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Single Affect Principle
The single affect principle is a musicological term describing the idea that contrasting affects (moods or sentiments) cannot belong in the one and the same musical movement, the harmonic structure of which would thus be limited by enharmonic modulations. It was one of the defining characteristics of pre-Classical period music (Renaissance music, Baroque music, etc.), and gradually became obsolete ca. 1800. There has been a resurgence of its use in contemporary historicist and minimalist In visual arts, music, and other media, minimalism is an art movement that began in the post-war era in western art. The movement is often interpreted as a reaction to abstract expressionism and modernism; it anticipated contemporary post-mi ...music. References Musicology {{music-stub ...
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Affect (psychology)
Affect, in psychology, is the underlying experience of feeling, emotion, attachment theory, attachment, or Mood (psychology), mood. It encompasses a wide range of emotional states and can be positive (e.g., happiness, joy, excitement) or negative (e.g., sadness, anger, fear, disgust). Affect is a fundamental aspect of human experience and plays a central role in many psychological theories and studies. It can be understood as a combination of three components: emotion, mood (enduring, less intense emotional states that are not necessarily tied to a specific event), and affectivity (an individual's overall disposition or temperament, which can be characterized as having a generally positive or negative affect). In psychology, the term ''affect'' is often used interchangeably with several related terms and concepts, though each term may have slightly different nuances. These terms encompass: emotion, feeling, mood, emotional state, sentiment, affective state, emotional response, a ...
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Modulation (music)
In music, modulation is the change from one tonality ( tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature (a key change). Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization. Requirements *Harmonic: quasi- tonic, modulating dominant, pivot chordForte (1979), p. 267. * Melodic: recognizable segment of the scale of the quasi-tonic or strategically placed leading-tone *Metric and rhythmic: quasi-tonic and modulating dominant on metrically accented beats, prominent pivot chord The quasi-tonic is the tonic of the new key established by the modulation. The modulating dominant is the dominant of the quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V–V/V–V co ...
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Classical Period (music)
The Classical period was an era of classical music between roughly 1750 and 1820. The classical period falls between the Baroque music, Baroque and Romantic music, Romantic periods. It is mainly Homophony, homophonic, using a clear melody line over a subordinate chordal accompaniment,Friedrich Blume, Blume, Friedrich. ''Classic and Romantic Music: A Comprehensive Survey''. New York: W. W. Norton, 1970 but counterpoint was by no means forgotten, especially in liturgical vocal music and, later in the period, secular instrumental music. It also makes use of ''Galant music, style galant'' which emphasizes light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Variety and contrast within a piece became more pronounced than before, and the orchestra increased in size, range, and power. The harpsichord declined as the main keyboard instrument and superseded by the piano (or fortepiano). Unlike the harpsichord, which plucks strings with quills, pianos s ...
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Renaissance Music
Renaissance music is traditionally understood to cover European music of the 15th and 16th centuries, later than the Renaissance era as it is understood in other disciplines. Rather than starting from the early 14th-century ''ars nova'', the music of the Trecento, Trecento music was treated by musicology as a coda to medieval music and the new era dated from the rise of triad (music), triadic harmony and the spread of the ''contenance angloise'' style from the British Isles to the Burgundian School. A convenient watershed for its end is the adoption of basso continuo at the beginning of the Baroque music, Baroque period. The period may be roughly subdivided, with an early period corresponding to the career of Guillaume Du Fay (–1474) and the cultivation of cantilena style, a middle dominated by Franco-Flemish School and the four-part textures favored by Johannes Ockeghem (1410s or '20s–1497) and Josquin des Prez (late 1450s–1521), and culminating during the Counter-Reformat ...
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Baroque Music
Baroque music ( or ) refers to the period or dominant style of Classical music, Western classical music composed from about 1600 to 1750. The Baroque style followed the Renaissance music, Renaissance period, and was followed in turn by the Classical period (music), Classical period after a short transition (the Galant music, galant style). The Baroque period is divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the "Western art music, classical music" Western canon, canon, and continues to be widely studied, performed, and listened to. The term "baroque" comes from the Portuguese word ''barroco'', meaning "baroque pearl, misshapen pearl". Key List of Baroque composers, composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Georg Philipp Telemann, Domenico Scarlatti, Claudio Monte ...
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Musical Historicism
Musical historicism signifies the use in classical music of historical materials, structures, styles, techniques, media, conceptual content, etc., whether by a single composer or those associated with a particular school, movement, or period. Musical historicism also denotes a theory, doctrine, or aesthetic that emphasizes the importance of music history or in which history is seen as a standard of value or determining factor (as in performance practice). Definition The term "historicism" has acquired various, sometimes confusing meanings over a wide range of disciplines. The British philosopher Karl Popper, who disliked modern music and strongly preferred the works of Bach, Mozart, and Schubert, spoke of "the failure of the historicist propaganda for the modern in music." He opposed the socioscientific doctrine of historicism that discoverable laws of historical change make it possible to predict future developments. Repudiating the claim that Schoenberg was "an inevitable histo ...
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Minimalism
In visual arts, music, and other media, minimalism is an art movement that began in the post-war era in western art. The movement is often interpreted as a reaction to abstract expressionism and modernism; it anticipated contemporary post-minimal art practices, which extend or reflect on minimalism's original objectives. Minimalism's key objectives were to strip away conventional characterizations of art by bringing the importance of the object or the experience a viewer has for the object with minimal mediation from the artist. Prominent artists associated with minimalism include Donald Judd, Agnes Martin, Dan Flavin, Carl Andre, Robert Morris, Anne Truitt, and Frank Stella. Minimalism in music often features repetition and gradual variation, such as the works of La Monte Young, Terry Riley, Steve Reich, Philip Glass, Julius Eastman, and John Adams. The term has also been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stori ...
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