Abstract
A listening experiment was designed to test whether modern listeners perceive the same affective content in Baroque music as the composer intended to portray. Listeners rated three musical examples from Johann David Heinichen’s 1728 treatise Der General-Bass in der Composition for valence and arousal. Examples were chosen based on descriptions by the composer in which he outlined their intended affective content. Results showed a significant mismatch between original descriptions and listener ratings, indicating a change in the perceived affective content of the music. The historical variability of musical-emotional expression in general, with a focus on the role of structural emotion cues (particularly mode), is discussed, closing with suggestions for future research in the area of historical musical emotion
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