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Theory of the Affects (Baroque Doctrine of the Affections)
Georgieva Ivanova, Sylvia ; Havlík, Jaromír (advisor) ; Tichý, Vladimír (referee) ; Godár, Vladimír (referee)
The theme of my dissertation is the Baroque Theory (Doctrine) of Affects, one of the main pillars of the Baroque perception of music and art. It is a theoretical system that is generally not only applied to the music of the Baroque era, but in many aspects as well for the following period of Rococo and Classicism until the Beethoven´s creative era. The Doctrine of affects is based upon the cohesion of human thinking and feeling on one hand and the natural order on the other hand. It has been derived from the concept od the world order being created as a perfectly functioning system including both the rational as well and irrational - as the two different aspects of human being. The thesis is based mainly on period sources and literature that served not as supplementary material but also as core resurces. Therefore translations of period documents up to now missing in the Czech musicological and aesthetic literature have been submitted because they are very important to for comprehending the essence of the Doctrine of affects and the period tendencies to allocate affects to musical devices. The texts represent the angle of the view, the inseparability of art and science as well as the Baroque concept of the human personality as a harmonic accord of the soul and body. All of this on the beel overlaid on the social situations and aesthetic perceptions of the time. Even today, one is surprised by the scope of detail to which period musicians and theoreticians had everything clarified, explained and documented from the historical, musicological and even physiological sources of the time. It is within this context that this thesis has been developed bringing to light not only an explanation of the notions of affects and the differences involved in their classification and systematization, but also their depiction by musical and rhetoric figures in the practices of composition and interpretation in which the impact of affects in music played its role for the audience then as well as today. Accordingly, the assortiment and assembly of the the audio exemples have become an integral part of this dissertation. As Jean-Philippe Rameau said, the truth of music and of the musical expression derives primarily from the music itself!
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