetica: Style and Affect in the Dresden Concerto

Musica pathetica: Style and Affect in the Dresden Concerto

(p.245) 6 Musica pathetica: Style and Affect in the Dresden Concerto
Crossing Confessional Boundaries

Mary E. Frandsen

Oxford University Press

Albrici and Peranda lived in an era when musicians and philosophers alike displayed a fascination with the “passions” or “affects”: the various states of emotion experienced by the human being. Not only did writers seek to distinguish between and quantify the essential emotions, they also sought to explain the phenomenon by which the exposure of the individual to certain stimuli, including musical sounds, could effect emotional change, and attempted to explain the psycho-physiological processes set in motion by such stimuli that in turn produced these emotional changes. Not surprisingly, music's ability to move the emotions of its listeners became a focus of theoretical inquiry during this era, as well as an aspect of its nature that was exploited in practical composition. In contrast to the sixteenth century, the manipulation of the listener's emotional state by means of text and music was now privileged as a primary objective of compositional activity.

Keywords:   Albrici, Peranda, Italian musicians, passions, emotions, composition

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