![]() ![]() Music does not have the vocabulary to specify the content of these "affects," in his view, but it does have its own syntax. His challenge is to show just how composers bring this about. ![]() He also maintains that music has the power both to illustrate sentiments and to awaken emotion, a claim that is not so generally agreed to, but which it is refreshing to encounter. ![]() Patten Lectures at the University of Indiana at Bloomington, Rosen indicates that he shares the general assumption that music can and does express human emotions. In this book, which had its beginning as the 2002 William T. To be sure, most of Rosen's small book in fact deals with music of the Baroque and Classical styles, but he continues his analysis of musical expression or expressiveness, in more current language, through the 19 th and into the 20 th centuries. Both authors seem particularly drawn to music of that period, so perhaps this is not altogether inappropriate. Rosen's title, in common with Peter Kivy's Sound Sentiment, seems to emit an air of the 18 th Century. ![]()
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