By Dietrich Bartel
Musica Poetica presents an unheard of exam of the advance of Baroque musical thought. The preliminary chapters, which function an advent to the idea that and teachings of musical-rhetorical figures, discover Martin Luther’s theology of track, the improvement of the Baroque thought of musica poetica, the assumption of the affections in German Baroque track, and that music’s use of the foundations and units of rhetoric. Dietrich Bartel then turns to extra distinct concerns of the musical-rhetorical figures that have been constructed in Baroque treatises and courses. After short biographical sketches of the key theorists, Bartel examines these theorists’ interpretation and type of the figures. The booklet concludes with an in depth presentation of the musical-rhetorical figures, within which every one theorist’s definitions are awarded within the unique language and in parallel English translations. Bartel’s transparent, precise research of German Baroque musical-rhetorical figures, mixed along with his cautious translations of interpretations of these figures from quite a lot of assets, make this publication an integral advent and source for all scholars of Baroque song.
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Additional resources for Musica Poetica: Musical-Rhetorical Figures in German Baroque Music
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See also Wi tfried Bamer, Barockrhe/orilc (T{lbingen: Niemeyer. 1970), 260. ir: '9 GERMANY A ND [TALY: CONTRASTIN G PIIlLOSOPHIES OF M USIC (talian Bawque music was modeled after the art of oratory rather than Ihe di scipline of rhclOric. lts goal was to imitate the actor rather than the pla)"night. the orator rather than the rhetorician, reflecting a longstanding Platoni c misl rust of rhetoric . ) The Italian rejection o f music's numerological and cosmological significance in favor of its direct affective and aesthetic effect led to a fonn o f musical expression which focuse d on a modem aesthetic principle of expressing and stioing the affections rather than explaining the text.
And Fonnaliti," describing the proper progression ("consccurion") of the interval s. 1 Even though he quoted Calvisius 's reference to a composition's exordium and finis,! he did not elaborate on the musical-rhetorical implications as was done by Bunneister and his foll owers. The remaining English musicalrhetorical references occurred primarily in rhetorical rather than musical treatises,9 Furthermore, they referred predominantly to technical fuga l devices o f repetition. While English rhetoricians continued to use rhetorical tenninology in their discussions of the rhetorical figures of repetition, no conscious effort was made by music theorists to adopt si milar terminology.
Had fully embraced Greek theol)' and practice. The art of public speaking lost its prominence in tbe Middle Ages. While medieval rhetoricians focused on the art of composing letters or official documents, the clergy cultivated rhetoric in the literary genre of the homily or sermon. Rhetoric, championed by tbe humanists along with all other classical disciplines, experienced a revival in the Renaissance, "and came to pervade all areas of civilization. as it had not been the case during the preceding centuries ....