Abstract
ABSTRACTThis article analyses two works by Schubert, the first movement of hisUnfinishedSymphony andDer Erlkönig, in terms of the basic emotional category of Fear. Proceeding from the set of acoustic cues associated with the expression of Fear in musical materials, the article explores this emotional category both as an affective state and as a system of action tendencies enacted by the musical persona through a work's formal behaviours. Schubert's emotional processes are analysed from two standpoints: (1) as pathways through the affect space of Russell's circumplex model and (2) as ecological affordances of Öhman's fear‐imminence trajectory. The article aims at a holistic approach insofar as it explores the continuum between empirical and aesthetic approaches to musical emotion: between psychological and physiological measurements of Fear evinced by sonic features, and philosophical concepts of Fear inherent in the musical sublime, as unfolded by substantial works of art music.
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