By Susan McClary
During this e-book, Susan McClary examines the mechanisms by which seventeenth-century musicians simulated severe affective states—desire, divine rapture, and ecstatic excitement. She demonstrates how each significant style of the interval, from opera to spiritual track to instrumental items in line with dances, used to be a part of this striving for heightened passions by way of performers and listeners. whereas she analyzes the social and historic purposes for the excessive worth put on expressive depth in either secular and sacred song, and he or she additionally hyperlinks wish and delight to the numerous technical concepts of the interval. McClary indicates how musicians—whether operating in the contexts of the Reformation or Counter-Reformation, Absolutists courts or advertisement businesses in Venice—were in a position to manage identified methods to supply extensively new methods of experiencing time and the Self.
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Extra resources for Desire and Pleasure in Seventeenth-Century Music
22 (Paris, 1883) 161. 11 DAVID CAIRNS Above all, the Livre de Raison explains why Dr Berlioz was so opposed to his son's vocation and why he fought the unequal battle against it so long. The book is the record, the loving record, of a family and its history and possessions, kept by a man who is deeply conscious of his links with his forebears and of his duty to consolidate what they achieved and hand it on intact and flourishing to his descendants - a father who dreams of his eldest son becoming his successor both as doctor and benefactor of the poor and as custodian of the estate.
In fact, quite a number which the Correspondance generate designates ' Coll. Reboul' are no longer there. 35 What must be of concern is the rest of the collection: the Livre de Raison, Nancy's diaries, and the large mass of correspondence, as yet uncatalogued, of which this article gives a sample. It is to be hoped they will be kept intact, not scattered. Individually most of them may be of small account and have little if any monetary value. Collectively they constitute a social history of a small corner of France made all the more interesting by its links - links often strained but never broken - with the great artist it engendered.
The Danse des esclaves in Act IV of Les Troy ens is marked J = 122, an enigmatic entry since the music is in \ and there is no 122 on the scale. The 10 CG V, 227. 22 Berlioz and the metronome music simply cannot be played at ]. = 122, so it is not a question of a missing dot (such an error could easily arise since Berlioz always expressed his MMs in the form 122 = J. with the note-value, not the metronome number, last; the dot could be mistaken by an engraver for a full stop and omitted). If we suppose that Berlioz correctly gave the note-value as a crotchet, the speed could then be expressed as J.