Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness
Identifieur interne : 000409 ( Istex/Corpus ); précédent : 000408; suivant : 000410Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness
Auteurs : John ButtSource :
- Music Analysis [ 0262-5245 ] ; 2010-03.
Abstract
This study examines some of the ways in which it was possible to understand emotion in Lutheran church music of the seventeenth and early eighteenth centuries. It suggests that emotion related to music more through association and contextual factors than through a fixed relationship, thus explaining the ways in which musical passages and techniques could be taken from a secular context to serve a sacred purpose. With these factors in mind, it is possible to suggest ways in which a listener's likely emotional association with music can be harnessed through particular compositional procedures. Schütz's setting of part of the Song of Songs may well engage with the listener's consciousness over time, stretching it and reinforcing the ‘useful’ emotional associations that the sacred context might bring. The opening aria of Bach's cantata ‘Liebster Jesu, mein Verlangen’ achieves something similar over a longer span and with greater emotional intensity. Here there is the added sense of the believer finding, losing and then rediscovering the object of spiritual adoration. The music thus implies the potential alienation of the listener, something both supported and overcome through the very structuring of the music. Its repetitive ritornello process is sometimes hidden but always latent, thus playing on the potential for subconscious recognition. Together, these two examples suggest that music can be used as a powerful demonstration of the historical development of modern forms of consciousness as related to emotional states over time.
Url:
DOI: 10.1111/j.1468-2249.2011.00325.x
Links to Exploration step
ISTEX:88E4ACE76538FFB5E3A07AAB5431D4C37FA97145Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness</title><author><name sortKey="Butt, John" sort="Butt, John" uniqKey="Butt J" first="John" last="Butt">John Butt</name><affiliation><mods:affiliation>University of Glasgow</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:88E4ACE76538FFB5E3A07AAB5431D4C37FA97145</idno><date when="2010" year="2010">2010</date><idno type="doi">10.1111/j.1468-2249.2011.00325.x</idno><idno type="url">https://api.istex.fr/document/88E4ACE76538FFB5E3A07AAB5431D4C37FA97145/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000409</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness</title><author><name sortKey="Butt, John" sort="Butt, John" uniqKey="Butt J" first="John" last="Butt">John Butt</name><affiliation><mods:affiliation>University of Glasgow</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Music Analysis</title><idno type="ISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><imprint><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2010-03">2010-03</date><biblScope unit="volume">29</biblScope><biblScope unit="issue">1‐3</biblScope><biblScope unit="page" from="19">19</biblScope><biblScope unit="page" to="36">36</biblScope></imprint><idno type="ISSN">0262-5245</idno></series><idno type="istex">88E4ACE76538FFB5E3A07AAB5431D4C37FA97145</idno><idno type="DOI">10.1111/j.1468-2249.2011.00325.x</idno><idno type="ArticleID">MUSA325</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0262-5245</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">This study examines some of the ways in which it was possible to understand emotion in Lutheran church music of the seventeenth and early eighteenth centuries. It suggests that emotion related to music more through association and contextual factors than through a fixed relationship, thus explaining the ways in which musical passages and techniques could be taken from a secular context to serve a sacred purpose. With these factors in mind, it is possible to suggest ways in which a listener's likely emotional association with music can be harnessed through particular compositional procedures. Schütz's setting of part of the Song of Songs may well engage with the listener's consciousness over time, stretching it and reinforcing the ‘useful’ emotional associations that the sacred context might bring. The opening aria of Bach's cantata ‘Liebster Jesu, mein Verlangen’ achieves something similar over a longer span and with greater emotional intensity. Here there is the added sense of the believer finding, losing and then rediscovering the object of spiritual adoration. The music thus implies the potential alienation of the listener, something both supported and overcome through the very structuring of the music. Its repetitive ritornello process is sometimes hidden but always latent, thus playing on the potential for subconscious recognition. Together, these two examples suggest that music can be used as a powerful demonstration of the historical development of modern forms of consciousness as related to emotional states over time.