The Theory Of The Doctrine Of Affections

The Theory Of The Doctrine Of Affections We will doubt, first, whether all of the things that have fallen under our senses, or which we have ever imagined, any one (of them) really exist; in the first place, because, we know by experience that the senses sometimes err and it would be imprudent to trust too much to what has once deceived us; secondly, in dreamsà ¢Ã¢â€š ¬Ã‚ ¦we imagine numerable objects which have no existence.  [1]   In this quote Descartes explains that senses are unreliable and that we cannot trust them for they have been proven to lie. It is interesting, then, that music is such a popular art form, for it depends heavily, and almost solely upon listening. While a full knowledge and understanding of music cannot be discovered from a purely auditory approach, simply listening to music has the ability to subconsciously entice emotions within an audience. This link between mood and sonority grew from ancient Greek philosophy and extended well beyond the eighteenth-century, but came to its height during the Baroque Period (ca. 1570-1780). The Baroque idea called the Doctrine of Affections held this idea to be true; it was the belief which held that by making use of the appropriate and established musical methods of the time, the composer could create a piece of music which was able to produce a particular and involuntary emotional response within the audience. It was a compilation of thoughts and m usical techniques from many composers and philosophers from age of the Enlightenment, most prevalently Renà ¨ Descartes.  [2]  As previously stated, some of the principles of this concept date back centuries, to philosophers such as Aristotle, who showed that orators employed the rhetorical means to control and direct the emotions of their audiences.  [3]   However, musically the idea came to its height during the age of the Enlightenment and can be seen throughout Baroque music in instrumental pieces of great composers such as Bach and Rameau, but is especially profound in opera, due to the greater emotional stimulation caused by music and text simultaneously portrayed. The Theory of the Doctrine of Affections originated with Descartes. Descartes believed that music was centered on rationalized truth; he held that the ideas of science may not be favorable to the arts, but the understanding of science enhanced the arts possibilities. This idea relates back to his rationalist idea which was represented in the Doctrine of Affections; that knowledge is found in concepts, principles, and laws, and not just in experiences or unrefined sensations.  [4]   As such, by using scientific inquiry to understanding the biological workings of the body it was possible to attain accuracy and specific truth upon these systems which could then be used within music to rouse human emotions, and thus could increase the potential of the arts. But, simultaneously: By using empirical observationà ¢Ã¢â€š ¬Ã‚ ¦they may come to accept some system which has logical consistency, but little relevance to the world in which we live.  [5]   Using the ideas of scientific observation in this way could greatly inhibit the very purpose of musical expression. The very groundwork of the Doctrine of Affections can be summed up by a rationalist idea, which states that when human emotions and thoughts were suitably written within the poetry or libretto for a particular composition, the texts could then be enhanced with a proper musical line, in an attempt to bring intellectual abstractions into the realm of the passionate concrete.  [6]   The Passions, according to Descarte: Include love, sadness, hatred, desire, wonder, joy, and sorrow. Passions are predicated by actions of the soul and set into motion by contents of the blood stream. The soul is excited by the moving passions which direct a mans will. It is on the passions, good or evil, that life depends. Passions have an effect on the psyche, and uses the idea believed by philosophers and Biologists, that passions are found in the spirits contained in the blood stream.  [7]   Each passion is associated with a specific physiological symptom. For example, the breath might accelerate and the heart beat may quicken. Descartes believed that it was possible to predict the external emotions that would result from the various passions the music intended to arouse. His influence over composition was remarkable.  [8]  Writers that followed, such as Johann Mattheson, described the composers thought process towards composition as such: that the music does not express the emotion of the composer to be, for example, sad and anguished, but rather the composers attempt to create a work of art which would sadden the listeners. Also, he says that this emotional power which the music has over the listener is not necessarily outwardly shown, but the emotional effect is personal and comes from the listeners individual experiences.  [9]   Descartes Compendium Musicae and his Traite des passionse lame (catalogues or compilations of the basic human passions  [10]  ), which became popular during the Baroque period became widely studied. These publications were two of many of the age, but were the first to give musicians tangible and practical directions for appropriate and affective use of intervals, for example, happy emotions tended to be represented with wide intervals, while sadness was represented with narrower intervals.  [11]  As aforementioned, the emotional reaction to the effect which music has upon the body, used in attempt to direct the emotions of the audience, was particularly profound when used in vocal music, especially opera, due to the text to music relationship which enhanced the expressive development. This was a concept originally derived from Greek and Latin Doctrines on rhetoric and oratory  [12]   and also expressed within the philosophy of the Doctrine of Affections. In each individua l piece, the composer would try to arouse a particular type of emotion within the audience, for example, hate, anger, jealousy, or rage, but would only use one emotion at a time. He would use particular musical devises to entice emotion within the listener, which would parallel the ability of text to do the same.  [13]  One of the most famous of Baroque composers was Handel. He believed that: à ¢Ã¢â€š ¬Ã‚ ¦plainness and simplicity had the greatest effect upon human emotion as he endeavored to write for the voice, more in the natural tones of the human affections and passions.  [14]  ( A study in Handelian Thought 55) As such, Handel composed greatly within the concepts of the Doctrine of Affections, in attempt to provoke the passions and incite human emotions. Also, conductor Nicholas McGegan believes that Handel had great insight into underlining human emotion and his characters are absolutely human.  [15]   As previously stated, Handel composed within the realm of the philosophy of the Doctrine of Affections. As such, his arias and oratorios are written in such a way to combine the emotional context of the libretto with a musical line which would unconsciously bring about predetermined emotions within the audience. Three types of arias found during the Baroque period were those that depicted rage, happiness, and lost love. According to Johann Mattheson rage is much better at using all forms of musical inventions than more pleasant passions. However, it is not adequate enough to simply use loud dynamics and quick rhythms, as this violent quality has its own personality and requires forceful expression without losing sight of the beauty of the musical line.  [16]  The main devices used during a rage aria can be seen in an expanded theory of intervals explained by the Philosopher and Composer Rameau. Assuming that the basic human qualities of rage include anger, violence, sorrow, grave ness, harshness, and aggression, Rameau would conclude that a rage aria would include: whole and half steps, used to represent anger or sadness due to the contraction of the body; minor thirds, descending fourths, augmented fourths, minor sixths, and major sevenths. Also rage or anger would be seen in a fast tempo and most likely a minor key.  [17]  The rage arias of Handel directly follow this theme. Handels famous aria Empio, dirà ², tu sei from his opera Giulio Cesare is a classic example of a Rage aria. The first importance of this piece in terms of the Doctrine of Affections is the text: Empio, dirà ², tu sei: Togliti agli occhi miei Sie tutto crudeltà ¡ Non à ¨ di re quell cor, Che donasi al rigor Che in sen non ha pieta (I say you are a villain, Remove yourself from my sight, You are cruelty itself. This is not the heart of a king That abandons itself to such harshness, That contains no pity.) This is Giulio Cesares furious Act 1 aria in which he chastises the Egyptian general, Achilla, who has just returned to him the detached head of the Pompeo, the noble Roman general. This aria expresses Ceasars rage, and as such, Handel wrote it in c minor and in the tempo Allegro. The aria also includes many rushing scales, arpeggios, and uneven figures. From the very first opening line, the orchestral overture creates uneasiness and dread in the listener by use of running scales, large leaps, and awkward intervals (m1- 9); this agitation is affirmed by a very strong vocal entrance by the castrato, Giulio Cesare, which begins with a descending scaler line and is followed by larger leaps (m.11). . Throughout, the vocal line can be described as extremely intense- containing extensive coloratura with rushing scales (m14-16; m24-25; 32-34), arpeggios, and drastic interval changes would create an understanding of rage even in a listener who did not understand the words, for example, when Cesare says Sie tutto crudeltà ¡ (You are cruelty itself), the vocal line implements jumping intervals as well as a brief chromatic passage (m35-37) Also, throughout the piece the orchestra is particularly restless, and includes running passages, large leaps, arpeggiated figures, which also create an uneasiness. All of these factors contribute to quickening the heartbeat of the listener, providing them with an emotional relation and understanding of Giulio Cesare, just as if they, themselves were the raging party. The understanding of the text along with the extreme musical line and accompaniment creates an even more vivid picture of Cesares intense anger and rage and pulls the listener even further into the emotion, raising the blood pressure further and thus, physiologically causing the raging and uneasy emotion within the listener. Among the passions was also the emotion of joy. Mattheson held that: à ¢Ã¢â€š ¬Ã‚ ¦joy was an expansion of our soul, and thus it follows that reasonably and naturally that [one] could best express this affect by large and expanded intervals.  [18]   According to Rameau joyous music was also represented by great intervals, but additionally was shown with Major key and fast tempo.  [19]  The Air Oh! Had I Jubals lyre from the Oratorio Joshua by Handel implements these philosophies within the vocal line and orchestral accompaniment. Oh, had I Jubals lyre, Or Miriams tuneful voice! To sounds like his I would aspire, In songs like hers rejoice. My humble strains but faintly show, How much to Heavn and thee I owe. This is one of Handels later works, and it is based upon the biblical stories of Joshua. Essentially, Moses and the Israelites, after being freed from Egypt are told by God that they must maintain their faith to him for forty years in the wilderness before being allowed into the promise land, they do not obey him and send in spies to check out the land after two years. Long story short, Joshua and Caleb, of the younger generation maintain their faith within God and are thus allowed to enter the Promise land, while the disbelievers perished in the desert. In the bible, Jubal is quoted as being the ancestor of all who handle lyre and pipe  [20]  and Miriam is the sister of Moses and Aaron who was believed to have been a prophet. This is a simple song of happiness and praise sung by Achsah, the daughter or Caleb. Firstly, the piece is written in A major and in the tempo Allegro. From the opening of the piece, large and sonorous intervals and chords are heard and a feeling of ease an d happiness is apparent. When the soprano, Achsah enters, her line outlines an A major chord (m 10-11) and continues to move within a beautiful major key area. Although in some parts of the piece there are running passages (m21-24; m41-44; m 46-47) there continues to be large intervals and major chords throughout the accompaniment below. This stability below the quickly moving and florid passages allows the emotion of joy and happiness to be maintained throughout the piece. The piece begins and ends in a major key and throughout it implements large intervals and a consonant tone. These foundations musically create a joyous emotion within the audience because they entice openness within the body physiologically; the listeners emotional reaction, therefore directly parallels the sonority of the musical line and accompaniment. Another of the passions outlined by Descartes included love. Within opera, a common theme of unrequited or lost love is prevalent. This absence of love, which is sought by a character, brings about an emotion which is a combination of sadness and hope, and abstractly creates love. On sadness Mattheson states: Sadness is a contraction of the subtle parts of out bodyà ¢Ã¢â€š ¬Ã‚ ¦it is easy to see that the small and smallest intervals are most suitable for this passion.  [21]   To create the feeling of lost love, this emotion is combined with the passion for hope. In regards to this emotion Mattheson explains: Hope is a pleasant and soothing thing: it consists of a joyful longing which fills the spirit with certain courage. Hence, this effect demands the loveliest use of voice and the sweetest combination of sounds in the world, for which courageous longing serves as a spur as it were; yet so that even joy is only moderate, courage nevertheless enlivens and animates everything, which yields the best combination and uniting of sounds in composition.  [22]   This combination of the passions of sadness and hope can be used to understand the emotion of love. Mattheson shows this: Love is in fact essentially a diffusion of the spirits.  [23]   Love is therefore a diffusion or combination of joy or hope (expansion) and sadness (contraction), depending upon the type of love which is occurring. For example new and young love would be represented in a more joyous way, with larger and more expansive intervals musically. However, lost or unrequited love would be represented to attract sadness or small intervals, but also to entice hope, by using larger and more expansive intervals which are pleasant and soothing, because the character continues maintains some hope that love will eventually result from the sadness and loss, thus musically drawing the listeners into their melancholy but optimistic emotion. The philosophies of the Doctrine of Affections can again be seen in the aria O Sleep, why dost thou leave me? from the opera Semele by Handel. O sleep, O sleep, why dost thou leave me? Why doust thou leave me? Why thy visionary joys remove? O sleep, O sleep, O sleep again deceive me, O sleep again devieve me, To my arms restore my wandring love, My wandring love, Restore my wandring love, Again deceive me, O sleep, To my arms, restore my wandring love. The plot line of the opera is essentially thus: Semele is in love with Jupiter, but is about to Marry a man called Cadmus at the temple of Juno. Before the ceremony, however, Semele is snatched from the temple and taken to the heavens where Jupiter builds her a grand palace. Juno is angered by this and asks the god of sleep, Somnus, to help her in her revenge. In this aria Semele has been deprived of sleep, and thus, deprived of her dreams of her lover who cannot be with her. The piece is written in a major key, but in the tempo largo. This, from the first chord of the piano, shows the parallel between happiness and sadness that are present during lost love, the emotion of hope can be seen in the large interval jumps in the left hand of the piano accompaniment (m1-4) Semeles first phrase is very quiet, slow and repetitive; it uses a beautiful scalar line of second intervals to show her anguish for the loss of her lover within dreams. Underneath her beautiful line is a similarly runni ng pattern within the piano, which is characterized with some leaps to bring about a slight feeling of hope and happiness (m 8 in both hands; m 9 in both hands; m11-end in the arpegiated left hand) The sadness comes to a height on the second page when there is a long running passage upon the word wandring, (m 17-18), but hope is seen in the ending of the piece with the interval leaps upon the word restore, coming to the climatic and beautifully quiet G sharp, before desending again into sadness (m24-25).

