Rhetoric and musical elaboration in the baroque period

conditions and problems of the use of rhetorical categories in the critical discourse

Authors

  • Maya Suemi Lemos State University of Rio de Janeiro

DOI:

https://doi.org/10.35699/2317-6377.2008.55050

Keywords:

Baroque, musical rhetoric, musical analysis, musical theory

Abstract

Musical theory in the 16th and 17th centuries sought to systematize in several treatises what could be called musical rhetoric, establishing relationships and analogies between literary rhetorical categories and the composition mechanisms inherent to music. These treatises are inevitable tools to understand the depth of the influence of the eloquence’s art on the period’s musical discourse and practice and cause a certain discomfort when employed as analytical subsidies: addressing classical rhetoric only partially or often superficially, or with significant disagreement among treatises, they force us to question the viability, the difficulties and the possibilities of employing rhetorical theories to approach musical objects, both in the critic sphere and in interpretive praxis.

Author Biography

  • Maya Suemi Lemos, State University of Rio de Janeiro

    Maya Suemi Lemos holds a PhD in Music History and Musicology from Université de Paris IV-Sorbonne; a Master's degree in Music History and Musicology from the same university; a Bachelor's degree in Music Education from the State University of Rio de Janeiro (UNIRIO); she is an Assistant Professor in Arts Education at the State University of Rio de Janeiro (UERJ); Cultural Affairs Technician at the National Arts Foundation (FUNARTE, MinC); and a researcher at the Centre de Recherches sur les Langages Musicaux – CRLM (Université de Paris IV – Sorbonne). Her areas of expertise and research include music history, aesthetics, musical aesthetics, musical analysis, rhetoric, the 16th and 17th centuries, and Baroque music.

References

BURMEISTER, Joachim. Musica Poetica. Rostock, 1606.

CACCINI, Giulio. Le Nuove Musiche. Firenze, 1601.

CHARPENTIER, Marc-Antoine. Règles de Composition. Paris, 1690.

FINCK, Hermann. Musica Pratica. Wittenberg, 1556.

FOUCAULT, Michel. Les mots et les choses – Une archéologie des sciences humaines. s.l., Ed. Gallimard, 1966.

KIRCHER, Athanasius. Musurgia universalis sive ars magna consoni et dissoni. Roma, 1650.

MATTHESON, Johann. Das Neu-eröffnete Orchester, Hamburg, 1713.

______. Der vollkommene Capellmeister. Hamburg, 1739.

MONTEVERDI, Claudio. Quinto libro de madrigali a cinque voci. Venezia, 1605.

QUANTZ, Johann. Versuch einer Anweisung die Flöte traversière zu spielen. Berlin, 1752.

SCHUBART, Christian Friedrich Daniel. Ideen zu einer Ästhetik der Tonkunst. Wien, 1806.

ZARLINO, Gioseffo. Istitutioni Harmonici. Venezia, 1558.

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Published

2008-01-01

Issue

No. 17 (2008): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2008 Per Musi

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How to Cite

“Rhetoric and Musical Elaboration in the Baroque Period: Conditions and Problems of the Use of Rhetorical Categories in the Critical Discourse”. 2008. Per Musi, no. 17 (January): 48-53. https://doi.org/10.35699/2317-6377.2008.55050.