</div></front></TEI><istex><corpusName>wiley</corpusName><author><json:item><name>JOHN BUTT</name><affiliations><json:string>University of Glasgow</json:string></affiliations></json:item></author><language><json:string>eng</json:string></language><abstract>This study examines some of the ways in which it was possible to understand emotion in Lutheran church music of the seventeenth and early eighteenth centuries. It suggests that emotion related to music more through association and contextual factors than through a fixed relationship, thus explaining the ways in which musical passages and techniques could be taken from a secular context to serve a sacred purpose. With these factors in mind, it is possible to suggest ways in which a listener's likely emotional association with music can be harnessed through particular compositional procedures. Schütz's setting of part of the Song of Songs may well engage with the listener's consciousness over time, stretching it and reinforcing the ‘useful’ emotional associations that the sacred context might bring. The opening aria of Bach's cantata ‘Liebster Jesu, mein Verlangen’ achieves something similar over a longer span and with greater emotional intensity. Here there is the added sense of the believer finding, losing and then rediscovering the object of spiritual adoration. The music thus implies the potential alienation of the listener, something both supported and overcome through the very structuring of the music. Its repetitive ritornello process is sometimes hidden but always latent, thus playing on the potential for subconscious recognition. Together, these two examples suggest that music can be used as a powerful demonstration of the historical development of modern forms of consciousness as related to emotional states over time.</abstract><qualityIndicators><score>7.832</score><pdfVersion>1.3</pdfVersion><pdfPageSize>484.7 x 697.3 pts</pdfPageSize><refBibsNative>true</refBibsNative><keywordCount>0</keywordCount><abstractCharCount>1551</abstractCharCount><pdfWordCount>7179</pdfWordCount><pdfCharCount>41123</pdfCharCount><pdfPageCount>18</pdfPageCount><abstractWordCount>236</abstractWordCount></qualityIndicators><title>Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness</title><genre><json:string>article</json:string></genre><host><volume>29</volume><pages><total>18</total><last>36</last><first>19</first></pages><issn><json:string>0262-5245</json:string></issn><issue>1‐3</issue><genre></genre><language><json:string>unknown</json:string></language><eissn><json:string>1468-2249</json:string></eissn><title>Music Analysis</title><doi><json:string>10.1111/(ISSN)1468-2249</json:string></doi></host><publicationDate>2010</publicationDate><copyrightDate>2010</copyrightDate><doi><json:string>10.1111/j.1468-2249.2011.00325.x</json:string></doi><id>88E4ACE76538FFB5E3A07AAB5431D4C37FA97145</id><fulltext><json:item><original>true</original><mimetype>application/pdf</mimetype><extension>pdf</extension><uri>https://api.istex.fr/document/88E4ACE76538FFB5E3A07AAB5431D4C37FA97145/fulltext/pdf</uri></json:item><json:item><original>false</original><mimetype>application/zip</mimetype><extension>zip</extension><uri>https://api.istex.fr/document/88E4ACE76538FFB5E3A07AAB5431D4C37FA97145/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/88E4ACE76538FFB5E3A07AAB5431D4C37FA97145/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><availability><p>WILEY</p></availability><date>2010</date></publicationStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness</title><author><persName><forename type="first">JOHN</forename><surname>BUTT</surname></persName><affiliation>University of Glasgow</affiliation></author></analytic><monogr><title level="j">Music Analysis</title><idno type="pISSN">0262-5245</idno><idno type="eISSN">1468-2249</idno><idno type="DOI">10.1111/(ISSN)1468-2249</idno><imprint><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="2010-03"></date><biblScope unit="volume">29</biblScope><biblScope unit="issue">1‐3</biblScope><biblScope unit="page" from="19">19</biblScope><biblScope unit="page" to="36">36</biblScope></imprint></monogr><idno type="istex">88E4ACE76538FFB5E3A07AAB5431D4C37FA97145</idno><idno type="DOI">10.1111/j.1468-2249.2011.00325.x</idno><idno type="ArticleID">MUSA325</idno></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2010</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>This study examines some of the ways in which it was possible to understand emotion in Lutheran church music of the seventeenth and early eighteenth centuries. It suggests that emotion related to music more through association and contextual factors than through a fixed relationship, thus explaining the ways in which musical passages and techniques could be taken from a secular context to serve