Abstract:
The present work deals with the presence of the Doctrine of Affections in the elaboration of sacred musical discourse based on the composer Johann Sebastian Bach. To this end, this research was carried out in a bibliographical and rhetorical-theological-musical way, interfacing Theology with Music, to outline some points that led to the construction and development of this doctrine, as well as to point out its use throughout one of the chosen works from Bach, Johannes-Passion. In this sense, musical treatises by contemporary Bach musicians such as Johann Mattheson, Johann Philipp Kirnberger (who had been a student of Bach) and others like Marc-Antoine Charpentier, Christian Friedrich Daniel Schubart stand out. Our objective permeates what this Doctrine of Affections really is, who are its authors. In short: in the contributions of the Doctrine of Affections to our thinking about sacred music today. These materials can serve as input for both a better understanding of musical works from the Baroque era, as well as serve as a support, for those who wish, for future musical compositions. For reasons of organization and structuring of ideas, this research is structured in three parts. The first part seeks to present the possible origin of this doctrine and its influences, bringing some understandings about music in relation to rhetoric up to the Baroque period. The second part presents aspects of the Doctrine of Affections present in the aforementioned work of Bach. Through extracts from Johannes-Passion, it illustrates the presence of this doctrine in intimate dialogue with the theological text, as well as the theological knowledge of the composer. The third part aims to work on issues related to meditating on the Passion of Christ, a theme that comprises Johannes-Passion, from the perspective of the fourth evangelist, John. It also deals with issues related to the importance of music, in all its aspects, within the liturgy. It is becoming necessary for musicians who perform work within the churches to also have theological knowledge so that the biblical message is not twisted. Music can serve us as an excellent tool for transmitting the Word, when used consciously. The purpose of this research is to contribute and encourage reflection on the importance of having theological, biblical, musical, rational and affective criteria to think, compose and perform sacred music for our context. Just like preaching, the music used in celebrations should also point to the Lord, after all, it is hoped that its use in the liturgy is not to entertain an audience, but to communicate and celebrate the Gospel.
