Abstract
This term does not have the modern, emotional connotation of expressive and can more accurately be rendered as representation of the word. The means of verbal representation in baroque music were not direct, psychological, and emotional, but indirect, that is, intellectual and pictorial. The modern psychology of dynamic emotions did not yet exist in the baroque era. Feelings were classified and stereotyped in a set of so-called affections, each representing a mental state which was in itself static. It was the business of the composer to make the affection of the music correspond to that of the words. According to the lucid rationalism of the time, the composer had at his disposal a set of musical figures which were pigeonholed like the affections themselves and were de-
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