a sacred purpose. With these factors in mind, it is possible to suggest ways in which a listener's likely emotional association with music can be harnessed through particular compositional procedures. Schütz's setting of part of the Song of Songs may well engage with the listener's consciousness over time, stretching it and reinforcing the ‘useful’ emotional associations that the sacred context might bring. The opening aria of Bach's cantata ‘Liebster Jesu, mein Verlangen’ achieves something similar over a longer span and with greater emotional intensity. Here there is the added sense of the believer finding, losing and then rediscovering the object of spiritual adoration. The music thus implies the potential alienation of the listener, something both supported and overcome through the very structuring of the music. Its repetitive ritornello process is sometimes hidden but always latent, thus playing on the potential for subconscious recognition. Together, these two examples suggest that music can be used as a powerful demonstration of the historical development of modern forms of consciousness as related to emotional states over time.</p></abstract></profileDesc><revisionDesc><change when="2010-03">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><original>false</original><mimetype>text/plain</mimetype><extension>txt</extension><uri>https://api.istex.fr/document/88E4ACE76538FFB5E3A07AAB5431D4C37FA97145/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishing Ltd</publisherName><publisherLoc>Oxford, UK</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1111/(ISSN)1468-2249</doi><issn type="print">0262-5245</issn><issn type="electronic">1468-2249</issn><idGroup><id type="product" value="MUSA"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="MUSIC ANALYSIS">Music Analysis</title></titleGroup></publicationMeta><publicationMeta level="part" position="03101"><doi origin="wiley">10.1111/musa.2010.29.issue-1-3</doi><titleGroup><title type="specialIssueTitle">Music and Emotion</title></titleGroup><numberingGroup><numbering type="journalVolume" number="29">29</numbering><numbering type="journalIssue">1‐3</numbering></numberingGroup><coverDate startDate="2010-03">March‐October 2010</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="3" status="forIssue"><doi origin="wiley">10.1111/j.1468-2249.2011.00325.x</doi><idGroup><id type="unit" value="MUSA325"></id></idGroup><countGroup><count type="pageTotal" number="18"></count></countGroup><titleGroup><title type="tocHeading1">Special issue on Music and Emotion</title></titleGroup><copyright>© 2011 The Author. Music Analysis © 2011 Blackwell Publishing Ltd</copyright><eventGroup><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:3.2.0 mode:FullText" date="2013-02-05"></event><event type="publishedOnlineFinalForm" date="2011-10-27"></event><event type="firstOnline" date="2011-10-27"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-02-03"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-10-31"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="19">19</numbering><numbering type="pageLast" number="36">36</numbering></numberingGroup><linkGroup><link type="toTypesetVersion" href="file:MUSA.MUSA325.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="figureTotal" number="5"></count><count type="tableTotal" number="0"></count><count type="formulaTotal" number="0"></count><count type="referenceTotal" number="18"></count><count type="wordTotal" number="7337"></count><count type="linksPubMed" number="0"></count><count type="linksCrossRef" number="0"></count></countGroup><titleGroup><title type="main">E<sc>motion in the</sc> G<sc>erman</sc> L<sc>utheran</sc> B<sc>aroque and the</sc> D<sc>evelopment of</sc> S<sc>ubjective</sc> T<sc>ime</sc> C<sc>onsciousness</sc></title><title type="shortAuthors"><sc>john butt</sc></title><title type="short">E<sc>motion in the</sc> G<sc>erman</sc> L<sc>utheran</sc> B<sc>aroque</sc></title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" affiliationRef="#a1"><personName><givenNames>JOHN</givenNames><familyName>BUTT</familyName></personName></creator></creators><affiliationGroup><affiliation xml:id="a1"><unparsedAffiliation>University of Glasgow</unparsedAffiliation></affiliation></affiliationGroup><abstractGroup><abstract type="main" xml:lang="en"><title type="main">ABSTRACT</title><p>This study examines some of the ways in which it was possible to understand emotion in Lutheran church music of the seventeenth and early eighteenth centuries. It suggests that emotion related to music more through association and contextual factors than through a fixed relationship, thus explaining the ways in which musical passages and techniques could be taken from a secular context to serve a sacred purpose. With these factors in mind, it is possible to suggest ways in which a listener's likely emotional association with music can be harnessed through