Norman Jewisons Movie The Hurricane Essay -- Movie Review Essays

Norman Jewison's Movie "The Hurricane" The problem of racial discrimination has been portrayed in many films in the last 15 years. However, The Hurricane does a masterful job at addressing this issue, and will leave audience members clenching their fists in anger at the injustice that happened to a man named Rubin "Hurricane" Carter. The movie demonstrates the racial inequity that can be found in our judicial system through the impressive acting by Denzel Washington and the direction of Norman Jewison. The Hurricane makes you wonder who else has been wrongfully accused in the past 30 years. The Hurricane creates moments of amazing heartfelt punches dealt by Denzel Washington (Rubin "Hurricane" Carter), Vicellous Reon Shannon (Lezra Martin), and the three Canadian friends, Live Schreiber (Sam), Deborah Unger (Lisa), and John Hanna (Terry). All of the actors and actresses produce feelings of love, camaraderie, and determination that causes the audience to jump up and cheer. The movie starts with the story of Rubin Carter and his fight for the middleweight championship. He lost the match in a rigged bout to a weaker opponent. Although, Rubin dominated the ring, he lost the title. The fight foreshadows the racial discrimination that will be played throughout the movie. Later in the movie in the Lafayette Grill two African-American males of middle build murdered three people at the all white establishment. Rubin Carter and John Artis were accused of being those two men. Carter and Artis went to prison for three life sentences. The future looks slim for Carter, however, a pivotal change comes when Lezra Martin discovers Carter's book. The movie focuses on the portrayal of Rubin Carter as he spends 20 years in prison. The a... ... a way that leaves them cheering at the end, takes this film to another level. Jewison has established himself as a great director and reconfirms that with this movie. He is no stranger to racially intensified films. He directed In the Heat of the Night in 1967 and was slated to direct Malcolm X, but refused after a few key people reacted negatively to the idea of a Caucasian male directing the film. The Hurricane, based on the life of Rubin Carter, brings alive the fears, anger, and frustration that he experienced. The Hurricane is no exception for Washington's stunning performances or Jewison's great directing, so if you are looking for a moving, deep, and engrossing film run to your nearest Blockbuster and rent The Hurricane. It is a movie that needs to be seen not just for its value as a good movie, but for its undeniable call for justice and racial equality.

Argument Essay

During Tom Robinsons trial for his crime, Tactics is questioning Male Lowell about what her side Of the Story was, these questions make her nervous and Tom realizes it which leads him to show empathy towards her. â€Å"Yes, such. Felt right sorry for her, she seemed to try and rest of ‘me ; You felt sorry for her, you felt sorry for her? † (pig. 264). The quote shows how Tom truly felt towards Male and during this time period it wasn't the normal thing to do. Tom showing empathy for Male can be surprising at most because of what she did to him but him doing this shows his kindness towards others.After all the accusations on Tom by Male and all the hardship he is going to have to face, this quote shows what kind of a good man Tom is. Empathy from Tom is also shown when he supports her. Tactics was on his feet, but Tom Robinson didn't need him. â€Å"l don't say she lying' Mr.. Gilder, say she's mistaken in her mind. † (pig. 264). In the quote Tom is speaking on beh alf of Amylase's accusations and how none of them were actually true. Tom says that she is just mistaken in her mind instead of she is Wing because he wants everyone to know that he has empathy towards her.By switching his words to accommodate to a more kind side shows how Tom wanted Male to not be accused of anything or in any kind of trouble. Tom Robinson, even though wrongly convicted of things he didn't do, shows immense amounts of empathy towards Male. Miss Maude shows large amounts of empathy towards Boo Raddled when she explains to the children why Boo has decided to stay inside. â€Å"His name is Arthur and he's alive. What a, morbid question. But I suppose it's a morbid subject. I know he's alive, Jean Louise, because I haven't seen him carried out yet. (pig. 54). Scout asks Miss Maude if Arthur ‘Boo' Raddled is really still alive and her response shows how she shows empathy towards him, even if it is very subtle. Miss Maude knows he doesn't want to come out of his h ouse so instead of being rude she just strictly answers her question. Miss Maude also acknowledges how Arthur doesn't