{"id":177,"date":"2015-03-18T11:20:53","date_gmt":"2015-03-18T11:20:53","guid":{"rendered":"https:\/\/projects.history.qmul.ac.uk\/emotions\/?p=177"},"modified":"2015-05-23T06:17:32","modified_gmt":"2015-05-23T06:17:32","slug":"music-passions-and-emotions","status":"publish","type":"post","link":"https:\/\/projects.history.qmul.ac.uk\/emotions\/events\/music-passions-and-emotions\/","title":{"rendered":"Music, passions and emotions"},"content":{"rendered":"<p><strong>Music, Time, and Emotion: Emotional Narratives and Music in the Burgundian Territories of the Fifteenth Century<\/strong> (Matthew Champion, PhD Candidate, School of History)<\/p>\n<p>Treatises on music, the Mass, and mystical experience which circulated in the territories of the Dukes of Burgundy in the fifteenth century develop a complex affective and narrative vocabulary for describing devotional life, liturgy, and music. By connecting these vocabularies with the liturgical life of Cambrai Cathedral, one of the fifteenth century\u2019s most extraordinary musical institutions, Matthew Champion proposes a method for historicizing music\u2019s emotional roles in the temporal life\u2019s vale of tears.<\/p>\n<p><strong>\u2018What Passion cannot MUSICK raise and quell!\u2019 Passions, Emotions and the Sublime in Early Modern England<\/strong> (Miranda Stanyon, PhD Candidate, School of English and Drama)<\/p>\n<p>When John Dryden wrote his Song for St. Cecilia\u2019s Day 1687, music\u2019s power over the passions seemed unrivalled and incontestable. But what was happening in 1783, when William Jackson turned Dryden\u2019s exclamation into a pointed question: \u2018What passion can music raise or quell?\u2019 Examining Dryden\u2019s music odes and some of their eighteenth-century recensions, this paper set debates about music and passion in the context of the emergence of the sublime, another discourse with a surprisingly volatile relationship to affective life.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Two papers will be presented:<br \/>\n\u2018What Passion cannot MUSICK raise and quell!\u2019 Passions, Emotions and the Sublime in Early Modern England (Miranda Stanyon, PhD Candidate, School of English and Drama)<br \/>\nand<br \/>\nMusic, Time, and Emotion: Emotional Narratives and Music in the Burgundian Territories of the Fifteenth Century (Matthew Champion, PhD Candidate, School of History)<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4,5],"tags":[],"class_list":["post-177","post","type-post","status-publish","format-standard","hentry","category-events","category-lunchtime-seminars"],"acf":[],"_links":{"self":[{"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/posts\/177","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/comments?post=177"}],"version-history":[{"count":2,"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/posts\/177\/revisions"}],"predecessor-version":[{"id":565,"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/posts\/177\/revisions\/565"}],"wp:attachment":[{"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/media?parent=177"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/categories?post=177"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/projects.history.qmul.ac.uk\/emotions\/wp-json\/wp\/v2\/tags?post=177"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}