particular compositional procedures. Schütz's setting of part of the Song of Songs may well engage with the listener's consciousness over time, stretching it and reinforcing the ‘useful’ emotional associations that the sacred context might bring. The opening aria of Bach's cantata ‘Liebster Jesu, mein Verlangen’ achieves something similar over a longer span and with greater emotional intensity. Here there is the added sense of the believer finding, losing and then rediscovering the object of spiritual adoration. The music thus implies the potential alienation of the listener, something both supported and overcome through the very structuring of the music. Its repetitive ritornello process is sometimes hidden but always latent, thus playing on the potential for subconscious recognition. Together, these two examples suggest that music can be used as a powerful demonstration of the historical development of modern forms of consciousness as related to emotional states over time.</p></abstract></abstractGroup></contentMeta></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness</title></titleInfo><titleInfo type="abbreviated"><title>Emotion in the German Lutheran Baroque</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>E</title></titleInfo><name type="personal"><namePart type="given">JOHN</namePart><namePart type="family">BUTT</namePart><affiliation>University of Glasgow</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article"></genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2010-03</dateIssued><copyrightDate encoding="w3cdtf">2010</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType><extent unit="figures">5</extent><extent unit="references">18</extent><extent unit="words">7337</extent></physicalDescription><abstract lang="en">This study examines some of the ways in which it was possible to understand emotion in Lutheran church music of the seventeenth and early eighteenth centuries. It suggests that emotion related to music more through association and contextual factors than through a fixed relationship, thus explaining the ways in which musical passages and techniques could be taken from a secular context to serve a sacred purpose. With these factors in mind, it is possible to suggest ways in which a listener's likely emotional association with music can be harnessed through particular compositional procedures. Schütz's setting of part of the Song of Songs may well engage with the listener's consciousness over time, stretching it and reinforcing the ‘useful’ emotional associations that the sacred context might bring. The opening aria of Bach's cantata ‘Liebster Jesu, mein Verlangen’ achieves something similar over a longer span and with greater emotional intensity. Here there is the added sense of the believer finding, losing and then rediscovering the object of spiritual adoration. The music thus implies the potential alienation of the listener, something both supported and overcome through the very structuring of the music. Its repetitive ritornello process is sometimes hidden but always latent, thus playing on the potential for subconscious recognition. Together, these two examples suggest that music can be used as a powerful demonstration of the historical development of modern forms of consciousness as related to emotional states over time.</abstract><relatedItem type="host"><titleInfo><title>Music Analysis</title></titleInfo><genre type="Journal">journal</genre><identifier type="ISSN">0262-5245</identifier><identifier type="eISSN">1468-2249</identifier><identifier type="DOI">10.1111/(ISSN)1468-2249</identifier><identifier type="PublisherID">MUSA</identifier><part><date>2010</date><detail type="title"><title>Music and Emotion</title></detail><detail type="volume"><caption>vol.</caption><number>29</number></detail><detail type="issue"><caption>no.</caption><number>1‐3</number></detail><extent unit="pages"><start>19</start><end>36</end><total>18</total></extent></part></relatedItem><identifier type="istex">88E4ACE76538FFB5E3A07AAB5431D4C37FA97145</identifier><identifier type="DOI">10.1111/j.1468-2249.2011.00325.x</identifier><identifier type="ArticleID">MUSA325</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2011 The Author. Music Analysis © 2011 Blackwell Publishing Ltd</accessCondition><recordInfo><recordContentSource>WILEY</recordContentSource><recordOrigin>Blackwell Publishing Ltd</recordOrigin></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/MonteverdiV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000409 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000409 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= MonteverdiV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:88E4ACE76538FFB5E3A07AAB5431D4C37FA97145
|texte= Emotion in the German Lutheran Baroque and the Development of Subjective Time Consciousness
}}
| This area was generated with Dilib version V0.6.21. |  |