Abstract
was undeniably one of the most important aspects of musical composition and performance in the Baroque, discussions of affect in sources from the period are few, and those that do occur are frustratingly vague and of little help in shedding light on a confusing issue.' In this article I shall attempt to illuminate to some extent the Baroque musician's concept of affect and the means used in the composition and performance of one musical genre for projecting affect. Perhaps the general failure of musicians of the period to come to grips with the concept of affect and passions should come as no surprise to us. After all, the human emotions and their workings are highly abstract and intangible and hence elusive, and were especially so for the rational Baroque mind. Furthermore, it is clear from the early sources that their authors assumed in their musically literate readers a grasp of the essentials of affective practice gained through musical training or some innate sensitivity. However, two commentators of the period stand out for their comprehensive treatment of the subject, and it is upon them that I wish to concentrate here.
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