Rhetorical aspects of the aria Quia respexit humilitatem, from Magnificat in D major by J. S. Bach BWV 243

Authors

  • Isabela de Figueiredo Santos Federal University of Minas Gerais

DOI:

https://doi.org/10.35699/2317-6377.2008.54809

Keywords:

rhetorical analysis, rhetoric-musical figures, baroque, Quia respexit humilitatem, Bach

Abstract

Rhetoric had an essential role in artistic production from the sixteenth to the eighteenth century by systematically dictating the formal structure and utilizing figurative elements in discourse to strengthen its eloquence. In the case of music, it occurs through structure and division of the music and the use of rhetorical-musical figures such as catabasis (descending melodic movement) or anaphora (general repetition) among others. This article aims to analyze some of the rhetorical elements contained in the aria Quia respexit humilitatem, composed by J. S. Bach.

Author Biography

  • Isabela de Figueiredo Santos, Federal University of Minas Gerais

    Isabela Santos is a soprano, a graduate in lyrical singing from the Federal University of Minas Gerais (UFMG), and a master's student in performance at UFMG, under the guidance of Margarida Borghoff. She studies vocal technique with the American bass-baritone Stephen Bronk. As a singer, she has won several awards in national singing competitions and the Young Singer award at the 7th Bidu Sayão International Singing Competition.

References

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Published

2008-01-07

Issue

No. 18 (2008): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2008 Per Musi

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How to Cite

“Rhetorical Aspects of the Aria Quia Respexit Humilitatem, from Magnificat in D Major by J. S. Bach BWV 243”. 2008. Per Musi, no. 18 (January): 69-76. https://doi.org/10.35699/2317-6377.2008.54809.