really want to be talked about so she almost scolds Scout by telling her it is a morbid question. This is also evident when she answers another one of Scouts questions. â€Å"Arthur Raddled just stays in the house, that's all.Wouldn't you stay in the house if you didn't want to come out? (pig. 55). This quote shows how Miss Maude can relate to Arthur Raddled by how she answers this question about Boo. In response to Scouts question she tells her what if Boo doesn't want to come out? Her saying this shows how she has empathy for Boo and how she knows what it is like to be left out or shunned. She knows this feeling by how the foot-washing priests treat her. This proves that even though Miss Maude is a lot of talk she still has a pure heart. During this time period African Americans were not really accepted into society.So Tactics shows empathy towards Tom and all Afr ican Americans by Ewing Toms lawyer which was a job no one wanted to do. â€Å"scout', said Tactics, ‘Niger-lover is just one of the terms that don't mean anything like snot nose. It's hard to explain – ignorant, trashy people use it when they think somebody's favoring Negroes over and above themselves. † (pig. 1 07). In the Story a running theme is segregation and Tactics Finch shows many examples of him showing empathy towards them. In this quote he is saying that the word Niger is only rude and unintelligent, he knows that anyone who uses the word is no good to any extent.Tactics is showing how he truly doesn't appreciate any foul language towards anyone which shows how he has empathy towards others. Miss Maude then explains to Scout some other kind things Tactics has the tendency to do. â€Å"There are some men in this world who were born to do our unpleasant jobs for us. Your father is one of them. He's the only man in these parts who can keep a jury out so long in a case like this† (pig. 283). The quote is showing how Tactics is a humble man coming from the mouth of Miss Maude, which shows the audience that what Tactics does is for the greater good of the community. Since he decided to defendTom without any arguing which means he wanted to help him, showing his true generosity. This quote also is saying that Tactics will do anything for anyone in need because of his empathy towards them. Tactics is known for being a humble man and these examples prove it. Some people may not agree or accept that some of the citizens of Macomb can actually show empathy towards African Americans. It is true in some points of the story their are some examples of people disrespecting people of the opposite race. One example could be when the news of Tom Robinsons death reaches the town and no one responded. Argument Essay

Microeconomics Externalities, Market Power Assignment

Introductory* Micro*economics 316-102 *Sem 1*,2010 Assignment 2: Genevieve Blanch QUESTION 1. Externalities in this situation exist where the Government, Country or Private Organisation decides to launch a new satellite causing costs and benefits to other members of society which do not impact on the G,C or PO. Such externalities include: NEGATIVE (Costs to other members of society) Hazard to the useful working satellites that surround Earth. Threat to our dependence for communications, broadcasting and surveillance. Debris from one collision causing a second, which creates still more debris and collisions. A socially optimal outcomes occurs when then the social maximal benefit†¦show more content†¦The free rider problem comes from the fact that a public good is â€Å"non-excludable†. It’s when decision makers own well being can be improved by making others pay for the good. Satellite launches are public goods because they are neither excludable nor rivalr ous in consumption. People cannot be prevented from using a satellite launcher and one persons use does not reduce another persons use of it. Solutions: Government supplies satellite launches. The government takes over as supplier of satellite launches. They must calculate the SMB and SMC deciding on an efficient quantity, keeping in mind the willingness to pay of satellite launch consumers. Then, using the Lindahl tax the government could finance provision of the satellite launchers by asking consumers with higher revenue to pay more. This means that consumers share of the Social marginal benefit is multiplied by the cost of the launcher. (SMB x Cost=Lindahl tax). The government provides increased incentive to supply clean satellite launchers by assigning property rights. Involves assigning ownership of launchers to certain suppliers who can charge other consumers for using the launchers. QUESTION 2: Relative importance of fixed costs and variable costs in the retail grocery industry? 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